WW2 British Paperwork Grouping to Japanese Prisoner of War, the grouping relates to Harold Walter Reginald Bargery RASC, who was taken prisoner of war when Singapore fell to the Japanese. Many interesting period documents including cards sent from Japanese Prisoner of War camp etc. Also accompanied by a small printed Japanese rising sun flag, which can only assume to have been taken as a souvenir after release from captivity and a WW1 bronze memorial plaque awarded to “HAROLD WALTER BARGERY”. T/215625 H W R Bargery was a Driver serving in the Royal Army Service Corps, he was taken prisoner of war when Singapore fell to the Imperial Japanese forces in February 1942. He was from Beckenham, Kent and enlisted at Croydon. 4829 Private H W Bargery served with the 15th Battalion (Prince of Wales Own Civil Service Rifles) London Regiment, he was killed 7th October 1916 and is buried at Warlencourt British Cemetery, Pas de Calais, France.
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Medals and medallions to include an LMSR General Strike medal 1926 by E Gillick in bronze case, Richard Burbage Retirement from Harrods 1959 bronze medal by Paul Vincze, cased, a silver award from Lady Hall to Alfred Nicholls for 5 1/2" years Careful Driving, cased, a French music price medal 1917 Institute Musical Orleans, German silver casedLocation P
Four various Austrian cold painted bronze animals in the manner of Franz Xaver Bergmann, first quarter 20th century, to include a lizard stamped Geschutzt 3003 to the underside, 18.5cm long; a seated frog stamped with indistinct maker's mark and Wien, 4cm high, 6cm wide; another, smaller lizard stamped AUSTRIA and with indistinct fleur-de-lys mark; and a running fox; and a gilt metal model of a lizard (5)
Three Italian patinated bronze models of maidens personifying Seasons, mid 19th century, one as Spring, the other two as Autumn, portrayed standing and classically draped, the former holding a bird and a floral wreath, the latter two each with a sickle and a stem of wheat; all on square section marmo Siena socles, 22cm high
A French patinated bronze model of a maiden personifying Tragedy, last quarter 19th century, portrayed as standing, heavily draped and wearing a diadem, her head declined to dexter, a dagger held closely to her in her clenched right hand, the rectangular base entitled ΤΡΑΓΩIΔΙΑ and stamped to the reverse for the A.D. DELAFONTAINE foundry, 40.5cm high Cf Christie's South Kensington, Decorative Objects and Furniture, 19th August 1998, lot 8 for the pendant bronze to this piece, Comedy
After Christian Daniel Rauch (1777 - 1857) and Andreas Schlüter (1659 - 1714), a pair of patinated bronze busts of King Frederick II (the Great) of Prussia and of Frederick William, Elector of Brandenburg and Duke of Prussia; the former after Rauch's equestrian monument on the Unter den Linden, Berlin, the latter after Schlüter's equestrian monument at the Charlottenburg Palace in the same city; each bust later mounted onto carved and stained beechwood plinths with floral swags, with giltwood socles and bases, the busts 18cm high, the height overall 35cm
Hippolyte François Moreau, (French 1832 - 1927), a patinated and parcel gilt bronze figural vase, late 19th century, cast with a nude, winged maiden holding a large shell at her right side, with copper liner within, all supported amongst water reeds, signed Francois Moreau in the maquette to the reverse; atop a circular, waisted green onyx socle, 53cm high
A Pair of Japanese Cast Bronze Figures, each depicting a standing karako dressed in a long robe and holding aloft on one hand a rhomboid vessel and cover, the figure standing on a mokko-form base raised on four animal-head legs, signature cast into base Toshisada dzu, height 42cms, Meji-Taisho Era
A Large Japanese Bronze Vase, the compressed body of six-lobed, lappet form on a short, splayed foot, the trumpet neck rising to a hexilobed mouth surmounted by an everted lip, the body cast with crashing waves, the neck formed with handles in the shape of dragons entwined around a torii, the base bears a cast seal Takamitsu tsukuru kore, height 49.8cms, Meiji-Taisho Era
An Italian bronze model of the Apollino, early 19th century, after the original held at the Uffizi in Florence, portrayed standing and heroically nude but for a fig leaf, his right arm raised above his head, his left elbow resting on a tree stump; atop a square section marmo Siena base with foliate cast socle, 20cm high
A verdigris patinated bronze herm top cast as the bust of a youthful Bacchus, probably Neapolitan and cast as a Grand Tour souvenir, last quarter 19th century, portrayed with hair tied forward in a topknot, with flower heads and vine leaves to each side, 16cm high, 10cm wide The bronze here is highly comparable to a bronze herm discovered at the House of M Fabius Rufus at Pompeii. That herm, whilst usually described as representing Eros has extremely similar flower heads and facial features, and furthermore, carries a highly corresponding green/grey patina. It is therefore not unreasonable to suggest that the bronze offered here was cast by one of the great Neapolitan foundry houses, -Chiurazzi, Sommer or de Angelis, since they specialised in reproducing excavated antiquities and selling them to Tourists
A Venetian engraved bronze serving bowl, second half 16th century, of waisted and bellied form, engraved with horizontal bands of Arabesques and grotesques and two cartouches flanked by lion bearers engraved with a coat of arms and a Doge’s portrait respectively, later mounted on three foliate topped hairy paw feet, 19cm high, 26cm diameter 16th century Venice was a thriving centre for intricately engraved brass and bronze wares, inspired by Ottoman and Mamluk examples encountered in the Republic’s trade with the eastern Mediterranean. Though many Veneto-Saracenic items were imported into Venice, the present bowl is almost certainly of Italian manufacture. As Sylvia Auld has described in Renaissance Venice, Islam and Mahmud The Kurd, neatly compartmentalised decoration within definite borders is a tell-tale sign of Italian craftsmanship emulating the fashionable style. The local heraldry and Doge’s portrait are further signs that this vessel is of Venetian make. The arms engraved to one of the cartouches could possibly be a stylised version of those of the patrician Marcello family Cf Sotheby’s London, Old Master Sculpture and Works of Art, 3rd December 2014, lot 69 for a larger Venetian service of similar style and date FURTHER READING: S. Auld, Renaissance Venice, Islam and Mahmud the Kurd: A metalworking enigma, London, 2004 M. Ajmar-Wollheim and F. Dennis, At Home in Renaissance Italy, exh. cat. Victoria and Albert Museum, London, 2006
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