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Lot 346
Pair of large French Empire five arm candelabras. The Baccarat style crystal stems in the form of Corinthian columns are capped with gilt bronze and rest on a wooden base with gilt bronze mounts. The finial in the form of a flame may be removed, offering another place for a candlestick to rest.Each; height: 28 1/4 in x diameter: 11 in.
Lot 347
Pair of 19th century French Louis XV style gilt bronze candelabras. Each with a figure atop a tripod base holding aloft a cornucopia issuing lily spray branches with disguised candlesticks. The bases decorated on all sides with winged cherub heads with a chalice between them.Keyword: doreShorter Candelabra; Height: 31 in x width: 17 1/2 in x depth: 17 in. Taller Candelabra; Height: 32 in x width: 19 in x depth: 18 1/2 in.
Lot 349
Pair of ornate candelabras, with five arms resting on a boulle work stem, inlaid with foliate scrolls surrounding a crown motif. The gilt bronze arms are molded as foliate scrolls and extend upward to support floral nozzles and bobeches. The candelabras rest on scroll feet.Each; height: 23 1/2 in x width: 9 3/4 in x depth: 9 3/4 in.
Lot 352
Ansonia, New York, United States. Gilt bronze garniture set including a mantel clock and a pair of four armed candelabras. Each decorated with ornate Rococo style scrollwork and floral decoration. The clock is marked and dated May 12, 1960 along the timepiece.Candelabras (each); Height: 19 1/4 in x width: 8 in x depth: 8 1/2 in. Mantel Clock; Height: 19 in x width: 10 1/4 in x depth: 5 1/4 in.
Lot 354
French Boulle clock and bracket with gilt bronze ormolu trim, ca. 1860. With ornate marquetry decoration in brass and tortoise shell with an ormolu trim. Topped by a finial in the form of a cupid. The dial with scrolling decoration in low relief and Roman numeral hour markers in cobalt blue. Purchased from P& B Dombey, London.(Clock) height: 20 3/4 in x width: 9 1/2 in x depth: 5 in. (Wall mount) height: 8 in x width: 12 in x depth: 6 3/4 in.
Lot 355
French Boulle clock and bracket with gilt bronze ormolu trim. With ornate marquetry decoration in brass and tortoise shell with an ormolu trim. Topped by a finial in the form of a lounging putti. The dial with scrolling decoration in low relief and Roman numeral hour markers in cobalt blue. The pendulum with impressed number 4514 along the verso.(Clock) height: 15 1/2 in x width: 7 3/4 in x depth: 4 1/4 in. (Wall mount) height: 7 3/4 in x width: 10 in x depth: 7 1/4 in.
Lot 370
Large European drinking horn with gilt bronze embellishments and stand. Including 14 horn cups, several with silver mounts marked Sterling.(Horn, with mount) height: 15 1/2 in x width: 15 in x depth: 7 in. (Cups) height ranges from 2 1/2 in to 5 1/2 in; diameter ranges from 1 3/4 in to 3 1/4 in.
Lot 95
Vu Cao Dam (Vietnamese/French, 1908-2000). Oil painting on canvas titled "Divinite," depicting a woman in pink robes seated in prayer or meditation over a bed of graceful white flowers. Signed along the lower right.Biography: Born in Hanoi in 1908 to a well-to-do family, Vu Cao Dam displayed an early interest in the arts. His father, a well-educated Catholic, brought him up in a home surrounded by traditional Chinese calligraphy and a wide range of cultural influences. In 1926, he began his formal artistic education at the painter Victor Tardieu’s École des Beaux-Arts de l'Indochine, now the Vietnam University of Fine Arts. Tardieu and his instructors taught academic European painting to his students as well as decoration, architecture, anatomy, and sculpture. It was at sculpture that young Vu Cao Dam most excelled, and he joined the newly minted sculpture program at the École des Beaux-Arts, where he created several bronze busts that won him early acclaim.In 1931, following his graduation from the École des Beaux-Arts de l'Indochine, Vu Cao Dam received a scholarship to continue his art education in Paris. He began his Parisian studies at the Cité Internationale Universitaire de Paris. During his first year there, Vu Cao Dam received the prestigious honor of an invitation to display his works in the Exposition Coloniale Internationale. He then continued his studies at the École du Louvre, where he was able to view the works of the great European academic masters he had been trained to emulate. However, he was most compelled by more recent works of the impressionists and post-impressionists, as well as great sculptors such as Auguste Rodin and Alberto Giacometti.Vu Cao Dam’s career took off following the completion of his education. He and fellow Vietnamese expatriate Le Pho, a dear friend with whom he had studied in Hanoi, found success and popularity on the Paris art scene. Vu Cao Dam began sculpting what would become his most famous subject matter: elegant Vietnamese ladies. He continued to paint as well as sculpting, often painting on silk, a form of painting taught at the École des Beaux-Arts de l'Indochine. He also began to put down personal roots in France, marrying and having two children.When World War II broke out, Paris became a dangerous place to live and work; Vu Cao Dam sent his family to the countryside to escape the Nazi-occupied city. However, he stayed in Paris, frantically creating art out of any material available under strict rationing, and bicycling the 100-km distance to see his family whenever he could. During this time, he executed several of what are now seen as his finest works out of terracotta, demonstrating his resourcefulness and commitment to his art.In 1949, plagued by ill health, Vu Cao Dam moved to the south of France with his family, to a villa named Les Heures Claires. The bright, airy atmosphere of southern France had a large impact on his painting, as did the work of his new neighbor, Marc Chagall. His works take on a sunny, pastel air at this point. Throughout the 1950s and into the early 1960s, Vu Cao Dam gained international success, exhibiting throughout France, particularly in Nice, as well as in Sweden, Belgium, and the UK. In the early 1960s, Vu Cao Dam signed an exclusive contract with Wally Findlay Galleries in the United States. This brought his work notoriety in the United States, and there are many fine examples of his work in the United States that originate from this partnership. Vu Cao Dam remained in France for the rest of his life, continuing to create art until his death in 2000.Unframed; Height: 14 in x width: 11 in. Framed; Height: 21 1/2 in x width: 18 1/4 in.
Lot 112
JOAN RIPOLLÉS (Castellón, 1932)."Woman lying down".Bronze patina resin sculpture.Stamped with the logo of the Caja de Ahorros del Mediterráneo (CAM).Signed and stamped in the lower left corner.Measurements: 18 x 32 x 12 cm.Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, while still very young and in the middle of the post-war period, he started working in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the city's artistic circles. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at MACBA in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on, he embarked on a dazzling international career that has taken his work all over the world. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés defines himself as an "immature adult" and, above all, "light-hearted, a little mischievous and with some naivety", words that reflect his exuberant creative spirit, his simple and extroverted character and his childlike soul. Ripollés is, today, one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. He is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.
Lot 53
JOAN RIPOLLÉS (Castellón, 1932)."La chica del gallo".Mixed media on canvas.Signed in the lower left corner.Measurements: 130 x 97 cm.Known by his second surname or as "the Blessed Ripo", Joan García Ripollés discovered his passion for painting when, when he was still very young and in the middle of the post-war period, he started working in an industrial painting workshop. From then on he devoted himself to painting at night, and later took drawing classes at the Ribalta secondary school in Castellón. After his debut in a group exhibition held in 1951 at the Caja de Ahorros de Castellón, 1954 was a turning point in his career, as a result of a trip to Paris where he made contact with the artistic circles of the city. He remained in the French capital until 1963, and during these years he produced twelve paintings for the church of Saint-Paul de Trigan in the Commune des Chaulegnes. However, he was unable to give up industrial painting until 1958, when he joined the Drouand David gallery in Paris, one of the most prestigious in the world. He organised his first major solo exhibition at MACBA in 1962, and in 1967 he travelled to New York, where he exhibited and sold his entire collection to The William Haber Art Collection. That same year, the New York dealer Leon Amiel, of the Larrouse gallery, acquired all his work, something which was repeated on his trip to Japan. From that moment on, he embarked on a dazzling international career that has taken his work all over the world. In 1977 he moved to Holland, where he produced the engravings for the book in homage to Josep Plà. Between 1986 and 1987 he devoted himself to sculpture, producing sixty-two works in ceramic and bronze which were exhibited at the 1988 edition of ARCO. He has organised solo exhibitions not only in Spain, Paris and New York, but also in Mexico, Holland, Belgium, Italy, Switzerland, Sweden, various American cities, Germany and Japan. He is currently the exclusive artist of The William Haber Art in New York and the Galerie Drouand in Paris. In 2000 he was awarded the Premio de las Artes de la Comunidad Valenciana. Ripollés is today one of the most international Spanish artists, and also one of the most complete, as he has worked brilliantly in painting, sculpture and engraving. After an initial stage of correct figuration in which he recreated the landscape of his homeland, his work began to lean first towards dramatic expressionism and then towards a simplified painting based on the imaginative and poetic recreation of reality. Within this lyrical, ironic and somewhat erotic world, he developed a body of work whose roots conceal a deep admiration for Picasso and Chagall. Ripollés is represented in the IVAM, the MOMA in New York, the Museum of the University of Alicante, the Museum of Fine Arts in Seville and the MACBA.
Lot 54
PAUL WUNDERLICH (Eberswalde, 1927-Saint Pierre de Vassols, 2010)."Characters".Mixed media on paper.Signed in the lower right corner.Size: 50 x 70 cm; 76,5 x 96,5 cm (frame).Painter, sculptor and graphic artist, his style is halfway between surrealism, erotic art and mythological references.Trained alongside William Tietze, Horst Janssen and Reinhard Drenkhahn, in 1951 he worked as a lecturer at the Hochschule für bildende Künste Hamburg, teaching lithography and engraving. Also in 1951 he printed for Emil Nolde ("The King and His Men", engraving) and in 1952 for Oskar Kokoschka, the graphic suite "Ann Eliza Reed" of eleven lithographs. In 1955 he received a grant from the Cultural Committee of German Industry. After an essentially realist creative period around 1959, he developed his characteristic style. His early works show a dismembered, disproportionate body against an empty background. In the 1960s he was influenced by art movements such as Art Deco and Art Nouveau. In 1961 he moved to Paris, where he worked in the Deskjoberts studio. In 1963 he returned to Hamburg and, as successor to George Gresko, he taught at the Hochschule until 1968. In 1969 he began creating bronze sculptures and statues, influenced by Salvador Dalí.
Lot 75
MANUEL MATEO CUENCA (La peraleja, Cuenca ,1951)."El peinado".Bronze and stone base. Exemplary 2/8.Enclosed author's certificate.CAPA FoundationSigned and justified.Measurements: 29,5 x 13,5 x 18 cm; 5 x 11 x 14,5 cm (base).Round work made in bronze where he plays with the combination of empty spaces, transparency, lightness and solidity. In such a way that it reminds the spectator of the sculpture Apollinaire wrote about. The author thus demonstrates that "his artistic premises are linked to a whole range of cultural problems with deep European roots which have been with us since the end of the 19th century and which are continually enriched with new contributions in the 20th century", as Sanchez Rojas Fenol points out in relation to the work of Mateo Cuenca. Manuel Mateo Cuenca began his artistic training in his youth and worked with artists such as Antonio Galán del Amo, José Carrilero, Venancio Blanco, Joaquín García Donaire, José Castro Llamas, Cristino Mallo, Otero Besteiro, Jesús Valverde, Pablo Palazuelo. He began to exhibit in 1973 when he held a group exhibition at the Banco Americano (Ameribank) in Madrid. He also exhibited at the Tolmo Gallery in Toledo, and that same year he was awarded the National Salcillo Prize in Murcia. With regard to his first individual exhibition in 2000, in the Ra del Rey gallery in Madrid, it is worth mentioning that the artist already had a long career as an exhibitor. Both nationally and internationally, with his participation in exhibitions such as Avant Premiere. Capa Esculturas, Brussels in 2015, Affordable Art Fair London Spring Edition, London in 2008 or Estampa, the International Exhibition of Contemporary Art Printmaking and Publishing. Capa Sculptures. Madrid in 2004 among others. These exhibitions, which have confirmed his artistic recognition, have been followed by various awards, such as the II Prize for Sculpture at the II International Biennial El Baloncesto en las Bellas Artes in 2000, the XXVII Special Mention for Sculpture, the Plastic Arts Competition in Getafe, (Madrid) in 1979, the gold medal at the XVIII National Sculpture Exhibition and the Julio Antonio Prize, Tarragona in 1974, among many others. Nowadays his works are divided in different private collections such as the Ros Urigüen collections (Madrid), and many artistic centres of great cultural relevance among which the Diputación de Cuenca, the Pedro Ferrándiz Foundation in Madrid, the Eduardo Capa Foundation in Alicante, the Ministry of Culture in Madrid, the Reina Sofía Museum and the Museum of Cuenca stand out, his work is characterised by an approach to geometric constructivism that is never confused with a rigid schematism. Even in his most voluptuous volumes, line, light or shadow, and sometimes the hollow, mark a geometric counterpoint that orders and gathers the composition and enriches his points of view. Through an expressive and successful play of volumes and lines, of tones and textures, of supports and challenges to gravity, Manuel Mateo's sculpture transmits an artistic serenity that is instantly transmitted to the spectator. Within a stylistic schematism that inevitably recalls the avant-garde movements of the last century.
Lot 15
A Second War ‘Italy’ M.B.E. group of ten awarded to Lieutenant-Colonel T. H. Emmett, Royal Signals, later Royal Army Ordnance Corps, who was Mentioned in Despatches for Korea The Most Excellent Order of the British Empire, M.B.E. (Military) Member’s 2nd type breast badge, silver; 1939-45 Star; Africa Star, 1 clasp, 1st Army; Italy Star; Defence and War Medals 1939-45; Korea 1950-53, 1st issue, with M.I.D. oak leaf (Major. T. H. Emmett. M.B.E. R.A.O.C.); U.N. Korea 1950-54, unnamed as issued; Coronation 1953, unnamed as issued; Efficiency Medal, G.VI.R., 1st issue, Militia, with Second Award Bar (2322966 W.O. Cl.2 T. H. Emmett. R. Signals.) mounted as worn; together with the recipient’s related miniature awards, these similarly mounted as worn; and the recipient’s Royal Tournament Prize medal, bronze, the reverse engraved ‘1st Prize Tug of War 130 Stone Major T. Emmett. M.B.E. 9 Bn. R.A.O.C. 1948’, all housed in a fitted case, generally good very fine (10) £700-£900 --- M.B.E. London Gazette 13 December 1945: ‘In recognition of gallant and distinguished services in Italy.’ The original Recommendation states: ‘In his capacity of Staff Officer Stores to C.S.O. Lines of Communication, Captain Emmett has been responsible for the siting and stocking of forward dumps and for arrangements for delivery of stores as required by units employed on the construction and installation of the main telecommunication system. It is in a large measure due to the outstanding energy, ability, and enthusiasm with which he has carried out his duties that it was possible to commence work on the three main constructions north of Bologna immediately after the capture of that city and to maintain them in such a measure as to ensure an exceptionally rapid completion of the main telecommunication system in Italy.’ M.I.D. London Gazette 2 May 1952: ‘In recognition of gallant and distinguished services in Korea during the period 1 July to 31 December 1951.’ Thomas Henry Emmett attested for the Royal Corps of Signals and served in the ranks during the Second World War, being advanced Regimental Sergeant Major. Appointed Quartermaster and commissioned temporary Lieutenant on 12 August 1943, he served as Staff Officer Stores with the rank of temporary Captain with the Lines of Communication in Italy, and for his services during the Second World War was created a Member of the Order of the British Empire. Granted a permanent commission as Lieutenant on 13 July 1946, Emmett was awarded the Second Award Bar to his Efficiency Medal in May 1947, before transferring to the Royal Army Ordnance Corps with the rank of Major on 12 November 1948. He saw further service with the R.A.O.C. in Korea, being Mentioned in Despatches, and was promoted to his ultimate rank of Lieutenant-Colonel on 12 April 1954. Sold with the recipient’s aluminium identity disc, ‘309563 Emmett T H CE’; riband bar for the final four awards; and a Royal Army Ordnance Corps badge.
Lot 202
Four: Sergeant W. J. Bennett, 51st Reconnoissance Regiment, Royal Armoured Corps 1939-45 Star; France and Germany Star; Defence and War Medals 1939-45, all privately engraved ‘7675762 Sgt. W. J. Bennett, 61st Recce Reft, R.A.C.’, mounted as worn, good very fine Four: Attributed to Guardsman S. W. J. Miller, Grenadier Guards 1939-45 Star; France and Germany Star; Defence and War Medals 1939-45, mounted as worn, with named card box of issue addressed to ‘Mr. S. W. J. Miller, 65 Linzee Road, London, N8’; and an unofficial bronze Coronation Medal 1953, good very fine Five: Staff Nurse M. D. Smeaton, South African Military Nursing Service 1939-45 Star; Africa Star; Defence and War Medals 1939-45; Africa Service Medal, these all officially named ‘91069 M. D. Smeaton’; together with three commemorative medals, good very fine (17) £70-£90
Lot 22
‘When arriving at the scene of a raid I always send him ashore in a folboat to search out the enemy dispositions of guns and men’ A rare Second War ‘Levant Schooner Flotilla’ Special Forces D.S.M., 1943 ‘Mine-Disposal’ B.E.M. group of seven awarded to Petty Officer L. G. Taber, Royal Navy Distinguished Service Medal, G.VI.R. (P.O. L. G. Taber. B.E.M. P/JX 139146); British Empire Medal, (Military) G.VI.R., 1st issue (P.O. Leonard G. Taber, P/JX.139146); 1939-45 Star; Atlantic Star; Africa Star; Italy Star; War Medal 1939-45, these last five unnamed as issued, together with R.L.S.S. bronze medal (L. G. Taber, July 1933) in case of issue, first two with light edge bruising and contact marks, otherwise very fine or better (8) £3,000-£4,000 --- D.S.M. London Gazette 14 August 1945: ‘For the clearance of the Aegean and the relief of Greece during the period 1944-1945.’ The following recommendation by his Skipper, Lieutenant Bernard Stipetic, R.N.R., commanding Anglo-Hellenic Schooner 1 (awarded a D.S.C. in the same gazette) confirms his earlier award of ‘British Empire Medal - for mine-disposal’, and states: ‘Petty Officer Leonard George Taber, H.M.S. Mosquito [Coastal Forces base at Alexandria]. Action or Operation – Served as coxswain of many of the Anglo-Hellenic schooners, engaged in the landing and picking up of the raiding and reconnaissance parties in the enemy-controlled Aegean Islands. Specific act or service – This rating at all times shows determination in pressing home an attack and I have come to rely on him for his determination and keenness. When arriving at the scene of a raid I always send him ashore in a folboat to search out the enemy dispositions of guns and men. He has the ability to obtain this information in its entirety and report back accurately. On his report largely depends my decision as to how the raid is to be effected and where to lie up the following day. His coolness and devotion to duty while obtaining this information on enemy territory surrounded by possible informants is exemplary. This is done on every enemy island we go to. On the last raid I put him in charge of a captured caique with three undesirable and bellicose aliens. He showed considerable tact and ingenuity in making them work as part of his scratch crew and bringing the boat safely to port under tricky weather conditions.’ B.E.M. London Gazette 1 January 1944. Awarded whilst on the books of H.M.S. Prometheus, depot ship for patrol service personnel in the Mediterranean, for services with a naval mine-disposal unit which accompanied the Eighth Army in its advance from Alamein. Leonard George Taber was born in Portsmouth to a naval family but at around twelve years of age, he and his two brothers, because of family hardship, were sent to the Naval School at Greenwich, effectively an orphanage. He and his brothers all joined the Royal Navy and served throughout the Second World War. After serving in a naval mine disposal unit in North Africa, he volunteered for service in Special Forces and was posted to the Levant Schooner Flotilla. The activities of the schooners and caiques of the Levant Schooner Flotilla, a recognised “Commando” unit, are described in some detail in Undercover Sailors by A. Cecil Hampshire and Dust upon the Sea by W. E. Benyon-Tinker. The following from Undercover Sailors, pp 54-55, describes Petty Officer Leonard Taber: ‘Not the least important and hazardous aspect of Raiding Force work was reconnaissance. One of the caiques engaged in this work was commanded, not entirely unusually, by a petty officer who, after working with a naval mine disposal unit which accompanied the Eighth Army during its advance from Alamein had volunteered to transfer to the Levant Schooner Flotilla. Ordered to take a Royal Marine patrol on a reconnaissance of the island of Milos, in the western Cyclades, he wrote in a report remarkable for its understatement: “Milos was not a nice place to approach because of enemy D/F gear, searchlights and shore batteries. We therefore decided to land the marines on Kimilos, a neighbouring island, and let them paddle across to Milos in folboats. While we were lying up in Polygandros waiting to effect the pickup in due course, a gentleman informed us that on another island there were thirteen Germans desirous of surrendering. I said we’d take them, and later that day they entered harbour in their own boat and secured alongside. They were dirty and hungry and had had enough of the war. The Milos reconnaissance having been successfully completed, we made a round trip of Naxos, Ios, Siphanos and Siphos. But on our way back to base the engine seized up and refused to budge. We had to sail, and once used our two sweeps manned by twelve men on each side. One night with the wind gale force we logged twelve knots for two hours. Finally, however, the wind failed altogether, and we had to be towed the last 40 miles along the gulf of Cos to base.” This cheerfully laconic Lower Deck skipper, who spent twelve months in the flotilla, was eventually awarded the DSM and BEM.’ Taber received shrapnel wounds in his leg and arm, and after the war was discharged suffering from tuberculosis. He moved to Scotland and worked in the Highlands as a shepherd and then as a gardener. There, aged 36, he met his wife who was working there in a hotel during the summer months. They had three children and moved to Essex around 1970. He was active in naval organisations, and proudly wore his green beret at reunions. The British Legion and the Royal Naval Association were strongly represented at his funeral. (Personal information provided by Leonard Taber’s eldest daughter in 2001). Sold with copied recommendation and extracts from both Undercover Sailors by A. Cecil Hampshire and Dust upon the Sea by W. E. Benyon-Tinker.
Lot 23
A Great War ‘Western Front’ M.M., Edward VII Funeral R.V.M. group of six awarded to Sergeant J. Tomlinson, Grenadier Guards, who was twice wounded on the Western Front Military Medal, G.V.R. (13769 Pte. - L. Cpl. - J. Tomlinson. 2/G. Gds:) suspension claw re-riveted; 1914 Star (13769 Pte. J. Tomlinson. 1/G. Gds.); British War and Victory Medals (13769 Cpl. J. Tomlinson. G. Gds.); Royal Victorian Medal, E.VII.R., bronze, unnamed as issued; Coronation 1911, unnamed as issued, edge bruising and heavy contact marks, therefore good fine (6) £500-£700 --- M.M. London Gazette 28 January 1918. James Tomlinson was born in Malpas, Cheshire, in 1888 and attested for the Grenadier Guards at Chester on 25 May 1908. Awarded the Royal Victorian Medal for his services at H.M. King Edward VII’s Funeral, he served with the 1st Battalion during the Great War on the Western Front from 6 October 1914, and was promoted Corporal in the 2nd Battalion on 27 December 1917. Twice wounded, by gun shot to his chest at Ginchy on 15 September 1916, and gun shot to his left buttock in August 1918, for his services during the Great War he was awarded the Military Medal. Promoted Sergeant on 4 July 1920, he was discharged on 24 May 1930. Sold with three postcards depicting King Edward VII’s Funeral; and copied research.
Lot 403
Order of the League of Mercy, breast badge, silver-gilt and enamel; together with a Voluntary Medical Service Medal (Edith F. Smith); a Women’s Voluntary Service Medal, unnamed as issued; a miniature Territorial Force Nursing Service cape badge, in case of issue; and two Japanese Red Cross Membership Medals, the first in silver, with original riband with full hook and eye suspension; the second in bronze, lacking ring suspension, in card box, generally good very fine (6) £70-£90
Lot 404
A Selection of Miscellaneous Nursing Lapel Badges. Comprising Liverpool Nurses Training School, silver, the reverse engraved ‘F.M.H. 1st. June 1900.’, with silver brooch bar; Leeds City Hospital Certified Nurse, silver, the reverse engraved ‘P. A. Elvey June 22nd. 1928’, with silver brooch bar; Royal Halifax Infirmary, bronze and enamel, the reverse engraved ‘Frances Mary Batty 1918-19-20’; The United Sheffield Hospitals School of Nursing, silver and enamel, unnamed; High Royds Hospital, Yorkshire, gilt and enamel, unnamed; Thornton View Hospital Bradford, silvered and enamel, unnamed; Bradford Children’s Hospital 1883, silvered and enamel, unnamed; Sheffield Schools of Midwifery, silvered and enamel, unnamed; Nurses Training School, Newcastle-upon-Tyne, bronze and enamel, unnamed; St. Dunstan’s, bronze and enamel, all with reverse pin-back suspensions, generally very fine (10) £80-£100
Lot 405
A Selection of Miscellaneous Nursing Lapel Badges. Comprising Victoria Infirmary Glasgow, silver and enamel, unnamed; Crichton Royal Dumfries, silver and enamel, unnamed; Ayrshire and Arran College of Nursing and Midwifery, silvered and enamel, the reverse numbered ‘R472’; Leeds Eastern District School of Nursing Studies, silver and enamel, unnamed; North Riding Infirmary Middlesbrough, bronze and enamel, the reverse engraved ‘B. Bartrum. 18.9.1948’; Northallerton Training School of Nurses, bronze and enamel; Waltham Forest School of Nursing, silvered and enamel; Royal Air Force Nurse Training School, gilt and enamel, all with reverse pin-back suspensions; together with a State Certificate Midwife cape badge, bronze and enamel, with ring suspension; and a miscellaneous badge with pin-back suspension, generally very fine (10) £80-£100
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350105 item(s)/page