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Click here to subscribeA selection of antique and vintage jewellery, to include; a silver paste set picture pendant, 30mm diameter, a pair of white metal Etruscan style drop earrings, each 42mm long, a Victorian silver shield medallion, 35mm x 28mm, a George V silver cross pendant, 46mm x 30mm, a silver and enamel golfing pin, two silver paste set dress rings, and further assorted of earrings and pendants (Qty)
A pair of continental porcelain floor standing figural lamps, mid to late 20th century, modelled as a female and her male companion, each in traditional country dress and carrying a wrythen torch holder, set on naturalistically modelled tree stump bases with florally encrusted decoration, the glass globe shades with shaped rims and applied florally encrusted sprays, each 125cm high (2) (at fault)
A Royal Doulton HN1620 'Rosabell' figurine, printed maker's mark with painted model name, number and 'Potted by Doulton & Co' to base, 18cm high, with a similarly marked HN1417 'Marie' figurine (2)(at fault)Condition reportRosabell has seven small glaze chips to the back of the shawl, the largest nearly 1cm long, very fine crazing to the glaze around the shoulders.Marie has hairline crack running around the waist and down the dress fold, crazing to the underside.
Attributed to William Owen RA (1769-1825),Portrait of a lady, three quarter length in a landscape, wearing a white dress with a yellow shawl, beside her an urn on a plinth,Oil on canvas,140cm x 111cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington. CONDITION REPORT:The picture shows evidence of re-lining, re-stretching and reframing. There are small tears to the canvas, areas of paint loss, crazing and wear throughout. UV examination shows several small retouches and and evidence of possible restoration at the bottom edge of the dress. The frame shows various losses, chips and nibbles to the gilt finish and the gesso.
Joseph Bridge (1845-1894),Portrait of Hon Mrs Bulkeley Owen Half length seated in a white dress,Oil on canvas,74cm x 61cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington.Notes: Joseph Bridge was born and bred in Shrewsbury and he remained based their throughout his career. He exhibited at the Royal Academy in London from 1866 to 1872. The Fitzwilliam Museum in Cambridge has as part of their collection his portrait of Edward, 3rd Earl of Powis
English school, late 17th century,Portrait of Jane Assheton, Mrs Kenyon in old ageFull length, seated wearing a black dress with a small child, dressed in a white dress and holding a pink rose, by her side, Inscribed 'Jane daughter of Richard Assheton of Chadderton married Roger Kenyon of Park Head in Com Lan',Oil on canvas,205cm x 130cm,Framed Provenance: The Estate of Lord Kenyon, Gredington.
Follower of Godfrey Kneller (1646-1723),Portrait of Anne Kenyon, daughter of Rev Edward Kenyon and wife of George Kenyon Head and shoulders, wearing a dark blue dress, in a painted oval Inscribed in Ink on the stretcher verso,Oil on canvas,74cm x 63cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington.
Follower of Anthony Van Dyck (1599-1641),Portrait of Queen Henrietta Maria (1609-1669),Head and shoulders wearing a lace collar and embroidered red velvet dress,Oil on canvas,62cm x 57cm,Gilt framed Provenance: The Estate of Lord Kenyon, Gredington. CONDITION REPORT:The picture has slipped in its frame somewhat, revealing evidence of historic re-laying on later stretchers. The paint surface shows some fine surface cracking and some small areas of white residue, particularly in the top right quadrant. UV examination reveals no evidence of significant restoration.
English school, circa 1650,Portrait of two ladies, both half length,Patch marks to their faces inscribed 'I black with white bespott y white with blacke this evil proceeds from thy proud hart then take her: Devill',Oil on canvas, 64cm x 75cm, Gilt framed Provenance: The Estate of Lord Kenyon, GredingtonPlease note that if you are successful with purchasing this lot we will be asking you for two forms of identification to prove your name and registered address to comply with anti-money laundering regulations.Should an export license be required, we suggest you contact Richard Tomkinson at Cadogan Tate. We do not deal with export licenses in-house.Payment will be required strictly within 7 days of the date of the auction by bank transfer only. If you cannot adhere to these payment terms, please do not bid.As you will expect, we have had an overwhelming amount of interest in this lot and we appreciate your patience.To avoid an embarrassing conversation after the auction, please do not ask us NOT publicise this lot, we will be publicising it via our usual channels. This painting provides the viewer with a fascinating insight into politics, gender hierarchy and society in 17th century England. The style of the sitters dress, hair and jewellery would appear to date this painting to the 1650’s during the Interregnum when low cut, off-the-shoulder bodices were the height of fashion and the hair was worn in loose waves to the shoulders on the sides, with the remaining hair gathered at the back of the head. The addition of pearl necklaces and earrings was typical of this period. The depiction of face patches in this painting is quite extraordinary, face patches have been used since ancient times for purely practical purposes to cover up scars and blemishes. However, in the mid 17th century some men were outraged by the way women dressed and wore make up. In 1650 parliament debated whether to pass an act against ‘The vice of painting and wearing black patches, and immodest dress of women’, the bill did not make it to law but had some popular support. The Puritan obsession with sexual promiscuity was also reflected in a crackdown of all forms of ‘nightwalking’ aimed at removing prostitutes from the streets. The implication was that a ‘patched woman’ had something to hide, which may have been as innocent as a birthmark or small-pox scar, but she could also be hiding something much more sinister, perhaps a syphilis scar or other sexually transmitted diseases. The association of patches with sexual immorality, deceit and aristocratic affectation was everything Cromwell and his Puritan government sought to outlaw. http://eighteenthcenturylit.pbworks.com/ provides an interesting insight: ‘A patch is defined by the Oxford English Dictionary as “A small piece of black material, typically silk or velvet, cut into a decorative shape and worn on the face, either for adornment or to conceal a blemish”. The art of patching one’s face became popular in the seventeenth century, and continued to be fashionable until late in the eighteenth century. Among women, wearing patches on the face was a part of a larger cosmetic fashion movement characterised by a desire to emulate youth by achieving the “perfect” complexion. The art of patching is said, apocryphally, to aim to emulate the beauty spot of Venus, whose one dark imperfection highlighted the flawlessness of her complexion and thus made her beauty complete (Downing 22 and Fairholt 1:303). Patching was also popular among men, particularly for the “dandy” meaning that the patch was a part of both male and female attire. The response of the seventeenth century Puritans in England to the practice of any use of cosmetics was not favourable; a response which could not fail to include the art of patching. A sermon written by divinity student Andrew Jones titled “Morbius Satanicus, The Devil’s Disease, or The Sin of Pride Condemned and Arraigned” uses Ezekiel 16:49, in which Jerusalem is related to the ancient city of Sodom, to draw a parallel between the unfaithful Israelites of the time of Ezekiel, and the unfaithful state of England at the time. The key to this unfaithfulness, he suggests, is the abundance of pride, which partly manifests itself in the painting and patching of the face. In 1683, another Puritan text, “England’s Vanity, or the Sin of Pride” is printed, a text which again damns the abundance of Pride in England. The author, talking specifically of patches, calls them “the very tokens of death”.While “England’s Vanity” begins as an address to all mankind, it quickly begins to concern itself solely with women, comparing painted and patched women to Jezebel, the infamous whore of Babylon. This speaks of a societal misogyny that fears the ability of women to change their appearance. Perhaps it was because patching and wearing cosmetics gave women the power to present themselves as they wanted, that the Puritans were so critical of the practices. Perhaps it was that the Puritans really believed that if women could improve their appearance, men would not be able to resist themselves from being tempted by them and would fall into sin. In either case, the texts show that the male authors were particularly indignant to the art of patching on women. Patching, then, posed a problem for the Puritans. The idea of changing one’s appearance opposed their theology that God has made everyone as they should be, and therefore that to alter one’s appearance was to tamper with God’s creation. This was blasphemous, as tampering with God’s creation was seen to be, in effect, “playing God”. It would also pose a threat to the patriarchal power structures in the religion if it were true that made up women gained some power over men through the act of hiding something from them. The inflammatory indignation with which the Puritans of the late 17th century responded to the fashion of patching and painting seen in these texts is indicative of their fear of it. There was an attempt to make all cosmetic use illegal as early as June 1650, when parliament ordered “an Act against the Vice of Painting and wearing black Patches and the immodest Dresses of women” to be read. The act did not get far as there is no further record of it in Journals of the House of Commons (Downing 21). Even had the Act passed, it is unlikely that the efforts of the Puritans to halt the art of patching and painting would have got very far; indeed even such damning arguments as have been seen here do little to halt the rise of patching as an everyday fashion.’The depiction of a black woman sat alongside, and not subservient to, her companion, at this date is also an important factor to note, where both sitters are depicted as ‘social equals’ denoted by the style of the dress and jewellery.It would appear that the painting here is a moralistic warning to the viewer, set to highlight the mortal dangers of vanity and pride in 17th century Puritan England. Of course, patches came back in to fashion in England under King Charles II who grew up in France and brought the fashionable phenomenon of ‘patching’ back to England with him where it flourished.PLEASE SEE 'SHIPPING / REMOVALS' SECTION BELOW FOR CONDITION REPORT:
A FINE AND RARE LATE 19TH CENTURY FRENCH GORGE CASED repeating carriage clock set with five porcelain panelsThe dial with rubbed signature for ....?, Calcutta, Bombay and SimlaThe elaborately decorated case surmounted by an enamel ribbed handle over five porcelain panels of figures in Rococo dress in woodland scenes on an enamel base decorated with white flowers on a blue background, the Roman dial depicting two lovers about to be struck by cupid's arrow, within a gilt border with blued steel spade hands, the twin barrel movement with platform escapement with bimetallic compensated balance, striking the hours and half-hours on a blued-steel coiled gong mounted on a block stamped F.D. Ticking, striking and repeating. 18cms (7ins) high (1)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
CRYSEDE SILK. A Crysede Silk dress in the Godrevy pattern on a blue ground, showing the lighthouse, boats sailing, the headland & trees. Designed with an empire seam dropping to a shaped front panel. Short sleeves slightly gathered into a narrow cuff. Length from shoulder seam 117cm. Accompanying this dress is a transcript of an interview with Mr Dick Craze of Polgigga, Porthcurno in 2001. Mr Craze used to be 'Wiper' & then a printer at the St. Ives Crysede Works on the Island. In the interview with Mr Craze & his wife, he reminisces about working at Crysede in St. Ives, the processes of hand block printing & mentions Alec Walker, Mr Heron & Patrick Heron & also using small remnants to make up small items. (The front of the dress is slightly faded compared to the back. Overall, the condition is reasonably good, although there is an L-shaped tear on the back, just below the right hand shoulder seam...see photograph). Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
CHRISTIAN LACROIX. A Jeans de Christian Lacroix maxi length polyester vest dress. Size S. Length from shoulder seam, 150cm. Also, a crinkle silk scarf. (The property of Jean Shrimpton). Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
TWENTY8TWELVE. A linen coat dress by S. Miller for Twenty8Twelve. Double collar & linen covered press stud fastening, two pockets & a belt to tie at front or back. Length 100cm. Size 10. (The property of Jean Shrimpton). Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
PETER ROBINSON. A vintage black satin effect, bias-cut evening dress with ruched bodice. Peter Robinson Ltd., London W1 label. Length from shoulder seam approx. 135cm. (Side seams beneath armholes split to facilitate wearing. Some staining) (The property of Jean Shrimpton). Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
DKNY. A DKNY ivory & black wool fitted dress, the bodice with thin straps, the wool skirt with broad pleats. Size 10. Length from top of bodice to hem, approx. 91cm. (The property of Jean Shrimpton). Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
RUDI GERNREICH. A 1960's black wool, empire-line, full length dress designed by Rudi Gernreich, with deep V-neckline & slim, short sleeves. Length 127cm. With 'Rudi Gernreich for Harmon Knitwear' label. Size 12. Note: This dress was worn by Jean Shrimpton for a photo shoot with David Bailey in 1963. The dress was later loaned to the Imperial War Museum (together with this contemporary framed magazine print of the Bailey image) for their March-May 2000 exhibition, 'From the Bomb to The Beatles'. The dress was cleaned & professionally conserved by the museum to repair moth holes. There are belt loops, but no belt. (The property of Jean Shrimpton). Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
EVENING WEAR. Six various evening garments, including a black full length cloak & black evening skirt. Also, a black beaded & sequinned evening dress, a cocktail dress & other sequinned evening wear. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase. Proceeds from this lot will be donated to the RNLI Penlee Crew Comfort Fund.
Reg Miller - British 20th centuryOil on boardHalf length portrait of a lady in a red dress, 82 x 52cm, together withReg Miller - British 20th centuryWatercolourA seated female nude, signed and dated 1954 lower left, 78 x 36cm, unframed, andReg Miller - British 20th centuryWatercolourTree, signed and dated Miller 1958, 74 x 50cm, unframed andReg Miller - British 20th centurySeries of pencil drawingsOne titled "The Siege of Troy" and various other loose watercolours and pencil drawings by the same artist in a folder
The next three lots are all related to Major General Foster Stalker (1798-1857). First Division Commander of the North Indian Division against Persia in 1857, Stalker entered the East India Company Service as a Cadet in 1818. Rising to the Rank of Major General after 36 years of service. Foster Stalker's Division comprising of 2300 British soldiers and 3400 India Sepoys of the Bombay Presidency Army. Landing in Persia early December 1856 where they took Bushire. In 1857 during the conflict with Persia Foster Stalker along with a fellow General found the stresses of leading soldiers into battle too over bearing and committing suicide in the field. A hand painted miniature portrait of Major General Foster Stalker, painted on ivory, the image showing him in his finest military Dress Tunic, 9.5cm x 7.5cm, in decorative gilt frame
A Boer War period Kings Royal Rifle Corps Full Dress Tunic, in dark green, with red collar, having applied bullion design, with Royal Coat of Arms badges to the collar, epaulettes, complete with black leather cross-over belt, with applied silver badge, whistle and chain, and pouch to the reverse, the silver hallmarked Birmingham 1901 and 1902, this uniform would have been issued to a Major of the Reserves
Circle of Jonathan Richardson/Portrait of a Lady/half-length, within a feigned oval, wearing a brown dress/oil on canvas, 73cm x 61cm/see illustration CONDITION REPORT: Relined otherwise overall good condition, some stretch marks visible, frame rubbed particularly noticeable on ebonised edges, gesso surround fine.
19th Century English School/Portrait Miniature of a Young Lady/half-length, wearing a white dress/initialed AP/watercolour on ivory, 11.5cm x 8.5cm/in a gilt metal frame with engine turned back CONDITION REPORT: The image is of good quality, and the mellow colours are a little faded, the frame is gilt metal Lot contains an element of pre-1947 ivory or other organic material which may be subject to export restrictions.
Two gold dress rings, a 9 carat yellow gold reproduction Victorian style carved claw mount claw set with an oval cabochon cut opal 8 x 5.5mm, and two oval garnets, London 1975, ring size L, 4.5g, a 9 carat white gold solitaire ring set with a 6mm synthetic white stone, Birmingham 1960, size O, 2.5g.
A silver pair case pocket watch by John Notral of London, case hallmarked London 1752, gun metal albert, a slim Waltham gold-plated dress watch, stem wind, "The Midland Lever" .935 open face pocket watch, "Superior Timekeeper" base metal demi-hunter pocket watch, H Williamson London 26609F military issue base metal open face pocket watch, broad arrow and corresponding numbers on case.
A scarce police gallantry group to Sergeant Thomas Arthur Stevens, Palestine Police: Colonial Police Medal (Gallantry), George VI, (SGT. THOMAS A. STEVENS. PALESTINE POLICE FORCE.), engraved in serif capitals; General Service Medal 1919-62, George VI, clasp: Palestine (336 T. 2 B. SJT T. A. STEPHENS [Sic]. PAL. POLICE); Defence Medal, War Medal 1939-45; together with a dress miniature Colonial Police Medal and a corresponding ribbon bar; medals all about extremely fine. Colonial Police Medal, Palestine and London Gazettes: 28/01/1944. "In recognition of gallant conduct in the Galilee District on 14th September 1943". Sergeant Stevens was wounded while attempting to apprehend "absconding offenders" (Hansard 22/09/43)
A collection of small swords, comprising: an 18th century smallsword, hollow triangular-section blade 32 in. and marked 'I.G.B.', cast steel hilt with classical scenes in relief, leather scabbard (lacking chape) with engraved steel locket with loose ring and frog stud; another smallsword, slender blade 27.25 in., brass hilt of characteristic form, fragmentary scabbard with brass locket and chape; another smallsword, hollow triangular-section blade 32.25 in., brass hilt with moulded borders and fluted pommel and quillon block; another, of small proportions, brass shell guard embossed with scenes of revelry; together with a British court sword, late 18th/ early 19th century, cut steel hilt, shagreen covered part scabbard with steel locket and collar (lacking chape); and a continental court or dress sword, blade 31.75 in. etched and blued at the forte, relief decorated brass hilt with arms to the outer shell (possibly Savoy). [6]
The splendid group of orders and medal to Dr James Ferguson Lees C.B.E., Director General of Public Health, Egypt (1920-25), and Acting Under-Secretary of State 1920-22: The Most Excellent Order of the British Empire, Commander's neck badge, Britannia type, gilt and enamels, some verdigris, otherwise good very fine or better; Queen's South Africa Medal, second type, 3 clasps: Cape Colony, Orange Free State, South Africa 1901 (J.F. LEES. SURGEON.), impressed in plain capitals, good very fine; 1914-15 Star, British War Medal and Victory Medal (J.F. LEES.), mounted for wearing with the QSA, good very fine or better; Turkey: The Order of the Medjidieh, third class neck badge, silver, silver gilt and enamels, 69mm, with ribbon, extremely fine or nearly so; Egypt: the Order of Ismail, Grand Officer's neck badge and breast star, badge with ribbon, gold, silver, silver gilt and enamels, by Lattes, extremely fine or better and very scarce; Egypt: the Order of the Nile, Commander's neck badge, Grand Officer's neck badge and breast star, silver, gilt and enamels, badges with ribbons, star and one badge marked for Lattes, light wear to centres, otherwise about extremely fine; together with a corresponding group of mounted dress miniatures, warrants and licences to wear for the various orders, the Duke of Connaught's Medal (masonic) in box, and the recipient's personal journal of the Boer War (March 23rd to November 28th 1900 - and with an entry concerning the duties of an Orderly Medical Officer dated October 28th 1899). James Ferguson Lees was born on the 29th January 1872 and educated at the University of Glasgow (M.B., C.M. 1893). He served in the South African War on the Hospital Ship Spartan, at a base hospital in the East End of London, and in the field attached to the 1st Battalion Connaught Rangers. Having become an M.D. in 1902, he joined the Egyptian Government Service as Port Health Officer for Alexandria in 1908, rising to become Director General in 1920, and acting as Under-Secretary of State from July to October 1920. He served in the Great War as Inspector of Prisoner of War Camps in Egypt, E.E.F. He died on the 12th January 1935.
A scarce M.V.O. group to Superintendent Frederick Beard, Metropolitan Police: The Royal Victorian Order, Member's 5th Class breast badge, silver, silver gilt and enamels, reverse numbered 38, in Collingwood & Co case of issue, minor enamel damage good very fine or better; Jubilee Medal 1897, silver, unnamed as issued, some scratches to obverse field, otherwise nearly extremely fine; Jubilee Medal (Police) 1887, Metropolitan Police reverse, clasp: 1897 (CHF INSPR F. BEARD. A. DIVN), good very fine; Coronation (Police) Medal 1902, silver, Metropolitan Police reverse (FREDERICK BEARD, SUPT A DIV.), scratches to obverse field, stain to reverse, otherwise nearly extremely fine; the last three mounted for wearing in the foregoing order; together with a corresponding set of dress miniatures, extremely fine.
The Great War P.O.W. group of four medals to Captain (later Lieutenant-Colonel) Arthur Stewart-Cox, Royal Artillery, who was wounded and taken prisoner during the retreat from Mons, August 1914: 1914 Star and Bar (LIEUT: A. STEWART-COX. R.F.A.); British War Medal 1914-20 and Victory Medal with Mention in Despatches emblem (CAPT. A. STEWART-COX.); War Medal 1939-45, unnamed as issued; together with a mounted group of corresponding dress miniatures, nearly extremely fine, full size medals with replacement ribbons. Born in 1888, the recipient served with the British Expeditionary Force in France, 1914, and was part of the section of 118th Battery, 26th Brigade Royal Field Artillery which was ordered to support the men of the 2nd Battalion Munster Fusiliers in their celebrated rearguard action at Etreux, 27th August 1914. This tiny force, comprising approximately three and a half companies of the Munsters, two guns from 118 battery, and a handful of others, delayed the advance of an entire German Corps in fourteen hours of fierce fighting, surrendering only when compelled to by the exhaustion of their ammunition. The artillery were called upon to work their guns with no cover and in close proximity to the enemy, and suffered heavy casualties - among them Lieutenant Stewart-Cox, who was wounded and taken prisoner. See lot 41 for the medals to this officer's son
The Order of the Nile group of four medals to Major Edward George Kekewich Sinclair May, City of London Yeomanry (Rough Riders): 1914-15 Star (LIEUT. E.G.K.S. MAY. C. OF. LOND. YEO.), about extremely fine, later ribbon; British War Medal 1914-20 (MAJOR E.G.K.S. MAY), uneven toning, otherwise good extremely fine, later ribbon; Victory Medal with replacement Mention in Despatches emblem (MAJOR E.G.K.S. MAY), light corrosion to rim and lower obverse, otherwise good very fine, later ribbon and MID emblem; Egypt: Order of the Nile, 4th Class badge, reverse marked 'LATTES', wear to centre and slight looseness to central star, otherwise very fine; together with a corresponding set of mounted dress miniatures, medals good very fine, ribbons heavily deteriorated. Born 12 February 1893, son of Major (later Major General) Edward Sinclair May. Educated at Eton and was an Officer Cadet in the O.T.C. Joined the City of London Yeomanry in 1912. Went to Egypt as a 2nd Lieutenant, 5 May 1915. Wounded in the right thigh by a shrapnel shell at Gallipoli, 4 September. Served subsequently at Salonika. Twice Mentioned in Despatches. Became an accountant following the war and moved to Hong Kong where he died of the affects of his wounds, 5 April 1921. The doctor who attended him in his final illness stated that blood poisoning originated in his wound, having been aggravated by a more recent injury.
The historic Great War Military Cross group of medals to Captain (Robert) Anthony Eden, King's Royal Rifle Corps, and Prime Minister of the United Kingdom from 1955 to 1957: Military Cross, George V; British War Medal 1914-20 (CAPT. R.A. EDEN), Victory Medal (CAPT. R. A. EDEN), Jubilee Medal 1935, Coronation Medal 1937, Coronation Medal 1953, the last three unnamed as issued; mounted for wearing and with tailor's copy MID emblem to the Victory Medal, good very fine or better; together with two mounted sets of corresponding dress miniatures, one pre and one post 1953. Best known as Prime Minister of the United Kingdom from 1955-57, as a young man Robert Anthony Eden was involved in the formation of the 21st Battalion King's Royal Rifle Corps (Yeoman Rifles) during the First World War. He was a member of Eton College Officer Training Corps, and the outbreak of the War had found him eager, like many of his generation, to find a place in a regiment. His brother Jack was killed in action in 1914, and this seems only to have quickened his enthusiasm. His initial efforts were hampered by poor eyesight, but his chance came when a family friend, the Earl of Feversham, set about raising the new battalion. Eden went with the Yeoman Rifles to the Western Front as a junior officer and his early exploits included an abortive trench raid following which he led the hazardous rescue of a dangerously wounded Sergeant. The battalion was deployed to the Somme front in September 1916 where its commander Lord Feversham was killed in action, and his replacement appointed the young Eden as his Adjutant, in which capacity he gave exemplary service. His M.C. was gazetted in June 1917, shortly before he went into action following the detonation of the mine under Messines Ridge at the start of the 3rd Battle of Ypres. All sources indicate that Eden was not only very brave; but that he was also compassionate and highly principled, with a deeply felt concern and respect for the men under his command. This courageous and intelligent officer went on to have a distinguished career in politics, becoming an opponent of appeasement during the 1930s, and then playing a vital role in Winston Churchill's cabinet during the Second World War. He served as Prime Minister between 1955 and 1957, and it is believed that this is the first time that the medals of a British Prime minister have been offered at auction. Military Cross: London Gazette, 4th June 1017
An Austrian officer's dress shoulder belt pouch, curved silver cover with scalloped lower edge and brass rim with acanthus leaf details, removable gilt metal plate in the form of the double-headed Imperial eagle, the box lined and bound in red leather, silver plates to either end embossed with trophies of arms, lid secured by a stud, silver parts marked for the period 1886-1922.
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