A LARGE BRONZE FIGURE OF RATNASAMBHAVA, CENTRAL TIBET, 13TH-14TH CENTURYFinely cast, seated in dhyanasana atop a double lotus base with a beaded upper rim, his right hand held in varada mudra and the left lowered above his lap, wearing a sheer dhoti, billowing scarves and richly adorned with elaborately designed jewelry. His serene face with sinuously lidded eyes, neatly incised brows centered by a rhombic urna, the hair piled up into a high chignon behind the distinct five-leaf tiara.Provenance: From a private collection in France, by repute acquired before 1983. The property of a nobleman, acquired from the above. Himalayan Art Resources, item no. 24860. Condition: Good condition, commensurate with age. Expected old wear, predominantly from centuries of worship within the culture. Minor casting flaws, small dents, minuscule nicks, light scratches, some losses, the seal plate has been replaced with a wooden panel. The face with remnants of gilt. Ancient remnants of pigment. A good, naturally grown patina overall.Weight: 2,517 g Dimensions: Height 33.7 cm Ratnasambhava is one of the Five Dhyani Buddhas (or Five Meditation Buddhas) of Mahayana and Vajrayana or Tantric Buddhism. Ratnasambhava's mandalas and mantras focus on developing equanimity and equality and, in Vajrayana Buddhist thought is associated with the attempt to destroy greed and pride. Ratnasaṃbhava is associated with the skandha of feeling or sensation and its relationship with consciousness. His activity in promoting Buddhism is enriching and is increasing the knowledge of Dharma. Ratnasambhava is associated with the jewel symbol, which corresponds to his family. His right hand grants wishes. He presides over the South, his element is earth, his sense is smell, and his color is yellow. It seems that he was the least popular of the group of five cosmic Buddhas, and for this reason large statues of him are exceedingly rare.Expert's note: The present lot belongs to a group long considered to originate from western Tibet. However, more recent scholarship suggests this type of early Tibetan sculpture is more likely to be from the central regions, where the primary stylistic influence up to around the 13th century was the art of Kashmir and eastern India during the late Pala period. Tibetan bronzes with Pala influence are mostly un-gilded, like the majority of their Indian antecedents. Tibetan sculpture after the 14th century, however, is increasingly modeled and gilded in the Nepalese manner.Literature comparison: Compare two closely related hollow-cast brass figures of Ratnasambhava, one 42 cm high, the other 27 cm, with silver and copper inlays, both attributed to Western Tibet and dated to the 13th century, illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, page 180, figs. 34A and 34B. Compare a related silver and copper-inlaid brass figure of Ratnasambhava, 42.3 cm high, attributed to western Tibet and dated to the 14th century, in the Tibet Museum Fondation Alain Bordier, accession number ABS 032.Auction result comparison: Type: Related Auction: Christie's New York, 22 March 2011, lot 357 Price: USD 194,500 or approx. EUR 247,000 converted and adjusted for inflation at the time of writing Description: A bronze figure of Buddha Vairocana, Tibet, 14th century Expert remark: Compare the closely related pose, dress, jewelry, expression, hairstyle, and crown. Compare also the related subject, depicting another of the Five Dhyani Buddhas, and lotus base. Note the related size (30.5 cm).Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2010, lot 222 Price: USD 56,250 or approx. EUR 73,500 converted and adjusted for inflation at the time of writing Description: A bronze figure of Ratnasambhava, Western Tibet, 14th/15th century Expert remark: Compare the closely related subject, pose, hand gestures, dress, jewelry, lotus base with beaded upper rim, expression, hairstyle, and crown. Note the gemstone inlays, silver-inlaid eyes, and slightly larger size (38.1 cm).Auction result comparison: Type: Related Auction: Zacke, 9 March 2023, lot 169 Price: EUR 41,600 Description: A large bronze figure of Ratnasambhava, Central Tibet, 13th-14th century Expert remark: Compare the closely related subject, pose, hand gestures, dress, jewelry, lotus base with beaded upper rim, expression, hairstyle, and crown. Note the related size (31 cm). 西藏中部十三至十四世紀大型寶生佛銅像寶生佛跏趺坐坐在雙層蓮花座上，底座串珠紋。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
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A RARE AND IMPORTANT ALBUM LEAF FROM THE HUANGCHAO LIQI TUSHI WITH AN IMPERIALLY INSCRIBED SILK PAINTING OF THE EMPRESS DOWAGER AND EMPRESS CONSORT'S DRAGON VEST (CHAOGUA), QIANLONG PERIODExpert's note: The present pair of leaves may belong to the same manuscript as those in the British Library, the National Museums of Scotland, the National Museum of Ireland, the Victoria & Albert Museum, and those sold at Woolley & Wallis, 12 November 2019. Altogether, these may once have been part of the version kept in the Wenyuan Pavilion library in the Yuanming yuan Summer Palace, Beijing, as indicated by the main seal on two pages from the manuscript in the Victoria & Albert Museum.China, 1750-1759. Ink and watercolors on silk, laid down on paper. One side illustrating an Imperial dragon vest (chaogua) of the Empress Dowager and Empress consort, and the other side with eleven lines of inscription regarding the regulations for such vests. Exquisitely painted, the dragon vest is designed with six golden five-clawed dragons pursuing flaming pearls on a midnight-blue ground surrounded by polychrome lingzhi-form clouds above crashing waves. The black-ground hem and borders are shown in gold thread with scroll designs, and the interior is lined with red silk.Inscriptions: Right hand leaf, 'The painting of the official vest of the Empress Dowager and Empress consort.' Left hand leaf, 'The empress dowager and the empress consort's official vest shall be made in accordance with the regulations of our era: the empress dowager and the empress consort's vest should be an azurite blue and have gold hems and seams. The front and back shall have two standing dragons above four further levels with four dragons. Below are to be ten thousand bats and ten thousand shou and behind the color a yellow sash with jewelry. The imperial concubine and crown princess shall follow similar regulations.'Provenance: French trade.Condition: Very good condition with minor wear, little soiling, minor creasing, few tiny losses.Dimensions: 41.8 x 39 cm The present album leaf is part of the Huangchao Liqi Tushi (The Illustrated Regulations for Ceremonial Paraphernalia of the Present Dynasty), an illustrated manuscript commissioned by the Qianlong Emperor. The main body of the work began to be compiled in 1750 and was completed in 1759. After editing and further expansion of the manuscript during the ensuing years, it was duplicated by the Palace Publications Office in the Wuying Palace in 1766 and was eventually added to the Siku Quanshu (Complete Library of the Four Treasuries) in 1773. Only seven copies of the manuscript were produced, stored in libraries across the empire, including the Wenyuan Pavilion library in the Summer Palace (Yuanming yuan), Beijing.The Huangchai Liqi Tushi was part of the Qianlong Emperor's effort from the beginning of his reign to regulate the ritual codes and procedures, and it serves as a record of his passion for a rigid ritualized life. The book consists of six parts - ceremonial vessels, scientific equipment, dress, musical instruments, insignia, and weaponry, containing more than 1,300 leaves of illustrations and explanatory texts. As one of the major imperial commissions, the book is of monumental scale and collaborative in nature. As many as twenty-seven court painters and calligraphers were working on the commission under five editors-in-chief, Yilu (1695-1767), Jiang Pu (1708-1761), Wang Youdun (1692-1758), Guanbao (d. 1776), and He Guozong (d. 1766).The Qing dynasty Chaogua was adapted from the dragon-patterned sleeveless coats worn unofficially at the Ming dynasty court. The mid-eighteenth century court dress edicts assigned three styles of this garment to the upper ranking court women. All were made of dark navy blue silk and featured a center front opening held with five toggle and loop fastenings, angled shoulder seams and deeply cut armholes. The first and second styles were tailored as multi-sectioned constructions with horizontal bands of dragons, clouds, and waves. The third style was full length without sections. A fourth style, which could be worn by all ranks of women including the wives of nobles not related to the imperial clan and the wives of other high officials featured mang, or four-clawed dragons. The chaogua painted on the present lot is of the first style, a full-length vest made of three sections - an upper part, a section from waist to knee, and a section from knee to hem with five horizontal bands embroidered with five-clawed dragons and auspicious symbols.Literature comparison:Compare an illustrated manuscript with 38 folios preserved, two leaves showing the front and back of a similar dragon vest, the leaves of closely related size (42 x 40 cm), dated to the Qianlong period, once in the Summer Palace and now in the British Library, number OR 9430. Compare a closely related page from the Huangchao Liqi Tushi illustrating the front and back of a dragon vest worn by imperial concubines of the first rank, 42.3 x 41.3 cm, dated to the Qianlong period, in the Victoria & Albert Museum, accession number 856-1896.Auction result comparison: Type: Closely related Auction: Christie's Paris, 13 December 2017, lot 108 Price: EUR 47,500 or approx. EUR 55,500 adjusted for inflation at the time of writing Description: Six rare and important album leaves, Huangchao liqi Tushi, Qianlong period Expert remark: Compare the closely related manner of painting, calligraphy, and size (42 x 41 cm), as well as the related dragon vest illustrated on the final page. Note this lot comprises six album leaves.Auction result comparison: Type: Related Auction: Woolley & Walis, 12 November 2019, lot 6 Price: GBP 225,000 or approx. EUR 345,000 converted and adjusted for inflation at the time of writing Description: Album leaves from the imperial household regulations (Huang Chao Li Qi Tu Shi) Expert remark: Compare the closely related manner of painting and calligraphy. Note this lot comprises twelve paintings. Note the closely related size (41 x 42.5 cm).乾隆時期彩繪《皇太后皇后朝褂圖》，《皇朝禮器圖式》彩繪散頁中國，1750-1759 年，絹本設色。由于平台拍品叙述的长度限制，我们移除了中文叙述，完整中文叙述请至www.zacke.at查看
AN EMBROIDERED SILK LADY'S WEDDING ROBE AND MATCHING SKIRT, MANGAO, QING DYNASTYChina, 19th century. Finely woven in silk and gold-wrapped threads with ten fierce five-clawed dragons pursuing flaming pearls amid interlocked lingzhi-shaped clouds, auspicious and Daoist symbols, and flying cranes, all above the terrestrial diagram and lishui stripe separated by further clouds and crashing waves, interspersed by Buddhist symbols and precious objects. The collar and sleeve ends decorated with floral and foliate designs, the cuffs of blue silk similarly decorated with qilin, dragons, phoenixes, and Shou characters.Provenance: An important private collection of an American connoisseur and collector of Chinese robes, and thence by descent in the family. Condition: Very good condition with minimal wear and soiling, few loose threads and minor pulls, small splits. The interior of the robe relined.Dimensions: Length 110.5 cm, Width 147 cm (across sleeves); Skirt length 189 cm, Waist 113.5 cm The bright yellow skirt is similarly woven with eight phoenixes and four five-clawed dragons, all above terrestrial diagrams and lishui. The hems with river landscapes. (2)Chinese wedding robes center around themes of good luck and happiness. The dragon, phoenix, and red and golden colors are thought to bring good luck and happiness, hence they have been indispensable elements in Chinese wedding dresses for ages. The mangao was a type of yuanlingshan fashioned in the style of the Ming dynasty which was red in color and was once worn by the Han women as a court robe. Later this style of clothing was only worn on a brides wedding day, since the bride was regarded as an 'empress for the day.' Bridal clothes were thus marked with imperial symbols. Bridal attire was the most prestigious dress women wore, hence Han women were often depicted wearing these garments in the posthumous portraits created for family rites honoring their ancestors.Literature comparison: Compare a related wedding robe, in the Minneapolis Institute of Art, accession number 78.71.2, illustrated in Robert D. Jacobsen's book Imperial Silks, Ch'ing Dynasty Textiles in The Minneapolis Institute of Arts, Vol. I, 2000, pp. 575. Compare a related robe, in the Mactaggart Art Collection, University of Alberta Museums, accession number 2005.5.195, illustrated by John E. Vollmer, Dressed to Rule: 18th Century Court Attire in the Mactaggart Art Collection, 2007, pp. 48. See also a hanging scroll with the portrait of a Han woman wearing a wedding robe, dated late 19th century, in the Mactaggart Art Collection, University of Alberta Museums, accession number 2004.19.78.1, illustrated ibid., p. 49.Auction result comparison: Type: Closely related Auction: Christies London, 17 May 2013, lot 1291 Price: GBP 10,625 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing Description: A Red Manchu Summer Gauze Wedding Robe, 19th century Expert remark: Note the identical purpose of this robe and compare the red color, dragon motif, and lingzhi clouds. Note the lack of a skirt. 清代刺繡婚禮女袍中國，十九世紀。以絲金線精心刺繡而成，紅地十隻五爪龍在如意祥雲戲珠，暗八仙與飛鶴紋理，下方江崖麗水紋。領口和袖口飾有花卉和葉形圖案，藍色絲綢袖口同樣飾有麒麟、龍、鳳、壽字。 來源：重要美國鑑賞家和中國長袍收藏家的私人收藏，並在同一家族傳承。 品相：狀況非常好，少量磨損和污垢、鬆線，有小裂口。長袍的內部有重新襯裡。 尺寸：長 110.5 厘米, 寬 147 厘米(兩袖之間); 裙長 189 厘米, 胸圍113.5 厘米文獻比較： 比較一件相近的囍服，收藏於明尼亞波利斯藝術館，館藏編號78.71.2，見Robert D. Jacobsen，《Imperial Silks，Ch'ing Dynasty Textiles in The Minneapolis Institute of Arts》，卷I，2000年，頁575。比較一件相近的囍服， Mactaggart Art 收藏，亞伯達大學博物館，館藏編號2005.5.195，見John E. Vollmer，《Dressed to Rule: 18th Century Court Attire in the Mactaggart Art Collection》，2007年，頁48。一件十九世紀末漢人女性囍服，Mactaggart Art收藏，亞伯達大學博物館，館藏編號2004.19.78.1，見上書，頁49。 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2013年5月17日，lot 1291 價格：GBP 10,625（相當於今日EUR 15,500） 描述：十九世紀紅地滿州夏季薄紗囍服 專家評論：請注意喜事專用正紅色、龍紋和靈芝雲紋。請注意沒有裙。
A LARGE GILT-LACQUERED BRONZE FIGURE OF ZHENWU, THE PERFECTED WARRIOR, MING DYNASTYChina, 1368-1644. Well cast, standing on a rectangular base supported on four spreading feet, his left hand raised in front of his chest and his right holding a sword hilt (the blade now lost), clad in voluminous robes decorated with floral and scroll designs over the characteristic armor. His face with a calm expression marked by heavy-lidded downcast eyes centered by arched brows and a third eye, framed by the neatly incised hair and beard.Provenance: From a private collection in the United States. The base with an old label, 'JPC 62 23/C'.Condition: Good condition with expected wear and casting irregularities, signs of weathering, minor losses, small nicks, the left arm slightly loose, the figure leaning slightly forward, rubbing and losses to lacquer and gilt. The bronze with a rich, naturally grown, dark patina with malachite encrustations to the base.Weight: 5,286 g Dimensions: Height 38.7 cm Zhenwu, originally called Xuanwu (Dark Warrior), first appears in the Daoist pantheon as the embodiment of one of the four cardinal directions, representing the north, depicted emblematically as a tortoise entwined with a snake. The tortoise and snake imagery can be traced back to the late Warring States period, circa 3rd century B.C.In the early Northern Song dynasty, the emperor Song Zhenzong (r. 998-1022) who was an ardent Daoist, decreed that the god's name should be changed to Zhenwu (Perfected Warrior), and ordered a temple to be built in the Song capital city, Kaifeng, for the worship of Zhenwu, who was then represented in human form. During the Yuan dynasty, Zhenwu was elevated to the rank of celestial emperor and referred to as “Supreme Emperor of the Dark Heaven, Primal Sage, and Benevolent Majesty."In the early Ming dynasty, Zhenwu again was favored by the imperial house, and the early Ming emperor Yongle (r. 1403-1424) ordered the construction of many temples dedicated to Zhenwu, including the large temple which still remains as the northernmost building at the meridian of the 'Forbidden City' in Beijing. Zhenwu became one of the most important and most widely venerated of all the Daoist gods during the Ming dynasty and continued to be worshiped by Manchu emperors throughout the Qing dynasty.Auction result comparison: Type: Closely related Auction: Christie's London, 14 May 2019, lot 124 Price: GBP 18,750 or approx. EUR 28,500 converted and adjusted for inflation at the time of writing Description: A gilt-bronze figure of Zhenwu, 17th century Expert remark: Compare the closely related modeling, with similar face, hair, and dress, and manner of casting and gilding. Compare the similar subject. Note the seated pose and slightly larger size (44 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 28 May 2014, lot 3526 Price: HKD 106,250 or approx. EUR 15,000 converted and adjusted for inflation at the time of writing Description: A lacquered bronze figure of Weituo, late Ming/early Qing dynasty, 17th century Expert remark: Compare the related modeling with similar armor and manner of casting and gilding. Note the slightly smaller size (36 cm). Note the different subject, which is generally regarded as less rare. 明代大型銅漆金真武大帝立像中國，1368-1644年。鑄造精良，真武大帝呈立姿，面龐豐腴，雙目微睜，目光下斂，眉毛和鬍鬚濃重，腰板筆直，挺胸抬頭；衣褶婉轉自然，展現出多層次折迭的衣折及立體袖擺，線條簡練生動，內含張力，具有不同凡俗的威儀。鑄造比例勻稱協調，雕刻細膩生動，結構嚴謹。 來源：美國私人收藏，底部老標籤“JPC 62 23/C"。 品相：狀況良好，有磨損和鑄造不規則、風化跡象、輕微損失和小刻痕，左臂略微鬆動，人物稍微向前傾斜，漆金有磨擦和缺損。整像包漿濃厚瑩潤，底部有綠色結殼。 重量：5,286 克 尺寸：高38.7 厘米 拍賣結果比較： 形制：非常相近 拍賣：倫敦佳士得，2019年5月14日，lot 124 價格：GBP 18,750（相當於今日EUR 28,500） 描述：明末清初鎏金銅真武大帝坐像 專家評論：比較非常相近模板，相似的臉部、髮型和長袍、鑄造風格和鎏金。比較相似的主題。請注意坐姿和尺寸較大 (44 厘米)。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2014年5月28日，lot 3526 價格：HKD 106,250（相當於今日EUR 15,000） 描述：十七世紀明末至清初鎏金韋駄天銅像 專家評論：比較相近模板、鑄造風格和鎏金。請注意尺寸較小(36 厘米)、不同且較少見的主題。
ARGYLL & SUTHERLAND HIGHLANDER'S DRESS SPORRAN LATE 19TH / EARLY 20TH CENTURY the brass cantle over a badger's head and six tassels suspended from brass mounts embossed with thistles, the oxblood leather back with single pocket, alongside an early 20th century photograph of an A&SH officer, a pair of spurs, extracts from the service record of Lt. Col. J.S. Smith M.C. R.E., and further extracts, also a WWI period map of Galipoli (Sheet 2)Note: The photograph is Captain Graham Skelton-Smith, the second generation to wear the dress sporran and the second to serve in the A&S Highlanders. Lt. Col. James S. Smith was his father who served first in the A.&S.H. and also in the Royal Engineers. The map and written documents are related to his time in the R.E. during the Gallipoli campaign. the cantle 14.5cm wide
THIRD REICH OFFICER'S DRESS DAGGER, WWII PERIOD the steel blade stamped maker's mark (believed Richard Plumacher of Solingen), over eagl and swastika guard, amber coloured grip and oak leaf decorated pommel, in original scabbardwith silvered bullion tassle, on wooden wall mount with photograph of prisoners of war outside Stalag IX (X marks the POW who liberated this dagger, Alfred Lippiatt of Blantyre)the dagger 38cmlongCondition generally good. Wear and pitting to blade. Further wear to guard, particularly verso. One or two minor nicks to grip and minor hairlines. Scabbard good, wear to tassel. Additional images are available.
“A non-commissioned officer’s patrole (sic) of the 14th Light Dragoons and 1st Hussars, from Arevalo, took in Blasco Sancho, on the evening of the 25th., shortly after the King had left the place, 2 officers and 27 of the King’s cavalry, who had been left there to follow his rear guard.” Wellington’s despatch to Earl Bathurst from Olmedo, 28 July 1812 refers. The historic and unique Peninsula awards to Troop Sergeant-Major William Hanley, 14th Light Dragoons, who is the only known instance of an N.C.O. being mentioned by name in Napier’s History of the Peninsula War, for his gallant exploit at Blasco Sancho on 25 July 1812, when his patrol of three men of the 14th Light Dragoons and four men of the 1st Hussars of the King’s German Legion captured a piquet of French cavalrymen numbering two officers, two N.C.O.’s and 27 Dragoons; awarded a special Silver Medal by the Officers of the regiment at a full dress parade to commemorate his exploit, he was present in every engagement fought by the regiment in the Peninsula and in North America, and was afterwards appointed Foreman of Stores at the Tower of London until his death on September 1859 Military General Service 1793-1814, 11 clasps, Talavera, Busaco, Fuentes D’Onor, Badajoz, Salamanca, Vittoria, Pyrenees, Nivelle, Nive, Orthes, Toulouse (W. Hanley, Troop Serjeant Major, 14th Light Dragoon) last letter of unit obscured by suspension claw; 14th Light Dragoons, unique silver medal for ‘Blasco Sancho 1812’, engraved, 38mm [Ref: Balmer R77], Obverse: within an engraved wreath ‘Fortitudine Blasco Sancho 26 July 1812. Peninsula.’ Reverse: within an engraved wreath ‘William Hanley Corporal 14th Light Dragoons’, with riveted silver clip and hinged straight bar and silver ribbon slide to contemporary original red ribbon with attached ivorine name label, minor edge bruise and very light contact marks, otherwise toned, good very fine (2) £14,000-£18,000 --- Provenance: Fleming Collection 1871; Seaforth (Stewart Mackenzie) Collection 1873; Eaton Collection 1880 (later Lord Cheylesmore) sold Glendining’s, July 1930; Leyland Robinson Collection, principally acquired and added to by F. J. Ridsdale of Johannesburg, and mainly dispersed by Spink & Son in the early to late 1970s; Alan Harrison Collection to present vendor. One officer and 17 other ranks of the 14th Light Dragoons received the maximum 11 clasps earned by the regiment, all with this same combination. (See Dix Noonan Webb, 17 February 2021, for the example to Sergeant George Kinch.)
 This unique pair of medals has not been offered for public sale since the dispersal of Lord Cheylesmore’s Collection at Glendining’s in July 1930 when it is believed they were acquired by Professor A. Leyland Robinson, of Liverpool, who amassed an impressively large collection of Peninsula War medals (over 700 individual lots including many pairs and groups as well as gold awards), some, but not all, of which was consigned to auction through A. H. Baldwin’s at Glendining’s in October 1952 (128 lots) and February 1953 (132 lots). A substantial part of the collection was acquired privately by Francis J. Ridsdale, of Johannesburg, who added further to it, particularly in regard to Officers’ Gold Medals and Crosses. The present cataloguer had the privilege of handling most of this collection when it was consigned to Spink and Son in the early 1970s for private disposal. It is notable, however, that the pair to Hanley were not at that time disposed of, Mr Ridsdale having then recently acquired some original manuscript accounts of the Blasco Sancho affair [sold with Lot] which gave new importance to Hanley’s awards and were the subject of a lengthy article by F. J. Ridsdale published in the Numismatic Circular in April 1974, as follows: ‘SERGEANT-MAJOR HANLEY AND HIS AWARDS By F. J. Ridsdale, Johannesburg. As all collectors know, there were no general awards for gallantry or distinguished conduct in being at the time of the Napoleonic Wars, but on very rare occasions Regimental Colonels or the Regiments themselves awarded or subscribed for individual awards. Times and customs have also changed very considerably, because I think there is only one instance in Napier's History of the Peninsula War where someone, not an officer, is mentioned by name; Vol. IV of Warne's Edition, 1886, at page 279. The man was Sergeant-Major Hanley of the 14th Light Dragoons, who with a small patrol captured 29 Frenchmen at Blasco Sancho on the 25th July, 1812. I have long had in my collection Sergeant-Major Hanley's Military General Service with 11 bars for Talavera, Busaco, Fuentes D'Onor, Badajoz, Salamanca,, Vittoria, Pyrenees, Nivell, Nive, Orthes and Toulouse, which is the full tale of bars to the Regiment, and a Silver Medal presented to him by the Officers of the Regiment at a full dress parade to commemorate his exploit. The obverse has, within a wreath, "Fortitudine Blasco Sancho, 26th July 1812, Peninsula" and the reverse “William Hanley, Corporal, 14 Light Dragoons”. The medals were in the Stewart Mackenzie and Leyland Robinson collections, and the regimental medal is in Tancred at p. 311. Quite by chance I was able to purchase a short time ago, a letter written by the Duke of Wellington on the 5th May 1831 to Major, the Hon. W. F. de Roos which enclosed manuscript accounts, not only of that exploit, but of another which took place near Pamplona in July 1813. These read as follows: May 5th, 1831 My dear de Roos, Some time has elapsed since I ought to have returned you the enclosed papers. The man is a very good one, but I really do not know what I can now do for him. I have not the most distant recollection of the affair or of the Dispatch. The best thing to do would be to find the Dispatch; and then we will see how we can give the Man an authentic copy of it. Believe me ever yours most sincerely, Wellington (ENDORSEMENT) D. of Wellington Serjt Major Hanley Coventry Barracks 10th July, 1828 Honoured Sir, Agreeably to your desire I have the honour to transmit a Statement of the Capture of a Picquet of the Enemies Cavalry, consisting of Two Officers, one Serjeant and Twenty Six mounted Dragoons and one private Servant with Two Mules and Baggage at Blascho Sancho in Spain on the evening of the 25th July, 1812, by a Patrole under my command consisting of Four men 1st German Hussars, and four of the 14th Lt. Dragoons. As soon as the Brigade arrived at Arévola and Picquets posted, I was ordered to proceed with the Patrole as far as Blascho Sancho to ascertain the route of the enemy, my party being small and in an open country it was necessary to move with great precaution. I accordingly sent one Dragoon 200 yards to my right front, another as far to the left, and a third, one hundred yards in advance, ordering them to keep each other in sight as much as possible (and also the patrole) to circle when in sight of the enemy, or fire if suddenly attacked. The Dragoon on my right front (Private Luke Billington 14th Lt. Dn) owing to some accident discharged his Pistol, wounded his horse in the shoulder, and was consequently unfit to proceed. This happened about 7 miles from Blascho Sancho, he was replaced by one of my party and we proceeded until the advanced Dragoon circled; I trotted to the foot of the hill and dismounted the men, I walked to the top and placed myself behind a stone cross where I had a perfect view of a column of Infantry on parade. We waited some time till at length they marched off and disappeared behind an opposite hill. I mounted the Patrole and galloped for that part of the Town they had le...
Pair: Gunner G. F. Needham, Royal Artillery British War and Victory Medals (177316 Gnr. G. F. Needham. R.A.) good very fine Pair: Private J. Smith, Lancashire Fusiliers British War and Victory Medals (4581 Pte. J. Smith. Lan. Fus.) good very fine British War Medal 1914-20 (153837 2-Cpl. G. J. Smith. R.E.); 1939-45 Star; War Medal 1939-45; Special Constabulary Long Service Medal, G.VI.R., 1st issue (George W. Wallace); together with a Silver War Badge, the reverse officially numbered ‘23605’, generally good very fine An unattributed group of three miniature dress medals British Empire Medal, (Military) G.VI.R., 1st issue; Defence and War Medals 1939-45, mounted as worn, nearly very fine France, Third Republic, Croix de Guerre, bronze, reverse dated 1914-1918, with bronze star on riband, nearly very fine (lot) £70-£90
Three: Major P. G. Baker, Royal Australian Army Service Corps, late Duke of Cornwall’s Light Infantry and Middlesex Regiment 1939-45 Star; Burma Star; War Medal 1939-45, with M.I.D. oak leaf; together with a Duke of Cornwall’s Light Infantry Champion Recruit Medallion, bronze, the reverse engraved ‘1938 5437808 Pvt. [sic] P. G. Baker’; and the related group of three miniature dress medals, nearly extremely fine (4) £80-£100 --- M.I.D. London Gazette 5 May 1945: ‘For distinguished services in Burma and on the eastern frontier of India.’ Patrick George Baker was born at Headley, Hampshire, on 16 April 1921 ands attested for the Duke of Cornwall's Light Infantry in 1938, receiving a prize medal for Champion Recruit. He served in “B” Company, 2nd Battalion, during 1939, which included a period of garrison duty at the Tower of London, before proceeding for service in Burma. After attending an Officer Training Unit at Quetta, India, he was commissioned Second Lieutenant in the Middlesex Regiment on 31 May 1941, and was promoted to War Substantive Lieutenant on 1 October 1942. For his services in Burma during the Second World War he was Mentioned in Dispatches; a photograph taken in Rangoon in 1945 shows him in the rank of Captain, and prior to his discharge he was promoted temporary Major. Post-War, Baker worked as a forest engineer in Burma, in charge of a labour force which included many elephants. He subsequently emigrated to Tasmania and was employed by the Hydroelectric Commission. He attested for the Australian Citizen Military Forces and was commissioned as a Captain on 9 September 1952 and was posted to 123 Independent Transport Platoon, Royal Australian Army Service Corps. He was ultimately promoted to Major and served as the Officer Commanding, 123 Independent Transport Platoon, R.A.A.S.C. A photograph shows them at Brighton Camp, Tasmania, in May, 1953. He transferred to the Reserve of Officers on 23 February 1955, and died in Launceston, Tasmania, on 23 June 1999, aged 78. Sold with a group photograph of the recipient with “B” Company, 2nd Battalion, D.C.L.I., on garrison duty at the Tower of London; a group photograph of the recipient with other officers in Rangoon in 1945; an annotated group photograph of 123 Independent Transport Platoon, R.A.A.S.C., May 1953; two large portrait photographs of the recipient; riband bar; D.C.L.I., Middlesex Regiment, and R.A.A.S.C. cap badges; and copied research.
Family Group: A Second War ‘Internment Camp Commandant’s’ O.B.E. group of five awarded to Colonel E. D. B. Kippen, Veterans Guard of Canada The Most Excellent Order of the British Empire, O.B.E. (Military) Officer’s 2nd type breast badge, silver-gilt; British War and Victory Medals (Lieut. E. D. B. Kippen.); Canadian Volunteer Service Medal; War Medal 1939-45, Canadian issue in silver, mounted as worn, together with mounted companion set of miniature dress medals, good very fine 1914-15 Star (55084 Pte. A. Kippen. 19/Can: Inf:) reverse scratched overall in attempt to obscure naming, otherwise good very fine (6) £280-£340 --- O.B.E. (Military) Canada Gazette 8 June 1944: ‘Colonel Eric Douglas Bruce Kippen, Veterans Guard of Canada.’ The recommendation states: ‘This officer has completed over five year’s service as Officer Commanding Internment Camps of Prisoners-of-War, having in that period an enviable record of success in several military districts. His last command has been Camp 133, Lethbridge, Alberta, with a prisoner of war strength of upwards of 13,000. He has at all times displayed tact and fairness in dealing with his charges, but has been instrumental in fostering among them the ideals and practical machinery of democratic methods, by both precept and practice. His work has been voluntarily enlarged by exhibiting the same qualities in his dealings with the civil population adjacent to camps so that the relationship between them and the guards and other army personnel has been maintained on a basis of good will and courtesy. His service embraces also the war of 1914-1919 in which he served.’ Eric Douglas Bruce Kippen served in France in World War I, having been commissioned in 1916, severely wounded and taken prisoner in the battle of Cambrai in December 1917. The first three months of his captivity were spent in German hospitals, and then for over a year he was detained at four different camps in Germany until he was liberated in December 1918. Returning to Canada in May 1919, Kippen obtained his discharge and went into the investment business in Montreal and New York. In 1922 he launched his own investment firm, Kippen and Company, in Montreal. Anxious to serve his country again when the Second War started, the present commanding officer of Canada's largest Prisoner Of War camp volunteered his services, and in June 1940 became a major in the Veterans Guard of Canada. That same month he opened an internment camp at Lle-Aux-Noix, Quebec, for internees from England and received his first prisoners in July. He opened another camp at Farnham, Quebec, in October 1940. Early in 1942 he was posted to the P.O.W. camp at Espanola, Ontario, in command of a guard company, and after a short stay there was sent to the camp at Angler, Ontario. From Angler he went to the temporary camp at Ozada, near Banff, in the summer of 1942. Promoted to the rank of Lieutenant-Colonel, Kippen was appointed commandant of the internment camp at Angler in September 1942, which was the camp detaining Japanese internees. The following February, Colonel Kippen organised and opened the Prisoner Of War camp at Grande Ligne, Quebec, for German officers, and received his first captives in June. He remained commandant of that camp until moving to Lethbridge Camp in October 1944, at the same time receiving his promotion to the rank of full Colonel. After the war he returned to his investment business, from which he retired as a Director in 1975. Colonel Kippen died at Toronto on 22 October 1988, aged 95. Arnold Kippen ‘is reported wounded again. He went overseas in May 1915. He was then a lance-corporal, but received his commission on the field [as Lieutenant]. He is 23 years old, and was employed at the Merchants Bank. This is his third time wounded. Last March he was severely wounded, and might have had light duty in England, but volunteered to go back on the firing line.’ (Copied news cutting refers). Sold with copied research and the book Prisoners of the Home Front, by Martin F. Auger, which contains numerous mentions of Colonel Kippen.
General Service 1962-2007, 2 clasps, Borneo, Northern Ireland, unofficial retaining rod between clasps (22394245 W.O. Cl.2. G. Besford. S.C.L.I.) minor edge bruise, nearly extremely fine £160-£200 --- Gordon Besford was born in Keighley, Yorkshire, on 28 April 1932 and attested for the Duke of Cornwall’s Light Infantry in 1950. He was serving as company Quartermaster Sergeant at the time of the amalgamation with the the Somerset Light Infantry in 1959, and served with the newly-created Somerset and Cornwall Light Infantry in Borneo. Commissioned Second Lieutenant on 1 April 1966, he was promoted Lieutenant on 1 April 1970, and Captain on 1 April 1972. He saw further service with the Light Infantry in Northern Ireland, and was promoted Acting Major on 23 January 1976, being confirmed in this rank on 30 June 1978. He retired on 31 March 1984. Sold with copied research, including a photographic image of the recipient in civilian dress.
AGATHON LÉONARD (1841-1923) FOR SUSSE FRÈRES, PARIS 'DANSEUSE À L’ÉCHARPE, GENOU LEVÉ' (DANCER WITH A SHAWL, RAISED KNEE), CIRCA 1901 bronze, with later gilt patina, signed in the bronze A LÉONARD / SCLP, with SUSSE FRÈRES EDITEURS PARIS pastille, and stamped: M/ GENOU LEV*(É)/ ELECTRICEEDimensions:60cm high, 39.5cm wide, 19cm deepNote: Literature: Alastair Duncan A. Art Nouveau and Art Deco Lighting, London, 1978, p.58, pl.20 Arwas V. Art Nouveau, The French Aesthetic, London, 2002, p.136Duncan A. Louis C. Tiffany: The Garden Museum Collection, Woodbridge, Suffolk, 2004, p.643Note: This elegant figure in an elaborately draped dress belongs to a series of dancers conceived by Agathon Léonard, the Jeu de l'Écharpe, which was first exhibited at the Société Nationale des Beaux Art in 1897 as a project for a theatre foyer. The dancers in elegant poses are characterised by their delicate gestures, loose dresses and wide sleeves. They rapidly became Léonard's most popular works and were produced in gilt bronze by the Susse foundry. The present bronze is a large-size Susse Frères cast of the 'Danseuse à L’Écharpe, Genou Levé', model no.12, created between 1897 and 1899, the Susse edition produced from 1901. The carefully chased surface of the bronze produces a shimmer effect of light on the gilded surface.
18TH CENTURY ITALIAN SCHOOL "Maria Clementina Sobieska" portrait study, half length, oil on canvas, unsigned, 80 cm x 65 cm (Princess Maria Sobieska,1702-1735, was the grand-daughter of the King of Poland, John III Sobieski, and the wife of James Francis Edward Stewart, the Jacobean Pretender to the British throne, and mother of Charles Edward Stewart (Bonnie Prince Charlie) and Henry Benedict Stewart, before dying aged 32 on 18th January 1735, and buried in St Peter's Basilica, Rome), 80 cm x 64 cm CONDITION REPORTS Canvas has been relined. Painting has various repairs and some areas of repainting, including horizontal and vertical splits in central section of picture. Paintwork has quite extensive craquelure. Various areas of scuffing and flaking / missing paint including to her face. A large darker painted area to the left of her hair and neck. There is a grid-like / ridged effect to her face where the paint is worn away - possible the weave of the canvas showing through. Under UV light the repairs and repainting are apparent to the large vertical and horizontal splits to the centre which form two sides of a square, overpainting to the repaired area. There are also various other areas of touch-up paint to bottom centre, to folds to left of dress, and several small specks and small areas throughout, and an area of repair to the centre of her neck. A few small dots of touch up paint to her face, but the worn area to the right on her face where the canvas weave shows through, appears pale under UV light which would suggest that that area is worn rather than repainted. The larger darker area to the background to the left of her hair and neck shows up pale under UV light and appears of a similar pale milky colour to the rest of the background. There are some slightly darker areas throughout possibly where crazing and cracquelure have been stabilized and painting appears to have been revarnished. The frame has various chips, losses, regilding, cracks and some drilled holes.
A box containing a 19th Century beaded needlework panel depicting coat of arms within a floral set ground, a beaded and needlework pennant, possibly from a pole screen, depicting floral sprays and two 19th Century beaded pennants depicting floral sprays on a blue ground possibly from table screens, together with an early 20th Century smock dress and a ribbon and lace set baby's bonnet
A 9 carat gold mounted London blue topaz set dress ring size L together with similar pear drop pendant and matching pair of ear studs 8.3 g over all, a yellow metal mounted baguette cut two piece aquamarine pendant, a yellow metal mounted citrine bar brooch, a 9 carat gold mounted turquoise dress ring size K and a pair of matching earrings and a leaf brooch set with trapezium cut blue stones
An 18 carat gold green opal set dress ring size O, 7.4 g the stone 1.2 cm x 1 cm CONDITION REPORTS The ring does not appear to have been resized. The oval mount to the stone has denting to the edge - see images for further detail. There is slight chipping to the edge of the stone, which may, or may not, have been produced in the mounting. It does not appear to be recent. See images for further detail.
A collection of vintage clothing, mostly 1960s-80s comprising six 1960s/70s dresses, one 1960s house coat, two vintage skirts, two 1950s fitted jumpers and three further jumpers, two cardigans and four gent's shirts in a vintage suitcase CONDITION REPORTS All measurements under arm to under armOrange dress 76 cm, Multi-coloured flower dress 84 cm, Turquoise dress 88 cm, Green trellis dress 94 cm, Pink dress 90 cm and Orange dress 92 cm
A collection of ten Lladro figures including young girl seated (B17S), young girl with cake on a plate (5429), young girl with piglet (very damaged), young girl with cockerel (4677), young girl in nightdress with chamber stick (4968) (damaged), young girl in nightdress with mandolin (4871), young girl upon her knees, young boy in nightdress yawning, young girl in hooded cape with basket (4678) and young girl in floral decorated dress
An 18 carat white gold and aquamarine dress ring size K, the rectangular stepped stone approx. 1.2 cm x 1 cm together with a pair of matching earrings 6.5 g over all CONDITION REPORTS To the naked eye, in good condition throughout, though under a 30 x magnifier, some small chips/nibbles to the extremities in a couple of places on the ring. All pieces arguably in need of a good clean, otherwise in good condition
Icelandic & Viking. 30 volumes of Icelandic, Viking & Norse reference, including Skja, Iceland's Largest Volcano, With a Description of the Great Lava Desert in the Interior, and a Chapter on the Genesis of the Island, 1st edition,by Locke, published by the author, 1881, folding map to the front with a minor tear to the hinge, some light spotting, original boards, 8voLetters on Iceland: Containing Observations on the Civil, Literary, Ecclesiastical, and Natural History; Antiquities, Volcanos, Basaltes, Hot Springs; Customs, Dress, Manners of the Inhabitants &c, &c, by Banks, G. Perrin, 1780, folding map frontispiece, some light toning & spotting, new endpapers, modern brown cloth, boards slightly marked, 8vo Islendinga Sogur vols I-XII, 12 volumes, by Jonsson, Islendingasagnutgafan, 1946..., Icelandic text, bookplates to the front endpapers, some toning & spotting, contemporary black quarter calf, volume 6 cracked to one edge with loss to the head & foot 8vo, & further early medieval history and Icelandic topography reference, mostly original cloth, V/VG, 8voQTY: (30)NOTE:Please note that lots 375-430 are off-site in Bourton-on-the-Water and can only be viewed online and any purchases collected from there by prior arrangement.
The Stock Exchange. Whistler (Reginald John, 'Rex'), The Stock Exchange London 1933, London: The Financial News, 1933, colour photolithograph, additional cartouche with the title 'The Financial News Map of the Stock Exchange' with a table of explanation below, numerous allegorical symbols and figures surrounding the map, slight spotting, very slight surface abrasion, laid on later card, 390 x 535 mmQTY: (1)NOTE:A scarce map crammed with allegorical symbolism. The cartouche is supported by a bear and a bull, the classic representations of a sellers and buyers market, and both are shown in morning dress. The secondary cartouche is flanked by King Midas who has coins spilling from his waist and Dame Fortune who is blindfolded and holding a pair of scissors and whose arm rests on the 'rota fortunae' or wheel of fortune, a symbol of the capricious nature of fate. In the upper corners of the map are representations of Mercury carrying an elaborate compass and the goddess Demeter spilling her cornucopia into the market. The stock exchange itself is shown as a castellated courtyard within whose walls commodities, gilts and bonds are depicted being traded by a variety of humorous vignettes.
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