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Lot 266
DOWNING (EDITH)Hunger-strike medal awarded by the WSPU to Edith Downing, in silver and enamel construction, the top bar fitted with pin and the obverse engraved 'For Valour', the suspension bar in silver and enamel (the reverse engraved 'Fed by Force 1/3/12' and the obverse with striped enamelled bars), the disc 22mm. diameter, engraved on the obverse 'Hunger Strike', and on the reverse 'Edith Downing', maker's name engraved on reverse of top bar ('Toye 67 Theobalds Rd/ London'), overall c.75 x 40mm.; in original purple roan presentation box, lined with green velvet, padded silk inner lid with dedication to Downing printed in gilt, box c.60 x 102mm., [1912]Footnotes:HUNGER STRIKE MEDAL OF WELSH-BORN SUFFRAGETTE AND SCULPTOR EDITH DOWNING.Edith Elizabeth Downing (1857-1931) was born in Cardiff and spent most of her working life in Chelsea, where she became known primarily for her bronze and marble busts and figures. In 1908 she joined the Chelsea branch of the WSPU along with her sister, using her artistic talents to support the cause, helping to organise processions with Marion Wallace-Dunlop and selling her work to raise funds.Her first arrest came in 1911 when she broke a window of Somerset House and was sentenced to a week in jail. The following year she was again arrested for throwing a stone through a West End shop window during a mass WSPU window-smashing campaign. This time she was sentenced to three months in Holloway Prison, where went on hunger strike and was forcibly fed. A vocal critic of police and prison brutality, hers was one of the embroidered signatures on the Suffragette Handkerchief. On her release in June 1912, Downing was awarded the WSPU medal. Her sister Caroline was also awarded a medal, which is now part of the collection in the Houses of Parliament.The military-style medals were awarded by the leaders of the WSPU to suffragettes who had gone on hunger-strike in protest at not being recognised as political prisoners. They hang on a length of ribbon in the WSPU colours from a silver pin bar engraved 'For Valour' in the style of the Victoria Cross. On the obverse is engraved 'Hunger Strike', and the reverse is engraved with the name of the recipient. Some medals had silver bars added in recognition of periods of hunger strike, or striped enamelled bars to denote forcible feeding. Edith Downing's medal has a silver bar engraved 'Fed by Force 1/3/12', actually the date she was imprisoned prior to going on hunger strike and being forcibly fed.The medals were made by Toye & Co. at a cost of £1.00 each, and were first presented in St James' Hall in early August 1909, to women who had gone on hunger strike while serving sentences in Holloway Prison. Downing's medal comes in its original purple box with green velvet lining, and the wording on the inside lid, printed in gold on white silk 'Presented to Edith Downing by the Women's Social and and Political Union in recognition of a gallant action, whereby through endurance to the last extremity of hunger and hardship a great principle of political justice was vindicated'.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
Lot 100
CARLO BUGATTI (Milan, Italy, 1856 - Molsheim, France, 1940).Coffee table, ca. 1890.In walnut wood, inlaid with pewter and bronze, bone, mother-of-pearl, copper and vellum.Inscribed: "Casati".It shows restoration on the surface, as well as some wear due to time and use.This piece is in Italy and is awaiting an export permit.Measurements: 78 cm x 60 cm octagon.The present table was designed by the artist and designer Carlo Bugatti for the legendary and very rich Marquise Luisa Casati Stampa (Milan, 1881-London, 1957). For Bugatti, producing works of design featuring the Marquise's surname was a great prestige for his career, as Luisa Casati was one of the great patrons of the 19th century, driven by the desire to become a work of art herself.As can be seen, the orientalist or "maroquinerie" style, very much in vogue in the first decade of the 1900s, enriches the entire piece.Through restrained craftsmanship and design, the Milanese artist succeeded in turning these decorative pieces into absolute luxury objects with a curiously exotic and colourful appearance.The forms used evoke the Moorish style, from the use of the horseshoe arch and legs simulating columns, to the ornamental work of geometric and naturalistic forms inlaid with pewter, copper and bone, highlighting the painting of a graceful stork on the surface.Carlo Bugatti showed his creative and artistic talents from an early age and was enrolled by his father at the Brera Academy, where he met the artist Giovanni Segantini, and subsequently attended the Ecole de Beax-Arts in Paris. Later, in the late 1970s, Bugatti worked for the cabinetmaker Mentasti, owner of the Piccolo Stabilimento di Lavorazione del Legno in Via San Marco, Milan.From 1888 onwards, there is evidence of a Bugatti workshop in Via Castelfidardo 6, Milan. In the same year, Carlo established himself as a cabinetmaker at the Italian Exhibition in London. His furniture is unique, using precious woods as well as ivory, copper, mother-of-pearl, camel and fallow deer hide. These creations were particularly appreciated and harmonised well with the exotic and Moorish taste typical of the time. As early as 1890, the famous cabinetmaker had opened a studio-workshop in Paris, where, at the Universal Exhibition of 1900, his furniture was awarded prizes marking the international triumph of Art Nouveau.Settling in Paris in 1903, he met the art dealer and founder Adrien A. Hèbrard (1865-1937), who persuaded him to devote himself to sculpture, commissioning objects and ornaments from him, including a fantastic bestiary which Hèbrard exhibited in his gallery in 1907. After leaving Paris in 1910, Bugatti moved to Pierrerfonds in the Oise, where he became mayor. The last years of his life were marked by dramatic events, such as the suicide of his son Rembrandt in 1916, the death of his daughter Deanice and finally that of his wife Therese. In 1935 he decided to move to Alsace, to Molsheim, where his son Ettore had opened the famous Bugatti car factory, and where he died in April 1940.
Lot 115
ANGELO BROTTO (Venice, 1914-2002) for ESPERIA.Wall lamp, 1960s.Bronze structure and Murano glass diffusers. Spiral decorations in lattimo glass.Measurements: 52 x 35 cm.Angelo Brotto was a famous Italian artist and designer known worldwide for his work in glass. He graduated from the Academy of Fine Arts in Venice in 1941. Immediately afterwards, he was commissioned by the Italian Ministry of Foreign Affairs to paint frescoes in Montenegro. Throughout his career as a designer he won numerous prizes, including those of Bergamo, Cremona, Suzzara and Verona. In the 1960s and 1970s, Brotto worked with the publishing house Esperia, breaking the rules stipulated until then in the field of lighting and creating new, completely transgressive models.
Lot 15
RAOUL LAMOURDEDIEU (1877-1953).Art Decò Figure.Bronze.Size: 56 x 29 cm.Trained at the Ecole des Beaux-Arts in Bordeaux, Raoul Lamourdedieu continued his studies in Paris. In 1900, he took part, for the first time, in the sculpted decoration of the Grand-Palais in Paris, influenced by Auguste Rodin, Lamourdedieu's work became a reconciliation of the style of Antoine Bourdelle and Aristide Maillol, in the lineage of the figurative tradition. His work is now represented in many French institutions.Highly decorative and original, the piece continues the characteristics of the Art Deco style, a movement which emerged in 1920 and whose influence continued until the middle of the 20th century in some countries. It sought to renew all disciplines, defending the value of the technological progress of the time and the new sciences of the day. In this case, the material is traditional, which was not unusual for this style, although it was more common to use materials provided by the new technologies of the time. Another of his sources of inspiration were the early avant-garde movements. Modernity can be seen, once again, in the young woman's bold and daring posture.
Lot 22
CLAUDE MICHEL "CLODION" (Nancy, 1738 - Paris, 1814)."Triumph of Bacchus". Early 19th century.Patinated bronze.Veined marble pedestal.Signed on one side.Measurements: 37 x 23 x 19 cm ; 40 cm (height with pedestal).Patinated bronze sculpture representing the triumph of Bacchus. In this group of sculptural figures there is the Roman God of the vine and the wine, Bacchus with a classical half-naked maiden and a beautiful pair of cherubs, one dancing while holding a tambourine and the other sitting on the shoulders of Bacchus during a bacchanal.Claude Michel, known as Clodion, was born in Nancy, but in 1755 he moved to Paris to study in the studio of his uncle, the sculptor Lambert Sigisbert Adam, with whom he remained for four years. After his uncle's death he became a pupil of Jean Baptiste Pigalle, Madame de Pompadour's favourite sculptor. His work soon began to be recognised and in 1759 he won the grand prize for sculpture at the Académie Royale. In 1761 he was awarded the first silver medal for studies on models, and a year later he was awarded the Grand Prix de l'Académie Royale, consisting of a pension to further his training in Italy. Clodion was very active in Rome between 1767 and 1771. On returning to Paris he set up his own studio, where he worked with his brothers depicting mythological scenes, groups of dancers, nymphs and bathers in a language somewhere between Rococo and Neoclassicism. His works were in great demand, from the Parisian salons to Catherine II of Russia. Clodion's works are held in the Louvre (Paris), the Metropolitan Museum of Art (New York), the Hermitage Museum (St. Petersburg), the Victoria & Albert Museum (London), the Art Institute of Chicago, the J. Paul Getty Museum (Los Angeles), the Frick Collection (New York) and the Kimbell Museum (Forth Worth, Texas), among many others.
Lot 34
Automaton simulating a fountain. France, 19th century.Box in gilded and bluing bronze.Measurements: 23 x 10 x 6,5 cm.Automaton fountain made in gilded and bluing bronze with a mask in its centre, as a mouth of truth, from which emerges a crystal mechanism that imitates water falling from a fountain. It is a lavishly decorated piece, standing on a high Baroque base decorated with acanthus leaves and floral motifs, on which the fountain plate rests. It combines plant motifs with mythological figures, depicting an infant on the back of a scaly fish. The piece is surmounted by a large venera.
Lot 36
French Regency style chest of drawers, early 20th century.Walnut wood, marquetry and bronze.Measurements: 86 x 128 x 62 cm.Regency style walnut chest of drawers, made up of three large front drawers. It follows French late Baroque models, which can be appreciated in the curvilinear profiles of the skirt, in the rocaille motifs of the bronze applications (in feet, handles and keyholes) and in the geometric style marquetry. The French Regency style enjoyed great popularity during the 19th and 20th centuries and was widely emulated in Europe.
Lot 72
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Paternity", 1940.Bronze.Marble base.Signed on the right side.Work catalogued in: Montserrat Blanch, "Manolo", Barcelona, Polígrafa, 1972, p. 124, nº 225 and 226.Measurements: 17.5 x 11 x 11 cm. (bronze); 5 x 14.5 x 13 cm.(base).In Manolo Hugué's last creative stage, when he was already living definitively in Caldas de Montbui, his sculptural work was mainly carried out in figures of peasant women and sowers, bullfighters and maternity figures, which he had already been working on since his first stage in Ceret. Now, however, the artist, with an unparalleled mastery of endowing the bodies with soulful vibration, tends towards firm volumetries that capture an intense tenderness. It is striking that, in parallel to motherhood, he also develops the theme of "paternity". In this bronze, a stocky bullfighter holds his young son on one of his thighs, and the two exchange looks of deep tenderness that contrast with the virile power. It is a daring piece in terms of theme and formal solutions, the culmination of an impeccable career.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew first-hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are housed in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Lot 77
MANOLO HUGUÉ (Barcelona, 1872 - Caldas de Montbui, Barcelona, 1945)."Child's head".Bronze.Marble base.Measurements: 24 x 19 x 11 cm. (bronze); 6 x 16 x 11 cm.(base).At the end of the 1920s, Manolo Hugué began to take an interest in the portrait genre in a way that he had not done in previous periods. In addition to full-length sculptures, he also began to produce portraits, focusing on the heads and therefore on the physiognomic expression, achieving a volumetric form that was a repository of pure emotional energy.Manuel Martínez Hugué, Manolo Hugué, trained at the Escuela de la Lonja in Barcelona. A regular participant in the gatherings at Els Quatre Gats, he became friends with Picasso, Rusiñol, Mir and Nonell. In 1900 he moved to Paris, where he lived for ten years. There he resumed his relationship with Picasso, and became friends with other avant-garde theoreticians such as Apollinaire, Modigliani, Braque and Derain. In the French capital he worked on the design of jewellery and small sculptures, influenced by the work of his friend, the sculptor and goldsmith Paco Durrio. In 1892 he worked with Torcuato Tasso on decorative works for the celebrations of the centenary of the Discovery of America. Between 1910 and 1917, devoted entirely to sculpture, he worked in Ceret, where he brought together a heterogeneous group of artists including Juan Gris, Joaquín Sunyer and, once again, Picasso. During these years he held exhibitions in Barcelona, Paris and New York. In 1932 he was appointed a member of the Royal Academy of Fine Arts of San Jorge in Barcelona. In Hugué's work, what is essential is the relationship with nature, taking into account the human figure as an integrated element in it. This is a characteristic of Noucentista classicism, but in Hugué's hands it goes beyond its limited origins. He usually depicted peasants, although he also depicted bullfighters and dancers - as can be seen on this occasion - always portrayed with a level of detail and an appreciation of textures that reveal his early training as a goldsmith. In his artistic production, Mediterranean tradition, Greek classicism and archaism, and the art of ancient Egypt and Mesopotamia coexist with the European avant-garde, which he assimilated and knew first-hand, specifically Matisse's Fauvism and Cubism. Works by Hugué are kept in the MACBA, the Georges Pompidou Centre in Paris, the Museo Nacional de Arte de Cataluña and the Museo Nacional Centro de Arte Reina Sofía, among many others.
Lot 88
PABLO SERRANO AGUILAR (Crivillén, Teruel, 1908 - Madrid, 1985)."The Lieia Case".Bronze sculpture.Signed on the right side, titled on the base.Measurements: 22,5 x 13 x 13,5 cm.Pablo Serrano is considered one of the most important Spanish sculptors of the 20th century. In this bronze, the two figures seem to unravel, losing their outlines, through the outburst of inner moods, of passions combined with a deep dread. His expressionism flirts with pure abstraction.After beginning his training in Zaragoza, Serrano moved to Barcelona, where he studied sculpture until his departure for Montevideo in 1939. He worked between Uruguay and Argentina for twenty-five years. He won the First National Prize at the Montevideo Fine Arts Salon in 1944, 1951 and 1954, but did not return to Spain until his great triumph at the Montevideo Biennial in 1955, when he was awarded the Grand Prize. That same year he won the Grand Prize for Sculpture at the Hispano-American Biennial in Barcelona. In 1962 he exhibited twenty-three sculptures at the Venice Biennale to great critical acclaim. In 2003 the Ministry of Foreign Affairs dedicated a retrospective exhibition to him. Works by Pablo Serrano can be found in the museum that bears his name in Zaragoza, the Museo Reina Sofía, the Museo Nacional in Montevideo, the Museo San José in Uruguay, the Museo Nacional de Arte Moderno in Paris, the MoMA and the Guggenheim in New York, the National Galleries in Rome and Budapest, the Rio Piedras University in Puerto Rico, the Brow University in Providence, the Clear Lake Clear Lake University in Clear Lake, and the University of Puerto Rico, Brow University in Providence, Clear Lake City University in Houston and the University of Zaragoza, the Gulbenkian Foundation in Lisbon, the Hermitage in St. Petersburg, the Wadsworth Atheneum in Connecticut, the Galleria d'Arte Moderna in Venice, the Vatican Museum and the Middelheim in Antwerp, among many others.
Lot 90
JOSEP MARIA SUBIRACHS SITJAR (Barcelona, 1927 - 2014)."Seguretat.Terracotta.Unpublished work. Under the prior knowledge and supervision of Judit Subirachs, bronze copies of this sculpture can be made.Signed on the back.Attached certificate of authenticity issued by Judit Subirachs, daughter and curator of Subirachs' work.Measurements: 55 x 42 x 20 cm.This terracotta is contextualised in Subirachs' first period, when the young artist began to work as a collaborator in the workshop of the Noucentista sculptor Enric Casanovas. Although the master died a few months later, Subirachs has always acknowledged the profound artistic legacy he left him. Corredor-Matheos said of this early period: "The measure, clarity and balance that emanate from Josep Maria Subirachs' early terracottas are also recognisable in later sculptures, when the artist would have opted for another aesthetic". Although the present work lacks any of the characteristic features of Subirachs's later sculpture, it is an exceptional example of the Catalan's mastery of modelling technique and excellence in the rendering of physiognomies.After entering the workshop of a gilder who was fond of sculpture at the age of fourteen, where he modelled his first works in clay, in 1942 he entered the workshop of the sculptor Enrique Monjó as an apprentice. Five years later he began to work as an assistant to Enrique Casanovas. In 1948 he made his debut at the Casa del Libro in Barcelona, and in 1951 he travelled to Paris to complete his training, with a scholarship from the Institut Français in Barcelona. He returned to his native city in 1953 and was awarded the Sculpture Prize at the Jazz Salon. After two years working and exhibiting in Belgium he returns to Spain, and in 1958 he is awarded the Gran Premio San Jorge by the Diputación de Barcelona and the "Julio González" by the Cámara Barcelonesa de Arte. He has had numerous solo and group exhibitions in Europe, Asia and the United States, and in 1988 he was awarded the Medal of Merit in the Fine Arts. In 1980 he was elected member of the Royal Academy of Fine Arts of San Jorge. He is represented at the Centro Reina Sofía, the MACBA Museums in Barcelona, Ibiza, Seville and New York, the Fine Arts Museums of Bilbao, Birmingham, the Vatican, Taipei and Nebraska, the Museo al Aire Libre del Paseo de la Castellana in Madrid, the Petit Palais Museum in Geneva and the Millesgärden in Stockholm, among others.
Lot 262
Eleven vintage bead necklaces, a fluorescent green lucite bead necklace graduating from 12 to 14.5mm, 60cm; a multi-strand coloured bugle bead necklace, 40cm; Art Deco style necklace with graduated yellow glazed beads, horn coloured beads and man made discs, 50cm; polished wooden bead necklace on bronze coloured chain, 84cm; and two coiled bead bangles in pink and amethyst colour.
Lot 301
A collection of vintage Keim of London and similar brooches and clips, all bronze and gilt finish, two pairs of signed Keim fish design cloak clips joined by a bead chain; a signed pair of dress clips with white detail; unsigned dancer and poodle with a similar finish; three signed shell clips; various ethnographic masks; other similar unsigned brooches and clips; Scottie dog, grapes and vine, elephant fur clip and others.
Lot 388
A good quality19th century French clock garniture, the clock set in a green marble case mounted with a bronze model of four putto, the base of the cherubs signed Feuchere (French 1807-1852), the white enamel clock face with Roman numerals and twin winding holes to a brass movement striking on a bell, the clock face signed E Vittoz Paris, green marble case with applied gilt metal detail, together with a pair of accompanying bronze and green marble urn type vases, largest piece 51cm high (3)
Lot 97
Germany,a citation for the Knight's Cross of the Iron Cross, awarded to Oberleutnant Waldemar v.Gazen Genanni Gaza. Housed in correct folder with gilt embossing by Frieda Thiersch. Some light foxing to the document, the folder with some slight scuffing and with small split at the base fold. (1)Footnotes:Waldemar von Gazen called Waldemar von Gaza was born in Hamburg on the 6th December 1917. He joined the army with Infanterie-Regiment 66 (66th Infantry Regiment) as a Fahnenjunker (Cadet) in 1936. He was promoted to Leutnant (2nd Lieutenant) on 1 September 1938 and participated in the Invasion of Poland and the Battle of France as a platoon leader (Zugführer).He was promoted to Oberleutnant (1st Lieutenant) on 1 September 1940. He was tasked with the leadership of the 2nd company of Schützen-Regiment 66 on the Eastern Front. Von Gazen was promoted to Hauptmann (Captain) and received the Knight's Cross of the Iron Cross (Ritterkreuz des Eisernen Kreuzes) on 18 September 1942 for his achievements in summer of 1942 and the assault on Rostov. Shortly afterwards he was made leader of the I. Bataillon (1st Battalion) of the regiment. In early 1943 he distinguished himself again in combat as the leader of a Kampfgruppe (combat formation) in the Kuban bridgehead. For these actions he received the Knight's Cross of the Iron Cross with Oak Leaves (Ritterkreuz des Eisernen Kreuzes mit Eichenlaub) on 18 January 1943. Von Gazen was made leader of Schützen-Regiment 66 in April 1943 and was officially commander of the regiment on 28 August 1943. His regiment succeeded in holding the German lines in the vicinity of Melitopol against numerous attacks by the Red Army at the end of September 1943. Von Gazen was severely wounded in these battles. He was awarded the Knight's Cross of the Iron Cross with Oak Leaves and Swords on 3 October 1943 for the achievements of his regiment. After a period of convalescence he was transferred to the Generalstab des Heeres (General staff of the Army) on 1 July 1944. Here he received a general staff traineeship. He was appointed Ia (operations officer) of the 13. Panzer-Division stationed in Hungary in early September 1944. He was transferred again and appointed Ia of the 2. Panzer-Division in February 1945. Von Gazen was taken prisoner of war at the end of hostilities in Europe and released in 1946.In addition to the Knight's Cross with swords and oakleaves he was awarded the Iron Cross 1st Class and 2nd Class, Panzer badge in bronze, Wound badge in silver, Tank destruction badge and the German Cross in gold. He was additionally mentioned in the Wehrmachtbreicht. On the 3rd October 1943.The Jägerregiment 138 under the leadership of Oberstleutnant Graf von der Goltz, a Panzer group under the command of Major von Gaza as well as Sturmgeschützabteilung 243 and the Heeres-Panzerjägerabteilung 721 distinguished themselves in the defensive battles south east of Zaporizhia.He died on the 13th January 2014, aged 96.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
Lot 3003
A Collection of Eight Prussian Medals:- four bronze Napoleonic Campaign Medals for Combatants for 1813-1814, each marked on the rim AUS EROBERTEM GESCHUETZ; another for 1814-1815; three Faithful Service Medals for Combatants for 1864 X2 and 1866 X1; also, a German 1849 Baden Insurrection Medal, a miniature Iron Cross for 1914 and a Napoleon III 1859 Italian Campaign Medal (11)
Lot 3012
Five First World War German Medal Groups, comprising:- Iron Cross, second class, Bavarian Military Merit Cross, third class and Honour Cross with swords, on a card display with copy photograph of Franx Scheidhammer - 'Hilfs Krankentrager', 12th Regiment - 2nd Brandenburg Grenadiers; Iron Cross, second class and Bavarian Military Merit Cross, third class, on a card display with medal bar and copy photograph of Michael Aumuller, 15th Regiment, 2nd Westphalian Infantry; Iron Cross, second class and Baden Silver Medal of Merit (Fur Verdienst), on card display with copy wedding photograph of Heinz Maybauer, 50th Infantry, 3rd Lower Silesian Infantry; an Iron Cross, second class, Medal of the German Legion of Honour and a copy of a German Veterans Field Decoration with screw back, on a card display with postcard photograph of Willi Heinrich 54th Infantry Regiment, 6th Infantry Brigade; and Friedrich August Medaille in Bronze, Honour Cross with swords, Hungarian Commemorative Medal for Combatants, on a card display with rifle target medal, a screw back rifle target badge and a postcard photograph; a Part Sheet of Stamps, issued by the Generalgouverment of Poland to celebrate the 53rd Birthday of Adolf Hitler 20th April 1943 (qty)
Lot 3031
A Second World War Group of Four Medals, awarded to Major Denis Ewart Riddiough, 2/6th Duke of Wellington's Regiment and the Royal Armoured Corps, comprising 1939-45 Star, France and Germany Star, Defence Medal and War Medal with MID oak leaf, swing mounted as worn, together with rank pips, two school sports silver medals, five cased Bradford Technical College Student's Union bronze sports medallions, a silver gilt and enamel breast jewel to Past Chairman, Skipton Rural District Council in case of issue, and printed research materialFootnote:- Denis Ewart Riddiough was chairman of Skipton Rural District Council from 1959-61
Lot 3106
An Elizabeth II Beech Truncheon, the rounded body with crowned EIIR transfer, with ribbed grip and leather wrist strap; a First World War Bronze Commemorative Medallion, the obverse depicting Pegasus, the reverse inscribed "THE INNER TEMPLE TO MEMBERS OF THE INN WHO FOUGHT FOR THEIR COUNTRY", in a lignum vitae case (2)
Lot 3115
A Second World War No.2 Dress Uniform, to a Lieutenant Royal Army Service Corps, comprising a tunic with bronze collar badges and rank pips, brass buttons and shoulder titles, with Eastern Command formation patches and a lanyard, 42" chest, and a pair of trousers, 32" waist; a Second World War No.2 Dress Uniform, to a Private, the Kings Own Royal Regiment, comprising a tunic with brass buttons, collar badges and shoulder titles, with First World medal ribbon bars, labelled Size 14 N.S. (40" chest) dated 1934, and a pair of trousers labelled size Small 30" waist, dated 1939 (4)Condition report: 1 - Small areas of moth damage, generally in good clean condition.2 - Some loss of thread to pocket linings, generally in good clean condition.
Lot 3118
Three Second World War Battledress Blouses, one to a Lieutentant, label dated 1943, 38" chest, one labelled British Pattern, Made in Australia, 38" to 39" chest and dated 1943, and one labelled Size No.9 (39" to 40" chest) and dated 1945; three Pairs of Battledress Trousers, one 35" waist and dated 1942, one 37" to 38" and dated 1945, and one 30" waist; a Pair of Denim Overall Trousers, labelled Siz 9 (33" to 35" waist) and dated 1940; a Post Second World War Denim Tank Suit, to a Captain, with bronze rank pips, labelled Size No.4 (38" to 40" chest, 34" to 36" waist), dated 1946 (8)Condition report: 1 - Stitched repair to inner collar.2 - Replaced panels at inner collar.3 - Minor soiling to neck.4 - The last pair of trousers described have moth holes and wear.5 - Soiled and with repairs to the legs.6 - Some fraying to stitches, otherwise good.
Lot 3130
A Japanese Edo Katana, the 60cm steel blade with almost horizontal hamon, unsigned tang with single mekugi ana, the gilt metal one piece habaki cut with diagonal burred and clean lines, the iron tsuba with shakudo decoration of a sinuous dragon, the black braid bound same hilt with shakudo decorated bronze menuki as fruiting branches, with pagoda decorated fuchi and kashira and with black lacquer saya, 89cmCondition report: Delamination marks to the blade, some rust pitting to the tsuba and bruising to the saya.
Lot 3134
A Japanese Koto Katana, the 70.5cm steel blade with billowing hamon, signed tang with single mekugi ana, one piece copper habaki, the iron tsuba decorated with birds in flight below a shakudo moon, the brown braid bound same hilt with shakudo decorated bronze prunus flower menuki, the fuchi and kashira decorated with stylised marine life, with black lacquer saya, 101cmCondition report: Delamination mark to blade, with a tiny nick to the edge and some spots of corrosion towards the tip. Signature is very faint. The saya is missing a small amount of lacquer to each side of the kurigata
Lot 1614
Bronze d'oré Pendule mit geflügelter FigurFrankreich, um 1840, unverglaste Ziffernscheibe mit römischen Stunden eingefasst in Eichblatt-Lunette, Platine gemarkt B.P&F, Pendel an Fadenaufhängung (gerissen), Schlag auf Glocke, das kastenförmige Gehäuse auf Sockel, auf der Front appliziertes Relief mit Musikinstrumenten über einem von Amoretten getragenen Feston, auf der Uhr sitzend ein lorbeerbekrönter Amor? mit Notenblatt und Lyra, feuervergoldete Bronze, HxBxT: 51/35/13 cm. Nicht auf Funktion geprüft. Fadenaufhängung gerissen, teilw. berieben, Lyra-Saiten unvollständig, 1 Finger fehlt.
Lot 289
Prachtphurbu mit StandNepal, 2. Hälfte 20. Jh., Bronze/verkupfert, teils farbig gefasst, dezenter Steinbesatz, 2-tlg. gesteckt, Griff in Form eines Donnerkeils, darüber dreiköpfige Yidam-Schutzgottheit mit halbem Donnerkeil bekrönt, in dreieckigem Stand, H: ges. ca. 57 cm. Spitze leicht verbogen. Provenienz: Stuttgarter Sammlungsnachlass Otto Heck, erworben in den 1960er-1980er Jahren.
Lot 873
Paar Beistellerwohl Frankreich, Ende 19. Jh., Bronze feuervergoldet, längsoval/quadratische Basis mit reliefplastischem Blattwerk und Blumenbouquets, Säulenschaft auf Postament mit Blütengirlanden geziert, verschraubte Bekrönung, H: je ca. 34,5 cm. Altersspuren. Ursprünglich evtl. Leuchter (Arme fehlend). Provenienz: Stuttgarter Sammlungsnachlass Otto Heck, erworben in den 1960er-1980er Jahren.
Lot 156
3 Darstellungen des KrishnaIndien, 2. Hälfte 20. Jh., Bronze, Krishna als Kind mit Butterball; als Jugendlicher mit Butterball; sowie als Tanzender auf der Naga, der mehrköpfigen Schlange; H: ca. 6-24 cm. Provenienz: Stuttgarter Sammlungsnachlass Otto Heck, erworben in den 1960er-1980er Jahren.
Lot 2105
Morin, GeorgesBerlin 1874 - 1950 ebenda, deutscher Bildhauer und Medailleur. "Carpe Diem", Bronze, patiniert, vollplastische Figur eines Arbeiters mit Spaten, Figur als Petschaft gearbeitet, die in eine runde Aussparung in den Sockel lose eingefügt werden kann, rückseitig bez., Sockel bez., H: 16 cm.
Lot 1402
Orangenbaum als TischlampeUm 1900, wohl Böhmen, Glas, Kupferummantelung und Bronze, als Wurzelwerk durchbrochen gearbeiteter Fuß, darunter grünes Glas, Bronzeschaft als Baumstamm, darauf ein Kupfer ummantelter Glasschirm mit Orangen als Aussparung, mit Blattwerk und Ästen reliefiert, zwei Leuchtkörper, H: ca. 64 cm. Glasschirm mit kl. Sprung (in einer Orange), Kabel ergänzt, muss neu elektrifiziert werden.
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