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Lot 28
plated cantle engraved with thistles. Central gilt Gordon Highlanders badge. Rear screw post fitting. Together with a Gordon Highlanders Officer’s dirk belt buckle. Gilt rectangular buckle overlaid with silvered Gordon Highlanders badge. The rear with maker “Kirkwood & Sons” and engraved initials “ASBG”. 2 items. ASBG is Archibald Stuart Bullock Graham. Born 28th April 1891. Promoted 2nd Lt 1911. Lt July 1914. Killed in action at Mons 29th Oct 1914. Commemorated on The Menin Gate.
Lot 108
AN EARLY 19TH CENTURY HEAVILY CARVED GILTWOOD PICTURE FRAME, foliate moulding to the frame, bearing inscription 'Thou Art All Fair, My Beloved and There is no Stain in Three. Choice As The Sun. Gate of Heaven. They Cypress on Mount Sion. The Sprout from Jesse. Palm in Cades. Well of Waters. Plantation of the Rose in Jerico. Garden Enclosed. Lily Among Thorns. Beautiful as the Moon. Star of the Sea. Tower of David. Beautiful Olive. Cedar of Libanus. Mirror Without Spot. Fountain Sealed Up. City of God. Spanish. 79 x 60 cm A/F
Lot 661
Edwardian mock Sheraton demi-lune fold-over mahogany card table, top leaf with white wood inlaid swags, ribbons and stylized anthemion days lined interior inlaid frieze, four square section tapering legs with spayed feet (two legs hinged to form gate), width 91cm (36), depth 46cm (18), height 75cm (29). For condition report please see the catalogue at www.peterwilson.co.uk
Lot 367
A pair of Chinese Export porcelain plates, decorated in the Imari palette with pink and red flowers, 23cm diameter together with similar tea bowls, saucers, slops basin and tea cup CONDITION REPORT: Both plates have hairline cracks, slops bowl - glaze imperfections, hairline cracxks, tea bowl with bouquet f flowers - hairline cracks, saucer with three gate pattern - chip to the rim, hairline cracks, Tea bowl with fence pattern - chips to the rim, painting rubbed, matching saucer - hairline cracks, glaze imperfections and painting rubbed, small tea bowl - glaze imperfections, decoration rubbed, matching saucer - crazed, decoration rubbed, tea cup - glaze imperfections, decoration rubbed, otherwise ok, three matching saucers - one has a chip to the rim and glaze imperfections, the second one has numerous chips to the rim and hairline cracks, the third one has a chip to the rim and footrim
Lot 219
‡ TWO QAJAR CUERDA SECA TILES, PERSIA, PROBABLY TEHRAN, 1800-25polychrome-glazed earthenware, each of square form, depicting a bird amidst foliage19cm square each approx.Provenance: Private European Collection. Acquired Bonhams London 29 April 1998, lots 269 & 270.Very closely related tiles can be seen in the Victoria and Albert Museum, London, in a panel which formerly adorned the now-demolished South Gate of the Top Maidan in Tehran (inv. no. 3-1877)
Lot 4018
Local Interest - Photography - a 19th century photographer's shop display sign, applied with an albumen print of the Peacock Hotel, Rowsley, and inscribed Richard Keene's Derbyshire Views Sold Here, 29cm x 34.5cm Undoubtedly from Keene's shop at 24, Iron Gate Derby. Richard Keene (1825-1894) was a pioneer Victorian photographer who learnt his 'art-science' as he called it from Revd Edward Abney a local priest and close collaborator of W H Fox Talbot, who was married to Abney's cousin Constance Mundy. Keene was a very accomplished topographical photographer whose first datable image was taken in autumn 1853.
Lot 9
The historic 'Operation Nimrod' group of medals and memorabilia to Warrant Officer 2nd Class Ian 'Chalky' White, Special Air Service and 17th/21st Lancers, who formed part of the team of S.A.S. men who stormed the Iranian Embassy in London on May 5th 1980 in a swift and decisive action that resolved a major hostage crisis. The Medals: General Service 1962-2007, clasp: Northern Ireland (24215027 TPR I.P. WHITE 17/21L.); South Atlantic, with rosette (24215027 CPL I P WHITE 17/21L (SAS)); Regular Army Long Service and Good Conduct, Elizabeth II (24215027 WO2 I P WHITE 17/21L); court mounted, nearly extremely fine. Accompanied by: the recipient's stable belt, blue with chromed buckle bearing the SAS badge; a copy of Ihis discharge certificate and other documents; a Fairbairn-Sykes fighting knife, 3rd model, blade etched with the Wilkinson brand, regulation leather scabbard, acquired by the recipient from stores on the Falkland Islands; after David Shepherd, '16 Princes Gate', a print depicting the descent of the Embassy stairs, number 38 of 850, bearing artist's pencil signature; after John Tidewell, 'Princes Gate, The Back Door'; a collection of press photographs of the raid depicting SAS members preparing to enter the embassy at various points; floor plans of the embassy; 'Now' magazine complimentary copy 'Britain's Arab Terror - The Killers In Our Midst', May 9-15 1980; Daily Express Special Edition: 'The Day of the S.A.S.'; and various press cuttings and related ephemera. The persecution of the Arab population of Iran's Khuzestan region by Ayatollah Khomeini (and his predecessors the Shahs) had inspired an implacable resistance movement which received support from Iraq under Saddam Hussein. The Arabs themselves were concerned with political and social rights. Hussein exploited this fact to manoeuvre against his rival the Ayatollah. Specifically, he believed that an attack staged in the West would draw attention to the plight of Khuzestan, and allow him to garner international approval for his planned invasion of Iran. With Iraqi backing, a six man team, the 'Group of the Martyr', occupied the Embassy on the 30th April, taking 26 people hostage. The response was initially led by the police, but the S.A.S. acted immediately by deploying a team to the area in case their intervention was requested by the civil authorities. While they waited, they evolved a plan, and when, on the sixth day, a hostage was shot and his body thrown out of the embassy, the men of the Special Air Service went into action under the gaze of the television media. Within 17 minutes, the siege was at an end. Ian White was part of the team that entered the embassy from the roof. An explosive charge was lowered into a light well in the centre of the building and detonated as a distraction, and White's team abseiled into the lightwell to gain access through a window. During the descent, his secondary weapon, a Browning 9mm pistol, was lost owing to the notoriously poor quality holster with which the men were equipped. Nothing daunted, he continued from room to room, clearing each with 'flashbangs' and techniques perfected through rigorous training. He almost met with disaster while descending to a lower floor, as another team approaching the foot of his staircase directed sub-machinegun fire along the corridor into which he was about to step. He next encountered the well documented fire that had broken out owing to many of the curtains and carpets having been impregnated with accelerants. By sheer coincidence he had just completed a firefighting course, with the aim of posing undercover as an airport fireman, and this assisted him in temporarily controlling the blaze together with a colleague. The evacuation of the hostages involved forming a human chain to pass each one down the main staircase and out of the building to safety. White stood at the top of the chain, and such was the urgency of the situation that he resorted, effectively, to throwing them down the stairs. One of the terrorists concealed himself among the hostages, and because of the speed at which the S.A.S. were working that he was thrown down along with the rest of them. White saw in his hand a grenade, and, unable to shoot down the stairs for fear of hitting a hostage, he and others shouted a warning to their colleagues below, who killed the terrorist before he could use it. All but one of the hostages alive at the start of the operation were rescued, and five of the six terrorists were killed - the sixth being captured. The team next had the chance to watch the news footage of their work. They did so in the company of the Prime Minister Margaret Thatcher, for whom the operation had been a considerable publicity coup, foreshadowing her popular aggressive stance over the Falkland Islands (where White was also to be deployed), and demonstrating to the world that Britain was not the soft target that Saddam Hussein had imagined. Their work done, they returned to Hereford at high speed, and the rapidity and decisive efficiency of the S.A.S. action is underscored by the fact that when White arrived home his wife suffered an adverse reaction to the residue from the 'flashbangs' that he had been using, which lingered on his clothing. The embassy siege is well known, and rightly celebrated, as the point at which the S.A.S. became famous. Since its genesis during the Second World War it had maintained a low public profile, consistent with the discrete and sometimes clandestine nature of its methods. In May 1980 it sprang from obscurity onto the television screens and made an indelible impression on the public mind. But these events are important for other reasons. It was a notable tactical success, and in spite of what the modesty of White and others would suggest, this was by no means a foregone conclusion. Counter terrorism was an emerging form of warfare, and the success of Operation Nimrod was in contrast to a certain near-contemporary actions which had ended very badly. It is revealing to note the various mishaps that occurred, some of which affected White directly; because none of them influenced the outcome of the mission. Problems that could have resulted in failure were nullified by the professionalism of the S.A.S. It also confirmed, emphatically, the relevance of the S.A.S. in the post-war era. Prior to Operation Nimrod this had been called into doubt, and the regiment was threatened by budget cuts, and possible disbandment. After Nimrod its value was beyond dispute, and it future was secured. The recipient participated in the seminal S.A.S. action of the post war years, a major milestone in the history of the regiment - and of special forces more generally - making this group a truly historic acquisition for the collector.
Lot 138
A French Belle Époque diamond set bracelet, c.1915,with a centrepiece of three articulated plaques. A central oval plaque with three graduated old European diamonds, milligrain set to plain collets joined by a blade edge bar, open frames to an oval surround, milligrain set with eight cut and rose cut diamonds. Articulated diamond set flower head links between, to matching pear-shaped plaque links, with a two-row gate bracelet at each side to a concealed box clasp with a figure of eight safety clasp. Tested as approximately 18ct gold faced with platinum. 165mm long, 8.82g
Lot 252
An American, gentlemen's, gold, diamond set identity-style bracelet,with a curved rectangular centrepiece, channel set with four rows of brilliant cut diamonds. Gate-style links to each side, all channel set with four rows of brilliant cut diamonds with a concealed box clasp and two figure of eight safety catches, marked 14K, tested as approximately 14ct gold. 208mm x 13.7mm, 57.95g
Lot 536
2nd-3rd century AD. A schist panel with the Buddha in royal robes, jewels and turban on a horse leaving the palace, to either side three gods in royal robes, jewels and turbans, and a goddess in long robes, offer prayers; two small deities below the horse lift the hooves; to the bottom of the goddess a naked and emaciated holy man seated on the ground. 13.7 kg, 55 x 30cm (21 1/2 x 12"). Ex central London collection; acquired in London, UK, in the early 1980s. After prince Siddhartha had witnessed the suffering of the world outside the palace he decided to leave the cossetted existence and go in search of enlightenment and the answers to suffering. The prince looked upon his wife and new born son one last time, and with his groom, Chandaka, turned his back on the material world. Siddhartha left the palace in the middle of the night with his horse Kanthaka and at the city gate, Siddhartha took off his princely robes and cut his hair, symbolising his casting off of his former life. He sent his groom and horse back to the palace. According to legend gods and goddesses descended to witness the eventful moment when Siddhartha would take the journey to enlightenment. Ganas, or semi-divine dwarves, would support the hooves of the horse so that the guards of the palace would not hear the prince leave. This scene is known as the Amaravati, or the Great Departure. This lot is published at the front of section in the printed catalogue. Fine condition.
Lot 682
8th-5th century BC. A ceramic vessel spout in the form of a Sirrush, with arched eyebrows, flaring nostrils and gaping mouth with large teeth and tongue; large horns to the top of the head, incised decoration over the neck. 405 grams, 13cm (5"). Acquired on the UK art market; previously the property of a German collector; acquired before 1990. The Sirrush, meaning Splendour Serpent, is a creature depicted on the reconstructed Ishtar Gate of the city of Babylon, dating to the 6th century BC. It is depicted as a mythological hybrid scaly dragon with hind legs resembling the talons of an eagle, feline forelegs, a long neck and tail, a horned head, a snake-like tongue, and a crest. Fair condition.
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