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Click here to subscribeThree limited edition military aviation prints comprising Gerald Coulson 'First Light' (35/500) of 92 Squadron leaving Biggin Hill, with multiple veterans' signatures; Anthony Saunders 'Homeward Bound ' (112/400) with pencil signatures of Luftwaffe aces and other veterans, with certificate and a studio proof (2/40) 'Steady There, Them's Spitfires' with multiple veterans signatures, all unframed, largest 38 x 50cm
Harmony 1270 12 string 1964 guitar with solid spruce top, solid mahogany back and sides, rosewood bound fingerboard, 12 frets to neck (torque-Lok adjustable reinforcing rod), rosewood bridge, nickel plated trapeze hinged tailpiece (allowing very light bracing and low string tension) and two ivory bridges (Harmony patent)
A FINE WILLIAM AND MARY OYSTER VENEERED OLIVE TULIPWOOD CHEST, comprising two short and three long drawers with brass drop handles, raised on bun feet. 96 x 58cmOyster veneering is one of the most decorative and striking techniques developed by English cabinet-makers in the second half of the 17th Century. The process involves cutting thin slices of saplings transversely across the trunk to create a veneer or ‘oyster-piece’; the name ‘oyster veneering’ is derived from the resemblance of each piece of veneer to an oyster shell. Once cut, the oyster-pieces are laid side by side in the furniture creating a radiating pattern. Although the end result is beautiful, there is no doubt that this technique posed many difficulties for cabinet makers - namely the exceedingly brittle nature of the oyster-pieces, their tendency not to adhere to the bed in which they are being laid on the furniture as well as veneers that had been cut with the direction of the grain.Walnut, laburnum and lignum-vitae were the most frequently used timbers in oyster veneering, however by the mid-17th century olive wood was a highly sought after material and was being imported to Britain in large quantities, thus olive veneers are commonly found on British furniture from c.1660 onward. This ‘oyster’ fashion made the best use of the small scantlings of the olive wood and the higher contrast between light and dark wood maximising the visual impact of the veneer. Table tops and the tops and sides of case furniture were frequently veneered with olive oysters in geometric arrangements as can be seen in the William and Mary chest in this sale.
AN ITALIAN CARVED ALABASTER MODEL OF VENUS, resting in an open shell, supported by winged putti on a naturalistic circular base, raised on veined black marble socle with an applied plaque inscribed ''La Perla', the shell incorporating an electric light bulb. 63cm high; together with a green marble circular pedestal.
A LARGE PERSIAN WOOL RUG, the central reserve containing a dominant golden flower head motif against the deep navy ground, surrounded by similar scattered foliate sprays to a border of wavy spandrels and contained within a thick elaborately decorated border, enclosed to either side by a pale blue guard stripe, each with interspersed rosettes and acanthus leaf motifs, the entire highlighted with cream and light blue details. 390 x 286cm
STUDIO OF JOSHUA REYNOLDS (1723-1792)A portrait of Captain ByronOil on canvas, 126 x 100cmJohn Byron (1723-1786) 'Foul Weather Buck' is John Byron, British vice-admiral, the second son of the 4th Lord Byron, and grandfather of the poet, was born on the 8th of November 1723. He joined the navy as a midshipman but would go on to be considered one of the finest sailors in all of England; despite his dogged bad luck for which he received the nickname of 'Foul Weather Jack’. During one of his expeditions he was wrecked on the southern coast of Chile but survived and proceeded to write up his adventures as 'The Narrative of Hon. John Byron, Containing an Account of the Great Distresses' (1768), which his grandson, George Gordon Byron, used in his satirical poem 'Don Juan' (1819-1824). Habitually in action against the French, he was chosen to command a secret British expedition in the Dolphin frigate - one of the first British ships to have a copper sheeted hull - to the Falkland Islands to break into the Spanish trade. Afterwards, he completed the circumnavigation of the globe, claiming various Pacific islands for the Crown.The provenance of the present example is with Torridon House in the Scottish Highlands, the estate, which once belonged to the Duke of Leeds and is now home to the Earl and Countess of Lovelace, is sandwiched between rugged, soaring mountains and the deep blue of a sea loch. The family auctioned the contents of the house in 2015 offering a wonderful collection of furniture, paintings and other works of art to the public. The connection with the Byron family resulted from the marriage between Lord King William who married Augusta Ada Byron, the only legitimate daughter George Gordon, 6th Baron Byron. The Lovelace title was chosen to mark the fact that Ada was, through the families of Byron, Milbanke, Noel and Lovelace, a descendant of the Barons Lovelace of Hurley. This union brought the promise, in marriage settlement, of vast estates in the Midlands and also political advantage, for Ada’s cousin was Lord Melbourne, the Whig Prime Minister.In this quarter-length portrait Byron is presented in an appropriate manner of attire wearing his captain's undress uniform and a grey wig. He is set against a dark clouded filled background, with a small patch of light blue sky out of which sails a ship from the British Fleet. Byron strikes a formidable presence in this portrait reflecting his many successive years of dedicated and hard service. The numerous long and arduous expeditions is succinctly captured in the line inscribed on the frame, from Byron’s poem, ‘Epistle to Augusta’, ‘Our grandsire’s fate of yore /He had no rest at sea.’Joshua Reynolds (1723-1792) was apprenticed in 1740 to the portrait painter Thomas Hudson, (1701-90) and after early work in his native Devon travelled to Italy in 1749. He returned in 1753 to London and rapidly began to establish himself as a portrait painter, profoundly influenced by his time in Italy. He was the most influential figure of the century in elevating British painting and portraiture which paved the way for a generation of work. Reynolds borrowed poses from the old masters, such as Lord Bryon’s strong stance with arms crossed and his left hand holding onto the sword hilt, which dignified the status of the sitter.
A family group of WWI and WWII medals: comprising a group of five medals awarded to 266043 Pte W Sarney, Oxford & Bucks Light Infantry: 1914-15 Star, British War Medal, Victory Medal, 1939-1945 Star, Defence Medal and War medal 1939-1945; and two WWI trios awarded to SS-13394 Pte J H Sarney ASc and 8-2070 Pte A Sarney, Hamps Rgt: 1914-15 Star, British War Medal and Victory Medal, sold with a copy of the Sarney family tree.
A British Army MOD surplus Pulsar G10 quartz wristwatch, issued 2004, marked to case back with NSN 6645-99 6052627, broad arrow and serial number P20786/04, with black dial, luminova numerals and baton hands, and date aperture at 3 o’clock, 36mm diameter, on its green canvas strap Condition reportmovement functioning at time of cataloguing, some light scratches and nicks to crystal
A British Army MOD surplus Pulsar G10 quartz wristwatch, issued 2001, marked to case back with NSN 6645-99 6052627, broad arrow and serial number P08412/01, with black dial, luminova numerals and baton hands, and date aperture at 3 o’clock, 36mm diameter, on a green canvas strap Condition reportmovement functioning at time of cataloguing, some light scratches and nicks to crystal
ROLEX, Oyster, a 1930s 9 carat gold cushion case manual wind wristwatch, ref. 9081 no. 32743, the case back import marked Glasgow 1936, (heavy solder repair to seam), the white enamel dial (some damage) with luminous Arabic numerals, baton hands, and subsidiary seconds dial, with signed 15 jewel movement, ‘Oyster Patent’ crown, 31mm wide, 24.3gms, no strap Movement: functioning at time of cataloguing, movement appears clean. Balance swinging nicely. Protected with base metal movement cap. Case: lead solder repair to the seam around the circumference of the inner case back. Pin head dent to the centre of the case back. Fully import marked and patent numbers listed. Rolex Watch Co. mark. Wear to milling on case back, but not significant but commensurate with age. 1936-38 gilt metal ‘OYSTER PATENT’ crown (with finer milling) – gilding worn. Wire lugs with repair at join on one lug. Bar to one lug also repaired. Dial: a web of hairline cracks between 10-12, and some chips to edge of enamel in this area, likely due to impact on this corner of the watch. One small spot of deterioration to lume on the minute hand. Crystal: light surface scratches.
JAEGER LECOULTRE, a 1940s stainless steel manual wind wristwatch, no.279083, the metallic dial with Arabic numerals at the quarter hours, blued steel baton hands and subsidiary seconds dial, the signed 15 jewel movement no. 417680 (movement functioning), with gold capped tear drop lugs, 31mm diameter, no strap Movement: functioning at time of cataloguing. Movement clean, with a few scratches to the barrel bridge, but balance swinging nicely. Case: light scratch to case back, but otherwise case in good condition with a nice polish to it. No spring bars. Dial: light spotting across entirety of dial, but otherwise no apparent issues. Glass: light scratches across the crystal
A set of 8 Russian silver-gilt and shaded cloisonne enamel spoons by the 6th Moscow Artel, 1908/17 and also later struck with Soviet control marks for Moscow, bowls decorated with shaded flowers and foliage in pastel shades on a dark olive green and light green ground, the enamelled stems with emerald green knop finials, 14.6cm long.
A green hardstone brush washer decorated with a cherry branch with blossom in relief, 9x7cm.together with a hardstone candlestick with bronze sconce, the stone carved with bamboo, deer and monkeys climbing a tree for fruit. Ht.11cm. Condition reportBrush washer has light surface bruising. Candlestick sconce dented, stone immediately below has 33mm. long chip.
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