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Lot 286
1940 Pattern Royal Warwickshire Officer's Battledress Jacket khaki woollen, single breasted, closed collar, short jacket. Lower belt with plated buckle. Patch chest pockets with buttoned flaps. Embroidery Royal Warwickshire titles over bear and rugged staff Cadet Forces formation and printed 11. Lower left cuff with two brass wound stripes. Lower right cuff with four overseas chevrons. Shoulder straps with embroidery Captain's rank stars. Internal issue label dated 1943.
Lot 1886
Agra Medical School, General Proficiency medal, a silver award by A. Wyon, undated, bare head of Edward VII left, rev. helmeted bust of Athena left, un-named, 52mm, 72.78g (Pudd. 948.16.3 [‘not traced’]). Two small scratches on obverse, otherwise about extremely fine, very rare £200-£260 --- It is believed that the School began awarding medals of this type in early 1910; this would explain the rarity of examples such as this which bear the portrait of Edward VII. The School is now called Sarojini Naidu Medical College.
Lot 33
A pair of sterling silver gilt daisy earrings, by Anton Michelsen for Georg Jensen,granulated raised centres, surrounded by white enamel champlevé petals, screw back fittings, Anton Michelsen maker's mark, import hallmark London 1980, Georg Jensen sponsor's mark,18mm diameter, 6.07g, in a Georg Jensen box (2)Condition ReportBoth earrings bear maker's mark AM for Anton Michelsen. One of the earring has import hallmark and Jensen sponsor's mark to the earring wire.One earring showing a hairline crack to the outermost edge of white enamel, appears stable. Enamel slightly dirty, would benefit from a gentle clean with warm water.Tarnished.Minor marks/scratches to metal surfaces.
Lot 330
A collection of jewellery,comprising a sterling silver curb link charm bracelet, London 1975, suspending a quantity of charms to include an articulated teddy bear and a hinged enamelled lobster pot, all charms tested as approximately silver, a silver heart ring, a silver dyed green agate and marcasite ring, tested as approximately sterling silver, a white metal marcasite and faux pearl brooch (4)Finger size K¾, K½Silver approximately 105.91g totalCondition ReportMaker's mark charm bracelet and clasp LC.Some tarnish.Marks/scratches to surfaces.Minor facet junction wear to amethyst charm.Solder join visible to dyed green agate ring.
Lot 370
A 9ct gold St. Christopher key ring,a St. Christopher with a plain stepped surround, to a trace link chain with a triangular ring with a machine engraved barrel to the screw catch, 13.09gCondition ReportSt. Christopher and the keyring fitting bear different hallmarks. A marriage of parts.St, Christopher hallmarked London 1977, Maker's mark S&K.Keyring fitting hallmarked Birmingham 1976, Maker's mark SJR.Marks/scratches.
Lot 198
A MID TO LATE VICTORIAN STAFFORDSHIRE VOLUNTEER RIFLE COMPANY SWORD, the blade was made by the Reeves Company at their Toledo Works in Birmingham, they were Gun and sword makers throughout the 19th Century, the blade is etched but has no cartouche naming for Staffordshire Rifle Company etc, but does bear the Staffs knot on both sides of the blade, the crossguard has the Volunteer Rifle badge with bugle and the grip is wired Ray or shark skin, the Scabbard is present and generally both are in good condition for their age
Lot 340
Three trays of miscellaneous items; quartz travel clocks, Sestrel porthole style alarm clock, small wall barometer with wooden frame etc, art pottery jugs and goblets, hardstone cylindrical vase and small jar with lid, stoneware vase by Newport pottery, duck design egg crock, chamber stick, glass animal figures; avondale coloured glass whale, Wedgwood clear glass whale, duck, elephant, bear and a similar squirrel, a Mdina seahorse with coloured base etc. (3)(B.P. 21% + VAT)
Lot 141
ANDY WARHOL (Pittsburgh, USA,1928-New York, USA,1987)."Box of Glitter".Cardboard, mounted on passe-partout.With stamp of the Levi Gallery (Milan).Size: 18 x 20 x 6,5 cm; 30 x 30 (passe-partout).Glossy box conceived by the artist for the first time in 1964, it was the work for which the art critic Arthur Danto declared the death of art. In his explanation, he stated that through these detergent boxes, the artist had conquered reality by making everyday objects into art. In reality, Warhol was exploring a path already opened by Duchamp in 1917, but which in this case alluded to a mass culture, marked by capitalism and strong industrialisation.Andrew Warhola, commonly known as Andy Warhol, was an American visual artist, filmmaker and music producer who played a crucial role in the birth and development of pop art. Considered in his time a guru of modernity, Warhol was one of the most influential artists of the 20th century. The son of Slovakian immigrants, he began studying art at the Carnegie Institute of Technology between 1945 and 1949. In the latter year, when he settled in New York, he began his career as an advertising cartoonist for various magazines such as Vogue, Harper's Bazaar, Seventeen and The New Yorker. At the same time he painted canvases whose subject matter was based on some element or image from the everyday environment, advertising or comics. He soon began to exhibit in various galleries. He progressively eliminated any expressionist traits from his works until he reduced them to a serial repetition of a popular element from mass culture, the world of consumerism or the media. This evolution reached its peak of depersonalisation in 1962, when he began to use a mechanical silkscreen printing process as his working method, by means of which he systematically reproduced myths of contemporary society, the most representative examples of which are the series dedicated to Marilyn Monroe, Elvis Presley, Elizabeth Taylor and Mao Tse-tung, as well as his famous treatment of Campbell's soup cans, all works produced during the fruitful decade of the 1960s. This appropriationism, a constant in the work of the proponents of Pop Art, extended to universal works of art. By means of mass reproduction, he succeeded in stripping the media fetishes he used of their usual referents, turning them into stereotyped icons with a purely decorative purpose, and in 1963 he set up the Factory, a workshop in which numerous figures from New York's underground culture gathered around him. The frivolity and extravagance that marked his way of life eventually established a coherent line between his work and his life. He is currently represented in the most important contemporary art museums in the world, such as the MoMA, the Metropolitan and the Guggenheim in New York, the Fukoka Museum in Japan, the Kunstmuseum in Basel, the National Museum of 21st Century Art in Rome, the MUMOK in Vienna, the SMAK in Ghent and the Tate Gallery in London, as well as in the museums that bear his name in Pittsburgh and Medzilaborce (Slovakia).
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