Kadhim Hayder (Iraq, 1932-1985)A Love Deeper than All Love (Wa hawa aemaq min kuli hawa) , from the Epic of the Martyr Series oil on canvas, framedsigned 'K.HADAR' and dated '1963' (lower left), executed in 1963100 x 70cm (39 3/8 x 27 9/16in).Footnotes:'A LOVE DEEPER THAN ALL LOVE'A RARE AND MAGNIFICENT PAINTING FROM KADHIM HAYDER'S MARTYRS EPIC, FROM THE COLLECTION OF PROFESSOR ABDUL AZIZ HAMEED, FORMER PRESIDENT OF THE IRAQI STATE BOARD OF ANTIQUITIES 'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiProvenance:Property from the collection of Dr Abdul Aziz Hameed, Canada, former Professor at the Institute of Fine Arts, Baghdad (1960's), and former President of the Iraqi State Board of Antiquities and Heritage (2004-2010),Acquired directly by the above from the artist in 1965Exhibited:The Marty's Epic, Kadhim Hayder, Baghdad National Museum, 1965 (the present work is composition No.6 from the cycle)The Marty's Epic, Kadhim Hayder, Sursock Museum, Beirut 1965Published:Review of the Epic of the Martyr, Al Thawra Al Arabiyya, Anwar Al-Ghasani, May 7th 1965, illustratedKul Al-Funoon, May 26th 1965, illustratedAl-Balad, April 28th 1965, illustratedOne of the artists most touching and tender compositions, 'A Love Deeper than All Love' is a seminal painting by Iraq's most enigmatic modern artist, Kadhim Hayder. Part of Hayder's major body of work focusing on the Battle of Karbala and death of Imam Hussein known as the 'Marty's Epic', the present painting was exhibited at the artists landmark shows in the National Museum of Modern Art in Baghdad and Beirut in 1965 as well as being one of the most heavily featured works from the cycle, appearing in no less than three major press reviews at the time Being offered in the market for the first time, the work comes from the prestigious private collection of one of Hayder's oldest friends; Professor Abdul Aziz Hameed. The two became acquainted during their studies at SOAS in the 1950's, subsequently becoming colleagues at the Baghdad Faculty of fine Arts in the 1960's, Hameed then went on to become President of the Iraqi State Board of Antiquities and Heritage, the painting has been in his collection for over half a century. Extremely rare and possibly unique within the Martyr's Cycle, Hayder's composition in 'A Love Deeper than All Love', focuses on a romantic and deeply personal subject matter rather than the bloody battle of Karbala itself or the martyrdom of its protagonist, Imam Hussein. In the present work, Hussein is depicted as an anthropomorphised horse together with this Persian wife Shahbanu as the two are rendered standing affectionately side by side, in perhaps what is Hayder's most intimate take on the fabled story. Legend states that Shahbanu was present during the battle of Karbala, but includes a miraculous aspect to the story. It states that prior to his death, Husayn gave Shahrbanu his horse and bid her to escape back to her homeland in Persia. She was closely pursued by Yazid's soldiers and as she approached the mountains surrounding Rey, she tried to call out to God in desperation. However, in her exhaustion she misspoke and rather than saying 'Yallahu!' (Oh God!), she said 'Ya kuh!' (Oh mountain!). The mountain then miraculously opened and she rode into it, leaving behind only a piece of her veil which had gotten caught as the chasm closed behind her. This became an object of veneration, with the area becoming a shrine as well as a popular pilgrimage siteSaleem Al Bahloly: The Epic of the Martyr: 'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of Californi... 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
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Jewad Selim (Iraq, 1919-1961)Self Portrait with Guitar oil on card laid down on board, framedexecuted circa early 1940s50 x 35cm (19 11/16 x 13 3/4in).Footnotes:Provenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present owners'I remember constant gatherings in our house where we would hear Segovia and Carlos Montoya in the background, I also remember Amou Jewad playing the Guitar sometimes, and in fact he was very good!'- Zaidun Jawdat, the son of Nizar and Ellen Jawdat, who acquired the present work from Jewad'The bold style with bright colours is similar to that in the paintings [dated in the early 1940's]. These were therefore painted when Jewad was in Baghdad during WWII, presumably after he had met and been influenced by the Polish artists Józef Jarema and Józef Czapsk , stationed with the 'Anders Army' in Baghdad during the early 1940s. Before the war Józef Jarema and Józef Czapski had been members of the Post-Impressionist Kapisci movement, or the Paris Committee or the Colourists, an art group established 1924 by Jozef Pankiewicz.'- Zaineb Jewad Selim, the artists daughterThis 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
Shakir Hassan Al Said (Iraq, 1925-2004)The Martyrdom of Imam Hussein ink on paper in two partssigned and dated, executed in 195529 x 22cm eachFootnotes:Provenance:Property from the Artist's Estate These drawings are inspired by the folk art of the annual Ashura mourning processions held in Iraq and elsewhere, which commemorate the martyrdom of al-Husayn bin Ali and other members of the Prophet's family in 680 AD on the plains of Karbala, Iraq. The Ashura processions are based on oral traditions of narration and poetry accompanied by a full costume sombre pageant to recount the three-day events of the besieging of al-Husayn's camp and his martyrdom along with 63 of his companions and family members against a large Umayyad army. In his aforementioned 1954 article, Al Said noted the impact of the Ashura tradition on his visual memory and the mixture of emotions of fear and sadness from seeing the character of Shimmir, the villain, in the processions. Al Said then noted that Shimmir, in turn, showed fear and sadness in the Qajari posters that circulated in Iraq during the 1950s; these posters brought to visual form the myths and oral traditions of Shimmir's fate and torture. In the bottom right corner of the Qajar poster, Shimmir is seen seated inside a large cauldron on fire with his mouth open wide, screaming, and a piercing agonising frontal gaze as his scull is cracked open by repeated strikes from a bearded figure standing behind Shimmir holding a baton, with his raised right hand about to land another blow on Shimmir's head. Al Said's line drawing, with his well-established Mesopotamian-Islamic motifs, renders the figures with a modern interpretation of pain and fear in the context of vengeance. In contrast to Shimmir's drawing, the portrait of Ali with his son Abbas is more formal and symbolic to reflect perhaps a counterpart to Shimmir's predicament. The myths of Shimmir's torture mention that Ali and his sons and daughters sit and watch the torture of Shimmir and the other killers of al-Husayn. Abbas (al-Husayn's half-brother) is identified from the distinctive two feathers in his helmet, while Ali (al-Husayn's father) is identified by his two-pronged sword, known as Thulfiqar.- Dr Ahmed NajiDr Ahmed Naji is an independent researcher and cultural advisor on art in Iraq and the Arab world. He is the author of Under the Palm Trees: Modern Iraqi Art with Mohamed Makiya and Jewad Selim, Rizzoli New York, 2019. (Instagram: ahmednaji_alsaid)For further information on this lot please visit Bonhams.com
Kadhim Hayder (Iraq, 1932-1985)Warhouse oil on canvas, framedsigned 'Kadhim Hayder' and dated '84' in Arabic (lower left), executed in 1984114 x 146cm (44 7/8 x 57 1/2in).Footnotes:Provenance:Property from a private collection, LondonAcquired directly from the Artist by the above in 1984Bonhams is delighted to present this large and imposing 1984 painting by one of the godfathers of Iraqi Modernism Kadhim Hayder, a work which follows on from his Epic of the Martyr series. This notable series is influenced by the story of the eighth century Battle of Karbala that resulted in the death of the Prophet Mohammed's grandson Hussein Ibn Ali, the third Imam or leader of the Shia Muslims. The 3-day events of the besieging of Imam Hussein's camp and his martyrdom along with 63 of his companions and family members against a large Umayyad army has had great historical significance.This scene depicts two horsemen on their warhorses combatting in the scorching Karabala desert. The horsemen and their two horses seem to merge into one; abstracted and almost incomplete. The absence of colour in the forms alludes to a sense of loss and yet also signifies the immortality of Imam Hussein's soul. The left horse appears wounded as red stain marks indicate the Imam and his soldier's defeat and his formidable enemy's triumph on the battlefield.For further information on this lot please visit Bonhams.com
General George Monck, c. 1660, an oval cast and chased silver-gilt medal, unsigned, bust left, george d albemarle around, rev. armorial shield surmounted by ducal coronet, wreathed border both sides, 37 x 29mm, 9.32g (Platt II, p.223, type F [F1, this item]; cf. MI I, 466/65; cf. E 218). Very fine and extremely rare; with integral triple-loop for suspension, and carefully pierced several times below the portrait to facilitate sewing to a supporter's coat £1,500-£2,000 --- It seems highly probable that the present piece, which has a companion in the Ashmolean Museum, was worn by a senior officer in Monck's army.
![The Trial and Acquittal of John Lilburne, London, 1649, a struck silver medal, unsigned [by D. Ramage after T. Simon], draped](https://cdn.globalauctionplatform.com/299f2892-81e3-41fd-9e85-aeb000b01359/6d808bc9-f8f0-4ae8-96b3-af3a0170ebb7/468x382.jpg)
The Trial and Acquittal of John Lilburne, London, 1649, a struck silver medal, unsigned [by D. Ramage after T. Simon], draped bust left, iohn lilborne saved by the power of the lord and the integrity of his ivry who are ivges of law as wel as fact oct 26 1649, rev. myles petty ste iles abr smith ion king, etc around central rose, 34mm, 12.87g (Platt II, p.202, type A [A1, this item]; MI I, 385/3; E 177). Nearly very fine, rare £1,000-£1,200 --- John Lilburne (1614-57), a Puritan who converted to the Quaker religion in the year before his death, fought for the Parliamentarians in the Civil War and was present at Edge Hill and Marston Moor, although between these two engagements he had been captured by royalists while in the parliamentary garrison at Brentford. An agitator for the the freeborn rights of Englishmen, he spent most of the later 1640s incarcerated in the Tower for denouncing his former military commander, the Earl of Manchester, as a royalist sympathiser. A campaign to free him spawned a new political party, the Levellers, which had a strong following in the New Model Army although Lilburne had begun to see the reality of life under Cromwell’s diktat and his supporters actively agitated for King Charles’s son, in exile in France, to finance the Leveller movement. Parliament passed a motion for Lilburne to be tried for high treason, as the King had been, but unlike the case of the monarch, a jury of 12 would decide Lilburne’s fate. The trial, which started on 24 October 1649, lasted two days and the jury, whose names are on the reverse of the medal, found him not guilty. For the next two years Lilburne remained politically inactive, but after a dispute concerning the ownership of collieries in his native County Durham, he was sentenced to pay a fine of £3,000 to the state and was banished for life.
Major-General John Lambert, 1653, a small uniface oval silver portrait medal, by J. Stuart after Thomas Simon, bare head left with short, curled hair, lambert behind, 25 x 22mm (Platt II, pp.182-3, type E; MI I, 405/39 var.). Extremely fine, toned and very rare, contained in its original shagreen case, this with an old inked label, ‘M G Lambert’ £300-£400 --- John Lambert (1619-84) was a leading Parliamentary general during the Civil War and the principal architect of the Protectorate, the form of republican government which existed from 1653 to 1659. He first distinguished himself in encounters with the Royalists at Bradford in March 1644, and he fought bravely in the major Parliamentary victory at Marston Moor in July. A major-general at the age of 28, he helped Henry Ireton draw up the “Heads of the Proposals,” a draft constitution aimed at reconciling the conflicting interests of the army, Parliament and the king. At the beginning of the second phase of the Civil War in 1648, Lambert was commander of the troops of northern England. He routed the Scottish Royalist invaders at Preston in August and, on 22 March 1649, he captured Pontefract, the last Royalist stronghold in England. Second in command under Cromwell during the campaigns against the Royalists in Scotland in 1650 and 1651, Lambert was also at Worcester on 3 September 1651, when the future Charles II was defeated in the final battle of the Civil War. Lambert was a key figure during the Commonwealth but in 1657 outspokenly opposed the proposal that Cromwell be made king. In June 1662, he was sentenced to death for his part in the Civil War but was granted a reprieve and spent the rest of his life in prison.
Demands of Charles I for an Increase in Naval and Military Forces, 1628, a silver medal by N. Briot, crowned small square-topped shield within collar of the Thistle, all surrounded by the Garter, carolvs d g ang sco fran et hib rex fidei def, rev. regit vnvs viroque, crossed sceptre and trident united by a cord, date in exergue, 28mm, 5.29g (Platt I, p.120, type B [B1, this item]; MI I, 250/27; SCBI Brooker 1260; N 2676). Nearly extremely fine and attractively toned £500-£700 --- Often catalogued as a pattern shilling, this medallion was struck to commemorate the King’s petitioning of parliament to increase expenditure on the army and navy.
General George Monck, c. 1660, an electrotype copy of an oval cast and chased silver-gilt medal, unsigned (by T. or A. Simon), bust right, rev. armorial shield surmounted by ducal coronet, stippled background and wreathed border both sides, 38 x 34mm (Platt II, p.222, type D [D2, this item]; cf. MI I, 466/64). With integral suspension loop, good very fine £80-£100 --- An example of this medal in bronze, but without the loop, is held by the National Army Museum (Acquisition no. NAM 1984-08-62-1).
The Oxford Memorial, 1648, a cast and chased silver medal, unsigned, altar inscribed p.m. acad. oxon., dividing date, rev. deo ecclesiæ, principi victima in four lines across field, 29mm, 8.82g (Platt I, p.266, type A [A3, this item]; MI I, 348/205; E 165). Small rim fault on reverse at 11 o’clock, otherwise very fine and toned, very rare £400-£600 --- This medal was presented to members of the academic community at Oxford who were victims of a political and religious purge in the late 1640s, the so-called Parliamentary Visitation. Oxford was the principal city of Charles I and his army during four years of the Civil War and despite falling to the Parliamentarians, the city's occupants remained supporters of the Royalist cause. This led to the dismissal of many academics who refused to denounce the king.
![Robert Devereux, 3rd Earl of Essex, 1642, a cast and chased silver-gilt military reward, unsigned [probably by T. Rawlins], h](https://cdn.globalauctionplatform.com/299f2892-81e3-41fd-9e85-aeb000b01359/a103f0d1-28ae-40fa-8166-af3a017184b9/468x382.jpg)
Robert Devereux, 3rd Earl of Essex, 1642, a cast and chased silver-gilt military reward, unsigned [probably by T. Rawlins], half-length armoured figure three-quarters left, holding sword and wearing sash around waist, hand from heaven holding sword horizontally above head, the sword of the lord and of gydeon, rev. in the multitude of counsellors there is peace, view of both Houses of Parliament, with King and Speaker, 40 x 31mm, 10.61g (Platt II, p.81, type C [C1, this item]; MI I, 296/114). Very fine or better; with integral suspension loop £1,000-£1,200 --- This medal was issued in gold and silver, to be given to persons of various ranks in Essex's army. Though the army was fighting against the King he is represented upon his throne, and Essex declared "I do promise in the sight of Almighty God, that I shall undertake nothing but what shall tend to the advancement of the true Protestant Religion, the security of his Majesty's royal person, the maintenance of the just privileges of Parliament and the liberty and property of the subject."
Edward Montagu, 2nd Earl of Manchester, 1643, a cast and chased silver military reward, unsigned, armoured bust with long hair three-quarters left, rev. Montagu arms, coronet above, without legend both sides, narrow laurel leaf border, 28 x 24mm, 7.52g (Platt II, p.233, type E [E2, this item]; MI I, 309/137; E 143A var.). Very fine, with suspension loop, rare £600-£800 --- Edward Montagu, 2nd Earl of Manchester (1602-70), was a Parliamentary general and statesman. He served under Essex at Edgehill, and later commanded at Marston Moor. He defeated the royalist army at the second battle of Newbury, but failed to take advantage of the victory and was relieved of his command. Although a leader of the Puritan faction, Manchester opposed the trial of King Charles and was influential in bringing about the Restoration of 1660; he was subsequently appointed Lord Chamberlain by Charles II.
Sir Richard Brown(e), 1st Baronet of London, 1644, a cast and chased silver-gilt military reward, unsigned, armoured bust three-quarters left, non vir sed virtvs, rev. for king and parliament 1644, armorial shield, chevron with three castles, three griffins’ heads around, 35 x 28mm, 11.27g (Platt II, p.59, type A [A1, this item]; MI I, 312/142; E 144). In high relief, gilding dulled, good very fine with integral suspension loop, rare £600-£800 --- Richard Brown (c. 1602-69) was a citizen and representative of London. He commanded a small army for Parliament in the neighbourhood of Abingdon; he was extensively and successfully employed by the party whose cause he had embraced, but becoming dissatisfied with their proceedings he attached himself to the Royalist cause. After the Restoration, he was created a baronet and elected Lord Mayor of London in 1660.
Keith Vaughan (British, 1912-1977)Second Study for Walled Garden signed 'Keith Vaughan.' (lower right); titled and dated 'Second Study for Walled Garden 1946' (on label attached to backboard)watercolour, gouache, ink, pen and ink and wax crayon on paper8.5 x 13cm (3 3/8 x 5 1/8in).Footnotes:ProvenanceWith The Redfern Gallery, London, where acquired by the family of the present owner, 5 November 1973, and thence by descentPrivate Collection, U.K.ExhibitedLondon, Olympia Fine Art and Antiques Fair, Keith Vaughan 1912-1977: An Exhibition of Paintings and Drawings, 26 February-3 March 2002, no. KV 095Vaughan made several jewel-like studies for Walled Garden. Despite this, he produced no oil painting with that title in 1946. Five years later he returned to the theme and made a lithograph with similar imagery and the same title. The motif of a felled tree, loosely resembling a human figure, can be traced back to the early 1940s when he made around a dozen studies for a symbolic painting, representing the fallen youth of the war. At the time he was serving in the non-combatant corps, clearing the grounds of an estate with a large walled garden. Vaughan was unable to make easel paintings while serving in the army and adopted, what he called his 'volatile' medium, consisting of ink, gouache and wax crayons. We are grateful to Gerard Hastings for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
The Great Deville Magic Poster 1923 For The Great Deville (Harry Barton Edwards 1885-1970) at the Queen's Theatre Glasgow, Deville billed as the "Wizard Of The Army". The poster lists Deville both at both the top & bottom of the poster noting his additional act "Dividing A Lady In Two". Poster conservation paper-backed with general wear especially to lower portion where there are infills to paper loss (elsewhere also to rim), poster 11 1/4" x 34 1/2"
The Great Davalle Magic Poster c' 1918-20 Billed as a Magician", "Mesmerist" & "Mind Reader" the Australian The Great Davalle was commencing his third Australian tour when WWI broke out. He served in the army for three years & was twice wounded at Gallipoli. This poster is for the resumed third Australian tour. Three good photographic images of Davalle. No discernible printers credit. Poster conservation paper-backed, with old foldlines, wear, closed edge tears (longest 2 1/2" to upper right corner), poster 13 1/2" x 30 1/4"
Two World War I medals issued to 3618 PTE O Symes W. GDS together with three World War II medals, including the War Medal, The 1939-1945 Star and the France and Germany Star, in a box addressed to Mr O Symes, three miniatures, a cap badge for the Royal Army Medical Corps, Masonic jewels, photograph etc
A GEORGE III SILVER OVAL SAUCE TUREENPAUL STORR, LONDON 1797With an armorial finial to the domed cover, twin scroll handles, engraved with a coat of arms and on an oval pedestal foot23.5cm (9 1/4in) long607g (19.55 oz) The armorial for the Earldom of Eglinton in the Peerage of Scotland. The ancestral seat was Eglinton Castle in Kilwinning, North Ayrshire. The date of assay (1797) would suggest that the engraving refers to Colonel Hugh MONTGOMERIE (formerly SETON) (1739-1819) KT and 12th Earl of Eglinton, who succeeded his third cousin Archibald MONTGOMERIE (1726-1796) 11th Earl in 1796. He was the son of Colonel Alexander SETON (1719-1783) of Colysfield by Lillias MONTGOMERIE (1715-1783) daughter of Robert MONTGOMERIE Baronet Skelmollie. He joined the army in 1756 and served in the American war as captain in the 78th foot and afterwards as captain in the first royals. In 1772 the 12th earl had married Eleanora HAMILTON (1750-1817) daughter of Robert HAMILTON by Jean MITCHELL. He was earlier an MP for Ayrshire (1780-1796) and later Scottish representative of peers in the House of Lord. Blazon: quarterly of four - 1,4: grand quarters counter quartered one and four: azure, three fleurs de lis or (Montgomerie); two and three: gules, three annulets or stoned azure (Eglinton) all within a bordure or charged with a double tressure flory-counterflory. 2,3: grand quarters counter quartered one and four: or, three crescents within a double tressure flory-counterflory gules (Seton); two and three: azure, three garbs or (Buchan), overall an escutcheon per pale gules and azure, the dexter charged with a sword in pale proper, pommelled and hilted or, supporting an imperial crown, the sinister charged with a star of twelve points argent, all within a double tressure flory-counterflory or. Crest: a lady dressed in ancient apparel azure holding in the dexter hand an anchor or and in the sinister the head of a savage suspended by the hair couped all proper (Eglinton) Supporters: two wyverns, wings elevated vert and vomiting fire proper. Mottoe: GARDEZ BIENCondition Report: Marks to base are partially obscured, marks to cover are clearStands wellCover sits wellEngraving rubbedLight scratches and wear commensurate with age and use Condition Report Disclaimer
MILITARY INTEREST: GARRARD & CO. LTD., THE LIFE GUARDS, A 9 CARAT GOLD, DIAMOND AND ENAMEL BROOCH BIRMINGHAM 1984The eight cut diamond set cypher below an enamelled crown with lion surmount, approximately 0.14 carats total, with blue enamelled banner inscribed THE LIFE GUARDS, in a Garrard & Co. Ltd. boxSize/dimensions: 3.6cm longGross weight: 5.6 gramsThe Life Guards is a senior regiment cavalry unit in the British Army. Formed in the 1650s, it is now part of the Household Cavalry and operates as both an armoured reconnaissance unit and as a ceremonial guard to the monarch. Condition Report: Minimal wear, the diamonds are all present and correct. Some signs of use and storage to the case, there is a patch on the top where a sticker appears to have been removed.Condition Report Disclaimer
Toys & Collectables - Corgi Toys, Dads Army Thornycroft Van with Mr Jones; Ford Consul saloon; Jaguar E-Type, series I, 3.8ltr; Vanguards Morris Marina; Toy Vault Middle-earth Ugluk the Orc action figure; Elvis Presley Blue Hawaii figure; Robocop; The Beatles; etc, all boxed/carded (11); Thunderbirds Tracy Island etc unboxed
Moss Bros.Robinson (Heath), Behind the Scenes at Moss Bros.Moss Bros., no date, oblong quarto, card wraps;Hicks (Capt. J. S.), An Illustrated Army List.Moss Bros., no date, oblong quarto, card wraps;Bateman (H. M.), The M.F.H. Who Ran Riot.Moss Bros. no date [1934], oblong folio, card wraps;with three other Moss Bros. publications. (6)
The Khyber Pass, 1936/7.A large panoramic photograph of the Khyber Pass, produced by the British Army for issue to the artillery posts guarding the 'North-West Frontier'. Overlays for the photograph were issued (not present) which identified and labelled various locations in the pass. The overlays could be periodically updated by military intelligence. Using the overlay and photograph, commanding officers were able to clearly identify target locations when instructing remote gun placements to open fire on the transient enemy forces. Composed of two photographs joined at the centre, overall image approx 20cm x 182cm, recently mounted, framed and glazed at considerable expense.
Skelton (Joseph).Engraved Illustrations of Antient Arms and Armour, from the Collection of Llewelyn Meyrick at Goodrich Court.J. Skelton, 1830, two folio volumes, additional engraved title and frontis to each, 150 plates, some foxing and staining throughout, all edges gilt, full calf, re-backed retaining original backstrips;Grose (Francis), Military Antiquities respecting A History of the English Army, from the Conquest to the Present Time. Stockdale, 1812, two quarto volumes, engraved title and frontis to each, engraved plates, contemporary calf, rubbed and re-backed, retaining original backstrips. (4)
A GEORGE III IRISH SILVER SHAPED CIRCULAR SALVER JOHN LOCKER, DUBLIN 1778 With a gadrooned border, engraved with an armorial and on four pad feet 41cm (16in) diameter 1774g (57 oz) The marshalled arms are for Solomon RICHARDS (1713-1784) of Solsborough, co. Wexford and his wife Frances VIGORS (1742-1799) daughter of Urban VIGORS (1705-1766) of Ballyconnick, co. Carlow by Alice THOMAS (1715-1767). They married in 1760. Solomon RICHARDS was the son of John RICHARDS (died 1749) of Solsborough. In 1753 he was Sheriff of co. Wexford. The RICHARDS family were descendants of a Colonel Solomon RICHARDS (1619-1691) who was born in Holborn Middlesex and buried in Westminster Abbey, he was a soldier in Cromwell's army and later the army of William of Orange. The RICHARDS family were earlier of Kent. These arms were used by the couple between, 1760 and 1784 and the engraving would then have been carried out in the period 1778 and 1784. Blazon: quarterly of four - 1,4: sable, a chevron between three fleurs de lis argent (Richards). 2,3: vert, a bend lozengy or (Knight). - impaling - argent, three stags heads erased gules, attired or (Vigors) Condition Report: Maker's mark lightly rubbed, rest are clearStands wellEngraving clearLight scratches and wear commensurate with age and useCondition Report Disclaimer
* Flying Jacket. A WWII USMC M.422A flying jacket worn by Lieutenant A.T. House Jr, brown leather with name badge to left breast stamped 'A.T. House Jr. Lt. USMFC' with embossed wings, the right panel with circular badge of a pair of dice with lightening bolt through the middle, the back of the jacket inscribed Buzz Baby with Squadron badge VMF 124 (nicknamed Death's Head, Wild Aces or Checkerboards) and five painted Japanese flags (probably kill icons), with brown fur collar and lining with green cloth stamped Air Forces and additionally inscribed 'Pelt', with Crown zip to the front and elasticated waist section and cuffs, the inner arm length 46 cm, length from the top of the collar 74 cm, chest from pit to pit 47 cm, some areas of wear but a good original example QTY: (1)NOTE:Arthur T. House, Jr. enlisted in the U.S. Army Airforce on April 23, 1941 with serial number 19039041. After graduating flight school and earning his wings, he was commissioned as a 2nd Lieutenant with serial number O-406351 and deployed overseas to the South West Pacific Area (SWPA) where he was assigned to the 5th Air Force, 49th Fighter Group (49th FG), 7th Fighter Squadron (7th FS). His crew chief was Sgt. G. W. White, their P-40 E aircraft was nicknamed "Hero's Poopy" after his prior aircraft P-40E "Poopy". He had five confirmed kills, two over Horn Island.
* Dinky Toys. A collection of 44 post-war die-cast metal toy vehicles, c. 1950s, comprising 21 domestic & saloon vehicles (including Rover 75, Vanguard, Studebaker, Ford Sedan, Hudson Sedan, Oldsmobile, Jaguar, Morris Oxford, Parkard convertible, Triumph, Riley, Austin Devon, Ford Zephyr, Austin Atlantic convertible, Fiat 600, Vauxhall Cresta, & Austin Somerset), plus 12 racing cars (including Alfa-Romeo, Mercedes Benz, H.W.M., Maserati, Bristol 450, Cooper-Bristol, Sunbeam Alpine, Speed of the Wind, Talbot Lago, & Connaught etc., some with replacement tyres), and five military vehicles (including Armoured Command Vehicle 677, Armoured Car Military Ambulance 626, Army 1 ton Cargo Truck 641, & Armoured Personnel Carrier), and six others (including Field marshall tractor 301, two Bedford tipper trucks, Bedford dustbin truck & two B.E.V Trucks), some vehicles with light wear, together with a Dinky Toys Police box, telephone box, traffic light, petrol pump and tyre stand with tyres QTY: (49)
* Prussian Sword. A WWI Prussian army officer's sword, the 79 cm slightly curved steel blade plain and slightly pitted, brass stirrup hilt with oak leaf decoration, wire-bound black celluloid grip and lion head pommel inset with red glass eyes, overall length 92 cm, in its black metal scabbard QTY: (1)
* Swords. A 1912 pattern cavalry officers sword, the 83 cm blade by Army & Navy Cooperative Society, numbered 13397, steel bowl engraved with foliate scrolls, fish skin grip and plated pommel, overall length 103 cm, in its brown leather scabbard, together with another 1912 pattern sword with camouflage painted guard, poor conditionQTY: (2)
* Paulin (George H, 1888-1962). Soldier 51st Highland Division 1926, bronze, modelled a WWI soldier in service uniform holding a rifle with helmet and field kit on the naturalistic base, signed and dated 1926, 39 cm highQTY: (1)NOTE:Provenance: David Cohen Fine Art.George Henry Paulin (1888-1962) was a Scottish sculptor commonly known as Harry, he was born in Clackmannanshire, Scotland in 1888 and educated at Dollar Academy from 1900-1905. He displayed great artistic talent and attracted the attention of his neighbour who was the artist Sholto Johnstone Douglas. Douglas encouraged the family to send Harry to Edinburgh College of Art which attended. Harry travelled extensively and visited Paris and Rome and later attended the L'Ecole des Beaux Arts in Paris for a year.At the outbreak of WWI Harry returned to Scotland from Italy and enlisted in the Lothians and Border Horse as a Trooper. In November 1914 he was trampled by a horse and invalided out of the army in December. He re-enlisted with the Royal Flying Corps as an Observer. In 1918 he transferred to the Royal Naval Air Service as Lieutenant and later that year in the Royal Air Force as a role of intelligence.Post-war Harry was commissioned for many war memorials including the Kirkcudbright war memorial and the 51st (Highland) Division which is erected in Newfoundland's Field of Remembrance at Beaumont-Hamel, Somme, France.The memorial which is a huge sculpture identical to the smaller bronze offered for sale commemorates the soldiers of the 51st Division killed during WWI. It is located near Y Ravine, Beaumont-Hamel which was the position of the Division's first major victory on 13 November 1916 during the Battle of Ancre in the closing stages of the Battle of the Somme.
* Leonard (Major Terence James, 1890-1972) Intelligence Corps. An archive of documents, letters, pamphlets, photographs, watercolours, medals and ephemera relating to Major T.J. Leonard, WWI and WWII, including Total Intelligence or Studying Form. Essay on the German Character, by T.J. Leonard, several confidential reports bound together, 1943-44 (3 copies), a passport to enable travel to Russia, 1912 discharge certificate from the 28th London Regiment (Artists' Rifles) Territorial Army, 1915, commission as 2nd Lieutenant in the Army Service Corps, 1915, and Lieutenant Army Officer Reserve, 1922 (with stamped signatures of George V), Intelligence Corps typescript Examination sheet, 2nd June 1917, several leaves in English and German manuscript, one detailing what information is required during night raids on enemy trenches, translations of captured letters, documents and letters relating to the Inter-Allied Administrative and Plebiscite Commission, Upper Silesia, 1922, medals comprising 1914-15 Star (3186. Pte. T.J. Leonard, 28-Lond & R,', British War and Victory medals (Lieut. T.J. Leonard), a small collection of regimental cap badges including Intelligence Corps and two Artists' Rifles (brass and white metal), plus other booklets, propaganda publications and related, together with a collection of 15 WWII watercolour and gouache paintings identifying various German uniforms, 1942-43, including Senior Sgt Major (staff) and Junior H Cpl, Infantry Private and SS Feldwebel (Sergeant), Private Tanks and S/M Artillery, Sgt Major Inf S.S, SS Unterscharführer - Corporal, Panzer division, German Air Force Pilot, Lieutenant Tank Regiment (peacetime), Trooper Tank Regiment, and others, all but one signed and dated by various artists comprising: G Higginson; J Thompson and G.H.H, all roughly 76.5 x 56 cm (30 1/8 x 22 ins)QTY: (archive)NOTE:Interesting archive of material from Major T.J. Leonard, Intelligence Corps in both World Wars. Terence Leonard spent three years working in Russia before the First World War, initially joining the Artists' Rifles before joining the Army Service Corps in Salonika and in 1917 the Intelligence Corps, where his chief work was as an examiner of German prisoners.After the war he became an Officer Interpreter for the Inter-Allied Plebiscite Commission in Upper Silesia, Germany from 1920-22, and afterwards lived in Paris until the outbreak of the Second World War, when he returned to England and joined the Intelligence Corps again, with the rank of Captain. He gave talks and produced pamphlets on the German character and enemy identification as well as the watercolours of German soldiers in uniform, which he used to illustrate in his talks. During an interrogation he acquired some fake buttons and a ring with a German cross from German prisoners trying to escape (items included in the archive). In 1944 he was transferred to the newly formed Education Branch of the Control Commission for Germany, analysing German textbooks, and from 1945-50 he wrote a number of articles for the British Zone Review.
* World War II Posters. A collection of WWII posters including 'Careless Talk Costs Lives', circa 1941, 13 colour lithographs promoting the importance of not sharing information, printed for H.M Stationery Office, titles include: Keep mum - she's not so dumb!, Keep it under your hat!, along with 'He's in the Silent Service - are you?', 'Danger Enemy ears are listening', '"Spot at Sight" Chart No 1 & 2 Enemy Uniforms', sizes from 38 x 25.2 cm (15 x 10 ins) to 76 x 50.4 cm (29 7/8 x 19 7/8 ins), together with two maps: North-West Germany, 2nd edition, The British Army of the Rhine and a map of Paris produced by The War Office, 1942, first editionQTY: (1 folder)
* WWI Diaries. A collection of WWI and later manuscript diaries kept by Brigadier-General Walter Allason, DSO & Bar, Bedfordshire Regiment, comprising 6 handwritten diaries for the period of August 1914 to 1916 probably written up at a later date but containing original WWI notes written by Allason on Army Message Form paper, very descriptive with various actions recorded including the events surrounding his second award bar for the DSO in September 1916 on the Somme, he records 'It was a magnificent fight. The hill was converse so that you could only see a few yards. It was a case of moving from shell hole to shell hole and only very discipline enabled the advance to be made at all. On our right and left the troops who should have assisted failed to advance so the whole credit of the capture of Falfemont ridge, which French said they could not advance, belongs to the Bedfords' with accompanying newspaper cuttings, various photographs, dinner menu for 52nd Infantry Brigade Party on 22 February 1919, inscribed 'Brig. Gen. W. Allason D.S.O.' and signed with over 25 attendees, diagrams relating battles plus five original Mentioned in Despatches certificates, a fascinating record of a senior officers WWI service QTY: (6)NOTE:Major Walter Allason was born in London in 1875, he was educated abroad and privately. He joined the 1st Bedfordshire Regiment in 1896 and was promoted to Lieutenant in 1898. He served in South Africa from 1899-1900. He served on the Western Front and was present at Mons, Le Cateau, the Marne, the Aisne, Givenchy, Neuve Chapelle, Ypres, Hill 60 and the Somme in 1916. He was wounded four times, mentioned in despatches four times and created a Companion of the Distinguished Service Order (London Gazette, 18 February 1915), he was also awarded the bar to the DSO (London Gazette, 14 November 1916) when he executed an attack with the greatest initiative and resource, thereby enabling a strong enemy position to be captured. He handled his battalion with great skill throughout the operations. He was given the Brevet of Colonel on 1 January 1919 and was appointed to command the 51st Bedfordshire Regiment on the Rhine in April 1919.Allason was also a keen Polo player for Middlesex and represented the South vs North of England. He won the "Officers' Cup" at Aldershot Rifle Meeting in 1911.
* WWII Army Fire Service. A WWII photograph album, inscribed 'This album is the property of Headquarters Army Fire Service', containing approximately 100 black and white photographs, various sizes, snapshot to 26 x 20.5 cm, many with typed captions for example 'Fire Fighting Demonstration 13 Fire Fighting Coy (Home)', 'Kallance Airfield Singapore, 20,000 Tons 100 Oct petrol - Loss 200 Tons No Foam Used', 'Jap Petrol Installation Paulr Brani Island Off Singapore', contained in a period leatherette album, 27.5 x 37.5 cmQTY: (1)
* Landing of William of Orange at Torbay, 1688. A cast silver medal by George Bower, the obverse with a cuirassed bust of William facing right with legend ' GVILIELMVS. III. D.G. PRIN. AVR. HOL. ET. WES. GVB', the reverse showing William on horseback leading his army before his fleet at anchor and the legend 'ERRAS. ASTRÆ. REUISIT', 49 mm diameter, some wear around the rim, very fine, with original sale ticket QTY: (1)NOTE:William III landed at Torbay on 5 November 1688 with 14000 troops for the invasion of England.
* Honourable East India Company Medal for Egypt 1801, silver, unnamed as issued, flattened loop for suspension, nearly extremely fine QTY: (1)NOTE:The obverse shows a Sepoy supporting the Union flag, an encampment behind, the Persian inscription reads 'This medal has been presented in commemoration of the defeat of the French Army in the kingdom of Egypt by the bravery of the victorious army of England'.The reverse shows a British ship of the line sailing towards the Egyptian coast, an obelisk and four pyramids to the right. 1439 medals were struck in silver.
* Captain Oswald Bede Russell, MC killed in action at Samawa, Mesopotamia, 3 September 1920Military Cross, G.V.R., reverse contemporarily engraved 'Capt. Oswald B.P. Russell Xth Lancers. Salihyah 7-3-1920 [sic]'British War and Victory Medals (Lieut. O.B.P. Russell.)General Service Medal, G.V.R., 1 clasp, Iraq (Capt. O.B.P. Russell.), minor edge bruise to second, good very fine and attractively toned QTY: (4)NOTE:M.C. London Gazette ...Captain Oswald Bede Plowden Russell MC, MID was a native of Reading, Berkshire he was commissioned 2nd Lieutenant in the 10th Duke of Cambridge's Own Lancers (Hodson's Horse) on 17 November 1915 and promoted to Lieutenant in the Indian Army on 15 November 1916. Russell was killed in action during the Iraqi Revolt at Samawa, Mesopotamia 3 September 1920. He is commemorated on the Basra Memorial, Iraq.
* India General Service 1854-95, 1 clasp, Burma 1887-89 (Major S.H.P. Graves Burma Mily Police), engraved in running script, good very fine and tonedQTY: (1)NOTE:Colonel Somerset Henry Paul Graves was born in Bath, Somerset in 1846, he served in the Indian Army, late Burma Police Department and was the First Commandant in 1868, he served in the 26th native infantry and in June 1885 was appointed Superintendant of Police at Port Blair, by 1887 he was appointed Inspector General of Police, Upper Burma and reverted to military duties in 1888. The India List and India Office List, page 507 refers
* R.A.F. First Day Covers. A large collection of approximately 1,200 First Day Covers, mostly signed, c. 1965-2006, organised in modern ring binders, the first 14 RAF first day covers, 1965-2006, the remaining binders organised as RAF Squadrons, anniversaries, Fleet Air Arm, etc., Mosquito Aircraft Museum, civil aviation, multi-signed and USAAF generals, Army (including some unsigned) and Royal Navy, plastic ring binders with manuscript sticky labels, mostly 4toQTY: (approx. 1200)NOTE:An impressive collection including autographs of Bomber Harris, Tom Sopwith, Barnes Wallis, Neville Duke, Jean Batten, Johnnie Johnson, Leonard Cheshire, Al Deere, Douglas Bader, Hajo Herrmann, Döenitz, Bill Shrubsole, Gareth Clayton, John Haskins, Keith Lawrence, Peter Boston, Alastair Pearson, John Howard, T. Otway, G.R.K. Gadsdon, Admiral Dreyer, etc.
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