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Lot 15
Middle Kingdom, 11th-12th Dynasty, 2134-1802 BC. A carved wooden figure of a scribe sitting cross-legged, with an unrolled papyrus scroll across his lap, set on a rectangular base, the surface covered with gesso and painted; the hair cut short, the thighs covered by a turquoise-painted kilt; mounted on a custom-made stand. Cf. similar crouching servant figurine in the Walters Art Museum, Baltimore, USA, under accession number 22.20. 898 grams total, 27.5cm including stand (10 3/4"). Property of a Cambridgeshire gentleman; acquired from a Lincolnshire, UK, gentleman; from his collection formed in the 1990s. Fair condition.
Lot 394
A gentlemen's Scots formal wear midnight blue dinner jacket with silver square buttons and buttons to the plaited epaulettes, a matching waistcoat and Ramsey Blue Hunting Clan tartan kilt, the interior of jacket with maker's name 'Anderson Kilts Dumfries-Scotland'. CONDITION REPORT In as new condition. No rips, tears or wear, etc. The waist size appears to be 36 inches (i.e. the width of the top of the kilt doubled). The distance between the first holes when buckled is approximately 16 inches. The distance between the last holes when buckled is 15 inches. The kilt is 26 inches long (i.e. vertically). There is no size stated on the jacket or best, we would suggest an approximate size of 46 Short. PLease note this is only an approximate suggestion. The buttons appear crisp and true to their original finish.
Lot 324
A George V silver mounted Sgian Dubh, mark of Joseph Cook & Son, Birmingham 1913, the 8cm blade with facetted back edge, pressed hilt with basket weave and thistle design, pommel rub over set with an oval facetted smokey quartz, silver mounts with Celtic knotwork design, leather coated metal scabbard with silver locket and tip, both with thistle designs, overall length 19cmFootnote: The sgian-dubh (pronounced Skee-en Doo) is a small, single-edged knife worn as part of traditional Scottish Highland dress tucked into the top of the kilt hose with only the upper portion of the hilt visible. It is usually worn on the same side as the dominant hand and was originally used for preparing and eating food.
Lot 1008
A quantity of assorted gents costume accessories including ties, leather, brogue shoes, kilt and black leather dancing shoes, various wool and felt hats, medical items, after shaves etc (four boxes). Sizes 'Grenson Brown' Brogues-11.5'' 'Brook' tan Brogues-8 1/2 Patent Brown Brogues-9 'Loake' Brown Brogues-8 Black 'Keltic' Borgues-13'' Black 'Keltic' lace-ups-12.5''
Lot 58
A 19TH CENTURY STAFFORDSHIRE POTTERY COW CREAMER, the milk maid forming the handle, pouring in through the top of her hat and out of the cow's mouth, 16cm high, together with; a 19th century Staffordshire pottery figure group, formed as three men at a table drinking, one wears a kilt, possibly masonic interest, 18cm high, a Staffordshire pottery Sir Toby type tobacco box & cover, and a framed pot lid, decorated with a battle scene after Wouvermann (4)
Lot 108
COWAL GAMES – TO COWAL MEDAL FOBS BIRMINGHAM 1931 (9CT GOLD) AND 1932 (SILVER) the armorial bearing flanked by thistles with banner above and below saying ‘COWAL MEDAL’ and motto ‘FORWARD’; together with two hardstone kilt pins/brooches formed as basket-hilted swords, one yellow metal and one silver(Gold Cowal medal 4cm (including bale) 7.9g)
Lot 203
Three: Private L. G. M. Wilkins, 1/14th (County of London) Battalion, London Regiment (London Scottish), who was wounded and captured at Messines on 31 October 1914, and died in captivity on 7 March 1915 1914 Star, with clasp (2235 Pte. L. G. M. Wilkins. 14/Lond: R.); British War and Victory Medals (2235 Pte. L. G. M. Wilkins. 14-Lond. R.); Memorial Plaque (Leslie Guy Millward Wilkins) nearly extremely fine (4) £240-£280 --- Leslie Guy Millward Wilkins was born in 1894 at Wimbledon, Surrey and attested for the London Scottish in August 1914, serving with them during the Great War on the Western Front from 16 September 1914. Having performed various duties in St. Omer, his battalion travelled to Ypres on London buses and then marched to Wytschaete on the morning of 31 October - from there they advanced up the slopes of Messines Ridge to the firing line just east of the Messines-Wytschaete road: ‘Heavy casualties among leading companies at crest of ridge. Enemy attacked about 9pm and were driven back by rifle fire and a series of charges. The rifles in use had been issued at Abbots Langley and were the Mark 1 pattern converted to take Mark VII ammunition. Battalion records show that not a man had the opportunity to fire the new weapons. It would soon be discovered that the magazines had springs too weak and that the front stop clips were the wrong shape for the Mark VII rounds. The rifles could only be used as single-loaders. However, Lieutenant-Colonel Lindsay notes that “steady shooting beat off the attack”. A second attack also repulsed - “remembered it was Hallowe’en... saw a party of men in kilts in our rear. Did not know if they were our men or Germans. They got within a dozen yards, when we saw they wore spiked helmets, and shot them. Were attacked in both front and rear”, wrote one man present. A third attack forced the Scottish back - “they advanced in quarter column with a brass band playing at their head, playing the Austrian National Anthem.” Another eyewitness mentions seeing the Medical Office, Captain A. MacNab, bayoneted and killed whilst attending to the wounded. Forward trenches almost surrounded. Reserve line at Enfer charged the enemy. Lieutenant-Colonel Lindsay records - “a prolonged and confused struggle... there was hard fighting, bayonets were crossed, fire was exchanged at close quarters... officers, sergeants and men had to act on their own initiative.’ (British Battalions in France and Belgium 1914 by Ray Westlake refers) A withdrawal towards Wulveringhem was ordered the following day (1 November). After the fighting at Messines, Paul Maze, a liaison officer with the 2nd Cavalry Division, saw the battalion and later wrote: ‘His kilt in rags, looking utterly exhausted, a Sergeant of the London Scottish was forming up his men who stood like sailors being photographed on a shore within sight of their wreck’ (A Frenchman in Khaki by Paul Maze refers) Having suffered casualties of 394 (all ranks) at Messines, the battalion’s commanding officer received telegrams of congratulation from Field Marshal Sir John French and Brigadier-General C. E. Bingham, 4th Cavalry Brigade, the latter writing, ‘I venture to ask you to convey to your Regiment my deepest gratitude and admiration for the work they performed on October 31 and through the following night. No troops in the world could have carried out their orders better, and while deploring the losses you have incurred, I unhesitatingly affirm that the Allied Armies in France owe to the London Scottish a place of high honour amongst their heroes’ Private Wilkins was wounded and captured at Messines on 31 October 1914. He died of his wounds whilst a prisoner of war at Lille on 7 March 1915. He was the son of Francis and Emilie of 4 Malcolm Road, Wimbledon and is buried in Lille Southern Cemetery, France. He is also commemorated on a plaque in the Warrior Chapel, St Mary’s Church, St Mary’s Road, Wimbledon.
Lot 196
Ca. 2055 -1650 BC. Middle Kingdom. An articulated wooden tomb figure. The statuette's surface contains traces of white at the waist where a kilt would be and red at the chest where exposed skin would be, showing this was once painted, though most of the paint has been worn away. It features a round head with hair or a wig, and a long body that is truncated part way down the legs. Two arms are attached separately so that this is articulated and could be arranged in different positions. Scenes of models like this one were placed in tombs and burial shafts before and during the Middle Kingdom, though it was during the Middle Kingdom that they were used most widely and during which there was the greatest variety of scene types. These scenes typically depict boats, workshops, soldiers, cattle inspections, scribes, sedan chairs, and, as in this case, food production. The purpose of these scenes was to provide the deceased with important services and servants in the afterlife, and the models were placed on and around the coffin.Size: L:with stand 175mm / W:65mm ; 218g. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market.
Lot 295
* Roussel (Theodore, 1847-1926). French-born English Painter and Graphic Artist. An autograph autobiographical account of his own life, circa 1920, describing his artistic beginnings and later professional life from his birth up until at the mid-1880s, with references to his picture The Reading Girl [1886] and ending with the sentence 'It is through one of those exhibitions I was speaking above, at the Dowdeswell, that in the later part of the winter of 1885 I have known Whistler', written with numerous crossings out and corrections in his hand on rectos of 10 leaves with concluding page in pencil on verso of final leaf, together with a separate one-page start of an autobiographical account from when he came to England [1878], 'forty-five years ago', this leaf browned, all 4to, together with an unsigned pen and ink sketch of trees, 6 x 14.5 cm, and a pen and ink sketch of a man in a kilt (?), 12 x 9.5 cm, both attributed to Roussel; plus a small thumbnail pencil study of a woman's head on a plain postcard, initialled by Roussel, 'Th R'; plus an etching of a Breton woman, 9 x 7 cm, with signed presentation inscription from W. Lee Hankey to lower margin; plus an autograph letter signed from Roussel, St. Leonard's on Sea, 11 September 1919, to Annie [his sister?], 3 pp., 4to, plus 3 small photographs of Roussel, including 2 identified as with [Agnes] Ethel, circa 1920, each 10 x 6 cm; plus a manuscript draft of Roussel's will from 1924 in an unidentified hand, a solicitor's letter concerning Roussel's affairs after his death addressed to A[gnes] E. McKay, an invoice from James J. Brett for a monument erected in Crowhurst Churchyard to the memory of the late Theodore Roussel, made out to Miss [Agnes Ethel] McKay, 25 May 1927, 2 receipt letters from the British Museum to Miss [Marion] Melville and Miss Agnes McKay for the gifting of 70 proofs of etchings by Theodore Roussel, 23 March 1927, a certified copy of Ethel Roussel's death certificate, 30 March 1917 and a Goupil & Co. Catalogue of Colour Etchings by Roussel, July 1899, with some manuscript price insertions, 8voQty: (16)NOTESProvenance: Acquired from the sale of the estate of Marion Melville (1903-). Marion was the daughter of the artist Arthur Melville (1855-1904) and Ethel Constance Melville (died 1917). Theodore Roussel had first married Frances Amelia Smithson Bull but after her death he married Melville's widow Ethel in 1914. Marion was therefore Roussel's step-daughter. Roussel also had a daughter, Ivy (born c. 1900), with his mistress Hetty Pettigrew. Agnes Ethel Mackay (1889-1980) was a poet and critic by vocation. She was the niece of Roussel’s second wife, Ethel, and cousin to Marion Melville. After Ethel’s death, Agnes moved to St Leonards-on-Sea to take charge of the household, which comprised Roussel and the 13-year-old Marion Melville. Agnes acted as studio assistant and companion to Roussel until his death in 1926. She then moved with Marion to Upper Cheyne Row, London, and then to France in 1937. An interesting and apparently unpublished account of the early part of Roussel's artistic life up until his significant first meeting with Whistler. A transcript of the autobiographical text is available on request.
Lot 1999
Gentlemen's 1952 traditional Highland Dress comprising of kilt, black jacket,and waistcoat by Meyer & Mortimer. A pair of Church shoes, Austin Reed dress shirt, white waistcoat front and some white collars. One other kilt and a leather sporan by Anderson & Co.Condition report: No Sizes given on Jacket, waistcoat and Kilt. Shirt 14 1/2, White half waistcoat 36, Shoes Church's 9 1/2.Some moth holes to back of woman's long skirt.
Lot 90
A VICTORIAN SILVER HARDSTONE SET KILT/CLOAK PIN the silver pin in the form of a dagger set with round cut quartz stone to a banded agate body, the Celtic design silver mount with hinged pin to reverse, unmarked, assessed as silver Condition Report : good, wear and tear only Condition reports are offered as a guide only and we highly recommend inspecting (where possible) any lot to satisfy yourself as to its condition.
Lot 241
Six Scottish brooches, comprising a silver and Scottish agate oblong brooch, c1900., Scottish silver and smokey quartz Celtic crystal brooch., a Cairngorm and citrine dirk brooch, silver plated., a Edinburgh silver Celtic Arts broadsword kilt pin brooch, a silver anchor brooch set with agate, and an agate pebble brooch.
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3401 item(s)/page