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Lot 220
Gorgeous set of multicolored crystal with clear crystal stems. Includes the colors: Green, blue, light blue, purple, red and yellow. Features the Odessa pattern with a cut pineapple design. Faberge etched backstamp. Issued: 20th centuryDimensions: 7''H x 3.25''dia, EachManufacturer: FabergeCountry of Origin: RussiaCondition: Age related wear.
Lot 79
Layered brass round flush mount design with four arm lighting accented by sky blue pleated satin glass shades. Each arm has individual switch to control amount of light. Fixture must be hardwired to ceiling. Issued: 20th centuryDimensions: 12"L x 12"W x 13"HCondition: Age related wear. Untested - functionality not guaranteed.
Lot 1
⊕ GEORGE MAYER-MARTON (lots 1-11) His appearance, accent and manner spoke of a lost and to us largely unknown Mitteleuropa. Always meticulously dressed in a suit and wearing a hat and polished shoes, he would arrive in the college with his leather briefcase and don his professional white coat. Introduction In Their Safe Haven', Hungarian artists in Britain from the 1930s, compiled and edited by Robert Waterhouse, the story of George Mayer-Marton's bleak story of dispossession is graphically pieced together from the artist's diaries and via first hand accounts. Born in Gyor, North Hungary, the artist's formative years had largely been spent in Austria or Germany. During the First World War he had served on the front line in the Austrian army, and - leading up to the Anschluss - he lived in Vienna, happily married and, as vice-president of the Hagenbund, he was a leading voice among contemporary artists. But with Hitler's annexation of the country at the end of September 1938 together with Grete his wife he fled Vienna for London. Mayer-Marton's diaries evoke with withering honesty the reception he received and his despairing sense of dislocation: 'For the moment, London spells turmoil, noise, rows of double decker buses and a language one doesn't understand... We observe the English art of 'splendid isolation', their culture of bureaucratic niceties, good manners and cold souls; their complete consideration for others out of consideration for their own piece and quiet.' (Waterhouse, p. 74). Eventually the couple set up home and a studio in St John's Wood, only for the premises to be hit by an incendiary bomb in 1940 during the Blitz. In the ensuing fire Mayer-Marton lost the vast majority of the work he had brought with him. At the end of the War he learnt of the murder of his and Grete's parents together with his brother in the Holocaust. Grete's death in a psychiatric hospital in Epsom in 1952 followed, a consequnce of her inability to recover either from her forced exile or the subsequent destruction of their London home. Yet, despite such a succession of tragedies, Mayer-Marton was resolutely determined. He strove to replace the works lost in the London bombing, not simply with copies but because he felt challenged by the very different light and landscape of the British countryside, his lightness of touch and deftness of colour abundantly apparent in the present selection of works. He was also appointed a senior lecturer at Liverpool College of Art, a post in which he flourished. His Liverpool students recalled Mayer-Marton's innovative approach to teaching. He introduced weekly 'Socratic method' seminars, challenging students with rhetorical questions ranging from 'Kant's moral imperative to Schopenhauer's aesthetic theory, the scientific ideas of Einstein, concepts of the primitive in art, abstraction, expressionism, the medieval guilds and so on... these seminars were a decade before the history and theory of art were incorporated into art school curricula in the 1960s' (Waterhouse, pp. 212-213). In Liverpool he also introduced new technical know-how, in particular fresco painting and the re-introduction of Byzantine-style mosaic practices. These he deployed in a series of large scale ecclesiastical commissions in the north-west, including the large Crucifixion mural at the former church of the Holy Rosary, Oldham (1955), Pentecost now in Liverpool Metropolitan Cathedral, and the Crowning of St Clare at St Clare's Church, Blackley. GEORGE MAYER-MARTON (HUNGARIAN 1897-1960) VIEW OF CONCARNEAU signed Gmayermarton lower right watercolour and wash on paper 52.5 x 36.5cm; 20 3/4 x 14 1/2in 79.5 x 67cm; 31 1/4 x 26 1/2 (framed) Mayer-Marton visited Concarneau, Brittany in 1950 and 1951. Held behind glass, not examined out of frame. This work appears in very good original condition, colours fresh and vibrant.
Lot 133
⊕ FLIGHT OF BIRDSsigned and titled LEO DAVY / Flight of BIRDS on the reverse oil on board45 x 45 cm; 17 3/4 x 17 3/4inunframedPainted in 1955.Not retouched?. Apart from some minor abrasions/ paint loss to extreme edges, this work is in very good original condition (would probably benefit from a light surface clean).
Lot 107
⊕ Trevor Bell (lots 107-114) One of the most important painters working anywhere today is Trevor Bell, and Bell’s first experiments in what we now call shaped canvases began in the late fifties. Patrick Heron, 1970IntroductionBell grew up in Leeds, where he studied at the College of Art (1947-1952) before teaching at Harrogate College of Art. In Leeds he met Terry Frost who was up from St Ives benefiting from a Gregory Fellowship at the university. On Frost's advice Bell and his wife moved to Cornwall in 1955. There Bell became a leading member of the younger generation of St Ives artists, exhibiting with the Penwith Society of Arts from 1956. Used to painting the grimey north of England, Bell responded with vigour and alacrity to the colour and light of his new surroundings capturing the atmosphere of the sea, coast and landscape of the south west in his distinctive and developing abstraction. An early mentor in St Ives for Bell was Ben Nicholson who encouraged him to show in London. Another there who admired his youthful painterly zest was Patrick Heron. Bell's first one man show at Waddington Galleries on Cork Street in 1958 was a sell out success. In the catalogue Heron described him as 'The best non-figurative painter under thirty'. The same year Bell was awarded an Italian government sponsorship; in 1959 he won one of six main painting prizes at the first Paris International Biennale of Young Artists and in 1960 he was awarded a Gregory Fellowship by Leeds University, and moved back north. During the following decade Bell enjoyed considerable commercial success both in the UK and abroad, including a succession of exhibitions at Waddington Galleries (1960, 1962 & 1964). It was during this period that he developed his interest in shaped canvases and the Tate Gallery purchased their first work by him. The decade culminated in a hugely successful show at the Richard Demarco Gallery in Edinburgh which toured to Northern Ireland and the Mappin Art Gallery, Sheffield. In the autumn of 1973 the Whitechapel Art Gallery mounted an exhibition of his recent paintings, and the following year he showed at the Corcoran Gallery, Washington DC. In 1976 Bell moved to Florida to take up the post of Professor for Master Painting at Florida State University in Tallahassee. Availed of a warehouse-sized studio and with time to really develop his painting he produced large-scale, intensely coloured works, reflecting the influence of the climate and landscape on him. A source of inspiration too were the rockets launched from Cape Canaveral, the first he saw being the night time launch of Apollo 17 in December 1972. This and subsequent rocket shots had a lasting influence on his work. Over the 20 years he spent in America exhibitions of his work were mounted at the Academy of Sciences in Washington, the Metropolitan Museum and Art Center, Miami, The Cummer Gallery, Jacksonville and the Museum of Art at Fort Lauderdale, Florida.In 1985 Bell was included in the the Tate Gallery's exhibition on St Ives 1939-64: Twenty-five years of Painting, Sculpture and Pottery and his work was featured in the Tate St Ives' inaugural show in 1993. Retiring from his Florida teaching post in 1996, he returned to Cornwall, setting up studios near Penzance. He was the subject of a full retrospective of his work at Tate St Ives in 2004 and in 2011 a further fourteen works were acquired by the Tate Gallery for their permanent collection. In the UK other examples of his work are in collections of The Arts Council of England, the British Council, the British Museum, Laing Art Gallery and the Victoria & Albert Museum.TREVOR BELL (BRITISH 1930-2017)TWOacrylic on canvas laid on panel and styrafoam56 x 58cm; 22 x 23inunframedPainted in 1967.
Lot 59
⊕ PORTRAIT OF SIDONIE, THE ARTIST'S WIFEsigned with initials and dated 35 lower rightpencil on paper17.5 x 13.5cm; 7 x 6 3/4in (image)41 x 33cm; 16 x 13in (framed)Drawn the year Feibusch and Sidonie (née Cramer, 1888-1963) were married. Held behind glass, not examined out of frame. Apart from very occasional pinhead spots on the lower left quadrant (possible light fly spotting) the work appears in fair original condition.
Lot 11
⊕ SEATED NUDE FROM 'LOVES OF ZEUS'signed on the mount Gmayermarton lower rightetching32 x 24.5cm; 12 1/2 x 9 3/4in50 x 37.5cm; 19 3/4 x 14 3/4in (sheet)unframedSee note to previous lot. Image/plate in very good condition. Very light creasing to top right corner of margin and one pinhead flyspot, also towards top right margin. Otherwise in very good original condition.
Lot 94
⊕ ABSTRACT COMPOSITION WITH SET SQUARES AND DISKSsigned and dated Kapp '64 lower rightoil on canvas72 x 49.5cm; 28 1/2 x 19 1/2in79 x 56.5cm; 31 x 22 1/4in (framed)The canvas has not been relined. No retouching under ultra-violet light. Some slight surface spots of dirt as per the illustration, eg notable spot lower centre. Overall in very good original condition. May benefit from light surface clean.
Lot 7
⊕ LAKE WOLFGANG, SALZBURG signed and dated Gmayermarton / 55watercolour and wash on paper53 x 77cm; 20 3/4 x 30 1/4in unframedExecuted on thick paper. Light creasing to extreme corners, top left and bottom left. One nick (0.5cm) to top right of sheet. Otherwise in very good original condition, colours strong.
Lot 8
⊕ DAY TRIPPERSsigned on the mount Mayermarton lower rightetching23 x 34.5cm; 9 x 13 1/2in37.5 x 53cm; 14 3/4 x 20 3/4in (sheet)unframedSlight horizontal creasing along top edge of sheet. Some handling marks and time staining overall. Some very light foxing towards top of image, otherwise very good condition.
Lot 93
⊕ ABSTRACT COMPOSITION WITH BELL PULLoil on board50 x 71cm; 19 3/4 x 28in54 x 75cm; 21 1/4 x 29 1/2in (framed)No retouching evident under ultra-violet light. Occasional imposto losses in the greens, notably to long green curved vertical line on right of composition, to the two curved lines lower right corner, and the horizontal green line top left. Otherwise in good original condition.
Lot 29
⊕ STILL-LIFE, HEATHER AND APPLEoil on canvas38 x 53cm; 15 x 20 3/4in52.5 x 67.5; 20 3/4 x 26 1/2in (framed)Painted in 1980, Schlenker notes that Motesiczky arranged the present still life on draining board in the old fashioned scullery next to the dining room at Chesterford Gardens: 'On the draining board's row of rough wooden planks two shallow earthenware dishes stand side by side. One is holding an apple. The other, displaying a bowl containing a bunch of multicoloured heather, has a greenish inside which echoes the colour of the fruit. Both objects have been placed next to the sink for good reasons: while the apple is washed to be eaten, the heather is watered to ensure its growth. The drop of water, escaping from the tap and shining brightly in the light, testifies to the completed tasks. A bee is hovering above the heather, about to indulge in its pollen.' (Schlenker, p. 447) LiteratureJill Lloyd, The Undiscovered Expressionist, A Life of Marie-Louise von Motesiczky, London, 2007, p. 219Schlenker, no. 269
Lot 129
⊕ RED BLACK SEATED FIGUREsigned and dated LEO DAVY 1952 top leftoil on board 60 x 30cm; 23 1/2 x 11 3/4in76 x 46cm; 30 x 18in (framed)Held behind glass. Not examined out of frame. Floating within frame, and attached to backboard. No retouching apparent under ultra-violet light. This work is in very good original condition.
Lot 146
⊕ Michael Upton (lots 146-157)Tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard John Russell Taylor, IntroductionUpton grew up in Birmingham where he attended the College of Art before joining the Royal Academy Schools in 1958. In London he became close friends with David Hockney and Patrick Proctor, shared a flat with nascent pop artist Peter Phillips, and was awarded an RA Leverhulme Scholarship. His work was featured in the influential annual ‘Young Contemporaries’ exhibitions that Phillips masterminded over four years (1959-63). The reviewer of the 1962 show in The Times commented: 'The exhibition fairly bubbles with bright ideas and visual excitement... its weird mixture of impudence, whimsicality and beautifully tender painting is well exemplified by Derek Boshier [and] Michael Upton...' A year later, however, after completing six identical canvases, Upton abandoned painting entirely, turning instead to conceptual art. He spent 1967-68 in New York, the recipient of a grant from the Cassandra Foundation. Others who received grants from the Foundation included John Cage, Bruce Nauman, Christo, Eduardo Paolozzi and Richard Hamilton. Increasingly Upton's interests lay in performance, and in the 1970s he founded London Calling with Peter Lloyd Jones which became an influential part of London's performance art scene. One of his works included burying a number of his paintings on a Dorset hillside. But at the end of 1970s Upton returned again to painting, taking up a teaching role at the RA Schools. In this later period Upton's preference was for small scale works. He often used photocopy or newspaper print as the support and he regularly produced series of images, similar to stills from a reel of film. Upton considered them 'conceptual paintings', and gained a new fan for his work in John Russell Taylor the influential art critic of The Times. In a review of 1979 Russell Taylor enthusiastically described Upton's paintings as 'tiny, intimist interiors and exteriors exquisitely coloured like some latter day Vuillard', and in his review of the British Council touring exhibition Picturing People, British Figurative Art since 1945, he singled out Upton as one of a handful of 'highly sophisticated stylists'. Also won over to Upton was the critic Mel Gooding who commented on Upton's 'subtle allusiveness (hints of Piero, Vermeer, Sickert)...another way of deepening the game, of adumbrating the mystery. An art of intimations'. As his work evolved so Upton also gave it more loaded political messaging, inspired in part by both his earlier pop art years and current events. But following retirement and his retreat to Mousehole, Cornwall in 1996 his artistic focus shifted to the innate beauty of the local landscape and coastal views became his primary focus (lots 154-157).WINDOW 1,2,3each oil on boardeach 14 x 14cm; 5 1/2 x 5 1/2in31 x 65.5cm; 12 1/4 x 25 3/4in (framed as one)Painted in 1979.with the artist's estate number MU0608 on the reverseProvenancewith Contemporary Art Society, LondonExhibitedNew York, Anthony Ralph Gallery, Michael Upton, 1987Held behind glass. Unexamined out of frame. Each stuck to the backboard. No retouching apparent under UV. Possible light time staining, otherwise good condition.
Lot 176
⊕ FIGURES ON A STREET, STOKE-ON-TRENToil on board27 x 31cm; 10 1/2 x 12 1/4in unframedPainted circa 1951 after his parents moved from Millom to Stoke-on-Trent that year.There is no retouching apparent under ultra-violet light. There is some scuffing and paint loss to the board at all four corners. There are possible pin-head spots of abrasion to the paint surface, these are notable running up the foreground lamp post. This abrasion and the aforementioned scuffing /paint loss to the corners are evident in the illustration both in the catalogue and online. The work is in original condition, and would almost certainly benefit from a light surface clean.
Lot 173
⊕ MILLOM SCHOOL PLAYGROUND, MILLOM TOWN, CUMBRIAsigned and dated D.F.Bates.1950 lower leftoil on canvas51 x 51cm; 20 x 20in53 x 53cm; 20 3/4 x 20 3/4in (framed)Bates joined his parents in Millom in 1949, where he became fascinated by the history of heavy industry in the area. He started at the RCA in London in the autumn of 1950 autumn. Much later, in the 1970s Bates returned to Millom where he purchased a house. Tha canvas is not relined, and no retouching is apparent under ultra-violet light. There is a small retouch by the artist to the left of the foremost chimney stack on the left of the canvas. This addresses a small puncture that has been patched on the reverse almost certainly by the artist. The work would benefit from a light surface clean. Overall the work is in very good original condition.
Lot 168
⊕ INTERIOR, SHELLANDsigned L Bulmer lower right; signed and inscribed with the artist's address 3 Curran Studios / Lucan Place / SW3 on the reverseoil on the artist's prepared canvas board91 x 122cm; 35 3/4 x 48inunframedwith the artist's estate number LB 1014 on the reverseExamined under UV. Possible old retouchings down the left edge around the gas light, and towards the right edge and bottom right, probably applied by the artist. Some occasional scuffing/ paint loss mostly at the edges and to the corners. Overall fair condition.
Lot 76
Sir William Rothenstein (lot 76) and Albert Rutherston (lots 77-82)IntroductionRaised in Bradford as two of six children of Jewish immigrants, William and Albert both achieved considerable influence at the very heart of the British art establishment. Amongst their many and remarkable strengths they were painters, printmakers, illustrators, teachers, administrators, gallerists and, in William’s case, an accomplished and prolific writer. William was the first to move south to study under Alphonse Legros at the Slade (1888-89) before attending the Académie Julian in Paris (1889-1893), where he was encouraged by Whistler, Degas and Toulouse-Lautrec and befriended Rodin. Albert followed him a decade later to the Slade, where by then Fred Brown was professor, assisted by Henry Tonks, Philip Wilson Steer and Walter Russell. The youngest student by far, Albert fell in with a gilded set of like-minded spirits, in particular Augustus John and William Orpen. The young trio was dubbed by William ‘The Three Musketeers’. Albert went on to win separate prizes for both drawing and painting and was awarded a Slade scholarship. On his return from France William established himself as a talented portraitist illustrating Oxford Characters in 1896 with twenty-four lithographs. It was one of several collections of portraits depicting men and women of distinction that William would produce. In 1900 William’s painting The Dolls House (after Ibsen’s eponymous play), won a silver medal at the Exposition Universelle in Paris, the same year as his book on Goya was published. Such foreboding influences, however, contrasted with the many happy and light-filled works he produced following his marriage to Alice Knewstub in 1899. For Albert and his fellow ‘Musketeers’ the new century heralded trips to France. There he met Walter Sickert and shared holidays with William, Spencer Gore and Slade teacher Walter Russell. In London Albert thrived on Fitzroy Street and exhibited with William, Sickert, Gore, Russell and Harold Gilman. Sickert recalled their efforts ‘to create a Salon d’automne milieu in London’. Towards the end of the 1910s Albert turned increasingly to decorative designs. In 1911 he collaborated with Roger Fry on large scale murals for Borough Polytechnic and worked on a number of designs for the ballet and theatre. He changed his name to Rutherston in 1916. After the War he married Marjory Holman, taught at Camberwell School of Art, and the Oxford School of Drawing, Painting and Design, and was appointed Master of the Ruskin School of Art (1929-49). A late but important influence in his life was the young model Patricia Koring whom he met in 1938. From the First World War on William’s work revolved around painting, teaching and writing. During 1917-18 he spent six months as an official War artist at the Front (lot 76), and was briefly visiting Professor of Civic Art at Sheffield University. In 1920 he became Principal of the Royal College of Art in London and was knighted in 1931. As well as Goya, among William’s publications were three fascinating volumes of memoirs. William’s sons carved out their own influential paths in the Arts. John (1901-92) his eldest, became director of the Tate Gallery (1938-1964), wrote Modern British Painters (1956) and was knighted in 1952. Michael (1908-1993) became a highly accomplished painter and print maker.SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945)THE CHURCH OF ST GERY, HAVRINCOURTtitled Havrincourt Church lower left and numbered 29 lower right oil pastel over pencil on paper52 x 36cm; 20 1/2 x 14 1/4in85.5 x 63.5cm; 33 3/4 x 25in (framed)Havrincourt was on the battle front during the First World War. By November 1917 the German ‘Hindenburg Line’ crossed through it, and the village was part of the opening phase of the Battle of Cambrai at the end of the month. The second battle at Havrincourt opened in mid-September 1918, and marked the beginning of the German retreat back to the Belgian-French border. The vast majority of the village was destroyed in the conflict, but much was rebuilt following the Armistice, including the church of St Géry. Rothenstein worked alongside Eric Kennington (1888-1960) as a War Artist, recording in his memoires how 'We worked at Cambrai, Bourlon, Moeuvres, Havrincourt, Lesquières - everywhere the fantastic shapes and colours of ruined houses and shell-shocked trees provided a constant stimulus... No work has ever satisfied me so completely as that which I undertook while acting as a British, and later, as a Canadian, Official Artist. (William Rothenstein, Men and Memories, London, 1932, vol. II, p. 361).
Lot 53
ATTRIBUTED TO GEORGE BECK (BRITISH-AMERICAN 1749-1812) CASTLE RISING, NORFOLKsigned and inscribed, Castle Rising, Norfolk / by Mr Beck, versopen and brown ink and watercolour on laid paper27 x 35cm; 10 1/2 x 13 3/4inframedGeorge Beck was born in Staffordshire. His English, Welsh and Irish landscapes were often compared to those of Richard Wilson but considered less accomplished. However he was praised for the way in which he captured the light and sky. He and his wife emigrated to America in 1795 and it was here that his reputation really grew. His best-known paintings The Potomac River Breaking through the Blue Ridge and The Great Falls of the Potomac (ca.1796-1797) were subsequently purchased by George Washington in 1797 to be hung in the New Room that Washington had built at Mount Vernon following the Revolutionary War.
Lot 39
THOMAS SUNDERLAND (BRITISH 1744-1828) VIEW OF PULAU PENANG ISLAND, MALAYSIAinscribed verso, Scenery in Pulau Penang, 2 miles from George Town, called the Highlands of Scotland, built upon, & so named by Mr Scott, who is denominated the Father of the Island. He also built the pleasure Seats of Killicrankie & Kelso. pen and ink and blue and grey wash over pencil 19.5 x 27.5cm; 9 x 11½intogether with two further watercolours by Thomas Sunderland, the first inscribed beneath and on the verso, View from the Gaer Hill Macoa looking to Mr Roberts Garden, Camoens, Green Hill, and to the division between China & Potugal, 26 Dec 1812; the second inscribed verso Windermerevarious sizes, all unframed (3)In 1826 Penang along with Malacca and Singapore became part of the Straits Settlements under the British administraton in India, moving to direct British colonial rule in 1867. James Scott (1746-1808) was trading partner to Captain Francis Light in Penang. When Light died in 1794, Scott aquired Light's Estate, making him the largest landowner in Penang.
Lot 154
Highland Light Infantry Late Victorian Period Other Ranks Waist Belt, complete with white metal plate, an early ERII period Officers waist belt complete with plate to The Black Watch. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 120
10th (Prince of Wales’ Own Royal Regiment of Light Dragoons) Hussars Officers Black Leather Pouch, Victorian Period, lacking side ornaments, complete with silver and gilt ornaments, pouch belt with standard gilt ornate decoration, pricker plate. Good overall condition.Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 128
17th Light Dragoons (Lancers) Officers Undress Sabretache, the black leather face mounted with skull and crossbones emblem of the regiment, the face with age crazing but accompanied by original hand copy letter addressed to John Wilkinson of the 2nd Life Guards from Lieutenant Colonel Matthew Chitty Downes St. Quintin of 17th Lancers thanking Wilkinson for his service with the 17th Light Dragoons. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 48
Fife Light Horse Officers 1871 Pattern Silver Plated Helmet, complete with badge, motto scrolls, chin chain and white plume. Good overall condition. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 174
An 1822 pattern Infantry officer’s sword of Thomas John, 46th (The South Devonshire) Regiment, Later Major General Duke of Cornwall Light Infantry, blade 79.5cms by Lan(don) A(nd), Morland 17 Jermyn St. London etched with crowned VR cypher and scrolling foliage, regulation brass guard with solid sideguard, brass grip strap, wire bound fish skin covered grip with a crimson-striped bullion dress knot, in its brass scabbard credibly engraved SWORD OF THE LATE MAJOR GENERAL T. JOHN LATE COMMANDING 2ND BATTN. D.C.L.I. Age worn overall. The sword of Thomas John, 46th (The South Devonshire) Rgt, Ensign 1852, Lieut. 1855, Capt. 1861; Maj. 76 (the 46th merge with the 32nd to form the DCLI in 1881) Lt. Col. 1881, Col. 1885, Maj. Gen. 1885. Sold with a little research material. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 204
A Victorian 1827 pattern Rifle officer’s sword to the Cameronians by HENRY WILKINSON PALL MALL LONDON No.33877 (=1896CE) blade 82cms, etched with crowned VR cypher interlaced and reversed, Royal Arms, owner’s initials H.E.G. all amidst scrolling foliage, regulation iron guard and chequered grip strap, silver wire bound fish skin covered grip, in its steel scabbard. Some age wear, light rust to scabbard.The sword of Maj. Henry Edward Green OBE, DSO, 2nd Battn. Cameronians (Scottish Rifles). Sold with copy of Wilkinson Sword ledger entry and folder of research material. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 198
A Victorian officer’s Scottish Highland dirk of the 72nd Highlanders, Light Company, c.1855 by CATER’S 56 Pall Mall London, scalloped back single edge blade 31cms cut with 2 fullers and etched 72 HIGHLANDERS with strung bugle within laurel wreaths, repeated on both sides, bog oak hilt carved with basket weave, pommel fitted with facetted foiled ‘Cairngorm stone’, gilt brass mounts (some wear to gilding) engraved with thistle decoration, in its sheath with patent leather covering, locket engraved with 72 within large oval, sheath fitted with twin pockets containing companion knife and fork en suite. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 4
17th (Light Dragoons) Lancers Officers Full Dress Lance Cap Plate, circa 1856-1876, the gilt metal back plate with silver mounts comprising the Royal Arms, Battle Honours, Unit Title, and the Motto. Very good condition. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 102
A Light Infantry Militia Officers Full Dress Wing Epaulettes, circa 1835-55, complete with plated chains, round ornaments and gilt strung bugle horns, some wear to the silver fringe bullions, otherwise good condition. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 195
A scarce Victorian officer’s basket hilt broadsword of the Highland Light Infantry (Borderers), broad straight claymore blade 87cms cut with a pair of narrow fullers and etched with crowned VR cypher, 90 HIGHLAND BORDERERS LIGHT INFANTRY, and the retailer MARSHALL & Co. St. JAMES’S St LONDON all amidst scrolling foliage, regulation pierced iron basket guard, fluted pommel with crimson silk fringe beneath, wire bound fish skin covered grip, chamois liner covered with red cloth and blue edging (the latter worn), in its iron dress scabbard. Scabbard partly cracked across a crease, button distressed. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 130
Royal Marine Light Infantry Officers Undress Sabretache, the black leather face with gilt mounts Gibraltar, The Royal Crest, and Per Mare, Per Terram. The face crazed, the gilt mount rubbed, and one ‘D’ ring missing. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 14
1st Huntingdonshire Mounted Rifles/Light Horse (Duke of Manchester’s) Troopers Helmet, the black leather skull with plated mounts and plated front trim, correct pattern white over red horse hair plume, the frontal badge features a ducal coronet, unit initials and scroll 1ST or Duke of Manchester’s, quilted sweatband, and original wearers name ‘Thomas Smith’. Good overall condition. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 222
An 1821 Pattern Light Cavalry Officer’s sword of the 21st Hussars by HENRY WILKINSON PALL MALL, No.23282 (=1879CE) regulation single edge blade 88.5cms etched with crowned VR amidst scrolling foliage with owner’s initials H.M.B. and 12 H within panel, triple bar iron guard partly chequered grip strap and pommel, silver wire bound fish skin covered grip (skin worn in 2 places)The sword of Hugh M Beavan 21st Hussars, 2nd Lieut. 1879, Lt. 1881 onwards, retires by 1883. Sold with copy of the Wilkinson Sword ledger entry and folder of research material. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 137
10th (The Prince of Wales’s Own Royal) Light Dragoons (Hussars) Full Dress Sabretache, circa 1837-1860, the red cloth face with embroidered mounts comprising a Guelphic Crown upon the Prince of Wales’ Badge VR cypher, ‘X’ Battle Honours Scrolls, Peninsular, Waterloo, Sevastopol. The bag a replacement, the face dull, but otherwise good condition for age. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 219
A 1796 pattern light cavalry officer’s sword by Hawkes, Mosley & Co. Piccadilly London. Warranted, broad curved single edge blade 76cms signed along the blued and gilt back edge, cut with a single fuller and slightly swollen towards the tip, finely etched and brightly blued and gilt for half-length crowned GR cypher, the Royal arms, cavalry man on rearing charger, the union flowers and foliate devices, regulation iron guard with facetted surfaces, wire bound fish skin covered grip, in its iron scabbard with twin suspension rings. Hilt and scabbard cleaned bright, throat mount missing from scabbard, blade retains nearly all its original finishes. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 176
An 1845 Pattern Infantry Officer’s sword of Brigadier General Hubert Horation Shirley Morant DSO, Col. Durham Light Infantry, by HENRY WILKINSON PALL MALL LONDON No.29811 (=1889CE) blade 84cms etched with crowned VR cypher amidst scrolling foliage and owner’s initials H. H. S. M. within banner, regulation brass guard (slightly distorted) with solid sideguard, wire bound fish skin covered grip, buckskin dress knot, in its plated scabbard. Contained in its leather sword bag with owner’s initials and chamois liner. The sword of Brig. Gen. Hubert Horation Shirley Morant DSO, Col. Durham Light Infantry, served with Egyptian army 1898 – 1908 MID, raised and commanded 10th Battn. DLI 1914-1918, wounded 4 times. Sold with copy of Wilkinson Sword ledger entry and folder of research material. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 119
10th (Prince of Wales’ Own Royal Regiment of Light Dragoons) Hussars Officers Black Leather Pouch, Victorian Period, complete with silver and gilt ornaments, pouch belt with standard gilt ornate decoration, pricker plate lacking one arrow and chain, otherwise good overall condition. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 124
13th Light Dragoons Officers Silver Flap Pouch and Belt 1837-55, unmarked silver pouch with gilt VR cypher, leather pouch belt with pricker plate, chains etc, and two only Battle Honour scrolls, Peninsula and Waterloo in pierced gilt lettering on ornate silver backing plates. Belt distressed, the mounts etc in good condition. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 224
A Victorian 1822 pattern Light Cavalry officer’s dress sword for the 10th Hussars by HENRY WILKINSON PALL MALL LONDON No.18619 (=1873CE) blade 83cms etched with crowned VR cypher, Xth within garter inscribed PRINCE OF WALES’S OWN, above HUSSARS above battle honours to Sevastopol, with owner’s initials RDL, all with scrolling foliage, regulation triple bar steel guard, chequered steel grip, silver wire bound fish skin covered grip, in polished steel scabbard.The sword of R. Drury Lowe, 10th Hussars, cornet 1869, Lieut. 1871. Sold with copy of the Wilkinson Sword ledger entry and some limited research material. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 101
A 13th (1st Somersetshire) (Prince Albert Regiment of Light Infantry) Pair of Officers Blue Frock Shoulder Scales (circa 1842-55), complete with correct finial buttons and embroidered strung bugle horns, worn overall. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 221
A 1796 pattern type Light Dragoon officer’s sword, curved single edge blade 81cms etched with crowned GR cypher and pre-1801 Royal Arms, martial trophies and foliate swags, back edge etched J J Runkel Solingen with blued and gilt decoration (worn), brass stirrup hit and chiselled lion’s head pommel retaining traces of gilding, silver wire bound grip, in its brass scabbard (creased and worn) with twin hanging rings. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 220
An unusual 1796 pattern light cavalry officer’s sword by William and Samuel Dawes, Birmingham, broad curved single edge blade 82.5cms cut with a single fuller and slightly swollen towards the tip, etched with significant traces of blued and gilt decoration for half-length including crowned GR cypher, the Royal arms, cavalry man on rearing charger, and foliate trophies, silver plated regulation iron guard and grip strap, wire bound leather covered grip (wire incomplete), in its silver plated iron scabbard, signed within a rectangular lozenge and also engraved WATERLOO 1815 on the opposite side. Scabbard with a crease (now straightened), some small areas of pitting mostly towards tip of blade.The makers are recorded working in Snowhill, Birmingham 1800-1812. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 5
Military Print, Mounted Officers of the 13th Light Dragoons, Royal Inniskilling Dragoons and a third of Lieutenant General Beachamp Ligon Colonel 11th Hussars. Framed and glazed good condition. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 59
Royal Marine Light Infantry Officers 1878 pattern Green Cloth Helmet, with standard gilt mounts, rounded frontal peak, the Crown Star and Garter helmet plate in gilt with silver and enamel decoration, good overall condition. Please note that all lots in this auction have been imported from outside the United Kingdom and are subject to 5% import duty on the hammer price. Items being exported outside of the UK are exempt from this charge upon proof of export. Any international bidder having items sent to a UK address will be subject to this fee.
Lot 14
Five Dinky Toys American cars, comprising No. 174 Hudson Hornet in yellow and grey, No. 178 Plymouth Plaza in duo blue, No. 179 Studebaker President in light blue with dark blue flash, No. 191 Dodge Royal in green and No. 192 De Soto Fireflite in grey and red, all boxed with correct colour spots (some minor paint chips, boxes lightly damaged and lacking end flaps).
Lot 269
Nine Lego Architecture building sets, comprising No. 21029 Buckingham Palace, No. 21006 The White House, No. 21020 Trevi Fountain, No. 21022 Lincoln Memorial, No. 21042 Statue of Liberty, No. 21015 Leaning Tower of Pisa, No. 21034 London, No. 4000010 Lego House and no. 21030 United States Capital Building, boxed with instructions (contents unchecked, light corner scuffs and creases to boxes).
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