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Lot 106
Two boxes of Magic Lantern slides, views around the world including lumberjack, kangaroo hunting, Native Americans, also a set of twenty-four including first slide titled 'Rambles Round London Zoological Gardens', related slides including orangutan, kiwi, gorilla, etc, a series of ocean liners including a four funnelled liner, etc, also a small quantity of stereoscopic cards (3 boxes).
Lot 1162
JOHANNES GRENNES (Norwegian, 1875-1963); a pair of early 20th century oils on canvas, portrait studies of Mr & Mrs Christensen, the husband the owner of M.Simoni, wine merchant, Aalborg, Denmark, the first depicting the husband wearing a blue suit writing at a work desk, the second depicting the wife wearing a fur ruff in formal upright pose, signed to lower right and left respectively, the first 42 x 48cm, the second 53 x 45cm, both framed, also with a further oil on canvas depicting the aforementioned wine merchant's premises by a different artist, indistinctly signed to lower right (3).
Lot 1834
A Regency Egyptian Revival bracket clock, the brass pineapple finial above fluted canopy, the circular dial inscribed 'Greenwood, Dover' and set with Roman numerals, with twin fusee eight day movement, flanked by brass Egyptian corner capitals and scrolling bracket feet, height 54cm. CONDITION REPORT: Key & Pendulum present. The clock has had good and sympathetic restoration. Some fine slpits to the veneer of the door. The dial is rather yellow and has been varnished. The first E of Greenwood has been repainted.Basically in good condition.
Lot 200
Approximately fifty boxed Matchbox 'Models of Yesteryear' diecast model vehicles to include the special editions YS-16 '1929 Scammell One Hundred Tonne Truck-Trailer with G.E.R Class E for 2-4-0 locomotive', YS-39 'Passenger Coach And Horses c.1820', Y10 '1931 AEC trolley bus 'Diddler', also YSFE01 '1930 Ahrens-Fox', YSFE02 '1036 Leyland Cub FK-7 Fire Engine', a cased limited edition no. 0353 'Connoisseur's Collection', also first and second edition collectors' catalogues in leather-effect binders and a quantity of plastic plinths. CONDITION REPORT: Boxes and models appears to be in generally good condition, some models loose within boxes with resultant surface wear.
Lot 332
Three jointed mohair teddy bears, the longest with centre seam, orange and black glass eyes, stitched nose and mouth, brown velvet pads and tartan ribbon bow tie, lacking label but with purchase receipt referring to bear as 'Chiltern', length 34cm, and two further similar bears including a blonde Merrythought example (3). CONDITION REPORT: First bear with small areas of loss to mohair, more extensive to other bears, some small areas of loss to stitching, pads of all bears worn and stained.
Lot 80
A pair of cased circular 9ct gold Ulverston Grammar Academic medals on suspension rings with presentation inscriptions to reverse; 'Alderman Walkers Prize Richard Norman Hadwin first in mathematics 1923', 'H.M. Todds prize Richard Norman Hadwin first in Physics 1932', hallmarked for Birmingham 1932, 3cm in diameter, combined approx 20.8g, (both boxes af), also an Austrian gilt and enamel decorated third period (1914-18) military merit cross with ribbon, initialled FJ to front and 1849 to reverse, marks to suspension ring, height of cross and crown 5.5cm (3). CONDITION REPORT: minor chipping to enamel and guilding, surface dirty and scratches throughout, ribbon has had a safety pin inserted.
Lot 976
WILLIAM TUNNICLIFF; an 18th century engraved 'New Map Of Cheshire By William Tunnicliff Land Surveyor 1786', 28.5 x 36.5cm, a hand coloured example by John Cary and five further smaller maps, some later, all of Cheshire (7). CONDITION REPORT: Areas of staining, discolouration, fold, creases and printing process errors to first example, others in generally acceptable condition with minor creases, discolouration, etc.
Lot 296
§ Martin Bradley (British, b.1931) Totem signed lower right "Martin Bradley" poster paint on hand-made and hand-blocked paper, unframed 93 x 63cm (36 x 25in) Provenance: Victor Musgrave, Gallery One Victor Musgrave (1919–1984) was a British poet, art dealer and curator. Described by David Sylvester as a 'true pioneer', Musgrave was the first gallerist to show Bridget Riley's work and he was a champion of Art Brut. Musgrave ran 'Gallery One' between 1953 and 1963 - first in Litchfield Street, then moving to D'Arblay Street in Soho. The gallery gave Yves Klein his first solo exhibition in London and also presented work by Fluxus artists. In the 1950s, he had several exhibitions of work by Francis Newton Souza. Other Notes: Martin Bradley was born in London. He attended St Paul's School, but ran away to sea aged 14, serving as a cabin boy. He held his first solo exhibition in 1954 at Gimpel Fils, subsequently exhibiting at Gallery One, owned by Victor Musgrave, and the Redfern Gallery in London. In the early 1960s he exhibited at the Rive Gauche Gallery in Paris. Bradley is known for abstract and symbolic artworks influenced by the calligraphy of China and Japan, as well as Buddhism, to which he converted. Bradley's works are held in the Tate Gallery collections, London, and the Museum of Modern Art in New York. His works have been collected by Dame Barbara Hepworth, Sir Roland Penrose and Sir Herbert Read, and he has exhibited at the Paisnel Gallery in London. Unframed and needs flattening.
Lot 270
A pair of straw work pictures, 18th century, signed and dated 'C.H.H, 1723', the first decorated with village scenes of figures seated before a house, man with dog and sailing boats in the background, the other decorated with figures dancing before a musician, complete with original frames, 18 x 25cm.
Lot 281
Four photograph albums and a scrapbook. 1. Wedding album, Honolulu. A scrap book charting the engagement, marriage and later family events of a young couple living on Honolulu in 1906. Many cards of congratulations, advice, announcements, telegrams, poetry etc. Some photographs of the wedding day and honeymoon. Letters, lists of presents. the album continues with anniversary cards, (silver & gold, by which time the couple live in Lelant & Penzance) photographs of the children, and similar material for the children's weddings in Cornwall in the 1960s and finally the parents obituaries. An interesting family history.2. Photograph album from Honolulu 1905/6. 118 photos. White middle class family photos 1905/6, views of the island, beaches, family groups, some good historical content: native canoe, a Chinese dragon procession, a fruit merchant carrying baskets, visiting ships in harbours etc.3. A New Zealand photograph album 1938. 79 small photographs and 2 large. One an aerial view of Te Kuiti, the other a group image of a large number of college students, completely annotated and dated 1938. The principal subjects the smaller photos is a handsome young man, and views of dramatic New Zealand scenery such as the Franz Josef glacier etc.4. A soldiers war album, 1942/3, 64 photographs, (many loose) from Delhi, Madras, Durban, S.Africa. Good historical interest.5. 1920s Cornish holiday snaps. Approximately 78 black and white photographs, mostly 6.5 x 4.5cm, some larger. Subjects: Men an Tol, Newquay, a steam fair, St Michaels Mount, the First and Last pub etc.
Lot 2942
A pair of Regency mahogany card tables, each fold top with canted corners, the frieze of each with inlaid ebony lines and each with fluted tapering legs in Gillows style. Condition report: Honest, untouched condition.Old worm holes across the first table. Some losses to beading at sides.Large ring marks to top of table 2. Old worm holes in back and again losses to sides.
Lot 386
An East African Ida sword and sheath owned by Jack Chalker, the acclaimed British WWII artist who painted the atrocities he witnessed as a prisoner of war on the Burma Railway known as the 'Railway of Death'. A 57.5cm long, straight spined, crudely forged, double edged sword. The blade 2.3cm wide at its narrowest point close to the handle, flaring to 5.5cm at its widest point near the tip which is symmetrically rounded with a small point. The handle, 13.5cm long, is enclosed in rudimentarily hand stitched animal skin. The sheath also crudely constructed of red dyed animal skin stretched and stitched over wood with an integrated 5cm belt loop in the skin. At the tip of the sheath an East African bronze one cent coin (dated to 1949-52) has been formed into a protective wood filled finial. Jack Chalker, 1918-2014. Chalker had won a scholarship to the Royal College of Art but his studies interrupted by the outbreak of the WWII. He joined the Royal Field Artillery and was posted to Singapore in February 1942. Within a month he was captured by the Japanese. He was first sent to the Changi area for a few months, then a further four months at Havelock Road labour camp in Singapore Town before the journey up-country to Bampong in Thailand. From there groups were marched to various camp sites to begin the construction of the Burma Railway line. Chalker spent almost six months at Kanyu River working on the railway project. In March 1943 after succumbing to dysentery and dengue fever he was sent down-river to Chungkai where a large hospital camp was being established. In June 1944 he was moved south to the Nakhon Pathom Hospital camp where he remained until the Japanese capitulation in August 1945. Throughout his captivity, despite great personal risk to himself, Chalker sought to capture daily life in the camps in pen and ink. The making of any records was strictly forbidden and infringement of the rules resulted in savage punishment. Drawings were hidden in sections of bamboo buried in the ground, the roof of jungle huts or in an artificial leg worn by an amputee prisioner. Chalker kept an important record of the subhuman conditions endured by the allied POWs. He was a hospital artist for the renowned Australian surgeon Colonel Sir Ernest Edward "Weary" Dunlop and sketched the diseases, tropical ulcers and operations. After the war in 1945, Chalker joined the Australian Army HQ in Bangkok as a war artist; some of his work was used in evidence at the trials of Japanese officers and NCOs at the Tokyo War Crimes Tribunal. On return to the UK he resumed his studies. In 1950, after teaching History of Art at Cheltenham Ladies' College he became principal of Falmouth College of Art and, in 1957, principal of West of England College of Art, where he remained until his retirement in the mid-1980s. Chalker did not talk about his war-time ordeal or look at his pictures for almost 40 years. In 2002, a bout of ill-health forced him to auction over 100 drawings and paintings. “I feel reluctant and in a way guilty about doing this, but it will help us out,” he said. They sold for almost £200,000 and were acquired by several private collectors and museums, among them Britain's National Army Museum. The highest-selling lot was a painting of the Australian surgeon Colonel Edward Dunlop performing an amputation, which sold for £24,600. He published two books of his POW drawings and has featured in a BBC documentary about the Burma Railway. Jack Chalker's son describes his father as never being without a useful knife of some sort and as also being an avid collector. Knifes and swords were one of his passions. He is not aware of where his father acquired the African Ida sword but it is his belief that he brought the Dha-Iwe back home with him when he returned from Burma after the end of the war.
Lot 387
A Burmese Dha-Iwe sword, owned by Jack Chalker, the British WWII artist who painted the atrocities he witnessed as a prisoner of war on the Burma Railway known as the 'Railway of Death'. The wooden handle with brass fittings and white metal collar with incised cross hatched decoration. Square ended blade of 51.5cm, total length including handle: 70.5cm. Blade 3cm at widest point. Square ended wooden scabbard with brass throat, single circle of plaited rattan (possibly missing others) and white cord baldrick. Jack Chalker, 1918-2014. Chalker had won a scholarship to the Royal College of Art but his studies interrupted by the outbreak of the WWII. He joined the Royal Field Artillery and was posted to Singapore in February 1942. Within a month he was captured by the Japanese. He was first sent to the Changi area for a few months, then a further four months at Havelock Road labour camp in Singapore Town before the journey up-country to Bampong in Thailand. From there groups were marched to various camp sites to begin the construction of the Burma Railway line. Chalker spent almost six months at Kanyu River working on the railway project. In March 1943 after succumbing to dysentery and dengue fever he was sent down-river to Chungkai where a large hospital camp was being established. In June 1944 he was moved south to the Nakhon Pathom Hospital camp where he remained until the Japanese capitulation in August 1945. Throughout his captivity, despite great personal risk to himself, Chalker sought to capture daily life in the camps in pen and ink. The making of any records was strictly forbidden and infringement of the rules resulted in savage punishment. Drawings were hidden in sections of bamboo buried in the ground, the roof of jungle huts or in an artificial leg worn by an amputee prisioner. Chalker kept an important record of the subhuman conditions endured by the allied POWs. He was a hospital artist for the renowned Australian surgeon Colonel Sir Ernest Edward "Weary" Dunlop and sketched the diseases, tropical ulcers and operations. After the war in 1945, Chalker joined the Australian Army HQ in Bangkok as a war artist; some of his work was used in evidence at the trials of Japanese officers and NCOs at the Tokyo War Crimes Tribunal. On return to the UK he resumed his studies. In 1950, after teaching History of Art at Cheltenham Ladies' College he became principal of Falmouth College of Art and, in 1957, principal of West of England College of Art, where he remained until his retirement in the mid-1980s. Chalker did not talk about his war-time ordeal or look at his pictures for almost 40 years. In 2002, a bout of ill-health forced him to auction over 100 drawings and paintings. "I feel reluctant and in a way guilty about doing this, but it will help us out," he said. They sold for almost £200,000 and were acquired by several private collectors and museums, among them Britain's National Army Museum. The highest-selling lot was a painting of the Australian surgeon Colonel Edward Dunlop performing an amputation, which sold for £24,600. He published two books of his POW drawings and has featured in a BBC documentary about the Burma Railway. Jack Chalker's son describes his father as never being without a useful knife of some sort and also an avid collector. Knifes and swords were one of his passions. He is not aware of where his father acquired the African Ida sword but it is his belief that he brought the Dha-Iwe back home with him when he returned from Burma after the end of the war.
Lot 101
A hardbound album of interesting early photographic prints from 1911/12/13, 22.5 x 28cm. 40 x photographs, 1 x newspaper cutting, 2 x small pencil and watercolour head studies of Native American Indians.Subjects include:Birnbeck Pier 'Old Pier' Weston Super Mare, and the Grand Pier, Weston. Other views of Weston Super Mare.Large prints 16 x 21.5cmGrove Park bandstand Weston Super Mare, smaller prints 10.5 x 16.5cm. Family shots of donkeys on beach.Studies of posing child. Architectural ruins, smartly dressed young men, one with camera. Pond yacht etc.The impression from the quality of the photographs is that these may be the work of a keen amateur who printed his own images.2 x images of early flight. Bentfield 'Benny' Charles Hucks, a pioneering aviation innovator and the first British man to perform a loop the loop. On September 1st 1911 as part of a West Country tour in aid of charity, Hucks flew a Blackburn Mercury monoplane non-stop to Cardiff and back from Weston-Super Mare. 'B C Hucks' can be clearly seen on the wings of the plane in one of the photographs and given the location of the other photos in the album, it seems likely that these are photographs of this event, 16.5 x 21.5cm2 attractive photos of early single masted racing yachts (not J Class) 10 x 15cm.A glossy crisp quality image (possibly a later print) of grieving mourners, police and onlookers outside a makeshift mortuary at the Senghenydd Colliery disaster of October 1913, 16.5 x 21.5cm.This pit explosion remains the UK's worst ever mining accident, killing 439 miners and one rescuer. Captioned: "The Colliery Disaster. Pathetic scene outside the smith shops, which have been converted into temporary hospital and mortuary. Miners relatives, bitterly weeping, are led away by Salvation Army lasses."Welsh rugby, 4 x photographic prints. 2 x prints of Cardiff vs Swansea, March 25th 1911, 18 x 21.5cm & 15.5 x 22cm. Excellent, early action shots of a match in progress.2 x smaller prints again of a rugby match in play, captioned in pencil: 'Stripes v Whites' and a further caption which we couldn't decipher, 11 x 16.5cm & 8 x 16.5cm.
Lot 50
TWO JAPANESE SWORD GUARDS (TSUBA) of bronze, the first with kozuka hitsu-ana, decorated on each face with a pattern of waves and shakudo leaves; the second of mokko gata form, signed 'Ikkan', with kozuka hitsu-ana and kogai hitsu-ana, decorated in brass with a dragon and two rondels the first: 5.5 cm; 2 ¼ in (2)
Lot 161
TWO CONTINENTAL PLUG BAYONETS, MID-17TH CENTURY the first with double-edged blade (pitted), brass hilt with acorn quillon terminal and down-turned shell decorated with a green man mask, and turned wooden grip with acorn-shaped pommel (grip cracked); the second with broad double-edged blade, iron quillons and turned wooden grip (worn) the first: 21.5 cm; 8 1/2 in blade (2)
Lot 665
THE BARRELS AND STOCK OF THREE ENGLISH PISTOLS AND A PISTOL SIGNED CLARKSON, 18TH CENTURY AND LATER the first mid-18th century, converted from flintlock, with three-stage barrel, full stock (cut-down) and brass spurred pommel with grotesque cap; the second mid-18th century, with tapering barrel (pitted), and brass grotesque mask butt-cap and openwork side-plate; the third early 19th century, with rebrowned octagonal barrel inscribed 'London', and the fourth composite, with tapering barrel, signed lock and brass mounts (each worn throughout) the first: 22.3 cm; 8 3/4 in barrel (4)
Lot 567
A SALUTING CANNON IN THE STYLE OF THE FIRST HALF OF THE 16TH CENTURY, 19TH CENTURY with multi-stage bronze barrel moulded at the muzzle, spirally fluted over the chase, decorated with tongues of fire within triangular flames on the first reinforce, fitted with a pair of dolphin lifting handles, trunnions decorated with punched ornament, and serpentine cascable: on an iron-clad wooden carriage, probably earlier, with iron-shod spoked cambered wheels 43.5 cm; 17 1/8 in barrel 1.8 cm; 3/4 in bore
Lot 302
TWO LEFT-HAND DAGGERS IN LATE 16TH/EARLY 17TH CENTURY STYLE, SPAIN, 20TH CENTURY the first with pierced broad double-edged blade, iron hilt with drooping forward-canted quillons, side ring and faceted pommel all inlaid with gold flowers and scrolls within oval frames, in its scabbard with iron mounts en suite; the second with pierced fullered blade, iron hilt with drooping quillons, side-ring and pommel all decorated in gold with scrolling foliage and cherubic masks the first: 27.7 cm; 11 in blade (2)
Lot 374
THREE BRASS-MOUNTED TIPSTAVES, 19TH CENTURY the first with brass body engraved 'C4 13W', openwork crown finial and turned wooden grip; the second similar, engraved 'C8 20W'; and the third probably Liverpool, with brass body and the finial formed as an eagle displayed with a branch of laver in its beak, and turned wooden banded grip the first: 18.7 cm; 7 3/8 in (3)
Lot 405
TWO SPURS, PROBABLY 17TH CENTURY; A PAIR OF DRESS SPURS, AND A FURTHER SPUR, LATE 19TH/20TH CENTURY the first with seven-point star-shaped rowel, moulded neck and heel-band, the latter adapted for display; the second with pierced star-shaped rowel, curved moulded neck, and curved arched heel-band, fitted with tabs; the third chromed, with black leather straps; and the fifth similar the first: 12.5 cm; 5 in (5)
Lot 321
A RARE ITALIAN CORSECA, FIRST QUARTER OF THE 17TH CENTURY formed of a long central spike of diamond section, a pair of flat curved basal lugs with rebated pointed tips, one struck with a mark, faceted socket, and a pair of short straps, and retaining traces of etching throughout, on a later wooden haft 78.5 cm; 31 in head
Lot 165
A GERMAN MILITARY SWORD, MID-17TH CENTURY AND ANOTHER the first with broad double-edged blade stamped 'G*I*E*S*A' and 'M*A*R*I*A' within a pair of short fullers on each face, signed 'Federico Picinino' on both faces of the forte, iron hilt chiselled with foliage in low relief (worn, ring-guards bent, plates missing), comprising down-curved quillon with monsterhead terminal, inner and outer ring-guards each with a swelling central moulding involving a flowerhead, knuckle-guard en suite and matching plummet-shaped pommel, and wooden grip (wormed) with 'Turk's heads'; the second with broad blade inscribed 'E Domine Spera Vinon' and 'Funar Ineternum', iron hilt including recurved quillons with globular terminals, outer ring-guard en suite (plate missing), globular pommel and wooden grip with plaited wire binding (Turk's heads' missing) the first: 83.0 cm; 32 5/8 in blade (2)
Lot 645
A .700 CALIBRE PERCUSSION MUSKET FOR INDIAN SERVICE REGULATION TYPE, DATED 1863 AND A COPY OF A FLINTLOCK SEA SERVICE PISTOL the first with reblued sighted barrel retained by three bands, regulation dated lock with 'VR' crowned on the tail, signed 'L.A.Co.' for London Armoury Company and with the Ordnance mark ahead of the hammer, full stock, regulation brass mounts and iron ramrod; the second with original rounded lock with 'GR' crowned, 'Farmer' and dated 1744 the first: 99.0 cm; 39 in barrel (2)
Lot 49
TWO JAPANESE SWORD GUARDS (TSUBA) of iron, the first of mokko gata form with kozuka hitsu-ana and kogai hitsu-ana, decorated with a butterfly, a beetle and a grass hopper in soft metals on one face and a snail on the other; the second larger, signed 'Yamashiro no kuni Fushimi ju Kaneie', with kozuka hitsu-ana and kogai hitsu-ana and decorated with a figure in a boat the first: 6.5 cm; 2 1/2 in (2)
Lot 370
A POST 1902 HELMET PLATE FOR THE EAST YORKSHIRE REGIMENT, FOUR SILVER KING'S DRAGOON GUARD SHOULDER BADGES, BIRMINGHAM 1947, AND TEN FURTHER HARNESS BADGES, 20TH CENTURY the first of brass with silvered regimental scroll at the bottom; the second with traces of enamel; the remainder including two King's Dragon guard harness mounts, and another two for the VII (Princess Royals) Dragoon Guards the first: 10.0 cm; 4 in wide (15)
Lot 172
TWO GERMAN ARMING SWORDS, FIRST HALF OF THE 18TH CENTURY the first with curved fullered blade double-edged toward the point, etched with scrolls, a portrait profile figure and the inscription 'Solideo Gloria' on each face (worn), iron hilt comprising quillon, outer-guard, and knuckle-guard each decorated with a writhen pattern, associated pommel, and wooden grip (the hilt plate and thumb-ring missing, chemically cleaned); the second similar, with plain blade, writhen hilt, and a portion of its wire binding (the hilt plate and thumb-ring missing, chemically cleaned) the first: 77.5 cm; 30 1/2in blade (2)
Lot 407
A CAP-A-PIE FIELD ARMOUR IN THE LATE 15TH CENTURY GERMAN 'GOTHIC' STYLE, 19TH CENTURY comprising sallet with rounded one-piece crown rising to a broad hollowed medial keel, formed at its front with a single broad stepped vision-slit and extending backwards over the nape as a broad squared 'tail'; bevor formed of a main plate shaped to the chin and fitted at its flanged lower edge with a deep gorget-plate narrowing to its lower end; collar formed of three lames front and rear; medially-ridged breastplate formed of a main plate overlapped at its lower edge by a plackart with a chevron-shaped upper edge rising to a lobate finial, and a flanged lower edge bearing a fauld of three lames, the lowest of which is cut at its centre with a shallow arch fitted internally with a skirt of mail separating a pair of short integral tassets each of two lames; backplate formed in one piece with a flanged lower edge (its centre patched); spaudlers each of three lames, the first of the right stamped at its apex with the initials 'FD', and both fitted at their lower edges with gutter-shaped upper cannons connected by means of internal leathers through one-piece winged couters open at their rears, to tubular lower cannons opening at the front; circular besagues each connected by a strap and buckle to the front edge of its spaudler; gauntlets each formed of a long pointed cuff open at its inside, an outer wrist-plate shaped to the end of the ulna, a single long metacarpal-plate, shaped knuckle and finger-plates, and scaled thumb and finger-defences; cuisses of long gutter-shaped form each embossed with a simulated side-plate and three simulated upper extension-lames, and fitted at its lower edge with a winged poleyn of six lames overlapping outwards from the third, formed with a medial keel; tubular full-length greaves opening at their outsides; and sabatons each of eight lames with pointed toe-caps and separate hinged heel-plates; all parts of the armour except for the sallet, collar, greaves and sabatons decorated with sprays of 'Gothic' flutes, and their main edges formed at numerous points with plain inward turns (the whole showing a light to medium patina overall and some small patches of active rust); mounted on a wooden stand with a square base
Lot 129
A BRITISH OTHER RANK'S LIGHT CAVALRY SWORD, 15TH (THE KING'S) LIGHT DRAGOONS, CIRCA 1775-88 with single-edged blade formed with a clipped-back point, engraved 'King's Light Dragoons' on each face and 'Cullum' at the forte, iron stirrup hilt including a pair of short slender langets, the knuckle-guard engraved with troop designation 'E5', quillon, rounded back-strap and cap pommel, and fishskin-covered grip 91.0 cm; 35 7/8 in blade The 15th Light Dragoons was the first regiment of light dragoons to be formed in the British Army, being raised in 1759 by Colonel George Augustus Elliott, later Lord Heathfield KB (1717-90). The regiment's first swords, which were similar in form for both officers and men, had blades such as that in this example but more rudimentary hilts, with just a cross-guard and a globular pommel - the pommels of the officers' swords being cast and chased as lions' heads. These first swords seem to have been carried from circa 1759 until the mid-1770s. Cullum was at 12 Charing Cross and later, from 1788, at 9 Charing Cross (the firm existing from 1741 until 1795). A similar sword, with troop designation 'E4', is preserved in the National Army Museum, London (acc. No. 1970-05-16-1)
Lot 170
A LIGHT CAVALRY SWORD, GERMAN OR AUSTRIAN, EARLY 19TH CENTURY AND A MILITARY STYLE SWORD FOR A BOY, 19TH CENTURY the first with regulation blade etched with foliage and a garland, iron stirrup hilt; the second with curved blade with rounded tip, brass stirrup hilt engraved 'HN25' on the knuckle-guard, in its brass scabbard 82.0 cm; 32¼ in blade (2)
Lot 169
THREE GERMAN SMALL-SWORDS, MID-18TH CENTURY the first with associated tapering blade of flattened-diamond section, brass hilt cast in low relief with putti and classical figures, including openwork double shell-guard, forward-canted quillon, knuckle-guard interrupted by a figural moulding, globular pommel, and wire-bound grip reinforced with vertical brass bars; the second with tapering blade stamped 'Fortuna' and 'Virtute' on the respective faces within a slender fuller, associated tapering blade of flattened-diamond section, brass hilt engraved and cast in low relief, including openwork double shell-guard, forward-canted quillon with grotesque mask finial, knuckle-guard interrupted by a pan-figure moulding, globular pommel, and wire-bound grip reinforced with vertical brass bars; the third composite, with brass hilt cast with classical figures and scrolls (knuckle-guard missing) the first: 74.1 cm; 29 1/4 in blade (3)
Lot 662
A BELGIAN PIN-FIRE REVOLVER, LIÈGE PROOF, CIRCA 1870 AND TWO FLINTLOCK TINDER LIGHTERS the first with octagonal sighted barrel, engraved blued cylinder, scroll-engraved frame, folding trigger, and hardwood butt, in its leather holster; the second and third perhaps 19th century, each with scroll-engraved brass body, iron trigger-guards and walnut butts the first: 8.5 cm; 3 3/8 in barrel ++
Lot 548
A FLINTLOCK MECHANISM FOR AN EAST INDIA COMPANY NEW LAND PATTERN SERVICE PISTOL, DATED 1816; ANOTHER FLINTLOCK MECHANISM AND ANOTHER FOR A SPORTING GUN, CIRCA 1815-20 the first with flat bevelled border-engraved plate stamped with the date on the tail, East India Company Rampant Lion, and crowned '2' beneath the pan; the second a flintlock mechanism (cock missing) with flat bevelled plate with 'GR' crowned beneath the brass pan, rounded tail stamped with bale mark, 'PR' over 'C' beneath 'Tower' (some pitting); the third with bright bevelled stepped plate, rainproof pan and steel-spring with roller the first 13.6 cm; 5 3/8 in (3) Provenance James S. Gooding, sold Bonhams, Knightsbridge part of lots 181 and 205.
Lot 362
A GERMAN HUNTING DAGGER, A 1907 BAYONET, AND TWO FURTHER KNIVES, 20TH CENTURY the first with double-edged blade, and grip formed of a hoof, in its scabbard, the second by Wilkinson, in its scabbard; the third a copy of a FS fighting knife, and another dagger the first: 15.2 cm; 6 in blade (4)
Lot 303
TWO LEFT-HAND DAGGERS IN LATE 16TH/EARLY 17TH CENTURY STYLE, SPAIN, 20TH CENTURY the first based on that preserved in the Wallace Collection (inv. no. A805), with pierced fullered blade, iron hilt with straight quillons, ring-guard and pommel all encrusted with silver flowers, foliage and scrolls, in its scabbard with locket and chape en suite; the second with stiletto blade moulded at the base, and iron hilt with integral grip all inlaid in gold with scrolling leafy tendrils the first: 26.2 cm;10 3/8 in (2)
Lot 13
TWO JAPANESE SWORD (KATANA) BLADES 20TH CENTURY the first for a military sword, with slightly curved single-edged blade with straight hamon, tang signed 'Kinsaku [humbly made] Takayama to, Tosho [swordsmith] Hattori Masahiro' with two mekugi-ana; the second later, unsharpened the first: 61.7 cm; 24 3/8 in blade (2)
Lot 278
FOUR DETACHED SWORD BLADES, 17TH TO 19TH CENTURIES the first 17th century, for a rapier, of flattened-diamond section, stamped with a brief inscription within a short fuller on each face; the second late 18th century, from a hunting sword, decorated with a running fox and the spurious dated '1414' on each face, and two further blades the first: 80.0 cm; 31 1/2 in blade (4)
Lot 301
FOUR SPANISH FOLDING KNIVES, A CONTINENTAL HUNTING DAGGER, AND A STILETTO, LATE 19TH/20TH CENTURY the first two with folding engraved blades signed 'Juan Cavvallo Montigo' and polished horn bodies; the third with engraved blade and wooden body; the fourth smaller, with horn body; the fifth with straight blade double-edged towards the point, moulded iron cross-piece, staghorn grip, white metal ferrule and leather scabbard; and the last with white metal cross-guard and detached mother-of-pearl grips the first: 44.5 cm; 17 1/2 in blade (6)
Lot 468
MATTHEWS, John & George F., Year Books of Probates (from 1630) (1904), worn; HALLEN, A.W. Cornelius (transcr.), The First Volume of The Registers of St. Botolph, Bishopsgate (1558-1628), Parts 3 & 4 (1887), worn, the front page of the first detached; KNIGHTON, C.S. (ed.), Calendar of State Papers Preserve in the Public Record Office: Edward VI 1547-1553 (1992); GAIRDNER, James (ed.), The Paston Letters (1986); WOOD, J.C., Thomas Christopher Hofland: Painter and Angler, 1777-1843, article in orange folder with photograph enclosed; COLVIN, H.M., The History of the King's Works: Volume IV 1485-1660 (Part II) (1982); GROOS, G.W. (trans.), The Diary of Baron Waldstein: A Traveller in Elizabethan England (1981); KNIGHTON, C.S. (ed.), Calendar of State Papers: Domestic Series, Mary I 1553-1558 (1998); MILLAR, Oliver (ed.), The Walpole Society: 1970-1972 (1972); BREWER, H.S. (ed.), Letters and Papers, Foreign and Domestic, of the Reign of Henry VIII, bound in blue cloth with gilt lettering (slightly worn), bookplate of Anthony de Reuck, 4to; STARKEY, David (ed.), The Inventory of King Henry VIII: The Transcript (1998) (13)
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