HOOVER J. EDGAR: (1895-1972) American law enforcement administrator, the first Director of the Federal Bureau of Investigation (FBI) 1924-72. T.L.S., J. Edgar Hoover, one page, 4to, Washington D.C., 23rd April 1964, to Major General George J. Richards, on the printed stationery of the Federal Bureau of Investigation. Hoover states that he has received his correspondent's letter 'requesting a representative of this Bureau to address the Cumberland Valley Chapter of the Retired Officers' Association' and continues to explain 'While I would like to be of assistance, the official schedule of my associates who normally speak on the topic of communism precludes their accepting additional commitments in the foreseeable future.' Together with a carbon typed copy of Richards's original letter to Hoover, dated 20th April 1964. Some very light, minor creasing to the right edge and one very light stain just affecting the conclusion of Hoover's signature. About VG, 2
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PIERREPOINT ALBERT: (1905-1992) English hangman, responsible for the execution of 200 people who had been convicted of war crimes in Germany and Austria, as well as high treason, including William Joyce (Lord Haw-Haw). Pierrepoint also executed a number of high profile murderers including John Haigh, John Christie and Ruth Ellis. A good dark blue fountain pen ink signature ('With best wishes, A. Pierrepoint') on an oblong 12mo page removed from a notepad and with the red printed text 'Extra Strong Ale - For the colder nights' to the left edge. Some very light, extremely minor creasing, VG Pierrepoint ran a pub in Lancashire from the mid-1940s until the 1960s.
BURGESS GUY: (1911-1963) British diplomat and Soviet Agent, a member of the Cambridge Five spy ring that operated from the mid-1930s to the early years of the Cold War era. A rare book signed, being a hardback edition of Classics and Commercials - A Literary Chronicle of the Forties by Edmund Wilson, second impression published by W. H. Allen, London, February 1952, bearing the ownership signature ('Jim Eliot') of Burgess, using his pseudonym, in bold pencil to the front free endpaper. Also bearing the bookplate of Kim Philby (1912-1988) British intelligence officer and a double agent for the Soviet Union. The slim oblong 12mo bookplate features Philby's name ('H. A. R. PHILBY') within a decorative border and is neatly affixed to the front pastedown. Bound in the publisher's blue cloth with title to spine and with a small Foyles bookshop sticker affixed to the lower left corner of the front pastedown. Lacking the dust jacket. An interesting association copy bearing the rare signature of Burgess. Some fading to the spine and boards and with some light overall age wear, G It was Harold Adrian Russell 'Kim' Philby who, in 1935, recommended to Soviet Intelligence that they recruit Guy Burgess as an agent. Philby was also responsible for tipping off Burgess (and the spy Donald Maclean) that they were under suspicion of espionage, prompting them to defect and flee to Moscow in May 1951. In the biography Guy Burgess - The Spy who knew Everyone the authors Stewart Purvis and Jeff Hulbert write that Burgess adopted a pseudonym in order to prevent a wider knowledge of his whereabouts in Moscow, explaining 'He gave himself the first name Jim, after Jim Lees, the former miner who'd been at Trinity with him. The surname he adopted was Eliot, apparently after the female author of Middlemarch known as George Eliot. To fit with the Russian style of having a patronymic as a middle name, he should have Russianised his father's name Malcolm, but it was easier to use a character from War and Peace, Andrei, and use Andreyvitch instead. Thus Guy Burgess was also 'Jim Andreyvitch Eliot', sometimes Elliot and even Elliott'.
WRIGHT FRANK LLOYD: (1867-1959) American architect, designer & writer. Typed manuscript, unsigned, five pages, 4to, Taliesin, Spring Green, Wisconsin, August 1939, being a draft of Wright's article entitled To the Fifty-Eighth, with a number of ink corrections in Wright's hand, in part, (Wright's corrections marked in bold text), 'If printed reactions to my talks in London - no speaker really - which should HAVE reached me there x but now reach me at Taliesin mean anything, I have succeeded in getting myself pretty thoroughly misunderstood and well disliked, especially by those who should have been quick to understand me. I refer to the 58th variety - “the fruit of my own orchard”? For such pains as I took in the circumstances I am accused of disowning the “fruit of my own orchard” when I intended only to cut DOWN out saplings interfering with good fruit. Therefore certain intellectualists (saplings) are saying I am changed to “escapist”. A bad word, their word “escapist”? Boys, Why call names? Why not go to work? Go on…do something on THEIR your own that doesn't take refuge with the incompetent in a “universal” pattern for something that (should it abide with principle) ought to be as alive and various as human character is itself! AND have I “changed” or ONLY simply smashed myself as an idol? I intended to smash that IDOL but only to let idol worshippers a little closer than they NOW seem to want to go. Hero worship is sometimes pretty awful. That any of mine can now bear hide nor hair of me would be a surprise to me……Once and for all concerning this constantly repeated reference to my contribution to Architecture as a kind of romanticism: because any attempt on their part to establish a “contemporary vernacular” is defied by the revelations of principle eternally fresh and new in every building I build - they DRAG IN THE term “Romanticism” is dragged in to conceal their own impotence whereas it only really explains it. I love romance as I love sentiment. But just as I dislike sentimentality I would dislike their “Romance”. Corbusier or Gropius - I suggest you put a gently sloping roof on any LE CORBUSIER OR GROPIUS just to see what you have left of the so-called International Style after proper deductions have been made…..But where is that creative force today? THE man is not using the Machine! The machine is using the man and is using him so he is losing himself….becoming a “thing” beneath his push button and steering wheel….I see now as I saw then - that the only way man can use the machine - not let it use him - is to get it as a working principle into the hands of the great human forces we used to call the creative artist. Well…again, where is he?.....So, bid to England, I came with another “Declaration of Independence”. This time ONE concerned, not with taxes, but with independence of any aesthetic whatsoever where this matter of life as structure is now concerned - social, political, or artistic. I said that the only way man can use his machine and keep alive what is best in him is to go by means of it to the larger freedom the machine makes possible - go toward decentralization instead of continuing the centralization the machine exploits and, so far as any great human benefit goes, will soon explode. Simple enough? Do I continue to fog the issue? If so the Machine itself will prove me right. Meantime I can wait and work'. A few minor staple holes to the upper edge of each page, not affecting the text, and with some very light, minor age wear, VG Wright's article was published in the Journal of the Royal Institute of Architects in October 1939 and served as a rebuttal to criticisms levelled at him after a lecture he delivered in in London in May 1939 attacking the 'international style' of architecture.
WELLES ORSON: (1915-1985) American actor & film director, Academy Award winner. D.S., Orson Welles, one page, 4to, New York, 21st February 1941. The carbon typed document is an agreement between Welles and Wellman Inc. in which Welles is engaged to direct the play Native Son by Paul Green and Richard Wright and states, in part, 'You agree to devote your best efforts and skill to the direction of the said play and to render all services necessary in connection with such direction. The undersigned plans to produce said play on or about March 15, 1941, at a theatre in New York City. As compensation for your services hereunder the undersigned agrees to pay you the sum of Three Thousand ($3000) Dollars, of which Fifteen Hundred ($1500) Dollars shall be paid upon the execution hereof, and Fifteen Hundred ($1500) Dollars two weeks from the date hereof, and in addition thereto, an amount equal to one and a half (1 ½) percent of the gross receipts received by the corporation, which payments shall be made weekly as and when realized'. Signed by Welles at the foot and countersigned by L. Arnold Weissberger (1907-1981) American theatrical lawyer who represented many prominent artists and theatrical personalities. A few minor creases and very light age wear, otherwise VG Welles produced and directed the original Broadway production of Native Son whilst he was waiting for Citizen Kane to be released. The Mercury Production, in conjunction with John Houseman, starred Canada Lee and the show ran from 24th March to 28th June 1941 at the St. James Theatre. The play would represent the last time Welles and Houseman would ever work together.
HEPWORTH BARBARA: (1903-1975) English sculptor. T.L.S., Barbara, with holograph salutation and subscription, one page, 4to, Trewyn Studio, St. Ives, Cornwall, 5th January 1965, to Warren Forma. Hepworth apologises to her friend for the delay in sending New Year greetings, explaining that she has been confined to bed with flu, and also thanks him for his Christmas greetings 'and two volumes of your splendid book….also your colour films', further commenting 'I note that I owe you 30$ for the two books; but I do rather badly need two more. The first two I gave away for Christmas presents and I will be able through my bank to send you all the dollars required although you have not invoiced me for taking the colour negatives?.....Your book and your film have both been marvellously received here. Unfortunately, the Marlborough Gallery were quicker in giving them for Christmas than I was!'. Hepworth has also added a brief postscript, signed with her initial B, regarding her banker's order. Accompanied by the original envelope. A few very light creases and two small tears to the upper right corner, about VG Warren Forma (1923-2014) American Filmmaker & Author, known for his 'Artists at Work' documentary film series of 1963-67 which included 5 British Sculptors (Work and Talk) (1964) featuring Barbara Hepworth, Henry Moore and others
CALDER ALEXANDER: (1898-1976) American sculptor. Signed colour 8vo page, evidently removed from a book, the illustration depicting Calder's sculpture Les Trois ailes (1963). Signed, in later years, by Calder with his monogram in black ink to the verso. Some very light, minor age wear, otherwise VG
MARINI MARINO: (1901-1980) Italian sculptor. T.L.S., Marino Marini, one page, 8vo, Milan, 15th June 1950, to Oliver Simon, in French. Marini thanks his correspondent for their letter and the edition of Signature which he has just received, further remarking that he will be very happy to meet Simon at his home on 30th June. Some very light, extremely minor creasing, VG Signature: A Quadrimestrial of Typography and the Graphic Arts was a British magazine published and edited by Oliver Simon and subsidised and printed by the Curwen Press. It appeared in fifteen volumes from 1935-40 and eighteen volumes from 1946-54 as a new series.
![[BANKSY]: English-based street artist. An original unsigned printed folio programme for Dismaland, the art installation proje](https://cdn.globalauctionplatform.com/b5f66d5c-4859-4b50-b487-aeb4010eedbe/cad710d4-e138-4993-8dba-aeb701346208/468x382.jpg)
[BANKSY]: English-based street artist. An original unsigned printed folio programme for Dismaland, the art installation project organised by Banksy in Weston-super-Mare, Somerset, 21st August - 27th September 2015, featuring numerous illustrations and text relating to the contributing artists including Banksy, Damien Hirst, Jimmy Cauty, David Shrigley, Jenny Holzer, James Joyce and many others. Some light overall age wear and minor creasing, otherwise VG
`..That is the main point; even in the dark black you can discover the colouring, it is difficult but it is possible..´PISSARRO CAMILLE: (1830-1903) French Impressionist Painter, often regarded as the father of the painting movement. A lengthy and extraordinary content A.L.S, `C. Pissarro´, two pages, 8vo, Le Havre, 18th July 1903, to his son `Rodo´, in French. Pissarro, in his usual careful and clean handwriting, explains in detail to his son what the Impressionism is, an amazing lecture, stating in part `J´ai reçu ce matin ta lettre dans laquelle il me semble que tu te décourages, il ne faut pas, il faut bien te mettre dans la tête qu´il n´y a rien de plus difficile que la recherche de la lumière et de l´air, et justement la difficulté que tu éprouves a monter de ton, prouve que tu en éprouves la nécessité, c´est déja un progrès… encore une fois, si tu ne montes pas assez de ton c´est parce que tu ne fouilles pas assez ton analyse des tons, c´est parce que tu ne tiens pas compte des colorations qui se trouvent dans les ombres, comme dans la lumiere…´ (“I received your letter this morning, in which you seem to be discouraged, you must not, you must register in your mind that there is nothing more difficult than the search of light and air, and it is precisely the difficulty that you are experiencing in bringing up a colour tone which proves that you are feeling that necessity, which is already a progress… once again, if you do not bring up enough the colour tone it is because you are not frisking enough you colour tone analysis, and that is because you are not considering the colouring existing in the shades as well as those in the light..”) Pissarro continues explaining to his son that he has to be `powerful with the six colours´ and states `Non, la nature est plus simple, analyses, cherche ses valeurs, tu y arriveras! Si tu ne trouves pas les tons…. C´est tout bonnement parce que tu n´as pas regardé assez attentivement le rapport entre la lumière et l´ombre et dans l´ombre les reflets et dans la lumière les superpositions de tons plus ou moins lumineux...´ (“No, Nature is more simple than that, you have to analyse, search their values, you will manage! If you do not find the colour tones… It is simply because you have not been looking carefully enough to the relationship between the light and the shade, and in the shade the reflections and in the light the superposition of the more or less light colour tones…”) And further again Pissarro states before concluding `C´est la le point; même dans le noir sombre on y découvre des colorations, c´est difficile mais on y arrive.. Une fois que tu auras trouvé cela, tu trouveras pour tout le reste, tu ne seras plus cartonneux, tu seras plus libre et ta couleur será plus fraiche et plus franche´ (“That is the main point; even in the dark black you can discover the colouring, it is difficult but it is possible.. Once you will find it, you will find all the rest,…you will be more free and your colour will be fresher and more pure”) A letter of extraordinary content, a masterclass painting lesson. Very small overall minor age wear, otherwise G to VG Ludovic-Rodo Pissarro (1878-1952) son of Camille Pissarro and Julie Vellay. Six of Pissarro´s seven children became painters.
MATISSE HENRI: (1869-1954) French Artist. Rare signed and inscribed printed 9.5 x 12 photograph by Matisse. Signed `Henri Matisse´ in bold black ink to the white lower border above his printed full name. Also dated 28th July 1939 in his own hand. Matisse has inscribed it to `Monsieur Chlomovitch´. The printed photograph has been removed from a painting catalogue and shows to the verso a close portrait of French painter Georges Braque. Light crease to the right white border, not affecting the signature, and small scratch to the upper left corner, otherwise G to VG Erich Slomovic (1915-1942) Yugoslavian Jewish art Collector. Slomovic was personal secretary and protégé of one of the most important art dealers of the 20th century Ambroise Vollard. When Vollard died in 1939, at the time of Nazi invasion of France, Slomovic left over 200 artworks in a bank vault in Paris and shipped the rest to Belgrade. Slomovic died in a concentration camp victim of holocaust at the very early age of 27. In 1979 the French bank opened the vault with the artworks, including paintings of Renoir and Matisse. The legal dispute of the ownership is still ongoing.
CHAGALL MARC: (1887-1985) Russian-born French Artist. T.L.S., Marc Chagall, one page, 4to, New York City, 9th March n.y. (1938?), to Oliver Simon of The Curwen Press Ltd. in London. Chagall states that he was delighted to receive a beautiful copy of Signature containing 'a most excellent reproduction of my engraving' and adds 'I would like to express my admiration for workmanship of this kind, and I too, deplore the fact that in America it is so badly done'. Chagall further thanks his correspondent for their interest in his work and their intention to reproduce other engravings and in a postscript remarks 'I must tell you that I find a wonderful subtlety of tones in your reproductions which is usually lost in most and that it would give me great pleasure if some day we could produce a book together'. Some very light, minor creasing , otherwise VG Chagall's letter most likely relates to the March 1938 edition (No.8) of Signature: A Quadrimestrial of Typography and Graphic Arts which was edited by Oliver Simon and published by the Curwen Press. As well as a reproduction of an illustration by Chagall the issue also featured works by Raoul Dufy, Pierre Bonnard, Pablo Picasso and others.
CHAGALL MARC: (1887-1985) Russian-born French Artist. T.L.S., Marc Chagall, one page, 4to, Les Collines, Vence, 3rd February 1953, to a Doctor, in French. Chagall states that it was nice of his correspondent to have sent some good candied fruits, which have been eaten with infinite pleasure, and also thanks the doctor for his good wishes, which he reciprocates. Some very light, extremely minor age wear, VG
PASCIN JULES: (1885-1930) Bulgarian artist, known as the 'Prince of Montparnasse'. A scarce A.L.S., Pascin, one page, 4to, n.p. (Paris?), n.d., to 'Mesdames'. Pascin announces that a doctor has been to visit Lucy [Krohg] at the clinic to decide if she can leave, remarking 'He has time to do so only quite late, in the evening, and I am very much afraid (as I have to be there) that it will be to (sic) late after to come to take you to dinner', asking to be excused from their engagement and further adding 'I will do my best to see you on Saturday. I will give you message by the secretary, she will also bring Anne's drawings to the hotel'. Together with an unrelated telegram (received copy) from Pascin, one page, oblong 8vo, Paris, 17th May 1929, to Laurent in Brooklyn, New York, on the printed stationery of Western Union Cablegram, sending instructions to have his pictures and drawings stored in a private room at Manhattan Storage and for the keys to be left with Gaylor. Autograph letters of Pascin are scarce as a result of his suicide at the age of 45. Some very light, extremely minor creasing, VG, 2 Lucy Krohg (1891-1977) French model and mistress of Pascin.
.PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. An excellent folio softcover edition of the catalogue issued to accompany an exhibition of Pablo Picasso's works of 1969-70 at the Palais des Papes from 1st May to 30th September 1970, held in conjunction with the 24th Festival d'Avignon and curated by Yvonne Zervos, published by Cahiers d'Art, Paris, 1970. The catalogue features an essay, in French, by Christian Zervos, and two colour plates, 165 monochrome plates of paintings and a further 45 of drawings. The presentation copy is beautifully signed and inscribed by Picasso in blue ink to the front free endpaper, 'Pour Marie, Picasso', and dated 4th June 1970 in his hand. Picasso has artistically transformed the first word of the inscription with two concentric circles, perhaps representing a flower. The final numeral of the date is similarly enhanced by Picasso. With an oblong 12mo partially printed label from the Galerie Alphonse Chave in Vence neatly affixed to the verso of the front free endpaper. Bound in the original paper wrappers with blue printed title and spine. A magnificent example of Picasso's signature incorporating an original piece of art. Some very light, extremely minor staining and age wear to the paper wrappers, otherwise VG Yvonne Zervos (1905-1970) French gallery owner and wife of Christian Zervos with whom she was a co-director of Cahiers d'Art. An expert on Picasso, she organised the exhibition of over 200 works by the artist held in Avignon, the promotional poster for the event posthumously honouring Zervos by proclaiming that she conceived and developed the exhibition in tribute to Picasso. Christian Zervos (1889-1970) Greek-French art historian, critic, collector, writer & publisher who founded the magazine Cahiers d'Art and also published a catalogue raisonne on the work of Picasso.
![[SURREALISTS]: PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. Blue ink signature ('Picasso'](https://cdn.globalauctionplatform.com/b5f66d5c-4859-4b50-b487-aeb4010eedbe/c10914b4-0083-45eb-a6ba-aeb70134976a/468x382.jpg)
[SURREALISTS]: PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. Blue ink signature ('Picasso') to the verso of a postcard photograph depicting various sunbathers relaxing on the Cannes beach, n.p. (Cannes), n.d. ('le Samedi 28'; 28th August 1936?), addressed to Man Ray in Paris. The postcard also features an interesting selection of other signatures and autograph notes comprising Paul Eluard (1895-1952) French poet, one of the founders of the Surrealist movement, 'Ooooh!!!! Que faites-vous baron? Nous vous esperons! Ton Paul', his wife Nusch Eluard (1906-1946) French performer, model and surrealist artist, Rosemonde ('Alors! Envoyez-vous', possibly the signature of Rosemonde Wilms, the nom de plume of Rosemonde Gion de Romesnil whose portrait Man Ray had taken in 1935 for her book Reflexions d'une innocente), Roland Penrose (1900-1984) English artist, historian and poet, a major collector and promoter of modern art and an associate of the Surrealists, 'Roland P, Reviens toi-va!', and his wife Valentine Penrose (1898-1978) French Surrealist poet, author and collagist. Hand addressed by Rosemonde to Monsieur Man Ray at 8 Rue du Val de Grace, Paris. An excellent grouping of signatures associated with Surrealism, and a wonderful association piece. The light postal cancellations only very slightly affect the text and signatures, which remain perfectly legible. VG Man Ray (1890-1976) American visual artist, a significant contributor to the Dada and Surrealist movements and a renowned pioneering fashion and portrait photographer.
MIRO JOAN: (1893-1983) Spanish painter, sculptor and ceramicist. A.L.S., Miro, a large example of his signature filling three-quarters of the page, two pages, 4to, Palma, Mallorca, 15th August 1980, to Mataraso, in French. Miro writes a warm, friendly letter, stating that they think of his correspondent a lot and often talk of him, further embracing him with all their heart in recognition of a long friendship. At the base of the first page Miro has drawn an arrow and added his large signature to the second page, also signing on behalf of his wife, Pilar, and further adding a simple abstract drawing in his hand beneath his signature. Double matted in white and framed and glazed (to show both sides) in a dark wooden frame to an overall size of 17 x 21. Some light creasing, otherwise VG The Mataraso Art Gallery was located in Nice.
DALI SALVADOR: (1904-1989) Spanish Surrealist artist. Signed 8 x 10 photograph, the image being a reproduction of the artist's lithograph Bull Fight No 4 (c.1966-68). Signed ('Dali') in black ink by the artist with a slightly hurried signature, which is also a little light in places, to the base of the image. One very slight, minor corner crease, otherwise about EX
MAGRITTE RENÉ: (1898-1967) Belgian Surrealist Painter. An exceptional artistic and philosophical essay written by Magritte only three months before his death. A.L.S., `René Magritte´, one page, 4to, n.p., May 1967, in French. A very important and detailed statement by Magritte on his understanding of Art and his own mission as artist, stating in part `Je conçois la peinture comme art de juxtaposer des couleurs de tlle sorte que leur aspect effectif s´efface et laisse apparaitre une image où sont unies – dans un ordre poétique – des figures familieres du visible: ciels, personnes, arbres, montagnes, meubles, astres, solides, inscriptions, etc.. La poésie de cette image se passe de significations symboliques anciennes ou nouvelles. L´image poétique ne cache rien: elle ne montre que des figures du visible, puisque la peinture est impropre a représenter l´invisible. L´invisiblee, c´est a dire ce que la lumiere ne peut éclairer, a une valeur inestimable. mais il faudrait la reconnaitre pour désirer rendre visibles, par exemple: le plaisir et la douleur, la connaissance et l´ignorance, la voix et le silence....´ (“I conceive painting as an art of juxtaposing colours in such a way that their appearance fades, and an image is allowed to appear in which familiar figures of the visible are united—in a poetic order—skies, people, trees, mountains, furniture, stars, solids, inscriptions, etc. The poetry of this image consists of symbolic meanings, old or new. The poetic image hides nothing: it only shows figures of the visible, since painting is an unsuitable way of representing the invisible. The invisible, meaning what light cannot reveal, has an inestimable value. But one would have to ignore this value, if one desire to make such things visible, for example: pleasure and pain, knowledge and ignorance, the voice and silence...”) Magritte died three months later on 15th August 1967. Accompanied by an unsigned photograph of Magritte, April 1967, an image by Daniel Frasnay for his work “Leur Monde. Peintres et Sculpteurs” (“Their World. Painters and Sculptors”). The present manuscript was written for this book which obtained the award of Best Book at the Francfort fair book. Small remnants of former affixing to the verso and very small overall age wear, otherwise G to VG
A French silver trophy tankard, with import marks for London 1899, importer's mark of F.B. Thomas, cylindrical form, with strap-work girdles, fluted handle and domed cover with a shell thumb-piece, fluted borders, inscribed 'Hurlingham 30th June 1900 2nd Prize for the best light weight polo pony won by Lord Shrewsbury's 'Small Star'', height 13.2cm, approx. weight 13.8oz.
AN 1821 PATTERN LIGHT CAVALRY TROOPER'S SWORD TO THE ROYAL HORSE ARTILLERY, 80.5cm curved fullered blade, regulation three-bar steel hilt, ribbed leather grip, contained in its steel scabbard engraved RHA D 56 to one side and RHA over a partial B on the other, various Ordnance stamps and dated 1849. The incised B is partial but it is of note as B Troop served in the Crimean War.
A 1788 PATTERN LIGHT CAVALRY TROOPER'S SWORD BY WOOLLEY, 80.5cm curved fullered blade dated 1794 and with the maker's details on the back edge, further etched 5 over LD (Fifth Light Dragoons) to one side, sharpened for use, regulation steel stirrup hilt, ribbed fishskin grip, contained in its steel scabbard.
A 3RD LIGHT DRAGOONS OFFICER'S SHAKO, the cloth covered body with patent leather top and peak, the former with bullion oak leaf ribbon surround, the latter with bullion trimmed edge, large crowned cross-form helmet plate with regimental title KING'S OWN LIGHT DRAGOONS, battle honours VITTORIA, PENINSULA, TOULOUSE, and SALAMANCA, each arm of the cross with faceted white metal insert, centred white metal horse over III, surmounted by the body NEC ASPERA TERRENT, laurel wreath surround, circular domed gilt bosses applied with white metal horses, acanthus leaf spherical plume holder with red and white horse hair plume, leather backed chin chain, bullion caplines, leather interior. The interior with Roy Butler collection label.
A 1788 PATTERN LIGHT CAVALRY TROOPER'S SABRE, 91cm curved double fullered blade stamped Egg over ...Solingen on the back edge and etched with a mounted cavalryman, scrolls, a stand of arms and Turk's head, regulation steel hilt with rubbed leather covered grip, contained in its wood scabbard with large steel mounts and a leather covered panel on each side.
A VICTORIAN SCOTTISH OFFICER'S DIRK TO THE HIGHLAND LIGHT INFANTRY, 30.5cm double fullered blade with faceted back edge, etched and polished with scrolling thistles and foliage, crowned VR cyphers, crowned regimental badges, ASSAYE battle honour and maker's panel for LECKIE, GRAHAM & CO. UNION ST. GLASGOW, regulation gilt mounted hilt, the collar decorated with a panel of thistles, the pommel cap decorated to match and set with a faceted orange stone, carved basket weave grip rising to a spherical top decorated with leaves on a stippled ground, set with white metal studs, contained in its gilt metal mounted leather scabbard, the upper mount applied with the badge of the Highland Light Infantry and decorated with a border of thistles on a stippled ground, the remaining mounts decorated with thistles, complete with companion knife and fork decorated and set with stones to match.
A CLEAN SECOND WAR PERIOD SCOTTISH OFFICER'S BASKET HILTED PRESENTATION BROADSWORD TO THE HIGHLAND LIGHT INFANTRY, 82.5cm clean, bright fullered broadsword blade etched with scrolling thistles, regimental title and badge, crowned GVR cypher, maker's panel for Wilkinson, serial no. 68055 for 1939 and the presentation inscription PRESENTED BY SERGEANTS MESS 2ND JUNE 1939 TO E. MACLENNAN GLASGOW HIGHLANDERS, regulation plated hilt composed of flattened bars united by heart pierced junction plates, red faced chamois liner, incised dome pommel, wire bound fishskin grip, red silk tassel, contained in its plated mounted field service scabbard. A nice clean sword.
A 1796 PATTERN LIGHT CAVALRY OFFICER'S SABRE, 82.5cm curved blade lightly etched with foliage, the Royal arms, Britannia, crowned GR cypher, a stand of arms, and a skull and crossbones, regulation steel stirrup hilt with faceted back piece, wire bound leather covered grip, contained in steel scabbard with maker's cartouche of D. Egg, Haymarket, London. The skull and crossbones may indicate that the original owner was a Mason.
A RARE FRENCH LIGHT CAVALRY OR CHASSEURS OFFICER'S SWORD, 73.5cm curved fullered blade incised VAINCRE OU MOURIR POUR LA NATION, decorated with floral sprays, a crowned oval cartouche with three centered fleur-de-lys, regulation brass hilt with D-shaped knuckle guard, the langets decorated with an inverted Phrygian cap, bold lion's head pommel, wire bound fishskin grip. Circa early 1790's.
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534338 item(s)/page