A mid Victorian ebony, calamander, abalone, mother of pearl, ivory, bone, rosewood, purpleheart, sycamore and fruitwood marquetry collector's cabinet1870-1875, possibly by Jackson and GrahamWith line-inlaid borders and stringing, the top surmounted by a baluster gallery to the rear, above a stylised foliate inlaid frieze comprised of alternating palmettes and lotus-leaves flanked by rosette tablet angles, over a twin double panelled door, the upper panel inlaid with a still life of assorted shells, moluscs, coral and seaweed, the lower door panel inlaid with stylised foliate and scrolled angles, enclosing a total of eleven satinwood veneered and mahogany lined drawers comprised of eight long drawers over three deep drawers, flanked by stylised foliate, palmette and honeysuckle inlaid angles, on a plinth base, the lock stamped: 'CHUBB PATENT, 128 QUEEN VICTORIA ST., ST. PAUL'S, LONDON, 800354', 96cm wide x 67cm deep x 148cm high, (37 1/2in wide x 26in deep x 58in high)Footnotes:The repeating inlay running across the frieze of the offered lot is redolent of some Greek revival or 'Neo-Grec' designs published in 1856 within 'The Grammar of Ornament' by Owen Jones (1809-1868). Worthy of particular comparison are several decorative patterns inspired by ancient Greek vase ornamentation which feature among Plates XVI and XVII, Greek No.'s 2 and 4. Owen Jones was among the most notable designers employed by the renowned cabinet making combination of Jackson and Graham so it seems probable that the present cabinet was indeed executed by this firm. Added to this, the use of ivory (amongst the various other exotic materials) inlaid into ebony, along with its distinctive stylised foliate embellishments, are certainly characteristics very much in keeping with those pieces produced by Jackson and Graham during the period 1865-1875. Jackson and Graham (fl. 1836-1885)Jackson and Graham were one of the most successful and prestigious firms of the early and mid-Victorian periods. Based in London, they were responsible for enhancing the reputation and improving the renown of English cabinet makers throughout the rest of the World. In 1836 the partnership of Peter Graham (1811-1877) and Thomas Charles Jackson (1807-1848) was founded at 37 Oxford Street, but by 1839 the venture had developed to incorporate 37 & 38 Oxford Street, as well as an additional location at 18 Newman Street.In 1845 the company was recorded in the Post Office Directory as cabinet makers, upholsterers, carvers, gilders and house agents. However, by as early as 1866 they had grown sufficiently quickly as to include locations at 29, 33, 34, 35, 37 and 38 Oxford Street, together with the ownership and running of addresses at Perry's Place, Freston Place and Newman's Yard. In the 1860s, as part of their operation, Jackson and Graham employed 250 workers. During the 1850s the firm set up a steam engine for the more rudimentary sawing requirements, however by the next decade they had established machine-carving as well. By 1875 their total number of employees had reached within the region of 600 to 1,000. The rapid rise of the business is summarised in a London Directory advertisement of 1866 in the following way: 'Jackson and Graham announce... that they have recently made great additions to their former extensive premises, which render their establishment the largest of its kind in this or any other country. The Spacious Show Rooms and Galleries are filled with an unrivalled stock, the prices of which are all marked in plain figures at the most moderate rates for ready money. The extensive Manufactory adjoining, with machinery worked by steam power, is fitted with all means and appliances to ensure superiority and economise cost. Each of the departments will be found as complete as if it formed a separate business...' Only one decade on from this, another detailed account of the company is provided in J.H. Pollen's publication of Bevan's 'British Manufacturing Industries' (London, 1876). It elucidates a business which was as almost entirely automated as any other at that time in Victorian Britain, utilising and manipulating steam in order to power their wide assortment of machinery. Yet, despite this fact, the substantial contribution of highly skilled human labour and craftsmanship was also simultaneously championed therein. And, probably in part due to their employment of specialist foreign inlayers or marquetry experts, the firm's output easily rivalled anything then being produced in Europe, as evidenced by the numerous awards they were honoured with over time. Jackson and Graham used every opportunity to display their 'wares' at the various International Exhibitions which took place throughout much of the second half of the 19th century. They did so in order to showcase the very best of what they could produce. Their notable participation at the first and most famous of these, the Great Exhibition of 1851, was described thus by the 'Art Journal': 'Messrs Jackson and Graham, the eminent upholsterers of London are large contributors to the Great Exhibition of many important articles of their manufacture'. At the 1851 Exhibition in London, they received a prize medal for their exhibits.For the 1855 Paris Exhibition the firm showed a large Eugene Prignot-designed cabinet to the public, which was thereafter acquired by the Victoria and Albert Museum for £2,000: W.81-981, where it is still housed today. Among the more significant furniture supplied for the 1862 International Exhibition in London were a pollard oak sideboard and a Louis XVI style ebony and ivory cabinet with an onyx top. Again, they were honoured with multiple awards in London, but also gained similar trophies five years hence at the Paris Exposition. In 1871 an ebony and inlaid cabinet, which followed a design by R.S. Lorimer, was displayed by Jackson and Graham at the International Exhibition. They were also involved at Vienna in 1873 and took part in London the next year. However, it appears that at the 1878 Paris Exposition, which was their ultimate event of this scale and scope, they obtained the Prix d'Honneur for the British section. Whilst for the star item, known as the 'Juno' cabinet, they in fact achieved the 'Grand Prix' before the Viceroy of India bought the piece for £2,000 (now in the Victoria and Albert, W.18: 1-6 1981). Their principal documented commissions include work provided for; the Ball Room at Buckingham Palace; the Palace of the Khedive in Cairo, Egypt; the City Carlton Club; and the Livadia, a yacht belonging to the Czar of Russia.It should be noted that a great deal of the success of this business was allied to the fact that they often employed the major designers of the day. Such prominent figures as Owen Jones, Thomas Jeckyll, Bruce Talbert and Christopher Dresser all worked at one time or another for Jackson and Graham. As on the offered lot, the particular emphasis in the designs of Owen Jones was largely upon ebony pieces inlaid with ivory and sometimes also metal. During the period 1862-c.1864, Alfred Morrison commissioned Jackson and Graham together with Jones to produce extensive work at Fonthill House in Tis... This lot is subject to the following lot symbols: TP Y ФTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory and cannot be imported into the USA or any country within the EU.For further information on this lot please visit Bonhams.com
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THE 1926 ASCOT GOLD CUP: an 18 carat gold cup and coverSebastian Garrard, London 1926, inscribed under handle 'Chas. Sykes Sculpt' Of ovoid form, the whole hand-raised, a pull-off part domed cover featuring an organic style cast and chased six-pointed star wrythen finial, the main body with a rolled flaring upper rim transitioning into a gently waisted wide neck adjoining the main body, from the rounded shoulders two cast lug handles project horizontally, both ergonomically curved with fluting and ornamented in a kneeling ribbed character partly clothed by leaf forms, from which two slender arm-like strands return and attach to the main body, their ends curled within applied acanthus leaves, the smooth egg-shape form powerfully gripped at its base by four embossed spined acanthus leaves, a flanged pedestal beneath flowing into four embossed matching acanthus leaves in high and low relief, on a circular spreading foot, the patina of the gold to the whole warm and vibrant, presented on the original circular wooden plinth with applied lettering for 'ASCOT 1926' to one side, to the other a plaque inscribed 'Won by Sir John Rutherford's Solario', height cup without plinth 42cm, diameter handle to handle 34cm, weight 3041gms.Footnotes:ProvenanceAwarded to Sir John Rutherford in 1926 and thence by family descent to the present owners.Lot ResearchThe Ascot Gold Cup stands proudly as the showpiece event and trophy of Royal Ascot week, and is Britain's most prestigious horse racing occasion for 'stayers' – horses which specialise in racing over long distances. It is a Group 1 flat horse race, open to horses aged four years or older, covering a distance of 2½ miles. Ascot Racecourse itself is located in Berkshire, not far from Windsor Castle, and is located on Crown Estate Land. Founded by Queen Anne in 1711, it has a symbiotic relationship with the British Royal family, resulting in the reigning Monarch appointing a representative to run the administration of the racecourse on their behalf. Traditionally the racecourse had been run by the Master of the Royal Buckhounds, but in 1901 this changed and Lord Churchill (Victor Spencer, 1st Viscount Churchill, 1863-1934) was appointed by Edward VII as his first official Representative, becoming Chairman in 1913. In 1926, when this Gold Cup was awarded, Lord Churchill was still very much at the helm and was integral to the design of the trophy on offer.The Gold Cup was first run in 1807 when it was won by Master Jackey, and the first formal Royal procession, starting from Windsor Castle, was introduced in 1825 by George IV. Throughout Royal Ascot week, each race day begins with the Royal Procession, when the reigning Monarch and accompanying members of the Royal family arrive in horse-drawn carriages. While the Royal Standard is being raised, they are driven slowly along the track in full view of the expectant crowds. The Royals and invited guests then spend the day watching the races from the Royal Enclosure. The magnificent Ascot Gold Cup is the prize awarded to the owner of the winning horse by the reigning Monarch, and the cup design has to be approved by the Sovereign each year. It is one of only three perpetual trophies at the Royal meeting that are able to be kept on a permanent basis by the winners, the other two being the Royal Hunt Cup and the King's (or Queen's) Vase. As such, all three trophies are re-made every year, to a different design.Gold Cup Day is traditionally held on the third day of the Royal Ascot meeting held in June, which is known colloquially (but not officially) as 'Ladies' Day'; a day to see and be seen. The term seems to have been coined in 1823, when an anonymous poet described the Thursday of the Royal Meeting as 'Ladies' Day ... when the women, like angels, look sweetly divine.' A strict dress code underpins the spectacle, attracting the very best in fashion, horses, trainers and quality of racegoers alike. Lord Churchill is reputed to have taken personal charge of vetting applications for entrance into the Royal Enclosure, sorting letters into three baskets marked 'Certainly' 'Perhaps' and 'Certainly Not.'On Thursday June 17th, 1926, the Gold Cup on offer was won by 'Solario' (1922-45), a four-year-old thoroughbred, ridden by the jockey Joe Childs (1884-1958) and owned by Blackburn's phenomenally wealthy Sir John Rutherford (1854-1932). George V, accompanied by his wife Queen Mary, awarded Sir John the trophy on offer in the presence of a huge cheering crowd – a design chosen by George V after much deliberation and angst, causing much controversy behind the scenes. This tension over the cup design has come to light since letters held in The Goldsmiths' Company archives, specifically on the design process behind the 1926 Gold Cup, were carefully perused.However, the drama that had played out behind closed doors was not in evidence on that sunny day in June, when 'Solario' reigned triumphant. Originally bred in Ireland by the 4th Earl of Dunraven, 'Solario' was the son of the Triple Crown winner, 'Gainsborough'. In 1923 he was bought as a yearling by Sir John for £3,675 at the Doncaster blood sales, as a handsome horse of elegant build in unmarked brown, with high withers, long legs and a short back – the perfect 'stayer' in form. Under the guidance of his trainer Reginald Day, 'Solario' went on to become one of the most famous racehorses of his day, undoubtedly the best Sir John Rutherford had ever owned, winning numerous prestigious races such as the Exeter Stakes in 1924, the St Leger Stakes in 1925 alongside the Ascot Derby and the Princess of Wales Stakes, and in 1926 the Ascot Gold Cup and the Coronation Cup. He retired to Terrace House Stud in Newmarket, commanding the highest stud fee in the land of 500 guineas a mare and winning the 'Leading Sire of Great Britain & Ireland' award in 1937. Indeed, he was immortalised in oils after his monumental win at Ascot in 1926 by Sir Alfred James Munnings (1878-1959), and in 1932 the painting was bequeathed to Blackburn Museum and Art Gallery by Sir John Rutherford, where it still resides today. His owner, Sir John Rutherford, died in 1932 and 'Solario' was offered in his dispersal at the Newmarket July sale that year. Amidst fear that he would be snatched up by a wealthy American syndicate, bidding was contentious, and a British syndicate headed by Lord Glanely won him at 47,000 guineas, a new record price for a horse at auction. He was returned to stud at Terrace House, where he died in 1945.Solario's owner Sir John Rutherford, 1st Baronet (1854-1936) was originally born in Annan Dumfriesshire, the only son of Mr John Rutherford J.P. of Blackburn, a town which he had a lifelong association with. Sir John was a man with true Northern grit, a multi-faceted character who had been one of Blackburn Rovers first-ever football players, later inheriting his father's partnership in Shaw's Brewery in Blackburn town centre. He gained a Commission into the Duke of Lancaster's Own Yeomanry regiment in 1881, which he commanded for six years, found time to serve as a Conservative Member of Parliament for Darwen, a seat he held for a total of twenty-seven years, and was appointed the Mayor of Blackburn in 1898. His elevation in social standing was cemented by being granted a baronetcy on 27 January 1916, owning the archetypal country estate in Scotland, as well as a now-vanished mansion at Beardwood in Blackburn. As a brewing tycoon, he was wealthy enough to afford to turn down the Aga Khan's offer of £100,000 - equal to more than £3.2 million today - for his colt 'Solario' after it won its first classic, the St Leger in 1925. His interest in horses had begun in 1880, when he originally showed an interest in show jumping and steeplechasing, but his true passion lay with ownership of thoroughbred... For further information on this lot please visit Bonhams.com
GERALD BENNEY: a rare pair of silver-gilt and enamelled pitchersLondon 1973, the bases with master enamellers mark AAE in an oval punch, for Alan Alfred Evans, stamped GERALD BENNEY LONDON,Translucent red enamelled hinged domed covers over a fine textured ground, with bodies with bark effect textured sides of broad baluster form, with cream enamelled loop handles, each with an engraved crest to the front with the head of St John the Baptist couped distilling drops of blood within a strap and buckle, initialled by the hinge mount script 'M L', height 25.5cm, weight total 89oz. (2)Footnotes:ProvenanceSold Bonhams 12th October 2004, lot 128.Gerald Benney decided that his home at Beenham House in Berkshire was the place to develop the use of enamels. The first steps were to travel to Zurich to find an enameller who worked for Burch Korrodi. By chance he came across the Norwegian Berger Bergensen who had worked for the House of Bolin as well as Burch. Bergensen was persuaded to come to Beenham House and taught the Benney workforce all he knew about enamelling. Alan Evans and Robert Winter became notable master enamellers for Benney.It took several years to master the craft. He refined and mastered this art, enamelling larger surface areas than Fabergé.ADRIAN GERALD SALLIS BENNEY CBE RDI (1930 – 2008)Gerald Benney was one of the most outstanding goldsmiths of the 20th century, with works being continuously produced for over fifty years, from private commissions to mass production.Born in Hull, Yorkshire in 1930. His mother Aileen was a talented silversmith and his father, Ernest, was Principal of Brighton College of Art. It was at Brighton College of Art between 1946-1948 that he trained as a silversmith under Dunstan Pruden. After two years national service with the Royal Army Service Corps he went to the Royal College of Art under Professor Robert Goodden. In his first year he was awarded a Prince of Wales scholarship.As well as designs in silver, in his early years Benney also used other material to design a range of products including clocks, lamps and prams.Benney found his first workshop at Suffolk House, Whitfield Place, off the Tottenham Court Road in London during his last term at the RCA. It was at the RCA that Benney met fellow silversmiths David Mellor and Robert Welch; between them they were to revolutionise post war silver design. At this time he also met the jeweller, John Donald.Early in his career Benney discovered, by accident, the distinctive surface texturing of silver that was to become his signature. He inadvertently used a hammer with a damaged head while producing a cup, and liked the effect. This surface texturing soon became known as 'Benney Bark Finish'. The finish was widely imitated and dominated contemporary silver design for almost two decades. Its success was, not only, for its new contemporary look but also for the practical reasons, that it almost eliminated tarnish and fingerprints.In 1963, Benney moved to Beenham House near Reading. It was here that he decided to develop the use of enamels. Starting in 1968 he revived the almost-lost art of enamelling, he went on to be one of the world's foremost modern enamellers. In 1969, he moved his London studio to Falcon Wharf, Bankside where he eventually employed 22 people.In 1973 Benney moved his workshop to warehouses in Bear Lane, Southwark. Also in this year Goldsmith's Hall held a major retrospective of his work.In 1974 he received his first Royal Warrant granted by The Queen, followed by another in 1975 by HRH The Duke of Edinburgh and HM Queen Elizabeth The Queen Mother. In 1980 a fourth Royal Warrant was granted from HRH The Prince of Wales. Becoming the first craftsman to hold four Royal Warrants simultaneously.Benney's work can be seen in many collections worldwide, including those of the Victoria and Albert Museum and The Goldsmiths' Company.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
ATTRIBUTED TO JOHN OBRISSET (ENGLISH, ACTIVE 1705-1728): A RARE PRESSED HORN OVAL PORTRAIT RELIEF, HISTORICALLY BELIEVED TO DEPICT SIR OLIVER LEADER OF STOUGHTON MAGNA (ALIAS GREAT STOUGHTON/ STAUGHTON), COUNTY HUNTINGDON BUT PROBABLY DEPICTING CHARLES IMounted within a white metal oval snuff boxThe portrait depicting a bearded male sitter, with flowing locks, clad in an armoured breastplate and flowing drapery set within the hinged lid of the oval box with reeded foot, the underside of the base with an engraved coat of arms including three downturned shells, two boars and one lion head within a scrolling border, the interior with a handwritten ink label reading The arms on the base are registered to Sir Oliver Leader of Stoughton Magna Co. Huntingdon; (Temp? Elizabeth) and his descendants. Rec..St Search F66 (?). July 24, 1895, W.E.G, 7.7cm long, 5.8cm wideFootnotes:ProvenanceThe collection of Sir Michael and Lady Oppenheimer DD (3rd Baronet, British, 1924-2020), Jersey, thence by family decent. Sir Michael Oppenheimer's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire which was the Harvey Baronet's main family seat from 1788 until 1945.Sir Michael's paternal family wealth was derived from mining interests in South Africa and his father Bernard Oppenheimer, as Chairman of the South African Diamond Corporation, received a baronetcy from George V in 1921 for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The Oppenheimer family was involved with the prestigious De Beers brand over the subsequent decades of the 20th century and Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relationships.Obrisset was a British sculptor, medallist, goldsmith and metalworker of huguenot descent, the son of Jean Aubrisset of Dieppe, who was a noted ivory carver.LiteratureSee P.A.S Phillips review 'John Obrisset and his works in horn and tortoiseshell 1705-28', London, 1931 by WK (William King, of the British Museum), Burlington Magazine, vo. 60, no. 347, February 1932, p. 120.R. Fedden,'John Obrisset a notable Huguenot craftsman', The Connoisseur, vol. 180, May 1872, pp. 13-17.For further information on this lot please visit Bonhams.com
A French gilt bronze figural candlestickIn the manner of Corneille Van Cleve (French, 1646-1732), probably early 18th century The Vitruvian scroll banded and artichoke leaf cast cylindrical campana nozzle above a lotus and fluted shallow swept collar, raised on a figural support cast as a male Bacchanalian figure seated on a classical vase, supporting a smaller putto, the ribbon tied moulded socle below the vase, on a circular spreading base with spiral shankered decoration within a foliate cast outer border, the collar drilled for electricity, 40.7cm high overallFootnotes:The drawings for the design of the offered candlestick and a female companion candlestick were once originally attributed to Charles Le Brun (French, 1619-1690) but later attributed to be Van Clevé. These designs were first executed by Clevé's brother-in-law, the goldsmith Nicolas de Launay in 1702 in silver-gilt.For a discussion on a comparable pair of candlesticks in the Wallace Collection, see P. Hughes, The Wallace Collection Catalogue of Furniture, Vo. II, London, 1996, figs. 30-31, nos. 232-233.For comparable pair of Régence candlesticks see Christies, Hubert de Givenchy - Collectionneur: Chefs-d'oeuvre, 14 June 2022, lot 38.For further information on this lot please visit Bonhams.com
Attributed to Francois Villemsens (French, fl. mid 19th century): An impressive pair of First Universal 'Great Exhibition' gilt bronze Neptune ewersCirca 1851Each with mythological aquatic figural decoration, the elaborate rocaille cast urn bodies with intertwined sea serpent high scrolling handles and eagle pouring lips, the swept upper bodies cast with the sea gods drawn by twin pairs of hippocampi, trumpeting mermaids and mermen, shells and acanthus leaves, above foliate girdles applied with Neptune masks, dolphins and alternating shells and starfish, each raised on mermen and mermaid tripod supports, above rockwork tripartite platform footed bases, 56.5cm high (2)Footnotes:The model of the offered ewers is almost identical to a vase exhibited by the bronzier François Villemsens at the first Universal Exhibition known as the Great Exhibition, held in London in 1851. In the Art Journal illustrated catalogue the entry notes for his work commented: 'the three vases are from the establishment of M. Villemsens of Paris, worker in bronze, and manufacturer of church ornaments; the latter branch of business especially, being largely carried on by this house. During our visit to Paris towards the close of the past year, we saw in his extensive showrooms a vast variety of objects, exhibiting more or less taste in composition, and ingenuity of workmanship; these were principally executed in bronze and in brass, and were adapted as well for the embellishment of the private dwelling as for purposes of ecclesiastical use and decoration - statues, vases, chandeliers, candelabra, delicate rail-work, etc. The three bronze vases and dishes selected from the contributions of this firm are distinguished by beauty of outline and elaborate ornament, approaching very closely to the best antiques'.Likely descended from a family of goldsmiths in the 18th century, François Villemsens established his workshop in the Marais, first at 18 rue Michel Le Comte, then at 71 rue du Temple. In 1834, he exhibited a facsimile of the armour of Francis I, which was hailed by the Archives du Commerce et de l'Industrie (Paris, 1834, p. 157). By 1835, he entered the Réunion des Fabricants de Bronze, heir to the former corporation of foundrymen, and regularly participated in the Expositions des Produits de l'Industrie Française. Winning a silver medal at the Exhibition of 1839, Villemsens joined the 'Bronze of Art and Furnishings' category alongside Thomire & Cie and Victor Paillard before winning a further silver medal at the last Exposition des Produits de l'Industrie Française in 1849. With these successes he approached the Universal Exhibition in London in 1851 where he won a new medal by submitting the vases mentioned above, including the Neptune vase. The success led him to New York where he participated in the Universal Exhibition of 1853 and appeared in the official catalogue of the New York exhibition of the industry of all nations, p. 154, at No. 15 as 'Bronze candelabras, groups, lamps, etc. Villemsens & Co, manu. 71 rue de Temple, Paris'... He was again a medallist at the Universal Exhibition in Paris in 1855 and by 1863 Villemsens had offered to finance the award of a carving prize that would be awarded each year by the Réunion des Fabricants de Bronze. After participating in the Universal Exhibition of 1867 where he presented a cast door from the Baptistery of Florence, he finally retired from business.From the second quarter of the 19th century onwards sculptors, bronziers and goldsmiths particularly appreciated the shape of the ewer to express ornamentation in all its manifestations, giving a free rein to exuberance and eclecticism. Renaissance art was one of their main sources of inspiration, and in particular Mannerism, utilising mythological themes and motifs as illustrated by the present lot. The sculptor Adolphe-Victor Geoffroy-Dechaume and the goldsmith Charles Wagner, who were contemporaries of Villemsens, similarly produced a ewer on the theme of Ondine in 1844, which is reproduced in the Maciet Albums. Characteristically the decoration to this piece does not leave a single part of the vessel plain. Although renowned for the execution of religious ornaments, Villemsens did not limit himself to this field and contributed to renewing the genre of decorative bronzes for a secular and wealthy clientele during the mid 19th century. For a comparable identical pair of vases see Sotheby's Paris, Robert de Balkany, Rue de Varenne, Paris – Evening sale, 20th September, lot 51Related LiteratureD. Alcouffe, A. Dion-Tenenbaum and P. Ennès, Un âge d'or des arts décoratifs 1814-1848, Paris, 1991, op. cit., p. 311, fig. 162a.E. Voirot, Création le multiple : la Réunion des fabricants de bronze (1839-1870), phD thesis, Université Paris Ouest Nanterre - La Défense, 2014This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
WW1 British Memorial Plaque to Albert Edward White, polished bronze memorial plaque mounted onto a display board with history of a Private Albert Edward White who served with the 1st Battalion Hampshire regiment and was killed on 1st July 1916, on the first day of the battle of the Somme. Mounted with a regimental cap badge of the Hampshire regiment.
WW1 British Memorial Plaque to Frederick Charles Gray, bronze memorial plaque mounted onto a display board with details of a Private Frederick Charles Gray who served with the 2nd Battalion Royal Fusiliers and was killed in action on 1st July 1916, during the first day of the battle of the Somme. Mounted with regimental cap badge also.
WW2 German Red Cross Enlisted Mans Hewer / Dagger, good example of an enlisted ranks Red Cross Hewer with two piece black grips, one side being chequered the other side smooth. Un-damaged cross guard having the DRK emblem to the centre. Housed in its original scabbard which has the original frog attached. Stamped to the reverse of the frog ‘ 4.K.p / F.L.T.S. Jü’. Standard blade with flat head tip and sawback edge to the blade. Stamped under the cross guard ‘GES GESCHUTZ’. Generally a good condition example. First example we have come across with a unit marked frog.
WW1 British Memorial Plaque William Hunter, bronze memorial plaque mounted onto a display board with details of Private William Hunter who served with the 9th Battalion Royal Irish Fusiliers when he was killed on 1st July 1916 on the first day of the battle of the Somme. Mounted with regimental cap badge.
WW2 German Army Wehrpass, issued to Gerhard Otto Martin Hoffmann from Breslau. He first served with the Wehrmacht as a driver in Ersatz Abteilung Nr23 from 1941. In 1943 he transferred to the security battalions of regiment nr 95. His last posting was on 5th December 1943 where he served with 11./Sich-Rgt 199. Various entries. Civilian photograph to the inside.
WW1 British Casualty Medal Pair and Memorial Plaque East Kent Regiment, consisting of British War and Victory medals awarded to “G-13430 PTE J RICHARDS E. KENT.R”, accompanied by bronze memorial plaque awarded to “JOHN RICHARDS”. Mounted onto a display board with regimental cap badge and details of Private John Richards who was serving with the 6th Battalion The East Kent Regiment when he was killed on 9th April 1917 aged 19. He was from Hawkhurst, Kent. G/13430 Private John Richards, 6th Battalion The Buffs (East Kent Regiment). From Hawkhurst, Kent, he attested for the East Kent Regiment in June 1916 and was killed in action aged 19 on 9th April 1917 when the Battalion attacked the German trenches at on the first day of the battle of Arras when the Other Ranks casualties were 23 men killed, 149 wounded and 18 missing. John Richards is buried in an identified grave in Faubourg D’Amiens Cemetery, Arras.
A George III shilling 1787, together with a collection of Victorian and later silver coinage, a small collection of pre-1947 silver nickel coinage, a white metal First World War Jutland memorial medallion and an engraved copper disk, detailed with lines of biblical script.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A collection of Royal Mint deluxe-cased silver commemorative coins, including two 950th Anniversary of the Battle of Hastings fifty pence coins 2016, a 100th Anniversary of the First World War Royal Navy two pounds 2015, a Queen's Beasts one-ounce silver coin 2021 and an Olympic Games Handover Ceremony two pounds 2008, the majority cased with certificates.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
An Elizabeth II Royal Mint five-ounce silver proof first-strike Britannia coin 2013, No. 2635, slabbed and NGC graded PF 69 Ultra Cameo, cased with paperwork and certificate.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A collection of various British and world commemorative coins, including a First Coinage of the British Virgin Islands proof six-coin set, cased, a First Day of Issue Presentation Set of the Solomon Islands, cased, and a Reserve Bank of New Zealand proof set 1993, cased.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A James I hammered silver sixpence 1605, a small group of other European and world coinage and two First World War Victory Medals, detailed 'Pte A.F. Maltwood R.W.Kent.R.' (number rubbed) and '33964 Pte. A.H. Pinyoun. R. Fus.'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A large collection of silver and base metal commemorative coins, including a Westminster Mint silver Inaugural one pound two-coin set, a Westminster Mint First & Last Strike of the Guinea commemorative silver crown set, two South Africa Mint one-ounce silver Krugerrands, both cased, a Westminster Mint Tanks in Action twelve-coin set and a collection of circulated bimetal two pounds coins and fifty pence coins, the majority with cases of issue and certificates.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
The Lady Brook Medieval diamond ring A Medieval gold diamond set and inscribed love ring, late 14th century, the shank taking the form of two angular entwined bands, the square rising pyramidal bezel close set with a pyramidal diamond crystal, the interior bearing a lower case black letter inscription in Medieval French reading: ‘ieo vos * tien * foi * tenes * le moy’ translating ‘As I hold your faith, hold mine’, ring size L½. £30,000-£40,000 --- The location of the find in Dorset was acquired by Henry de Broc (or de la Brook) from Reginald de Mohun (1206–1258), Feudal baron of Dunster in Somerset who had inherited it from his first wife Hawise Fleming, daughter and heiress of William Fleming. It then passed by descent through the Brook family. By the late 14th century, the Manor was in the possession of Sir Thomas Brook (c.1355-1418), who also owned La Brooke in the parish of Ilchester, who was the largest landowner in Somerset, and served 13 times as a Member of Parliament for Somerset (between 1386 and 1413). Sir Thomas was the first prominent member of his family, largely due to the great wealth he acquired from his marriage in 1388 to the wealthy widow Joan Hanham (d. 1437). Joan was the second daughter and co-heiress of Simon Hanham of Gloucestershire, and the widow of the Bristol cloth merchant Robert Cheddar (d. 1384), MP and twice Mayor of Bristol, whose wealth comprised 17 manors, five advowsons and very extensive properties throughout Devon, Dorset, Somerset and Gloucestershire, together with 21 shops, four cellars and 160 tenements in Bristol. Her son Richard Cheddar, MP, signed over his large inheritance to his mother and stepfather, Sir Thomas Brook, for the duration of their lives, due to the latter having ‘many times endured great travail and cost’ in defending them during his minority. The Brooks were granted a licence to crenelate the Manor in 1396 and create a park of 200 acres of pasture and wood. They resided there until they acquired the manor of Weycroft in the parish of Axminster, Devon, in around 1395, thereafter they split their time between the two residences. In May 1415, an ailing Sir Thomas Brook signed his will at the Manor, although he did not die until January 1418. His wife died 19 years later in 1437, and the couple were buried together in Thorncombe, the local parish church, under an elaborate ledger stone and monumental brass, considered to be one of the finest of its kind in the country. Unusually, although Sir Thomas was a knight, both he and his wife are depicted wearing fine civilian clothes and the Lancastrian Collar of Ss. The current Church of St Mary the Virgin at Thorncombe was built in 1887, about 50 yards south of the site of the former church (built at the same time as nearby Forde Abbey, in the late 12th / early 13th centuries by Cistercian monks) but the Brook effigies were preserved and inserted in another ledger-stone and placed in a relative position therein on a low tomb. ----------------------------- Although the knightly chivalric code dates to the 12th century, the notion of chivalric and courtly love really hit its peak in the 14th and 15th centuries. Courtly love is an ideal - the devotion of a great aristocratic knight to the most beautiful, courtly lady, ‘that love is not only virtuous in itself but is the very source and cause of all the other virtues’. This period also saw the flowering of ‘Court Culture’, which brought a new elegance to court life, a new delight in elaborate ceremonialism, and a new and high degree of stylisation to the manners of the French speaking aristocracy in England. This focus on courtly love can be seen in the literature of the time, such as Chaucer and Mallory. It can also be seen reflected in jewels, the ring offered here for sale being a fine example, with the two entwined bands representing the entwined lives of the couple (giver and receiver) and the personal love-themed posy inscription within, written in French (the language of both love and the aristocracy). In her cataloguing of a similar mid 14th century marriage/betrothal ring with an entwined band, Sandra Hindman also compares the pierced decoration of the band to developments in Gothic architecture, such as Sainte Chapelle in Paris. Literature: Hindman, S., et al, Towards an Art History of Medieval Rings: A private collection, Paul Holberton Publishing, 2014, p136, no. 22. Ogden, J., Diamonds, An early history of the king of gems, Yale, 2018 Ashe, L., Love and Chivalry in the Middle Ages, British Library, Jan 2018 Benson, L., Courtly Love and Chivalry in the Late Middle Ages, in Fifteenth-century studies: recent essays, ed. Yeager, R. F., Archon Books, 1984.
Two early 19th century memorial rings, the first with a central glazed hairwork compartment within a seed pearl surround between similarly-set bifurcated shoulders, cased by Bristol Goldsmiths Alliance, some seed pearls deficient, the second designed as an emerald and seed pearl cluster with a glazed hairwork compartment to the reverse, both mounted in gold, ring sizes M and E. £240-£300
Two gold lockets and a gem-set pendant, comprising a 9ct gold locket with scroll outline and engraved decoration, an 18ct gold swivel locket with crosshatch diamond set pattern and forget-me-knot engraving, together with a vari gem-set pendant, suspended by a 9ct gold figaro-link and 18ct gold belcher-link chain respectively, first locket length 45mm. £300-£500
A silver ‘Mesh Scarf’ necklace by Elsa Peretti for Tiffany & Co., of tapered woven mesh design, signed ‘PERETTI’ and ‘T&Co.’, stamped ‘925’, maker’s suede pouch and box, length 124cm. £500-£700 --- Elsa Peretti (1940-2021) was an Italian jewellery designer and fashion model. Having moved to New York in 1968, she originally started designing jewels for herself and soon after collaborated with fashion brands such as Halston. It was Roy Halston who introduced Peretti to Tiffany and in 1974 she debuted her first collection for them. The jewels sold out instantly and the following year she created the ‘Mesh’ collection, having sought out the old machines used to manufacture the precious metal mesh for purses and evening bags at the turn of the century. Peretti was one of the most successful jewellery designers to work at Tiffany and over the course of her career she went on to create over 30 collections for them, with many, including ‘Mesh’, still being sold at Tiffany today.
Formerly the Property of Her Royal Highness The Princess Margaret, Countess of Snowdon A gem-set platinum and chalcedony card case, attributed to Cartier, circa 1910, of rectangular form, the clasp and twin hinges of scrolling palmette design, each set with rose-cut diamonds, cabochon emeralds and calibre sapphires, contained in fitted red leather Cartier case, with traces of Cartier address to the inner silk, dimensions 9. 2 x 5.7 x 1.4cm. Accompanied by the Certificate of Provenance from Kensington Palace, dated 13 June 2006, in original embossed brown leather folder. £4,000-£6,000 --- Her Royal Highness Princess Margaret Rose, born 21 August 1930, was the younger daughter of the Duke and Duchess of York and sister to Princess Elizabeth, the late Queen Elizabeth II. Born at Glamis, the ancestral home of the Duchess of York, the Princess was the first royal baby to be born in Scotland since the 1600. The family lived in London Piccadilly until 1936, when the abdication of King Edward VIII and the ascension of the Duke of York to King George VI, moved the family to Buckingham Palace and the residences of Windsor Castle, Sandringham House and Balmoral Castle. Now second in line to the throne, Princess Margaret was to live her life in the public eye, becoming one of the world’s most celebrated socialites, iconised for her striking beauty, style and taste. From an early age the Princess fully engaged with the Royal Family’s public work, becoming patron or president of over eighty organisations, with a particular interest in the fields of welfare and the arts. On 6 May 1960 the Princess married the photographer Anthony Armstrong-Jones at Westminster Abbey. The following year he was created Earl of Snowdon and Viscount Linley. The couple, went on to have two children; Lord Linley, and Lady Sarah Chatto. The marriage of Princess Margaret and Lord Snowdon was dissolved in May 1978. The Princess’ later years were plagued by ill health yet despite her struggles the Princess continued to work and support many of her organisations. Princess Margaret died on 9 February 2002. Her funeral was held on the 50th anniversary of her father’s own funeral and her ashes placed in the Royal Vault in St George's Chapel before being transferred to the tomb of her parents upon the death of Queen Elizabeth The Queen Mother. Noonans are delighted to offer for sale the following two lots, formerly sold at Christie’s in the historic auction of June 2006.
A turquoise bead necklace by Buccellati, the graduated row of turquoise beads terminating in a collet-set cabochon clasp, with textured satin ‘rigato’ finish, signed ‘Buccellati’ and ‘750’, length 56cm. £2,000-£3,000 --- The Italian firm Buccellati is famous for its rich textural gold jewellery spanning the decades from the 1920s to the 1960s. Their finest pieces are bold and immediately recognisable. Born in to a family of goldsmiths in 1892, Mario Bucellati was apprenticed to the jewellers and goldsmiths Beltrami & Bernati. In 1919 he opened his own jewellery store and workshop on the Largo Santa Maria, near the Teatro alla Scalla, in Milan. In 1951 Mario and his son Luca opened their first store in New York, with another following, on 5th Avenue, in 1954. Mario Buccellati was the first to introduce the technique of texture-engraving, often using mixed metals of silver and gold, or platinum and gold. The different engraving techniques are called rigato (parallel lines cut onto the surface of metal to obtain a sheen effect), telato (texture, obtained by fine cross-hatched lines), segrinato (engraving in every directions with overlapping textures), ornato (decoration based on natural forms such as animals, leaves and flowers), and modellato (the most delicate engraving technique which consists of reproducing several designs chiselled in three dimensions). When the process is complete, the finish will often resemble a fine fabric - linen, lace or silk. In 1971 Gianmaria Buccellati, grandson of Mario, set up his own eponymous jewellery firm, going on to open stores around the world, including the Place Vendome in Paris. He also set the Italian Gemological Institute, IGI, in 1973, remaining as it’s president for the next quarter century. In 2011, the two firms of Mario Buccellati and Gianmaria Buccellati merged to form the single firm of Buccellati. Exhibitions of Buccellati jewels include: 1995: The Art of Buccellati, at the Academy of Sciences in San Fransisco, USA and the Royal Ontario Museum in Toronto, Canada. 2000: Buccellati, Art in Gold, Silver and Gems, at the Smithsonian Institution National Museum of Natural History, in Washington DC, USA. 2008: Buccellati, Timeless Art at the State Museum of Moscow Kremlin, Moscow, Russia (this is the first exhibition dedicated to a still living jeweller) See: https://uk.buccellati.com/en/timeline Literature: Ragot, Vincent-Emmanuel, Gianmaria Buccellati, pub. Assouline Publishing. Luzzatto, Sylvia, ed., Buccellati: Timeless Art, pub. Moscow Kremlin Museums, 2008.
An early 20th century gold and diamond set presentation medallion on fob, the black grosgrain ribbon suspending a gold bar and a circular medallion below, centred with an old-cut diamond within star setting, the bar engraved: ‘PRESENTED TO’ the medallion engraved: ‘HONOURABLE Fred Sonnenschein Mayor West Point Nebraska May 1905’, and to the reverse: ‘BY HIS COLLEAGUES IN COUNCIL and 150 of his Constituents in recognition of his meritorious and faithful services as Mayor’, total diamond weight approximately 0.2 carat, diameter of medallion 39.5mm. £300-£500 --- In the 1860s, the United States government forced many of the Native American tribes to cede their lands and settle elsewhere. It opened large areas of land to agricultural developed by Europeans and Americans. Under the Homestead Act, thousands of settlers migrated into Nebraska to claim free land granted by the federal government. The first wave of settlement gave the territory a sufficient population to apply for statehood and Nebraska became the 37th U.S. state on 1 March 1867. By the 1880s, Nebraska’s population had soared to more than 450,000 people. The Norfolk Weekly News Journal of Nebraska, 23 March 1906, makes reference to Fred Sonnenschein being nominated again as Mayor for West Point, Nebraska.
Panerai. A stainless steel cushion-form automatic dual time zone wristwatch with date, Ref. PAM00088, OP 6633, Luminor GMT, No. 1134/2900, circa 2005. Movement: cal. OP VIII, automatic, 21 jewels. Dial: black, luminescent Arabic and baton indexes, subsidiary seconds, magnified date aperture. Case: stainless steel, screw-down back, protective crown device, no. BB 1153474, stainless steel double folding clasp. Signed: case, dial, movement and clasp. Dimensions: width 44mm. Accessories: guarantee card, COSC certificate, instructions, screwdriver and presentation case. £2,600-£3,600 --- Giovanni Panerai opened the first Officine Panerai shop in Florence in 1860. The shop and workshop was also the city’s first watchmaking school.
Panerai became famous for supplying precision instruments to the Italian Royal Navy, this lead to the development of “Radiomir”, a radium-based powder which brightened the dials of the instruments. This was Patented by Panerai in 1916. The first Radiomir diving watches were created in 1935. These large robust cushion-shaped watches had to meet the specific parameters required by the Navy, Rolex supplied the movements for these original watches.
Today’s Panerai wristwatch retain many of these distinctive features which have made them so popular among collectors. They produce unique editions of their models which are released in relatively small numbers.
An emerald and diamond pendant, first quarter of the 20th century, the pierced pendant with millegrain detailing and set with single-cut diamonds, terminating in a polished emerald bead drop, suspended from a cable-link chain, mounted in platinum, maker’s mark ‘CB’, pendant length 37mm, chain length 43cm. £1,000-£1,500
Three late 19th/early 20th century shell cameo brooches, the first carved to depict Diana the Huntress, the second, depicting a Vestal Virgin, the third a classical female profile, with flowers to her hair, all mounted in gold, lengths 46-53mm. (3) £240-£300 --- The Vestal Virgin is identified by her suffibulum, the white woolen veil, which was worn during rituals and sacrifices.
A Victorian silver gilt Trophy Ewer, presented for the King’s Cup, Royal Yacht Squadron Regatta, Cowes 1901, Won by Rupert Guinness’s ‘Leander’, the ewer by Robert Garrard, London 1875, the base by James Garrard (R & S Garrard & Co), London 1899, the ewer modelled after John Flaxman’s design for Wedgwood, entitled ‘Sacred to Neptune’, the triton, representing Water, its arms encircling the neck of the ewer, before a dolphin’s mask, suspending a festoon of rushes to either side, with entwined handle, the body engraved with the inscription: ‘WON BY RUPERT GUINNESS’S ‘LEANDER’, AUGUST 10TH’, with lobed decoration below, knopped stem and fluted spreading foot, the ewer mounted on a square section silver gilt pedestal plinth, applied to one side with the Royal Coat of Arms, the front engraved with presentation inscription: ‘ROYAL YACHT SQUADRON REGATTA COWES 1901. THE GIFT OF HIS MAJESTY THE KING.’, the plinth stamped ‘R & S GARRARD & CO. HAYMARKET. LONDON’, height of ewer: 44cm, height of plinth: 14.5cm. £4,000-£5,000 --- ‘Leander’ In the 1880s, yachting had become a popular sport amongst the aristocracy, led by Albert Edward, Prince of Wales, with Cowes Week becoming the focus of lavish entertainment and competitive racing. The Guinness family took to the new sport with enthusiasm. The Hon. Rupert Guinness himself was a keen yachtsman, and member of the Royal Yacht Squadron. Rupert Guinness owned the fine 98-ton, 90 foot yawl named Leander designed by Arthur E. Payne, and built by Messrs. Summers and Payne in the winter of 1889/1900. On 10 August 1901, Rupert Guinness won the prestigious King’s Cup at the Royal Yacht Squadron Regatta, Cowes with Leander. The Sphere Magazine, issue dated 17 August 1901, (an illustrated weekly magazine first published in 1900), printed a photograph of Leander in full sail, captioned beneath: ‘THE “LEANDER”, WINNER OF THE KING’S CUP AT COWES Five yachts, including the German Emperor’s “Meteor” started on Saturday for the King’s Cup, which was won by the Hon. Rupert Guinness’s yawl, “Leander”. She is a fine typical cruiser designed by Payne and built in the winter of 1899-1900, but launched early this year on the return of Mr. Guinness from the front.” The following year in June 1902, Leander was placed second in the Heligoland Cup, the Dover to Heligoland yacht race, (the brainchild of King Edward VI’s cousin, Kaiser Wilhelm, a race open to any cruising yachts of over 70 tons, being a member of any of the Royal or recognised British yacht clubs, built in Britain and owned by a British subject). Leander also competed in the Cowes’ King’s Cup the same year, finishing fourth, the winner being Brynhilde owned by Sir James Pender. Rupert Guinness, 2nd Earl of Iveagh Rupert Edward Cecil Lee Guinness (1874-1967) was the eldest of three sons of Edward Cecil Guinness, 1st Earl of Iveagh, the wealthy Anglo-Irish brewing family. Rupert was educated at Eton and Trinity College, Cambridge. At Eton he had a brilliant rowing career, winning the School Sculling in 1892, rowing in the Eton Eight of 1893, which won the Ladies Plate at Henley. He won the Diamond Sculls at Henley in 1895, and again in 1896, and the same year he also won the Wingfield Sculls, making him the undisputed leading amateur oarsman of his day. Rupert Guinness saw active service between 1899-1900 in the Boer War. He was mentioned in dispatches and awarded the CMG in 1901. In 1928, on the death of his father, he became the 2nd Lord Iveagh, taking up the family seat of Elveden Hall, Thetford, Norfolk, (his father had purchased the property in 1894 from the executors of the will of the Maharaja Duleep Singh, following his death in 1893). A businessman, politician and philanthropist, Rupert Guinness was to take a keen interest in agricultural and medical research, and amongst Rupert’s many achievements number the founding of the Guinness World Records, first published in 1955 and an annual publication now published in more than 100 countries and 37 languages. * * * The design of the Trophy Ewer offered here for sale is one of a pair entitled ‘Sacred to Neptune’, and ‘Sacred to Bacchus’, representing Water and Wine, after John Flaxman, the plaster models supplied by Flaxman to the factory of Josiah Wedgwood in March 1775. The ornamental ewers were produced in different coloured clay bodies, including black basalt and blue and white jasper. These designs were, in turn, based on bronzes from the French sculptor, Michel Sigisbert-François (1728-1811). An example in black basalt can be seen at the V & A Museum (on display in Room 138), circa 1840, after the model made in 1776.
A Magnificent Victorian 18ct gold Racing Trophy Centrepiece: The 1877 Ascot Gold Cup, won by Lord Lonsdale’s ‘Petrarch’, by Charles Frederick Hancock, London 1876, the 18ct gold cup and cover of vase-shaped baluster design, the cover of wrythen lobed form, with cast finial of a rearing stallion attended by a classical youth, the twin handles both modelled as figures of Winged Victory, the rim fitting inscribed ‘RIDDEN BY T. CANNON 6 STARTED’, the knopped stem within a surround of four young male figures, kneeling, two holding wreaths, two holding shields engraved: ‘ASCOT GOLD CUP 1877 WON BY EARL OF LONSDALE’S ‘PETRARCH’ 4YRS’, on stepped foot, the trophy placed on circular stand chased with a border of amorini and horses, spaced by female masks, the centre engraved with the Royal Arms and inscribed: ‘ASCOT GOLD CUP 1877. WON BY EARL OF LONSDALE’S PETRARCH’ 4YRS, contained in a shaped and fitted dark green velvet case, within outer conical wooden carrying case, stencilled to the exterior ‘THE EARL OF LONSDALES TRUSTEES, PLATE CASE NO.1, trophy height 47.5cm, diameter of stand 36cm. £100,000-£120,000 --- The Ascot Gold Cup: “The most prestigious prize in flat racing since 1807” Gold has traditionally been associated with sporting glory and there is no more famous race at the Royal Meeting than the Ascot Cup. First staged in 1807, the inaugural race took place in the presence of King George III and Queen Charlotte. Originally open to horses aged three years and older, and taking place in June each year, the race was run over 2 miles 3 furlongs and 210 yards. The winner of the first race, Master Jackey, was awarded prize money of 100 guineas. In 1844, the race was attended by Emperor Nicholas I of Russia, who was making a state visit to England. That year's winner was unnamed at the time of his victory, but he was given the name ‘The Emperor’ in honour of the visiting monarch. In return Nicholas offered a new trophy for the race — the Emperor's Plate — and this became the title of the event for a short period. Its original name was however restored after nine years, in 1853. Today the race is the first leg of Britain’s Stayers’ Triple Crown followed by the Goodwood Cup and the Doncaster Cup, the last horse winning all three prestigious races in the same year being ‘Stradivarius’ in 2019. The 1877 race numbered six runners including the four-year-old bay Petrarch, ridden by Tom Cannon, trained by Joe Cannon, and owned by Lord Lonsdale. A contemporary account gives commentary on the race itself: “Considerable interest was occasioned on Cup Day by the presence of the Princes Albert Victor and George, it being their first appearance at a race meeting. Cannon rode a fine race for the Gold Cup on Lord Lonsdale’s Petrarch. When passing the Hotel turn, Petrarch attempted to stop, and made as if he would go to the stables, but Cannon managed him splendidly; and although at Swinley Bottom he was six lengths behind, fortune favoured him. At this point, Sugar Loaf bolted and jumped the ditch, and Petrarch slipped into third place, increasing his advantage until at the bend into the straight, he took the lead from Skylark and Coomassie and won easily by four lengths”. Regarding the winning owner’s trophy cup, The Auckland Star (6 September 1877) enthused: “This year the cup is of real gold, and a most magnificent piece of plate, worth, with the stakes, £2,070”. The magnificent gold trophy was one of only three Royal Ascot races where the winner’s cup was retained in perpetuity by the winning owners (the Royal Hunt Cup and the Queen’s Vase being the other two). ‘Petrarch’ Petrarch was foaled in 1873, his sire Lord Clifden was the St Leger winner of 1863, his dam Laura was a successful brood mare whose other foals included the Doncaster Cup winner Fraulein and the Craven Stakes winner Laureate. Petrarch was described as an extremely handsome rich bay horse. Alexander Scott, author of Turf Memories of Sixty Years, remarked, "Whenever I am asked to give my opinion of the grandest looking Thoroughbred of the past sixty years, I always declare unhesitatingly for Petrarch." Petrarch was bred by J. E Gosden at Midhurst, West Sussex, and as a three-year-old, stood 15.3 hands high. The colt was sent into training with John Dawson, the younger brother of Mathew Dawson, at Warren House stables at Newmarket, Suffolk. Dawson was best known as the private trainer of Prince Batthyany, for whom he trained the 1875 Epsom Derby winner Galopin. Between October 1875 - October 1878 Petrarch ran sixteen times and won eight races. In 1875, Petrarch won the Middle Park Stakes on his only appearance of the season. In 1876 he won two of the three races which comprise the Triple Crown, taking the 2000 Guineas at Newmarket and the St Leger at Doncaster. During the winter of 1876, he was purchased by Lord Lonsdale and as a four-year-old in 1877, he won three races including the two and a half mile Ascot Gold Cup which at that time was regarded as the most important weight-for-age race in the world. Petrarch was troubled with recurring kidney ailments, making his health precarious at times. Dawson, his trainer, remarked on his successful four-year career competing at the highest levels of racing, as being “testament to his courage and quality”. Petrarch retired to stud in 1878, where he became a successful sire of winners. Lord Lonsdale St George Henry Lowther, 4th Earl of Lonsdale (1855 – 1882) was the eldest son of Henry Lowther, 3rd Earl of Lonsdale, and had a keen interest in travel, science and racing. During the winter of 1876, Lord Lonsdale purchased Petrarch from Viscount Dupplin, and lost no time in securing successes for the four-year old in 1877, winning at Newmarket, at Epsom in the High Level Handicap, and easily taking the Ascot Gold Cup. Petrarch finished just a head behind Snail in the Liverpool Summer Cup. In 1878 at the age of just 23, after the death of his father, St George inherited the earldom and the Lowther Estates in Westmorland. He died just a few years later in 1882, and was succeeded to the earldom by his younger brother Hugh.
A fine George III silver gilt Racing Trophy Cup: The Lincoln Gold Cup, 1823, won by Thomas Houldsworth’s ‘Palatine’, by Rebecca Emes & Edward Barnard, London 1823, the silver gilt twin-handled trophy cup and cover of campana form, the cover mounted with a cast horse and foal finial, applied to a leaf and flower border, above fluted surround, the cup with egg and acanthus rim, the twin handles of organic oak leaf and branch form extending into a cast oak leaf and acorn border, the knopped stem and fluted base decorated with rising acanthus and floral detail, the front engraved: ‘LINCOLN RACES, 1823, JOHN WILLIAMS ESQ.r, M.P.,WILLIAM MILES ESQ.r STEWARDS’, the interior rim inscribed ‘THE GOLD CUP, WON BY MR THOMAS HOULDSWORTH’S PALATINE [BY FILHO DA PUTA] LINCOLN, SEPT. 26TH 1823’, height 40cm. £4,000-£5,000 --- The Lincoln Gold Cup The Lincoln Gold Cup was a four mile flat race run annually between 1805 and 1844. In the 1823 race, ‘Palatine’, a brown filly, ridden by Holmes, and bred and owned by Thomas Houldsworth, beat Sir W. Milner’s ‘Angler’, Mr Gascoigne’s ‘Violet’ and three other runners to win the Cup, valued at 100 guineas in the Racing calendar. The filly had been unnamed when winning her first race earlier that year, the Palatine Stakes, at Chester. Thomas Houldsworth then named her Palatine, in commemoration of this victory. The Lincoln Gold Cup of 1844 was the final running, with an attempt to revive the race made in 1846 which proved unsuccessful. Palatine Palatine was a brown filly foaled in 1820, her sire Filho Da Puta, her dam being Treasure. She was bred and raced by Thomas Houldsworth, who also owned her famous sire. Palatine won two other races in 1823, a Handicap Sweepstakes at Manchester and a Sweepstakes at Pontefract. In 1824 Palatine recorded four victories and was then sold to Mr Griffiths for whom she won fourteen races between 1825 and 1828. Her sire, Filho Da Puta, had been purchased by Thomas Houldsworth from his previous owner, Sir William Maxwell, in 1815, for the sum of 3000 guineas. This proved to be a shrewd investment for Mr Houldsworth, as the fine stallion was to be highly successful, winning 9 of his twelve races including the St Leger Stakes and Doncaster Gold Cup. The name apparently originated from the ire of Sir William Barnett, owner of the stud farm where the foal was born, who discovered at the time of the the foal’s birth, that his wife had been disloyal. Sir William, who lived in Portugal and knew the Portuguese language well, in a fit of rage gave this name to the future champion. In his final season, the stallion won the four-mile Richmond Cup and In 1818 he retired to stud. He became the leading sire in Great Britain and Ireland in 1828, standing at Mr Houldsworth’s stud at Farnsfield near Southwell until his death in 1835. Thomas Houldsworth Thomas Houldsworth (1771-1852) was a self-made entrepreneur. Apprenticed to a stocking weaver, he joined his brothers in a cotton spinning business in Manchester in 1793. He went on to became a prosperous Manchester cotton manufacturer and in the early 19th century purchased the landed estate, Sherwood Hall, in Nottinghamshire. He also had a passion for horse racing. He became a major owner and breeder and had horses in training from 1816 to 1841. His stud and racing colours of gold and green were famous on the race tracks of the early nineteenth century. He was also a conservative party politician, being a Member of Parliament for a total of 34 years between 1818 to 1852 - as MP for Pontefract from 1818-1830 and MP for North Nottinghamshire from 1830 to July 1852, when he stepped down from the House of Commons at the General Election, and died two months later aged 80. Many of Thomas Houldsworth’s champions appear in sporting pictures including the famous paintings by J.F.Herring of Filho Da Puta, painted in 1815 and Vanish with jockey Sam Darling, of 1830.
An Important Silver Racing Trophy: The 1922 Grand National Trophy Centrepiece, won by Hugh Kershaw’s ‘Music Hall’, by Elkington & Co, Birmingham 1921, the circular shallow half-lobed bowl with laurel leaf border, mounted with three scallop shell-capped handles, above cast laurel leaf sprays, the tri-form stem modelled as three female figures of Winged Victory, each holding aloft a laurel wreath, on triangular base with canted corners, and chased acanthus leaf and scroll border, raised on mahogany shaped circular socle, applied with central oval silver plaque inscribed ‘GRAND NATIONAL 1922 WON BY MR HUGH KERSHAW’S ‘MUSIC HALL’ (AGED) 11st 8lbs. MARCH 24. 1922. RIDDEN BY L.B.Rees.’ , the socle mounted with three silver winged horseshoe motifs, trophy cup height 46cm, total height including socle 61cm. together with CECIL WILSON (BRITISH, 20th century) ‘Music Hall’ and rider, Lewis B Rees, signed and dated ‘Cecil Wilson 1922’ (lower left), oil on canvas, gilt frame, dimensions : canvas 127.5 x 101.5cm framed: 144.5 x 118.5cm D**** G**** (20th century) ‘Grand National Steeple Chase 1922’ depicting the finish line, with ‘DRIFTER’ running second to the victor ‘MUSIC HALL’, signed and dated ‘D G 1922’, watercolour, gilt frame, dimensions: 35 x 25.5cm framed: 43.5 x 33.5cm The Racing Silks worn by the winning jockey Lewis B. Rees, numbered 4, framed and glazed, dimensions: (framed) 104 x 79cm A horseshoe, framed and glazed, bearing plaque: ‘MR HUGH KERSHAW’S ’MUSIC HALL’ WINNER OF GRAND NATIONAL MARCH 24th 1922’, dimensions: 23.5 x 23.5cm To view Pathé News clip of the race, see: https://www.britishpathe.com/video/grand-national-aka-the-worlds-greatest-race £20,000-£25,000 --- The Grand National: “the ultimate test of horse and rider” Part of British culture, and considered to be the world’s greatest Steeplechase, the Grand National is held annually at Aintree Racecourse, Liverpool, and was first run at Aintree in 1839. Racing over an official distance of 4 miles and 2.5 furlongs (4 miles 514 yards), the horses jump 30 fences over two laps, the course featuring much larger fences than those found on conventional National Hunt tracks. With fences such as Becher’s Brook,The Chair and the Canal Turn, combined with the distance of the event, the race has been aptly described as “the ultimate test of horse and rider”.* Today the most valuable jump race in Europe, the prize fund totals £1,000,000. The 1922 Grand National was the 81st renewal of the world famous race, and took place on 24 March. The race was attended by Prince Albert, the Duke of York and Prince Henry. The Edinburgh Evening News reported the weather to be “unfortunately far from favourable, it was very dull overhead and a slight drizzling rain was falling when the crowds began to gather”. The Daily Herald recalled “a keen wind that searched through the thickest coat”. The going was recorded as ‘good’. The race commenced at 3 o’clock, with a field of 32 horses, the favourite to win being Southampton. After two false starts, and in the time of 9 minutes 55 4/5 seconds, the race was won by the nine-year old Music Hall, at odds of 100/9 and ridden by Lewis Rees. Drifter finished in second place, beaten by 12 lengths, and Taffytus in third. Sergeant Murphy and A Double Escape were remounted after falling, and finished fourth and fifth respectively. The favourite Southampton had fallen at the first fence, as had Shaun Spadah, ridden by the winning jockey’s brother Fred Rees, who had won the Grand National on the same horse the previous year. There were only five finishers from the field of 32 horses. Most did not complete the first circuit, with many having been obstructed by Sergeant Murphy in an accident at the Canal Turn. There were also two equine fatalities, The Inca II at Becher’s Brook and Awbeg at the Canal Turn. It was the second consecutive year with a small number of finishers, following the 1921 race when only four horses had completed the course. The winner, Music Hall, was trained by Owen Anthony for owner Hugh Kershaw. ‘Music Hall’ Music Hall was bred in 1913 by Mrs F. St. J. Blacker at Castle Martin, Newbridge, in County Kildare. Mrs Blacker hunted him with the Kildare hounds in 1918-1919 and in the spring he was sold as a hunter or possible point-to-pointer to Mrs Stokes of Market Harborough. Hunted the following season in Leicestershire, he showed speed and jumping ability and was put into training, winning a Novices’ Steeplechase at Birmingham. In 1920, he continued to show great promise and success, and was purchased by Hugh Kershaw. Sidelined for a year with a leg injury following a race at Nottingham, he was put in training with Owen Anthony and brought back to win the Hurst Park steeplechase, followed two weeks later by the Grand National win, carrying 11st-8lb. After his triumphant success, Music Hall was soon to be shipped to France and ran in the Prix Saint Sauver (2-3/4 miles) and was placed third in the Grand Steeplechase de Paris. He ran in the Grand National again in both 1924 and 1925. His dam was Molly, purchased by Mrs Blacker from her breeder R. Donaldson, a former farmer from Kellysgrove, Co, Galway. Music Hall was her first foal. His sire, was Cliftonhall, bred in Yorkshire, and son of Galloping Lad. Hugh Kershaw Hugh Kershaw was a Worcestershire landowner. He purchased Music Hall in 1920, after a very successful year for Music Hall, having won seven major races including the Scottish Grand National. Kershaw collected the winner’s prize money of £5,000 for the triumphant win at Aintree’s Grand National in 1922. Kershaw raced Music Hall in both the 1924 and 1925 Grand Nationals.
A James II silver gilt porringer, by Timothy Ley, London 1686, with twin S-scroll handles, the body decorated with embossed border of repeating husks with rising acanthus leaf decoration below, initialled FW, contained within 19th century fitted case, porringer probably later gilded, height 7.9cm, diameter 9.6cm. £1,000-£1,500 --- Porringers, for porridge or soup, were first made in the last half of the seventeenth century. They differ from caudle-cups in that the sides are straight and not curved. The acanthus leaf was a popular decoration. “And often after sunset, sir, When it is bright and fair I take my little porringer And eat my supper there” William Wordsworth: ‘We are Seven’,1793. See: Montague Howard: Old London Silver, pub Charles Scribner’s Sons, Oct 1903, The De Vinnne Press, US, page 113. Literature: Timothy Ley (or Timothy Leigh) is referred to as free of the Founders’ Company ‘by his fathers Coppy’ (stet) (ie by patrimony) on 2 May 1681. His address was recorded by Heal as Timothy Lee, goldsmith, parish of St Gabriel, Fenchurch Street, 1692-3 and London 1700, he is again recorded as Lee, plateworker, Fenchurch Street in 1697. Arthur G. Grimwade: London Goldsmiths 1697-1837 page 582.
AUCHINLECK CLAUDE: (1884-1981) British Field Marshal of World War II, Commander-in-Chief, India 1943-47. T.L.S., C. J. Auchinleck, with holograph salutation and subscription, one page, 4to, New Delhi, 4th March 1944, to Major A. J. Barker, on the printed stationery of the Commander-in-Chief in India. Auchinleck states that he was pleased to receive his correspondent's letter regarding Mrs. Simms' pension, commenting 'I understand that this is now being paid to her regularly at the first of each month. The delay in paying the pension was the result of difficulties raised by the various banks who were addressed by the Accountant General, Central Revenue'. Auchinleck continues his letter on a different subject, informing his correspondent, 'With regard to the question of your being eligible for the Honorary rank of Lt. Col. the position is that as you have never actually held the rank of Lt. Col. you are not entitled to the Honorary rank on your retirement, I am sorry about this but it is the rule. I wish I could break it, but I am afraid I can't'. One very slight paperclip rust stain to the upper left corner, otherwise VG
BRITISH ARMY: Small selection of signed pieces, cards, a few letters etc., by various British Field Marshals and Generals, all of whom served in World War II, comprising William Slim, Brian Robertson, Cameron Nicholson (2), Frederick Morgan (Operation Overlord), Richard McCreery (2, an A.L.S. and T.L.S.; Second Battle of El Alamein) and Frank Messervy (first Commander-in-Chief of the Pakistan Army). Also including an original unsigned press photograph of Field Marshals Slim and Montgomery. Some light age wear, G to generally VG, 9
MOUNTBATTEN LOUIS: (1900-1979) British Admiral of World War II, later serving as the last Viceroy of India of British India (1947) and as the first Governor-General of the Dominion of India (1947-48). Signed First Day of Issue cover commemorating Winston Churchill and featuring his portrait and also bearing a postage stamp with his image, cancelled at Fulton, Missouri, 13th May 1965. Signed ('Mountbatten of Burma AF') by Mountbatten in fountain pen ink to a clear area of the cover. Together with Edwina Mountbatten (1901-1960) English heiress & socialite, the last Vicereine of India as wife of Viscount Mountbatten of Burma. Fountain pen ink signature ('Edwina Mountbatten') on a 12mo feint ruled piece. Accompanied by a T.L.S. by Nancie Lees, her Private Secretary, one page, 4to, Chester Street, London, 19th August 1946, to Wilson Barratt, apologising for the delay in responding to his letter and forwarding the signature of Lady Mountbatten. Some light age wear and minor staining, G to VG, 2
MOUNTBATTEN LOUIS: (1900-1979) British Admiral of World War II, later serving as the last Viceroy of India of British India (1947) and as the first Governor-General of the Dominion of India (1947-48). T.L.S., Mountbatten of Burma, with holograph salutation and subscription, one page, small 4to, Broadlands, Romsey, Hampshire, 3rd March 1966, to Michael Harrison. Mountbatten thanks his correspondent for their letter and adds that [Graham] Clifford has informed him that they had met 'and had been most stimulated by your conversation', also remarking that Clifford is currently on a world tour on behalf of the Institution of Electronic and Radio Engineers and also the National Electronic Research Council and that 'I shall be meeting him in Canada in April when we shall have a chance of talking over your letter'. Mountbatten further writes 'I see from your letter that you wrote the English version of the pamphlet you enclosed. I am astonished to note that no effort has been made to translate your English into French, for the French version appears to be entirely different in layout and phrases. I also regret to see that no attempt has been made to produce the diagrammatic figures with French titling in the French text. In fact anybody who understands both languages would be thoroughly lost trying to compare one version with the other. I wonder what the explanation is.' Accompanied by the original envelope. VG Michael Harrison (1907-1991) Maurice Desmond Rohan. English detective fiction and fantasy author, a noted Sherlock Holmes scholar.
KUCERA OTMAR: (1914-1995) Czechoslovakian fighter pilot of World War II who participated in the Battle of Britain. Portion of a World War II date D.S., Kucera, one page, slim oblong 8vo, n.p., n.d., evidently neatly clipped from a combat report, the narrative stating, in part, 'When the bomber formation was on its way back, about 20 miles from French Coast I saw 2 ME.109E attacking one Hurricane aircraft at about 14,000 feet…..The first of these enemy aircraft fired a short burst and broke away down. I followed him in dive and at about 2,000 feet gave him a 3 second burst from astern from about 80 yards. The E[nemy]/A[ircraft] caught fire and crashed on ground in spin'. Neatly trimmed, VG
LAPKOWSKI WACLAW: (1913-1941) Polish fighter ace of World War II who participated in the Battle of Britain and is credited with 6 confirmed kills. A rare portion of a World War II date D.S., Lapkowski S/L, one page, oblong 8vo, n.p., n.d., evidently neatly clipped from a combat report, the narrative stating, in part, 'Over France between Calais and Cap-Gris-Nez I saw four Me.109f's above and climbing to the Port side of the Squadron. I selected one of the e[nemy]/a[ircraft] and attacked it out of the sun from astern, and gave it a short burst of cannon and machine gun fire…..e/a emitted a little smoke at first, and then burst into flames going straight down and crashing on land near the French coast. I made a further attack on one of another formation of four Me.109's, but saw no results of my fire'. Autographs of Lapkowski are rare in any form as a result of his tragically early death over the English Channel at the age of 27. Neatly trimmed and with a couple of very minor, light corner creases, otherwise VG
NEIL TOM: (1920-2018) British fighter pilot and flying ace with the Royal Air Force who participated in the Battle of Britain during World War II. T.L.S., Tom Neil, one page, 4to, Bungay, Suffolk, 14th April 2007, to Mr. Terry. Neil thanks his correspondent for their interesting letter and photographs and continues 'I knew Mungo-Park, though only distantly and very briefly. He was at Biggin Hill when I was flying from North Weald. I believe we first met at Hornchurch on Boxing Day, 1940, during a meeting with AVM Leigh-Mallory to discuss tactics in the New Year. I am surprised to learn that he was associated with Bolton as I understood he was born in Wallasey…..I believe the family was of Scottish descent and that he was related to a famous forebear who explored the Niger in West Africa around 1800. I well remember him being shot down and killed', further making reference to his new book Flight into Darkness and adding that he will be attending some print and book signings in London and Duxford, concluding 'As you will understand there are only a few of us left now who took part in the Battle of Britain'. Together with a 4 x 5.5 photocopy of a portrait of Neil by Cuthbert Orde signed by Neil in blue ink to a light area at the head of the image, and also including an 8.5 x 5.5 printed image neatly removed from a book showing various pilots of 249 Squadron standing together in full-length poses, individually signed by both Tom Neil and John Beazley (neatly mounted to card). Generally VG, 3 John Mungo-Park (1918-1941) British fighter pilot and flying ace with the Royal Air Force who participated in the Battle of Britain during World War II. Mungo-Park was killed in action in June 1941 at the young age of 23.
QUILL JEFFREY: (1913-1996) British test pilot who served with the Royal Air Force during World War II; the second man to fly the Supermarine Spitfire who also went on to test fly every mark of Spitfire. Selection of signed printed images by Quill, each neatly removed from books or magazines, of varying sizes (largest 8.5 x 11), most depicting various Spitfire aircraft, some in flight, one image showing Quill meeting King George VI, etc. One is also signed by Air Commodore Henry Iliffe Cozens (1904-1995) who was a Commanding Officer of 19 Squadron at Duxford in 1938, the first RAF station to receive Spitfire aircraft. Together with two further printed images signed by Cozens and two A.Ls.S. by Gillian Cozens, his wife, in one stating that her husband had left 19 Squadron before the Battle of Britain and that his operational service was with Lancaster bombers in 1942-43. A few with slight surface creasing, generally VG, 13
UNITED STATES ARMY: Small selection of signed 8 x 10 photographs and smaller (2), most vintage, signed piece (1) and a signed cover, by various United States Army officers, all of whom served in World War II, comprising Mark W. Clark, George Barth (signed piece accompanied by an unsigned 8 x 10 photograph), Ivan Bennett, William Biddle (signed First Day Cover honouring George S. Patton Jr.), George S. Blanchard and Clyde Beck. Generally VG, 6
![[COUNTER-INTELLIGENCE]: An interesting World War II date D.S. by Ward P. Lanier, Special Agent, 507th CIC Detachment, 7th Arm](https://cdn.globalauctionplatform.com/de6c7e0b-c5e1-4588-a7bd-af3f0123225a/e6b70ea1-1a3c-4afb-b5c4-af4200faf2ed/468x382.jpg)
[COUNTER-INTELLIGENCE]: An interesting World War II date D.S. by Ward P. Lanier, Special Agent, 507th CIC Detachment, 7th Armored Division, U. S. Army, two pages, 4to (the second page trimmed and a little smaller), APO 257, 26th April 1945. The typed document, marked Confidential, is a memorandum concerning the murder of two Frenchmen, Rene Levadoux, a prisoner-of-war, and Jacques Vaillant, a French forced labourer, and the investigation as to the probable whereabouts of persons responsible, and states, in part, 'On 24 April 1945, this Agent and Interpreter Josef Bienstock…..interviewed Jacques Palustre….at Hedemunden, Germany in regard to further information as to whereabouts of persons connected with the Murder of Subjects. Palustre informed this Agent that he had learned from a confidential Informant that four men of the seven involved in Murder of Subjects, were believed to presently be in a German Hospital in Gottingen….Further information….disclosed that one of the 7 men involved; Alvin Thiemann, had registered for ration points for all seven men on 29 March 1945. In registering these names, Thiemann evidently used fictious names, as later investigation disclosed. On 25 April 1945, this Agent….interviewed Major Iler of the 134th Medical Detachment in charge of the 26 German Hospitals….in regard to checking the records of patients…..against the list of 7 Landeschutzen Poizei in possession of this Agent. Major Iler contacted a German Medical Officer who checked master files of patients…..These records disclosed a Walter Barthel at Hospital No.1. (Surgical Clinic), a member of the Landeschutzen Poizei…..This name, however, did not correspond with one, August Barthel, whom this Agent listed…..This lead was followed though, due to the fact Barthel was a member of Landeschutzen Poizei. On 25 April this Agent…..interviewed Walter Barthel….at his bedside in the Surgical Clinic….in regard to establishing his whereabouts on March 31, 1945, and his connection with the Murder of Subjects…..Barthel admitted being a member of the Landeschutzen Poizei and to having been in Hedemunden….a few days prior to his being wounded on April 7, 1945. He further stated that he does not know a Capt. Ginkel, who was supposedly in charge of the seven men who were involved in the Murder…..However, Barthel did know three of the seven men involved, and they were; Alvin Thiemann, Heinrich Kleine and Wilhelm Schweizer…..Barthel was seriously wounded on 7 April 1945, losing his right eye and having a small piece of his skull removed. Due to Barthel's serious condition, he was unable to recall certain facts…..It was inadvisable to question Barthel thoroughly at this time…..It is recommended that he be thoroughly interrogated in the near future'. Some light age wear, a paperclip rust stain at the head of the first page and slight traces of former mounting to the head of the verso of the second page, G
FLYING TIGERS: A multiple signed 11 x 14 print by artist Lonnie Ortega, the image featuring David 'Tex' Hill (1915-2007, American fighter pilot and triple flying ace, a Squadron Leader with the Flying Tigers, the First American Volunteer Group of the Republic of China Air Force formed to oppose the Japanese invasion of China in World War II) in a head and shoulders pose wearing his flying cap and goggles and with two aircraft in flight below, including a P-51 Mustang, signed by Hill and further signed by thirteen other Flying Tiger fighter pilots comprising Kenneth Jernstedt, Roland Richardson, Eriksen Shilling, John Rossi, Charles Bond, Charles Older, Edward Rector (responsible for the first and last Flying Tigers victories), Charles Mott, Robert Raine, Donald Rodewald, Robert Hedman, Edwin Fobes and Camile Joseph Rosbert. All have signed in bold pencil with their names alone to clear areas and the print is also signed by artist Lonnie Ortega. About EX
TIBBETS PAUL: (1915-2007) American Brigadier General in the United States Air Force, pilot of the Enola Gay, the first aircraft to drop an atomic bomb, Hiroshima, 6th August 1945. Signed commemorative cover issued for 'a celebration for world peace' and featuring an image of the Enola Gay crew in 1945 with the printed caption above 'War Ends with Atomic Bomb', bearing a cancellation dated at Utah, 6th August 1990. Signed by Tibbets in blue ink to a clear area of the upper edge. About EX
LINDBERG CHARLES W. (1920-2007) American Marine of World War II, one of the flag raisers during the Battle of Iwo Jima, 1945. Signed 8 x 11 photograph, the reproduction image depicting Lindberg and his fellow United States Marines preparing the United States flag for the first raising following the capture of the top of Mount Suribachi during the Battle of Iwo Jima on 23rd February 1945. Signed ('Charles W. Lindberg') in black ink by Lindberg to a clear area at the head of the image, further adding the words '1st Flag Raiser, Iwo Jima, Feb. 23, 1945, 10:30 A.M.' in his hand beneath his signature. EX
PAPAGOS ALEXANDROS: (1883-1955) Greek Field Marshal, Commander-in-Chief of the Greek Armed Forces 1940-41 during World War II and later Prime Minister of Greece 1952-55. Book signed and inscribed, being a rare signed edition of The Battle of Greece 1940-1941, First English edition published by The J. M. Scazikis 'Alpha' Editions, Athens, 1949, and translated by Pat Eliascos from the original Greek text written between 1943-45 and published in 1945. Bound in the original stiffened paper wrappers and with two fold-out maps and several black and white plate illustrations. Signed by Papagos in fountain pen ink to the half title page, 'With the compliments of the author, A Papagos'. Also bearing the ownership signature of Guy D. Hadley to the front free endpaper and dated Athens, 22nd July 1949 in his hand. With a further pencil annotation to the head of the front cover. Some light age wear, otherwise VG Guy Hadley was employed by the BBC as a foreign correspondent.
![[HAILE SELASSIE I]: (1892-1975) Ethiopian Regent Plenipotentiary 1916-30 and Emperor 1930-74. A rare original printed 8vo pro](https://cdn.globalauctionplatform.com/de6c7e0b-c5e1-4588-a7bd-af3f0123225a/38736bab-a6b7-42d6-a7e5-af4200fb09ae/468x382.jpg)
[HAILE SELASSIE I]: (1892-1975) Ethiopian Regent Plenipotentiary 1916-30 and Emperor 1930-74. A rare original printed 8vo propaganda sheet issued in the name of Haile Selassie and air-dropped over Ethiopia by the South African Air Force in 1941, printed in red and with the circular Imperial Seal featuring the Conquering Lion of the Tribe of Judah at the head, the Amharic text stating, in part, 'The Italians have been defeated at Metema. Using the British airplanes, tanks and artillery, we have taken over Galabat and we have burned down Metema and destroyed them [the Italians] there. We have caused him [the enemy] to lose troops of three battalions…..By standing at the Ethiopian gate, I will be banging [the Italians] by hands which are as strong as steel. And now, because the Italians have totally lost hope, they are gathering and are about to send whatever troops they could get from Gojam and Gondar. Therefore, now is your chance to trap these drunken fishes [disillusioned soldiers]. Ethiopia stretches its hands unto God. Thanks be to God who has made this victory possible for us'. Lightly affixed with tape at the left edge to the inside of a paper folder annotated in an unidentified hand to the front and bearing the printed coat of arms of the University of Edinburgh to the verso. Light staining to the left edge, caused by the tape, otherwise VG Italian dictator Benito Mussolini had long held a desire for a new Italian Empire, promising his people a 'place in the sun' to match the extensive colonial empires of Great Britain and France. In early October 1935 the Italians began invading Ethiopia as the Second Italo-Ethiopian War commenced. In the following year the Emperor went into exile in England, where he was to stay until 1941. Haile Selassie spent this time focussing on countering Italian propaganda as to the state of Ethiopian resistance and the legality of the occupation. During the first half of World War II British forces, which consisted primarily of Ethiopian-backed African and South African colonial troops led by Colonel Orde Wingate, coordinated the military effort to liberate Ethiopia. The Emperor himself issued several imperial proclamations in this period, demonstrating that, while authority was not divided up in any formal way, British military might and the emperor's populist appeal could be joined in the concerted effort to liberate Ethiopia. On 18th January 1941, during the East African Campaign, Haile Selassie crossed the border between Sudan and Ethiopia and the standard of the Lion of Judah was raised again. Italy was defeated by a force of the United Kingdom, the Commonwealth of Nations, Free France, Free Belgium and Ethiopian patriots and on 5th May 1941 Haile Selassie entered Addis Ababa and personally addressed the Ethiopian people.
‘It is a source of great satisfaction to me that I have fought my way here at the head of my forces and have borne my share in the conquest of our mutual enemies. It is with a sense of deep thankfulness to Almighty God that I stand today in my palace from which the Fascist forces have fled’ HAILE SELASSIE I: (1892-1975) Ethiopian Regent Plenipotentiary 1916-30 and Emperor 1930-74. An extremely rare and historically important printed folio copy of the speech made by Haile Selassie upon entering Addis Ababa on 5th May 1941, following the defeat of Italy and the liberation of Ethiopia, four pages printed in Amharic and with the Conquering Lion of the Tribe of Judah at the head, the text stating, in part, 'My People: It was on this day five years ago that the Fascist forces entered my capital and at once Mussolini proclaimed the establishment of the “Roman Empire” in our country of Ethiopia…..In those dark days you, my people, never abandoned hope. Small bands of warriors with old rifles ranged the hills. For five long years the Italian enemy never dared to penetrate the mountainous regions where Ethiopian patriots maintained their freedom in hardship and privation….Immediately before Italy entered the war to snatch what she could from a defeated France, she poured into Ethiopia men, money and munitions……Confident that these mighty armaments could not be assailed the Fascist Government proceeded with its work…..But a mighty change was at hand. It was to be in Ethiopia, for the first time, that the power of the power of the spirit was to be manifested as the ruling power in modern war. It was in Ethiopia that the will of a whole people was first to co-operate with the expert military genius of a valiant and humane nation to form together an irresistible force which should succeed in destroying an army far superior in numbers and equipment. It was long before the British forces, fighting for the cause of humanity in other theatres of war, could come to the rescue of Ethiopia……when the forces of our great Ally were at last released for an effectual attack upon the enemy….I again entered my country and marched with my forces from the far-off frontier on the Sudan into the heart of the Gojjam…..My forces were outnumbered by 20 to 1 and we were without artillery or aircraft. My appearance amongst the patriots at once brought thousands to my side and the enemy's fear magnified these to as many more……I proceeded at once to collect my forces which were scattered in pursuit of the enemy, and to move towards my capital which I have today entered. It is a source of great satisfaction to me that I have fought my way here at the head of my forces and have borne my share in the conquest of our mutual enemies. It is with a sense of deep thankfulness to Almighty God that I stand today in my palace from which the Fascist forces have fled. It is my firm purpose to merit the blessings which I have received: firstly to show my gratitude to my allies the British by returning the benefit done me; by releasing their Imperial troops for warfare on other fronts and by my supplying them with armed forces wherever they may need them; and, secondly, by re-establishing in Ethiopia Christian ethics in Government, liberty of conscience and democratic institutions. Lastly to you, my people, I say with a full heart, today is a day of rejoicing, today is a day of triumph over our enemies. Let us therefore rejoice but in the spirit of Christ……Do not stain the name of Ethiopia by acts worthy of our enemies. I shall see to it that they are disarmed and are given a safe passage to the place from which they came. And while you treat your enemies with forbearance, you must treat our Allies with the kindness that you show to a brother and a saviour. St. George who slew the dragon, is the patron saint of both our countries. Let us unite in everlasting friendship and amity to oppose this new dragon of Godless brutality that has assailed mankind'. Signed by Haile Selassie in fountain pen ink to a clear area at the head of the first page and dated 1941 in his hand. Also featuring an inscription in Amharic to Captain Richardson. Accompanied by a contemporary printed English translation of the speech. An extremely rare signed copy of what is undoubtedly the most important speech made in the modern history of Ethiopia. Some very light, extremely minor age wear, about EX
HITLER ADOLF: (1889-1945) Fuhrer of the Third Reich 1933-45. An historically important Autograph Manuscript, unsigned, two pages, 4to, n.p. (Munich?) n.d. (February 1925), in German. The holograph notes were prepared by Hitler in advance of a speech (the first following his release from prison) he delivered in Munich's Burgerbraukeller on 27th February 1925. In the upper left corner Hitler has penned the year 1918 followed by the questions 'What had happened?' and 'Just what went wrong', continuing with a diagram separating the political parties 'on the Left "Proletariat"….Marxism….finished for good due to criminality' and 'on the Right "Bourgeoisie"……bourgeois parties….broke down due to cowardice' and also including the 'Volunteer Corps - Nationalist Organisations, Citizens Defending Themselves', the manuscript continuing with other relevant points he intended to deliver within the speech, 'Stick to the facts. Parties reject violence (cowardly). Associations are non-political (stupid. They keep pulling their chestnuts out of the fire). During all this the nation is destroyed, plundered domestically and internationally. Could anything still help? Founding of the NSDAP [National Socialist German Workers' Party, more commonly known as the Nazi Party] Goal. Programme', and to the second page Hitler writes further notes, 'Development. 1919-20-21-22-23. 8th November Result: Inflation. 1924 Parliament. Struggle within the movement. Did anyone care about us? No. My release. December 1924, February 27th 1925. Buttmann. The division is impending. I and Held. I and Rohm. I and Ludendorff. Lies. The old movement……The movement? In a different Germany. Here.' Autograph material of Adolf Hitler is extremely rare in any form, and the present notes are of particular significance in Hitler's rise to power, this particular speech representing a landmark moment in the re-establishing of the Nazi Party and Hitler cementing his position as 'der Fuhrer'. A couple of extremely minor, very small holes at the intersection of a couple of folds, VG'If anyone comes and tries to make conditions to me then I say to him: friend, wait and see what conditions I have to make to you. I am not wooing the masses. After a year you shall judge, my party comrades; if I have not acted correctly, then I shall place my office in your hands again. But until that moment this is the rule: I lead the movement alone, and no one shall set me conditions so long as I personally bear the responsibility. And I once more bear entire responsibility for everything that happens in the movement' (extract from Adolf Hitler's two-hour speech delivered at the Burgerbraukeller, Munich, 27th February 1925)Hitler joined the tiny German workers party in 1919, He quickly became its leader. On 9 November 1923, at the height of the great German inflation (on 20 November, one U.S. dollar was equal to four trillion German marks), Hitler risked a coup. He led his followers through the streets of Munich to the Feldherrnhalle, a war memorial, where waiting police opened fire. Sixteen of Hitler's followers were killed; Hitler himself was arrested, and after a trial that he turned into a political platform, he was sentenced to four years in prison. The party was banned, and its remnants degenerated into squabbling factions. Hitler stood outside the fray, using his time in prison to write Mein Kampf. He was released in December 1924 after serving only nine months of his term, and set about rebuilding the party. The authorities lifted the ban on the Nazi Party on 16 February 1925. Hitler now arranged one of his rhetorical masterpieces: a mass meeting on 27 February to re-establish the party. He chose the same beer hall from which he had launched his abortive revolution fifteen months earlier. Three thousand people packed the hall, and several thousand more were turned away. He entered to the passionate applause of the audience, and gave [a] two hour speech….Its first three-quarters offered nothing that most in the audience had not already heard, and would hear again in Hitler's future speeches. He reviewed Germany's history, claiming that past conservative parties had no contact with the masses, and that leftist parties pretended to address the problems faced by ordinary Germans, but actually served the interests of the Jews who controlled them. He also outlined his views on propaganda. In the last quarter of the speech, he moved to re-establish his control of the party. He claimed absolute authority. Anyone unwilling to obey could go his own way. Hitler 'forgave' those who had made mistakes in his absence, and demanded that there be no criticism of him or the party for a year. The audience responded with enthusiasm. After the speech, Hitler had arranged…..'a piece of pure theatre'. The Nazi leaders who had fought for supremacy while Hitler was in prison all 'mounted the platform and, among emotional scenes, with many standing on chairs and tables and the crowd pressing forward from the back of the hall, shook hands, forgave each other, and swore undying loyalty to the leader'……The speech succeeded. Hitler once again was absolute leader of the party' (from Landmark Speeches of National Socialism, edited by Randall L. Bytwerk, Texas A&M University Press, 2008)
NICHOLSON JACK: (1937- ) American Actor, Academy Award winner. Signed 10 x 8 photograph by Nicholson, the image showing the actor standing in a half-length pose in costume as R.P. McMurphy in a scene from the film One Flew Over the Cuckoo´s Nest (1975), which gave him his first Oscar. Signed in bold blue ink across the image. EX.
BEST WERNER: (1903-1989) German SS-Obergruppenfuhrer of World War II, the first Chief of Department 1 of the Gestapo. Fountain pen ink signature ('W Best') with his typed rank beneath, on a 12mo piece evidently neatly clipped from the conclusion of a letter or document. Lightly mounted to the base of an A4 sheet of paper featuring a reproduction image of Best in a head and shoulders pose wearing his uniform. VG
LUFTWAFFE: Selection of signed photographs (2) and other printed images etc. (most neatly removed from books and magazines) of varying sizes, each signed by German Luftwaffe pilots of World War II comprising Adolf Galland (4; one also signed by British flying ace Robert Stanford Tuck, and another showing Galland in conversation with Douglas Bader), Gunther Rall (2), Ulrich Steinhilper (2), Johannes Steinhoff (4), Frank Neubert (believed to have been the first victor in aerial combat during World War II) and Viktor Petermann. A few of the images are colour. Generally VG, 14
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