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Lot 562
THREE BOXES, FOUR GENTLEMEN'S SUITS AND FIVE LADIES FUR COATS, to include an Yves Saint Laurent blue pinstriped suit UK size 50R, a Christian Dior pure new wool dark grey suit UK size 40R, an Alexandre pure new wool black dinner suit, a John Brocklehurst pure new wool green checked suit UK size 38R, together with a dark brown faux fur jacket and three brown fur coats of varying styles and condition approximate size UK14, two men's kilts, one waistcoat, a child's kilt, three fur hats in hat box, a brown fur stole, fur gloves and faux fur collar, ( 3 boxes + 9 items on rail)
Lot 184
Wood-turned body parts; fabric kilt, hair, and beard; lever on back operates mouth.Richard Glaesser sticker and tag attached. Good condition. #richardglaesser #nutcracker #bagpipes #christmas Issued: 20th c.Dimensions: 8"HManufacturer: Richard GlaesserCountry of Origin: GermanyCondition: Good.
Lot 35
Yiannis Tsarouchis (Greek, 1910-1989)Evzone et famille signé en grec et daté '36' (en haut à gauche)technique mixte sur toile61.5 x 41.5cm (24 3/16 x 16 5/16in).Peint en 1936.signed in Greek and dated (upper left) mixed media on canvasFootnotes:ProvenanceAcquired directly from the artist by Beatrice Spiliadis and thence be descent to the present owner.'Tsarouchis's art perfectly captures the tenderness of life combined with hieratic solemnity, gallantry, and dignified yearning.'B. Spiliadis, Eleftherotypia magazine, July 4, 1982.Acquired directly from the artist by prominent art critic Beatrice Spiliadis (1939-1986) in the 1980s, Evzone et famille conveys a striking immediacy and resilient allure. Radically simplified in design and colour, the painting draws stylistic elements from Matisse, Theofilos, Parthenis, and traditional shadow puppet theatre to create a serene world of pure form. Reviewing the artist's work from the mid-1930s, art critic A. Xydis noted: 'In 1934 Tsarouchis stopped working with Kontoglou to follow his own path. His fascination with colour and texture, and, perhaps, his predilection towards the decorative drew him to Matisse.'1 Indeed, the picture's broad, overlapping planes of colour, shallow compositional structure and sweeping brushstrokes recall the teachings of the great French master.The composition is dominated by the commanding presence of a standing young male in the traditional fustanella kilt, tenderly and reassuringly resting his left hand on the frail shoulder of his diminutive wife, whose silent inflexibility and rigid, almost hieratic posture alludes to Mother and Child depictions on Byzantine icons. As noted by former Benaki Museum Director M. Hadjidakis, Tsarouchis's human subjects tend to become monumental figures elevated to a symbolic type full of dignity and grandeur.2 What's truly amazing is that Tsarouchis imaginatively combined various representational conventions to transform a simple peasant family into everlasting symbols, capturing the genuineness of character which is the lifeblood of the Modern Greek spirit.3 Ever since his early childhood, Tsarouchis was fascinated by traditional local costumes from around Greece, enchanted by the variety of vibrant colours and bold schemes exhibited in the velvet and silk garments and headdresses worn by the peasant women he saw in Athens each time he visited the city's centre with his mother. Beyond childhood memories, however, Tsarouchis's great interest in traditional local dresses stemmed from his dual capacity as painter and costume designer, a fascination that was further heightened following his acquaintance with Angeliki Hadjimichali, Elli Papadimitriou and Eva Palmer-Sikelianou.4 1 A. Xydis, 'Tsarouchis's Contribution in the Discovery of Greek Tradition' [in Greek], Zygos magazine, no 72-75, November 1961-February 1962, p. 9.2 M. Hadjidakis, 'Some Aspects of Modern Greek Art' in Perspective of Greece, an Atlantic Monthly Supplement, Intercultural Publications, New York 1955, p. 33.3 See D. Kapetanakis, 'Yannis Tsarouchis, Return to Roots' [in Greek], Nea Grammata magazine, 1937. 4 M. Karavia, The Thinker of Marousi, Memories and Conversations with Yannis Tsarouchis [in Greek], Kapon editions Athens 2009, p. 74.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
Lot 246
Vivienne Westwood & Malcolm McLaren: An Original Pair Of Bondage Trousers From SEX, With Kilt And Towelling Flap, circa 1976, black cotton trousers with zips, adjoining leg straps, and D-rings to the hips, featuring a SEX original pink label to the inside of the waistband; together with a black wool kilt 'skirt' front & back attachment with clips, and a black towelling bum-flap back attachment with dog-clips, featuring a for soldiers prostitutes dykes + punks white label, accompanied by a letter of provenance, Footnotes: Provenance: Gifted to the vendor by her boyfriend at the time, acquired from Sex in 1977. The kilt and towelling bum-flap acquired by the vendor from Seditionaries in 1979. The presence of the pink SEX label to the trousers indicates that these are from the first run of bondage trousers produced by McLaren & Westwood for sale in Sex at 430 King's Road from September 1976. They were produced in a sateen cotton known in the trade as 'Black Italian'. The refurb of the premises into Seditionaries three months later in December 1976 began a phase where such garments carried two labels, one for each brand, which suggests these were made during Sex's final phase. The towelling bum-flap was designed for sale as a rear accessory to the bondage trousers, with dog-clips to be attached to the D-rings on each hip. The presence of the white encircled 'A' tag suggests that it was produced for sale in 1977, after the transition to Seditionaries. The kilt attachment was introduced in the spring of 1977, as front and back accessories to the bondage trousers. Vivienne Westwood told Janet Street-Porter in a TV interview that year that - when added to the trousers - the silhouette evoked 'Greek peasant costumes'. Westwood went on to say that the kilt appearance also enhanced the notion of producing clothes for 'urban guerillas'. For further information on this lot please visit Bonhams.com
Lot 303
‡ A VICTORIAN SCOTTISH DIRK KILT PIN, 1860s with facetted thistle shaped cairngorm terminal, concealing a pair of scissors, the hilts set with facetted amethysts concealing a miniature dirk and scent flask respectively terminating in an agate bead, with engraved decoration, mounted in gold, the reverse applied with a red, white and blue monogram, JML and ESSIE, length 12cmProvenance: The Bearn Collection, New York (see lot 279 for further details)
Lot 52
BROCHE DE KILT CITRINE, FIN DU 19EME SIÈCLEComposée d'une monture circulaire à décor de feuillages, sertie au centre de sept citrines facettées de forme ovale, poinçon français d'occasion pour l'argent (800°/00), diamètre 10.30 cm, poids brut 158.91 g, épingle en métal.Footnotes:CITRINE KILT BROOCH, LATE 19TH CENTURYThe large brooch of foliage design, set to the centre with seven oval-shaped citrines on a circular-shaped mount, french mark for silver, diameter 10.30 cm, gross weight 158.91 grams, pin in metal.For further information on this lot please visit Bonhams.com
Lot 74
WW2 D-Day Piper Bill Millin signed Historic Battles 30th ann Operation overlord cover. Millin is best remembered for playing the pipes whilst under fire during the D-Day landing in Normandy. Pipers had traditionally been used in battle by Scottish and Irish soldiers. However, the use of bagpipes was restricted to rear areas by the time of the Second World War by the British Army. Lovat, nevertheless, ignored these orders and ordered Millin, then aged 21, to play. When Private Millin demurred, citing the regulations, he recalled later, Lord Lovat replied: Ah, but that's the English War Office. You and I are both Scottish, and that doesn't apply. , Millin played, Highland Laddie, The Road to the Isles, and All The Blue Bonnets Are Over The Border, as his comrades fell around him on Sword Beach. Millin states that he later talked to captured German snipers who claimed they did not shoot at him because they thought he had gone mad. Millin, whom Lovat had appointed his personal piper during commando training at Achnacarry, near Fort William in Scotland, was the only man during the landing who wore a kilt - it was the same Cameron tartan kilt his father had worn in Flanders during World War I - and he was armed only with his pipes and the sgian-dubh, or, black knife, , sheathed inside his kilt-hose on the right side. Lovat and Millin advanced from Sword to Pegasus Bridge, which had been defiantly defended by men of the 2nd Bn the Ox & Bucks Light Infantry (6th Airborne Division) who had landed in the early hours by glider. Lovat's commandos arrived at a little past one p. m. at Pegasus Bridge although the rendezvous time in the plan was noon. To the sound of Millin's bagpipes, the commandos marched across Pegasus Bridge. During the march, twelve men died, most shot through their berets. Later detachments of the commandos rushed across in small groups with helmets on. Millin's D-Day bagpipes were later donated to Dawlish Museum. A set of pipes he used later in the campaign, after the originals became damaged, were donated to the now, Pegasus Bridge Museum. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 4
11th-12th Dynasty, 2010-1960 B.C. The scene comprising: a thick rectangular base with gessoed surface; squatting male figure in a white kilt with modelled hair and painted facial details, the hands drilled to accept the handles of tools; a wooden spit with impaled carcass of a roasting fowl in the left hand; a small fan in the right hand; a squat fire-bowl with rounded rim and recess to the upper edge. Cf. Barker, G., Preparing for Eternity, Oxford, 2022, p.61, fig.2.31; Taylor, J.H., Death and the Afterlife in Ancient Egypt, London, 2001, pp.99-103, for discussion.980 grams total, 31 cm wide (12 1/4 in.). Acquired in the 1960s. From the collection of the late Egyptologist Surgeon Commander PHK Gray RN. From a Surrey, UK, collection.Accompanied by a scholarly note from Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.202932. Crafted for the tomb to accompany the deceased and provide for him in the afterlife.
Lot 14
Late Period, 26th Dynasty, 664-525 B.C. Standing in advancing pose on a rectangular base; the god modelled with a disk representing the full-moon surmounting a crescent new moon atop his head and fronted by a uraeus, the falcon-head sports a finely striated tripartite wig and with beaded gold wire frames to the (once inlaid) eyes; wearing a broad wesekh collar; the left arm bent and fist drilled to grip a staff, right arm straight to the side with similar drilled fist; pleated shendyt kilt and belt to the hips; mounted on a tiered socle base. Cf. for a near identical example from Memphis and now in the Walters Art Museum, Baltimore, inventory no. 54.395.896 grams total, 27 cm including stand (10 3/4 in.). Smith family collection, Cambridge, UK since 1949. Private UK collection since 1978.Accompanied by a scholarly note by Egyptologist Paul Whelan. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11033-183985. The moon god Khonsu (whose name means 'wanderer', referring to the passage of the moon across the sky) is known as a blood-thirsty sky-deity in the Pyramid Texts. In New Kingdom Thebes, however, he was regarded as a far more benevolent deity, being the child of Amun and Mut, and provided with his own temple at Karnak. There, he was considered to control destiny. Khonsu can appear in human form with a side-lock of youth, wearing an enveloping garment, and holding royal regalia, and also as a falcon-headed man with the full moon and crescent new moon headdress, as with this fine example. In his falcon-headed form he frequently holds an ankh symbol and a was-sceptre, for which the hands of this piece were drilled to accept the god's well-known attributes of an ankh and a was-sceptre. [A video of this lot is available to view on Timeline Auctions Website.]
Lot 1986
19th-20th century A.D. Seated and bare-chested, wearing a pleated kilt, arms to the sides and hands resting on the knees; mounted on a wooden display stand. 11.2 kg total, 35 cm high including stand (13 3/4 in.). Acquired 1970s onwards. Private collection of Michael O'Hara, Cambridgeshire, UK. Ex private collection of Benjamin Hyde-Smith, Hertfordshire, UK.
Lot 148
A group of brooches, including a 9ct gold bi-coloured brooch in the form of a dolphin, 2.3g, a hawk's foot brooch set with a cairngorm, and a silver kilt pin in the form of a sword, as well as a number of costume brooches, together with two bangles and two silver and amber pendants on a silver chain. (1 bag)
Lot 291
A COLLECTION OF CAP BADGES, MAINLY GREAT WAR ERA 1st (Royal) Dragoons2nd Dragoon Guards (Queen's Bays)3rd (The King's Own) Hussars5th (Princess Charlotte of Wales's) Dragoon Guards12th (Prince of Wales's Royal) Lancers, first type, 1898-190320th HussarsAlexandra, Princess of Wales's Own (Yorkshire Regiment)Auxiliary Territorial Service Corps ATS Cap Badge (3, one to Warrant Officer Pennington Smythe)Border Regiment Cheshire Regiment, World War II eraDevonshire Regiment (2)Duke of Cornwall's Light InfantryDuke of Wellington's (West Riding) RegimentEast Lancashire RegimentEssex RegimentGrenadier GuardsKing's (Liverpool Regiment), post 1927Lincolnshire RegimentLoyal North Lancashire Regiment (2)Northamptonshire RegimentPrince of Wales’s Own (West Yorkshire Regiment)Princess Charlotte of Wales’s (The Royal Berkshire Regiment) (2)Rifle Brigade (Prince Consort’s Own), post 1927Royal Armoured Corps, World War II eraRoyal Army Medical CorpsRoyal Army Ordnance CorpsRoyal Army Pay Corps, World War II era (2)Royal Army Service Corps, post 1918 issueRoyal Corps of Signals, Inter-War eraRoyal Leicestershire Regiment, 1946-1952Royal Pioneer Corps, 1947 onwardsRoyal Regiment of ArtilleryRoyal Regiment of ArtilleryRoyal Warwickshire RegimentWest Riding Royal Horse Artillery, probable restrikeWest Yorkshire Regiment (Prince of Wales’s Own), 7th & 8th Battalions (Leeds Rifles)Collar Badge. Royal Marines, 1923-1965 issueScottish Kilt Pin and Highlanders Belt Buckle Surround.
Lot 305
* Charles III (Philip Arthur George, 1948-). King of the United Kingdom, 2022-, formerly Prince of Wales. A Christmas and New Year Card, 1978, signed and inscribed in blue fountain pen ink for 'Michael and Mrs. Mann', & 'from Charles', above and below the printed message of greeting, opposite a black and white photograph of the Prince of Wales in a kilt with walking stick and labrador at Balmoral, folded stiff white card with gilt crest on the front, 18.5 x 12 cm, very fine conditionQTY: (1)NOTE:Provenance: Michael Ashley Mann KCVO (1924-2011), Anglican bishop and Dean of Windsor, 1976-1989.
Lot 310
* Charles III (Philip Arthur George, 1948- ). King of the United Kingdom, 2022-, formerly Prince of Wales) & Diana (1961-1997). Princess of Wales, 1981-1996. A Christmas and New Year Card [1983], signed by both in blue fountain pen ink and inscribed by the Prince 'To you both -', signed under the printed message of greeting, 'from Charles and' & 'Diana' in their respective hands, opposite a colour photograph of the Prince in a kilt standing by the Princess of Wales with the infant Prince William on her lap, folded stiff white card with gilt crests on the front, 18.5 x 13 cm, very fine conditionQTY: (1)NOTE:Provenance: Michael Ashley Mann KCVO (1924-2011), Anglican bishop and Dean of Windsor, 1976-1989.
Lot 2
A collection of costume jewellery, to include: a large sterling silver, marcasite, paste and cloisonne enamel pierced butterfly pendant/brooch, height 7.2cm, suspended from sterling silver chain, a white metal and gemstone set kilt pin, length 7.7cm, a banded agate heart shape scent bottle, suspended from rope twist white metal chain, a banded agate set bangle, a sterling silver and marcasite set ladies' quartz cocktail watch et al. (qty)
Lot 206
A gentleman's Highland dress outfit, including an Andrew Douglas black pure new wool traditional jacket with braided epaulettes, silvered buttons and a satinised collar, size 44 regular, vented back panel and two sets of three buttons, with three buttons to each cuff, complete with adjustable waistcoat and pleated Royal Stewart tartan wool kilt with pleated back and adjustable leather side straps, (kilt 46cm x 62cm) elastic red ties, a leather adjustable white metal belt
Lot 47
A Collection of Assorted Silver and Silver Plate, including a cased christening-spoon and pusher; a pair of sugar-tongs; a King's pattern bread-knife and Silver Christening set and three kilt pins (qty)The kilt-pins with general surface scratching, consistent with age and use. Two are silver, hallmarked for Edinburgh and one is silver plate, stamped 'Scotland'.
Lot 933
A Black Watch Tartan army kilt, believed to be World War I, bequeathed from Sarah Elizabeth Bycroft (nee Howard), The daughter of Private George Howard (service number probably 5725...). He was born in 1890 and enlisted on the 18th October 1916 in the 2/5th Highland Infantry, at the time of enlistment and following World War I, he lived in East Parade, Bolton Brow, Sowerby Bridge, West Yorkshire. He was posted to France as part of the British Expeditionary Force on the 2nd January 1917, and joined the 9th Battalion Highland Light Infantry with Regimental number 353007. He served there until the 13th February 1919. In February 1917 it appears he contracted scabies from a subsequently medically downgraded to serve as permanently based in the general headquarters in France probably at Abbeville. His name is handwritten in to the kilt alongside HLI Highland Light Infantry, he was demobbed in February 1919 and subsequently awarded the Victory and British War medals. The kilt also appears to have been originally worn by a Private J Boyd, whose name and regimental details are also handwritten into it and then subsequently crossed out, unfortunately little is known of Private Boyd.
Lot 3292
A deep pink Indian dress edged in gold; a sky-blue Indian type dress embellished in silver; a turquoise-striped ballgown edged in deeper turquoise ribbon with puff sleeves and insert Victorian-style crinoline; a white lace wedding dress with train and a white polyester Cinderella dress edged in gold ribbon; a gold jacket (men's) Principal Boy; a cream satin brocade wedding or evening dress; a black velvet Edwardian suit with gold emblem design; a Sergeant Pepper's Lonely Hearts Club Band yellow jacket with gold epaulettes; a blue medieval Henry VIII brocade type court jacket; a ladies blue medieval dress with silver thread details and green insert and gold laced-up front; a black Victorian type (jet and gold thread) crinoline skirt and a Regency style cotton green dress with lavender ribbon on a high waistline and puff sleeves; a white cotton full length petticoat; a Tudor-type pink velvet bodice and skirt with deep pink inserts; 2 long suede waistcoats - one dark and one tan; a duck-egg blue blouse with a ruffle front; a child's Laura Ashley floral green dress (age 10-12); a shirt and waistcoat in tartan; a tartan kilt; an Aladdin's jacket, green decorated with gold thread and the neckline with gold fastenings; boy's plaid waistcoat and shirt; black waistcoat; grey boy's waistcoat and trousers (pageboy).
Lot 6123
Two Victorian leather bound jewellery boxes, the smaller of the two with lift out fitted tray containing two jet brooches, Victorian silver bladed mother of pearl fruit knife in the original case, S. Mordan & Co. Propelling pencil, silver cased pocket watch, Scottish Kilt pin, Art Nouveau silver brooch etc
Lot 122
McEiffel - an unusual Scottish dressed soldier Teddy Bear 1940s, probably French, white wool plush head, hands and tops of legs, clear and black glass eyes, brown stitched nose and mouth, swivel head, brown wool cloth integral body, arms and boots, collar and shirt placket, two metal buttons, tartan sash and red and green laces with tassels to boots --16in. (40.5cm.) high (probably missing a kilt and some slight wear, a few nibbles to plush on thighs) - purchased from Special Auction Services 18th July 2013
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