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Lot 372
Bottom half of 19th century Copper Box Medal commemorating British Battles fought by the Duke of Wellington, the top half would have had a uniformed bust of the Duke, legend within a wreath to the reverse, a paper roundel with the names of the Battles of Rolica and Vimeira fixed to the interior, the box would have contained around 21 paper roundels bearing the names and dates of the battles, 4.7 cm in diameter
Lot 381
Scarce 19th century Bronzed Electrotype Meddalic Plaque of the Duke of Wellington, bust facing right, derived from the Flaxman portrait, raised rim, 14 cm in diameter, together with three booklets, 'Apsley House,A Guide to the Wellington Museum' dated 1952, 'Victoria and Albert Museum, Exhibition of Wellington Relics', dated 1947, and 'Further Wellington Gems and Historic Rings' from an exhibition at S.J. Phillips in 1978, (4)
Lot 384
19th century Copper Box Medal commemorating British Battles fought by the Duke of Wellington, uniformed bust of the Duke to the front, legend within a wreath to the reverse, containing four (of originally around 21) paper roundels bearing the names and dates of the battles, 4.7 cm in diameter
Lot 682
A Roman Republic M Sergius Silus (116-115BC) denarius head of Roma facing right, reverse M Sergi horseman riding left, EX.S.C, also C Marius C F Capito serratus denarius bust of Ceres facing right, reverse oxon and husbandman ploughing and an Alexander III the Great silver drachm 336-323 BC. (3)
Lot 85
Bartolomeo Cavaceppi, 1716 Rom – 1799 ebendaHöhe: 50 cm.Signiert Bartolomeus Cavaceppi.Italien, zweite Hälfte 19. Jahrhundert.Marmorskulptur nach einer römischen Büste des Dionysos aus der späten Hadrianischen Zeit (117-138 n. Chr.). Auf einem doppelten konischen Profilsockel.Der Gott des Weines ist als schöner junger Mann dargestellt, der ein Filet auf der Stirn trägt und dessen üppige Haarsträhnen mit Weinblättern gekrönt sind. Sein niedergeschlagener Blick hat einen ruhigen Ausdruck, und seine jugendlichen Züge zeichnen sich durch sanft geformte Wangen, eine gerade Nase und volle Lippen aus.Diese wohl weibliche Darstellung des Gottes hat dazu geführt, dass die Büste früher mit einer Frau, meist einer Bacchantin oder Ariadne, identifiziert wurde.Die vorliegende Büste ist eine getreue Nachbildung des antiken Modells und zeigt eine erstaunliche Raffinesse in der Schnitzerei, insbesondere in der virtuosen Wiedergabe der Haare und der feinen Ausarbeitung der Gesichtszüge. Eine Version des Modells, die am 19. Juni 2020 bei Christie‘s in New York verkauft wurde und Cavaceppis Signatur trägt, ist in Bezug auf die Form des Stumpfes und die Gestaltung des Sockels mit dem vorliegenden Marmor vergleichbar. (1341503) (13)Bartolomeo Cavaceppi, 1716 Rome – 1799 ibid.Bust of DionysosHeight: 50 cm.Signed Bartolomeus Cavaceppi.Italy, second half of the 19th century.Marble sculpture after a Roman bust of Dionysus from the late Hadrianic period (117-138 AD). On a double conical profile base.
Lot 96
Guillaume Boichot,1735 Chalon-sur-Saône – 1814 Paris, zug.Büste der Ceres, um 1770 – 178067 x 60 x 23,2 cm.Beigegeben ein Gutachten von François Souchal in Kopie.Büste aus weißem Marmor. Auf doppelkonischer dunkelgrauer Basis die reich gefältete Büste mit nach links gerichtetem Blick, zentraler Blüte im Haar und Blattbekränzung. (1341831) (13)Guillaume Boichot,1735 Chalon-sur-Saône – 1814 Paris,attributedBust of Ceres, ca. 1770 - 178067 x 60 x 23.2 cm. Accompanied by an expert’s report by François Souchal, in copy.
Lot 173
Jan Davidsz de Heem,1606 Utrecht – 1683/84 Antwerpen, zug.JÜNGLINGSBÜSTE, UMGEBEN VON FRUCHT- UND BLUMENGEBINDENÖl auf Leinwand.170 x 123 cm.Das äußerst großformatige Gemälde, in betörender Qualität ausgeführt, zeigt im Zentrum der schwarzgrundigen Gesamtdarstellung eine steinerne Jünglingsbüste im Stil der Antike. Sie ist umrahmt von einem trompe-l‘oel-artig gemalten, großen barocken Steinrahmen mit ausziehenden Voluten und einem, unterhalb der Büste angemeißelten, geflügelten Engelskopf, in Art eines Epitaphs. Die Wiedergabe der Bildhauerelemente in Steingrau, leicht verschattet. Umso mehr bricht die leuchtende Farbenfülle der Frucht- und Blumengebinde hervor, die in vier größeren Partien zusammengefasst sind. Zwischen Blattwerk zeigen die einzelnen Gebinde helle Trauben, Rosen und Hibiskusblüten, daneben Nelken und entsprechendes Blattwerk. Dazwischen gebunden sind Pfirsiche, ein geöffneter Granatapfel, Zitrusfrüchte und Pflaumen, am Unterrand etliche reife Feigen. Himbeeren und leuchtend rote Kirschen fügen sich in die Farbkomposition ein, jeweils vor dem fein gemalten Blattwerk bewusst abgehoben. In der Blumenstilllebenmalerei der Zeit üblich, lassen sich auch Insekten wie Maikäfer und Schmetterling finden. Gemäß der Blumensymbolik der Zeit erscheinen die einzelnen Blüten und Früchte auf die Jugend der Knabenbüste zu verweisen, möglicherweise als eine persönliche Hommage. (†) (12901422) (11)Jan Davidsz de Heem,1606 Utrecht – 1683/84 Antwerp, attributedBUST OF A YOUNG MAN SURROUNED BY BOUQUETS OF FLOWERS AND FRUITOil on canvas.170 x 123 cm. (†)
Lot 548
Auguste Rodin, 1840 Paris – 1917 MeudonJeune femme (Suzon)Höhe inkl. Sockel: 30 cm.Unter der rechten Schulter signiert „A. RODIN“. Links mit Gießersignatur „Cie des Bronzes, Bruxelles“.Brüssel, vor 1900.Die 1875 geschaffene „Suzon“ von Rodin ist eine Hommage an Albert Ernest Carrier-Belleuse, den großen französischen Meister, der Rodins Frühwerk stark beeinflusst hat. Rodin arbeitete von 1864 bis 1871 im Atelier von Carrier-Belleuse und zeigt mit dieser Büste, dass er das Wesen der Auffassung seines Meisters von der weiblichen Schönheit vollkommen verstanden hat und nun selbst beherrscht. Wie die intimen Mädchenbüsten von Carrier-Belleuse erinnert Rodins „Suzon“ an die weiblichen Terrakottabüsten des 18. Jahrhunderts, und tatsächlich wurde das Modell zuerst in Terrakotta hergestellt. Rodin verkaufte die Rechte für die Reproduktion in Bronze an die Brüsseler Gießerei Compagnie des Bronzes, die das Modell mit anhaltendem Erfolg in drei Größen bearbeitete. Die hier angebotene Büste ist auf einer beigen Marmorbasis gesockelt und vergoldet.Literatur:Vgl. Horst Woldemar Janson und Peter Fusco, Romantics to Rodin, Los Angeles 1980, S. 329, Nr. 190. (1340116) (13)Auguste Rodin,1840 Paris – 1917 MeudonJEUNE FEMME (SUZON)Height incl. base: 30 cm.Signed “A. RODIN“ below right shoulder. Foundry mark on left “Cie des Bronzes, Bruxelles“.Brussels, before 1900.Rodin sold the bronze reproduction rights to the Brussels Foundry Compagnie des Bronzes, which sold the model in three different sizes with continued success. The bust on offer for sale here is gilt and mounted on a beige marble base.Literature:cf. Horst Woldemar Janson and Peter Fusco, Romantics to Rodin, Los Angeles 1980, p. 329, no. 190.
Lot 1277
Vier seltene MuschelportraitsSichtmaß jeweils: 50,5 x 40 cm.Rahmenmaß jeweils: 60 x 50 cm.Sizilien, 19. Jahrhundert.Jeweils in farblich kontrastierenden camaieuhaft zusammenwirkenden Muschelkompositionen gestaltet mit Brustportrait in Tondo und darunterliegender Beschreibung der jeweiligen Komposition „S.A.R.D. Ferdinando principe erede del regno delle due sicilie“ / „Francesco primo re del regno delle due sicilie“ / „S.A.L.E.R.D. Maria Clementina arcid. d’Austria e princ. di Salerno“ / „S.A.R.D. Leopoldo Giuseppe Principe di Salerno.“ Jeweils in Nussbaumrahmen. Minimal besch. (13300531) (2) (13)Four rare shell portraits Visible size: 50.5 x 40 cm each.Frame dimensions: 60 x 50 cm each.Sicily, 19th century.Each designed as a bust portrait in tondo Camaieu-like shell compositions with contrasting colours and a description of the respective composition underneath: “S.A.R.D. Ferdinando principe erede del regno delle due sicilie” / “Francesco primo re del regno delle due sicilie” / “S.A.L.E.R.D. Maria Clementina arcid. d’Austria e princ. di Salerno” / “S.A.R.D. Leopoldo Giuseppe Principe of Salerno”.
Lot 24
George Russell AE (1867 - 1935)Children Playing in a Woodland GladeOil on canvas, 53.5 x 81.5cm (21 x 32")SignedProvenance: Collection of the Late President Erskine Childers, thence by descentThe Garden of Eden has haunted the imagination ever since the Book of Genesis gave us those descriptions of an idyllic world. In Eden grew ‘every plant’ and ‘every tree that is pleasant to the sight’. It’s a place imagined by artists through the centuries and behind many paintings of beautiful, natural landscapes shimmers that ideal garden where everything was once perfect and carefree. George Russell [Æ] born Lurgan, County Armagh in 1867, painted many ideal landscapes. The Russell family moved to Dublin when George was eleven years old and during summers spent with an aunt or with maternal grandparents in rural Armagh, Russell began to paint in watercolour. Educated at Edward Power’s school on Harrington St and at Rathmines School, as a talented thirteen-year old he was admitted to evening classes at Dublin Metropolitan School of Art and it was there that he met W.B. Yeats. When Æ died Yeats confided ‘Æ was my oldest friend. We began our work together.’Painter, poet, dramatist, novelist, critic, theosophist, mystic, economist and Irish nationalist, George Russell, a true polymath, worked as a draper’s clerk, later worked for the Irish Agricultural Organisation Society, established co-operative banks and he edited, from 1905 to1923, the Irish Homestead, a progressive journal of the Irish Co-operative movement, a journal, in Diarmaid Ferriter’s words, that was ‘generally optimistic about the potential for rural Ireland to develop, but only if the populace would organise in the manner of its European neighbours’. Russell, or Æ, also declared, in New York, that cities were ‘an actual danger to life itself’. ‘The decay’ he said, ‘of civilisation comes from the neglect of agriculture’. Æ believed that ‘[t]here is a need to create, consciously, a rural civilisation adding that ‘[y]ou simply cannot aid the farmers in an economic way and neglect the cultural and educational part of country life, or else the children will continue to leave for the city.’ During a tour of Canada, Kenneth Leslie, a Nova Scotia poet, thought Æ ‘as ready to talk of fat cattle and creamery butter as of Yeats and Lady Gregory’.Oil portraits by Æ included those of Iseult Gonne and Mary Colum, there are charcoal drawings of W.B. Yeats and he painted oil on plaster murals at the Theosophical Society of Ireland headquarters in Ely Place. But he is best known for his landscapes real and imagined. There are representational, atmospheric works such as Clouds Over The Hill, Evening In The Fields, Boglands, Swans at Coole, Landscape North of Muckish, County Donegal and Æ also painted visionary, mystical scenes inspired by his interest in the Tuatha Dé Danann, sea and tree spirits.Æ’s undated painting Children Playing in a Woodland Glade contains four young female figures in gold, red, white and blue dresses. Other undated idyllic sylvan scenes such as Figures in Woodland or Gathering Firewood include girls and women wearing bright colours - blue, red, orange, purple. This work features a woodland scene with figures in bright clothes. The smooth woodland floor is lit with brilliant, dappled sunlight and the tall tree trunks with their splashes of brightness are dazzlingly lit. Overhead, the delicate, young, green leaves suggest springtime and the eye is drawn beyond the figures in the foreground to wander among the slender and broader tree trunks. Compositionally, there is a lovely contrast between the still figure kneeling on the left and the “ring-a-ring-a-rosying” trio on the right. The blue and red dressed figures are older and taller, the girl in blue is quietly concentrating on the forest floor, the girl in red exudes an energy and her two companions in purple and white are totally absorbed in play. Details are deliberately vague. Faces are rendered impressionistically rather than realistically and none of the figures looks at the viewer. They are too caught up in their own joy. And their clothes are captured with a beautiful painterliness. In The Opal and the Diamond, AE describes how he felt ‘one warm summer evening lying idly on the hillside, not then thinking of anything but the sunlight’. He knew at that moment that ‘the Golden Age was all about me, and it was we who had been blind to it but that it had never passed away from the world’. A painting such as this reminds us of such a sun-bright, golden world. It is a glimpse of Eden.His monogrammed signature, lower right, is the very same as on the autograph tree at Coole Park next to Yeats’s, Æ being an abbreviation of Aeon meaning ‘vital force’, ‘life’, ‘a lifelong quest’. [When Æ appears as a character in Ulysses, smarty-pants Stephen Dedalus borrows some money from him and quips A.E. I. O. U.]Æ married Violet North in 1898. They had three sons one who died soon after being born. After his wife died Æ moved to England. He died in Bournemouth and in an Obituary P.G. Browne wrote ‘his going leaves a blank not easy to fill. He had many friends (he had NO enemies) made during the course of his worldly activities’. Nicknamed The Hairy Fairy and Strayed Angel, Patrick Kavanagh called Æ ‘a great and holy man’. He is buried in Mount Jerome. There’s a commemorative bust by Jerome Connor in Merrion Square and his work is in many collections including the Hugh Lane, the NGI, the Abbey Theatre, Trinity College, University of Texas and Winnipeg Art Gallery, Canada.Niall MacMonagle, October 2022
Lot 55
Studio of Rembrandt Harmensz. van Rijn (Leiden 1606-1669 Amsterdam)Portrait of the artist, bust-length, in a gorget oil on panel41.9 x 29.7cm (16 1/2 x 11 11/16in).Footnotes:ProvenanceCollection of Eckard Wagner (1941–2019), Schloss Clemenswerth, GermanySale, Dorotheum Vienna, 10 November 2020, lot 73 where purchased by the late owner The present portrait relates to two autograph self-portraits by Rembrandt painted around 1629; one is in the collection of the Mauritshuis, The Hague, whilst the second is in the Germanisches Nationalmuseum, Nuremberg.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 117
A Nymphenburg figural white cane handle, late 19th CenturyAfter the 18th century model by F.A. Bustelli, with the bust of a woman, the lower section moulded with rocailles, mounted on a Malacca shaft with metal ring and long brass ferrule, the handle: 7.5cm high; the full cane: 90.5cm long, impressed shield markFootnotes:Provenance:Tradewinds Antique Cane Auctions, May 2018, lot 81This 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 135
A Meissen figural armorial cane handle, second half 19th centuryScroll-moulded and heightened in gilding, with a female bust terminal, painted on one side with the arms of Count Brühl, the reverse with a sprig of indianische Blumen, mounted on an ebonised shaft with gilt-metal ring and metal ferrule, the handle: 11.5cm across; overall length: 91cmFootnotes:Provenance:With Patrick Gutknecht, Geneva, 2001This 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 148
Five Samson porcelain cane handles, late 19th centuryin Meissen style, four modelled with female bust terminals and painted with landscape scenes and flowers or floral scrollwork, the fifth with a cat's head terminal and pained with flower sprigs, mounted on malacca canes, three with metal ferrules, the handles: 10cm-13cm across; overall length: 84.7cm-97.4cm Samson pseudo-Meissen marks in underglaze-blue (5)Footnotes:Provenance:Woman with pink and yellow hat: Michael German Antique Canes, London, 1997;Woman with purple hat: Laurence Jantzen, Le Louvre des Antiquaries, Paris, 2007;Woman with pink floral: Laurence Jantzen, Le Louvre des Antiquaries, Paris, 2007;Woman with floral crown: Laurence Jantzen, Le Louvre des Antiquaries, Paris, 2007;Cat: Laurence Jantzen, Le Louvre des Antiquaries, Paris, 2008This 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 5
A Faenza maiolica albarello, early 16th centuryPainted with a bust portrait of a woman flanked by yellow strapwork devices on a green ground above a drug label inscribed 'Grasso de anara', all between bands of scrolling foliage, the reverse painted in blue with a trellis motif enclosed by scrollwork, 16cm high (restuck, some losses)For further information on this lot please visit Bonhams.com
Lot 6
Rembrandt Harmensz. van Rijn (Dutch, 1606-1669)Self-Portrait in a Cap and Scarf with the Face dark: Bust (Bartsch 17; New Hollstein 120) Etching, 1633, on heavy laid, a later impression of New Hollstein's third state (of five), with partial watermark Arms of Amsterdam, with thread margins, 132 x 103mm (5 1/8 x 4in)(PL); 133 x 105mm (5 1/4 x 4 1/8in)(SH)For further information on this lot please visit Bonhams.com
Lot 22
Edward Onslow Ford (1852-1901),Terracotta bust of a girl, mounted on wooden base, 1877, Earthenware, Incised signature and date 'E. Onslow Ford 1877', 38cm high (excluding stand).The bust is slightly loose to the base. Overall condition good, hairline crack running horizontally along the front of the hair behind the fringe (see images), some scratches to the chest, no other issues found.Additional images are available.
Lot 331
˜THE SILVER-GILT MOUNTED PRESENTATION MAMELUKE SWORD TO LIEUTENANT GENERAL GEORGE SIR RONALD SCOBIE, K.B.E., C.B., M.C. BY THE GREEK ARMY, BY WILKINSON, LONDON SILVER HALLMARKS, 1946, with curved polished blade double-edged towards the point, etched with olive fruit and foliage, palmette, the presentation inscription and the Patriotic inscription ~ΈΛΛΑΔΙ ΓΑΡ ΣΠΕΥΔΟΝΤΕΣ ΕΛΕΥΘΕΡΙΗΝ ΠΕΡΙΘΕΙΝΑΙ?~, rectangular ricasso etched ~Wilkinson~ on the back-edge, silver-gilt hilt comprising cross-guard cast and chased with olive foliage in low relief, decorated in the centre with a classical profile bust on one face and with the crowned Royal cypher ~GRVI~ enclosed by the Most Noble Order of the Garter on the other, back-strap chased with foliage, a pair of ivory grip-scales (small ages cracks) retained by a pair of rivets with gilt heads, and with its original knot, in its scabbard with silver-gilt mounts cast and chased with palmettes and strapwork in low relief against a punched ground comprising chape, middle-band with a ring for suspension, applied in enamel with the Most Honourable Order of the Bath on one face and the Greek Order of George 1st, gold cross (military division) on the other, locket with a further ring, decorated in blue enamel with the dates 1944-46 on a scroll on one face and a military emblem on the other, and remaining in very fine condition throughout, 82.0 cm blade¦¦Sir Ronald Mackenzie Scobie (1893-1969) was educated as a scholar at Cheltenham College and at the Royal Military Academy, Woolwich, he was commissioned into the Royal Engineers in February 1914. He excelled at all sports and shortly before the outbreak of war played rugby for Scotland against England, Ireland, and Wales. ¦¦Scobie was sent out to France in October 1914. Though wounded shortly after his arrival, he recovered to fight in the trenches for the remainder of the war, being twice mentioned in dispatches and winning the Military Cross. Promoted captain in 1917, he received his brevet majority just two years later. In September 1920 he returned to England, where for four years he commanded a company at Woolwich. From 1927 to 1931 he was a staff captain, and later a brigade major, at Aldershot, before spending three years overseas as director of military artillery at the Royal Military Academy, Australia, during which he was promoted brevet lieutenant-colonel. On 9 February 1927 he married Joan Duncan (b. 1904/5), daughter of William Henry Sidebotham, a solicitor, of Farnham, Surrey and they later had a daughter.¦¦By 1939 Scobie was in London, as a full colonel and assistant adjutant-general at the War Office, and on the outbreak of war was made deputy director of mobilization, a role at which he excelled. In late spring 1940 he went out to the Middle East to serve as deputy adjutant-general on General Wavell~s staff before being appointed, in August, as a brigadier, general staff, in the Sudan. There, under General Sir William Platt, he helped plan the northern arm of the massive pincer that broke Italian military power in east Africa. Scobie with Platt captured Agordat in February 1941, broke the kernel of Italian resistance at Keren in March 1941, and finally took the whole of Eritrea. In the opinion of General Sir Frank Messervy, a fellow officer and friend, it was Scobie, through his diplomatic handling of two quarrelling divisional commanders and his insistence on persevering with the attack, who saw the crucial battle of Keren through to its victorious end.¦¦In October 1941, a month before Sir Claude Auchinleck launched his ~Crusader~ offensive against Rommel, Scobie, now a major-general, was appointed to succeed General Moreshead as commander of the garrison of Tobruk. After leading the 70th British division in by sea to relieve the Australian defenders, he and his men held the fortress in the face of furious enemy assault and even broke out from the town to make contact, if only for a few hours, with Auchinleck~s advance troops. Besieged again, with only forty-eight hours of artillery ammunition left, Scobie kept attacking as the battle of Sidi Razegh raged to the south. The garrison held out for another two weeks before finally being relieved. For his efforts in Eritrea and at Tobruk he was appointed OBE in 1941 and CB in 1942.¦¦From February to August 1942, for the duration of Rommel~s counter-offensive, Scobie was once again on the staff as deputy adjutant-general. His next posting was as general officer commanding another beleaguered outpost, this time the island of Malta. There he remained, blockaded by sea and under attack from the air, until the siege was finally lifted with the conclusion of the north African campaign. He returned to Cairo in 1943 as chief of staff to General Sir Henry Maitland Wilson, commander-in-chief Middle East, where, among other tasks, he helped plan the invasion of Sicily and amphibious operations in the Aegean.¦¦In the following year Scobie was given command of the British force due for dispatch to Greece to keep order, following the German withdrawal, until a constitutional administration could be established. When he and his force duly arrived in October 1944 they found the country in a state of complete disorder and on the verge of widespread civil war. Members of EAM, the communist-led movement of national liberation, and of its military wing, ELAS, were threatening to seize power and already occupied much of Athens and the surrounding countryside. Supported by the British government, Scobie declared publicly that all guerrilla groups must disband, that he would stand by the returned Greek government in exile, led by Georgeios Papandreou, until a legal armed force was behind it and free elections could be held, and that he would protect it against any coup d~état. EAM denied the charge that they were preparing a coup, but the crisis quickly reached boiling point.¦¦In December 1944 heavy fighting broke out in Athens between ELAS and British troops. At one point British and Greek government forces seemed in danger of being overwhelmed. Reinforcements were sent, with a corps commander to take operational control, enabling Scobie to assume overall command. Only after a visit to Athens by Winston Churchill and Anthony Eden late in December did the civil strife there begin to draw to a close. Papandreou resigned, a regency was declared, and a new cabinet formed, more acceptable to EAM. But it took forty days of bitter fighting before Scobie and four ELAS delegates signed a military truce, on 11 January 1945, and disarmament of the guerrillas could start.¦¦Scobie~s fine efforts in Greece were recognized by his appointment to KBE in 1945. Most Greeks, too, held him in high esteem, perhaps unusually for a commander of foreign troops engaged as a temporary force of occupation, but their affection and respect were genuine. He received the freedom of Athens and the grand medal of the municipality, and was decorated with the grand cross of George I of Greece, and whenever in public was greeted by cheers and cries of ~Scobie! Scobie! Scobie!~. He remained in command in Greece until 1946. Abridged from the Oxford Dictionary of Biography, accessed October 2022. ¦¦
Lot 460
Edward Prince of Wales Visit to Bombay 1921, oval bronze medal, obverse, bust of Edward Prince of Wales (later Edward VIII), surmounted by Prince of Wales’ feathers, reverse inscribed, ‘Visit of His Royal Highness, Bombay, November 1921’, small ring for suspension, attractively toned, nearly extremely fine £60-£80 --- Ref. Puddester 921.3
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