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Lot 360
Olympics Michael Jamieson signed 12x8 colour photo. Michael Jamieson, born 5 August 1988, is a Scottish former competitive swimmer who represented Great Britain at the Olympics, FINA world championships and European championships, and Scotland in the Commonwealth Games. Jamieson won the silver medal in the men's 200-metre breaststroke at the 2012 Summer Olympics. He now is the Head Coach for the Swimming Club, Natare West London. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 57
A good late 18th century mahogany quarter chiming longcase clockJames Allen, LondonThe pagoda top with ball and spire finials sitting on ribbed mouldings, the centre with shaped apron over silk backed sound frets mounted on brass stop-fluted Doric columns over a long door with flame veneer flanked by matching quarter columns on a doubled stepped plinth with applied moulded panel. The 12 inch arched brass dial with strike/silent over a Roman and Arabic chapter ring and scroll spandrels framing the matted centre with recessed seconds and applied arched signature riband. The movement with heavy plates united by five large knopped pillars, the going train with anchor escapement, the original pendulum with brass strip and lenticular bob suspended from a substantial back cock on the backplate, striking the hours on a bell and chiming the quarters on eight bells and hammers. Together with three brass-cased weights 2.55m (8ft 5ins) high. Footnotes:James Allan, also spelt Allen, was born in Forres, Scotland likely around 1739. He seems to have been initially apprenticed to a blacksmith in Forres, and after completing his apprenticeship he moved to London. By chance, he shared a house with a sextant maker, and apparently Allan would assist the sextant maker in the evenings. Allan must have preferred instrument making to blacksmithing, as by 1786 he was making Borda circles, likely with Jesse Ramsden, whom he appears to have remained close to throughout his life. In 1790, he was listed as working at 76 New Gravel Lane, before moving to 12 Blewit's Buildings, Fetter Lane around 1800, where he would remain for the rest of his career. In 1809, he is listed in the trade directories at this address as a 'divider of mathematical instruments'. In 1816, he published his own method for making highly accurate screws and was subsequently awarded a silver medal for his screw making, by the Society for the Encouragement of Arts, Manufacturers and Commerce. This same organisation gave him several awards throughout the years: two gold medals, one for his self-correcting dividing engine (1810) and another for a theodolite of his own manufacture (1815), as well as another silver medal for a new Reflecting Repeating circle (1811). On 3 February 1820, he received another award, of £100, this time from the Board of Longitude for his 'Self-Correcting Dividing Engine' used for the manufacturing of theodolites, sextants, etc. This engine is now in the Science Museum in London. It seems that shortly after this he moved back to Forres, where he died a year later, on 7 September 1821, his obituary being published in the Inverness Courier. James Allan would later be mentioned by Thomas Reid, in his Treatise on Clock and Watch Making: Theoretical and Practical, as a late watchmaker of London and a 'master in the art of dividing mathematical and astronomical instruments'.One of his sons, also James, served an apprenticeship to the well-known instrument maker Charles Fairbone, then worked in Ramsden's shop between 1813-1816, before transferring to Matthew Berge's shop located at 196 Piccadilly. In 1819, he and Nathaniel Worthington, a former apprentice to both Berge and Allan (Snr.) inherited the business on Berge's death, setting up the partnership of Worthington and Allan. Interestingly, James Allan, of 196 Piccadilly, was enrolled at the London Mechanics Institute between June 1825 to March 1826. The partnership between Worthington and Allan continued until 1835, after which point Worthington assumed full control, until his death in 1851. Whether Allan died in 1835, or the partners simply had a falling out, remains unknown.Another son, John, seems to have worked with his father between 1790-1794, before he established himself as a marine instrument maker in Baltimore, having left the UK in 1807. His adverts boasted that all the instruments were made using his father's improved dividing engine.Reid, T (1832) Treatise on Clock and Watch Making: Theoretical and Practical. Philadelphia: Carey & Lea.McConnell, A. (2016) Jesse Ramsden (1735–1800): London's Leading Scientific Instrument Maker. Abingdon-on-Thames: Routledge.de Clercq, P. R. (1985) 'Nineteenth-Century Scientific Instruments and their Makers: Papers presented' Fourth Scientific Instrument Symposium. October 1984.The British Antique Dealers' Association (2022). Worthington & Allan-London. Available at: https://www.bada.org/object/worthington-allan-london-outstanding-flat-wall-bow-front-mahogany-stick-barometer-circa-1820Public Ledger and Daily Advertiser. Friday 25 February 1820Inverness Courier.Thursday 13 September 1821Grace's Guide (2020) James Allan (London). Available at: https://www.gracesguide.co.uk/James_Allan_(London)#cite_note-3 This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 6
A rare mid-19th century French carriage clock with chaff cutter escapementPaul Garnier, Paris number 2976The early multi-piece case with facetted handle over a bevelled glazed inspection panel (the repeat button passing through the glass), moulded uprights and a plinth base, the solid rear door with hinged shutter opening to reveal the winding and setting squares. The Roman white enamel dial with minute track and numerals picked out in light and dark blue, the centre signed Paul Garnier Hger de la Marine Paris, above blued steel trefoil hands and a subsidiary Arabic alarm dial with blued steel setting hand. The three-spring barrel movement with Garnier's own chaff-cutter escapement with three-arm monometallic balance, and extremely delicate arbors throughout, rack striking the hours and half-hours on a bell. The back plate signed Paul Garnier Paris, and numbered on the backplate under the bell, the rear door, shutter and base also repeat numbered. Ticking, striking, sounding the alarm and repeating. Together with a double-ended winding key. 18cms (7ins) highFootnotes:Paul Garnier (né Jean-Paul) was born in 1801 in Épinal, France, moving first to Luxeuil to carry out a watchmaking apprenticeship, and then to Paris in 1820 to join Lépine's workshops, before finally establishing his own business in 1825. In the 1827 Exhibition he exhibited an astronomical clock and some mantel regulators, which won him a silver medal. He would win silver medals again at both the 1834 and 1839 Exhibitions, before winning a gold medal in 1844. Around this time, he seems to have written to the formidable Antide Janvier, asking for permission to use the title 'Elève de Janvier', as Garnier, at some point, attended the free Horological school Janvier established in 1802. Janvier readily assents to this request, and Garnier used the title on his carriage clocks until about 1835, and in his written correspondences until at least 1844. Around 1835, Garnier makes use of the title 'Horloger (or Her) du Roi', which in turn is supplanted by 'Her De La Marine' after the 1848 revolution and the deposition of the monarchy.From 1830 Garnier began to make affordable, semi-massed produced carriage clocks (pendules de voyage) and could be said to have established the Parisian carriage clock industry. He was able to do this by combining a basic, easily made design with his patented 1830 escapement. This escapement, alternatively called the 'chaff-cutter', 'Gautier', or 'chopper', could be machine made, drastically reducing the time and cost of making. It is a type of frictional rest escapement, comprising of pallets in the form of a single roller (a circle with about 4/9ths of its circumference cut off at an angle and the sides ground) made of either jewel or hardened steel, the latter being more common with repaired rollers. The escape wheel is in fact two separate wheels mounted on the same arbor a specific distance apart. The wheel teeth are bevelled along the edge that interacts with the roller.The combination of basic shape and cost saving escapement meant that pendules de voyage, having previously been economically unattainable to the vast majority of people, were reduced in cost to the price of a standard mantle clock.Despite being affordable, these clocks were not poorly made, exhibiting very fine diameter pivots (even by French clock standards) and usually having rack striking, which was a desirable feature, being much easier to set than count wheel striking. The clocks would also only strike the half hour and the hour, which saved on cost compared with the more common repeaters. In the early clocks, engine turned dials, one-piece cases, and barrel stopwork were all very common. With clocks made between 1830-1840, it was common to fit a coloured-paper covered block of wood into the base of the hollow casting.In addition to carriage clocks, in 1847 Garnier presented a novel master clock and slave clock system, and at least one chronometer has been assigned to him. He also pursed scientific instrument making, his obituary eventually being published in the Society for Civil Engineers bulletin in 1869.His son, also Paul Garnier, was born in 1834 and continued the business after his father's death. Additionally, he submitted drawings and models of his father's design for a free-sprung chronometer escapement to the Conservatoire National des Arts et Métiers and the Revue Chronométrique. Before his death in 1916, he donated his family's collection of watches and clocks (the former including examples from the 16th century) to the Musée des Arts et Métiers.R. A. E. (1890) 'A Few Words About M. Paul Garnier's Collection', The Horological Journal, Vol. 33 (3), pgs. 33-34.Arnott, P. (2011) 'Constant Force Chronometer No. 1 Attributed to Paul Garnier', Antiquarian Horology, Vol. 33 (1), pgs. 58-65.Weld C. R. (1868) 'Parliamentary Reports on the Paris Universal Exhibition, 1867', The Horological Journal, Vol. 11 (4), pgs. 43-50.British Horological Institute (1877) 'Entirely Detached Gravity Escapements', The Horological Journal, Vol. 20 (1), pgs. 4-6.Allix, C. (1993) 'Paul Garnier Revisited', Antiquarian Horology, Vol. 20 (5), pgs. 411-425.Boquillon, M. (1863) 'Horology at the International Exhibition, London, 1862', The Horological Journal, Vol. 5 (8), pgs. 90-93.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 68
An extremely rare late 18th century weight driven walnut-cased floor standing regulatorHenry Ward, BlandfordThe obelisk-form case with shallow pointed arched top over tapering sides to an upright rectangular base on a plinth with moulded lip, the circular dial aperture set into the front of the full-width hinged door. The 9-inch one-piece engraved silvered dial with curved aperture to show the minutes via a rotating minute ring with Arabic fives read against a tapering blued steel pointer, below the minute aperture sit two engraved subsidiaries, to the left is a 24-hour dial with Roman hours marked in three hour intervals marked to the nearest quarter of an hour (i.e. four divisions per hour) read by a simple blued steel tapering hand; to the right hand side is a twice 0-60 second subsidiary dial, marked in individual seconds and named every ten, again read via a simple blued steel tapering pointer. The weight driven movement with unique inverted truncated pyramid shaped backplate (suggestive of a parallelogon) secured directly on to the back of the dial via three 7cms (2.75ins) long turned pillars, the single going train consisting of two large (c.13cms (5ins)) finely cut wheels with screwed collets and eight-leaf pinions driving a 7.5cms (3ins) 'scape wheel with 60 pins. The steel impulse and exit pallets are set directly on the pendulum rod. The pendulum is set on a substantial brass bracket mounted on the walnut block, and is constructed in three parts - two steel arms centred by a zinc core, of octagonal section, set at the upper end with a pair of steel pallets mounted on a brass block, the lower end terminating in a very heavy spherical brass bob with additional auxiliary timing weight (the largest bob approximately 13cms (5ins) in diameter and weighing approximately 10.5kg (approx 23lbs). 1.78m (5ft 10ins) high. Footnotes:Henry Ward was born around 1776; it is unknown where he was born, though he would spend most of his working life in Blandford, Dorset. However, his brother Richard, described as a watchmaker, lived in Middlesex. The details of his early career remain unknown, though, in 1797 a Henry Ward is listed in the Charing Church warden's book as having been involved with the upkeep of the clock for that year. Unlike many of the other listed clockmakers, his place of residence is not recorded. In 1804, Henry Ward of Blandford supplied and installed a turret clock to Milton Abbey, though the actual movement appears to have been manufactured by John Thwaites in London. This, along with his brother's place of residence and the Charing Church records, suggests Ward may have at least been apprenticed in London. In 1805 he received his first of four awards from the Royal Society of Arts, in the form of 15 guineas for a new simplified striking system. This system was noticeably different from other striking systems, as it did away with a separate striking train, instead using the pendulum to power the hammer via front plate levers: The hammer and the pallets are joined together with a rack; a lever is attached to the pallets and once the clock is striking, the pallet lever moves the rack tooth by tooth. Each movement of the rack connects with the hammer tail and causes a blow to be sounded. Ward notes that he uses this system with a deadbeat escapement. Interestingly Edmund Beckett Denison, later Lord Grimthorpe, in his Rudimentary Treatise On Clocks, Watches, & Bells For Public Purposes advocated for a crutch-less escapement. He noted that an escapement which had the pallets on the pendulum would be much more effect, though he did say that this was 'hardly possible [...] to manage behind a clock of regulator size.'Less than two years later Ward had received another award from the society, this time in the form of a silver medal, for his compensation pendulum. This pendulum consisted of two hammered iron rods on either side of a zinc rod, all secured by several screws along the length of the rods. These screws acted as adjustment, according to Ward; unscrewing the screw by one thread, would result in an alteration of the clock's going by about one quarter of one second per day. Ward was quite thorough in his experimentation, making up two pendulums, one using un-hammered iron and the other with half-hammered iron, and observing the change in their respective timekeeping based on the temperature. He even installed a rudimentary heat lamp in each clock case, to be able to test increases in temperature without being dependent on the weather. He eventually refined his pendulum to have chamfered edges and hammered iron rods, both of which he claimed further stabilised the clock's rate. This same year, he also received 10 guineas from the Society, for his invention of a locking crank mechanism for telegraph machines. His final prize from the society would come in 1814, in the form of another silver medal and five guineas for a simplified equation of time complication. This manifested itself as a minute dial with two hands; one hand recorded mean time, and the other tracked solar time. Ward explained in his submission to the Society that he thought it was essential to depict solar time, as the difference between it and mean time could be as much as -14/+16 minutes depending on the day of the year. That this complication was uncommon on standard domestic clocks, Ward ascribed to the cost, expertise, and skill of manufacture necessary. He viewed his complication, which relied on a cam, quadrant rack and a few additional wheels, as simplified and easier to make, with the hope that it would be adopted by more manufacturers. Unfortunately, Ward would die less than a year later, on 23rd February 1815. He is listed in the Blandford Forum burial records for 5th March of that year. Interestingly, he is listed as 'Henry, Ward Snr' opening up the possibility that a son of the same name was still alive as of 1815, though this conjectural child has not yet been located. His brother Richard, and his friend James Ferris, the latter of whom worked from Poole, having been apprenticed to Thomas Wright of London, served as the executors of his will. Richard Ward continued to work in London, at 27 Banner St., St. Luke's until at least 1853. A possible description of his house from 1815 suggests that he had three paying lodgers in his house at that time. This same source also references Mary Ann Ward, who was the daughter of Richard Ward; it seems likely that this is the same Richard Ward, though this cannot be confirmed.Passing reference has also been made to a Henry J. Ward, who was apprenticed to a Thomas Mayne as a watch finisher in 1792 at St. Luke's, London. Assuming Henry J. Ward was 14 at the time of his apprenticeship, he would have been born two years after Henry Ward. Whether this is actually Ward's younger brother, or simply an amusing coincidence, remains unknown.An early 19th century turret clock is known by Ward; it has a pinwheel escapement, with pendulum mounted pallets and a vertical fly. He seems to have been partial to a pinwheel escapement as several of his more complicated clocks used one. Longcase clocks of 30 hour and eight-day duration, as well as silver pocket watches, including one with a duplex escapement, are all known by him as well.Kelly (1843) Post Office London Street Directory, London: Kelly's Directories Ltd.University of Leicester (2022) Historical Directories of England & Wales: London 1808-1915. Available at: https://specialcoll... This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 113
JUAN BARJOLA (Torre de Miguel Sesmero, Badajoz, 1919 - Madrid, 2004).Untitled.Gouache on Ingres paper.It presents roughness in the paper and damages in the frame.Size: 65 x 50 cm; 87 x 72 cm (frame).Juan Barjola trained at the School of Arts and Crafts in Badajoz and at the San Fernando School of Fine Arts in Madrid. He made his solo debut in 1957, at the Abril gallery in Madrid, and from then on he held individual exhibitions all over Spain. In 1960, thanks to a grant from the Juan March Foundation, he travelled to Paris and Belgium. Three years later he was awarded the Eugenio d'Ors Medal by the critics, and exhibited at the Dirección General de Bellas Artes. He won the National Prize for Drawing at the National Exhibition of 1968, and in 1985 he was awarded the National Prize for Plastic Arts. In 2006, the IVAM in Valencia dedicated a retrospective exhibition to him. He is represented in the Museum that bears his name in Oviedo, the Reina Sofía Museum in Madrid, the Fine Arts Museums of Bilbao and Asturias, the IVAM in Valencia, the Solidarity Museum in Chile, the Camón Aznar Museum in Zaragoza and the Contemporary Art Museums of Vilafamés, Seville, Alicante, Toledo and Cáceres, among many others.
Lot 127
MANUEL SOLÀ MORENO (Barcelona, 1950).Untitled, 1994.Iron on wooden base.Signed and datedSlight damage to the wooden base.Measurements: 47 x 63 x 17 cm.Manuel Sola, in his sculptures, adopts the role of archaeologist or tracker of his everyday surroundings to construct artefacts of memory, bringing together the personal and intimate with the collective. The piece in question is imbued with this characteristic mystical cadence.Manuel Solà trained at the Escuela de La Lonja in Barcelona, and as soon as he finished his studies he was awarded the X Premio de Pintura Joven de la sala Parés in Barcelona (1968). He made his individual debut the following year, with two exhibitions of paintings and drawings at the Municipal Museum of Mataró and at the Ateneo Barcelonés. At this time he is awarded the silver medal in the painting competition "El Correo Catalán" (1971). He continues to show his work in Catalonia, and in 1976 he takes part for the first time in a group exhibition abroad, in the French city of Toulouse. That same year he enrolled at the Institut del Teatre in Barcelona to further his training. From the nineties onwards he took part in group exhibitions outside Spain and biennials such as the one in Alexandria, where he won the Jury Prize (1999). He gradually abandoned painting in favour of sculpture, a field in which he produced several monumental works in various parts of Spain. He is represented in the Col-lecció Testimoni de La Caixa, among other important art collections.
Lot 128
JOSEP MARIA SUBIRACHS SITJAR (Barcelona, 1927 - 2014)."Moira", 1982.Sculpture in polyester resin and electrolytic bronze bath based on the model conserved by Espai Subirachs, copy 254/999.Signed.In wooden box including the book "Subirachs" (Editorial Enciclopèdia Catalana).Size: 28 x 23 x 7,8 cm (sculpture); 20 x 47 x 29 cm (box).Trained between Barcelona and Paris, Subirachs has exhibited his work all over the world, and has won important awards such as the Sculpture Prize at the Jazz Salon, the San Jorge Grand Prize from the Diputació de Barcelona and the "Julio González" prize from the Barcelona Chamber of Art. In 1988 he was awarded the Medal of Merit in the Fine Arts. In 1980 he was elected member of the San Jorge Royal Academy of Fine Arts. He is represented at the Reina Sofía Centre, the MACBA Museums in Barcelona, Ibiza, Seville and New York, the Fine Arts Museums of Bilbao, Birmingham, the Vatican, Taipei and Nebraska, the Museo al Aire Libre del Paseo de la Castellana in Madrid, the Petit Palais Museum in Geneva and the Millesgärden in Stockholm, among others.After entering the workshop of a gilder who was fond of sculpture at the age of fourteen, where he modelled his first works in clay, in 1942 Josep Maria Subirachs entered the workshop of the sculptor Enrique Monjó as an apprentice. Five years later he began to work as an assistant to Enrique Casanovas. In 1948 he shows his work for the first time at the Casa del Libro in Barcelona, and in 1950 he founds, together with other artists, the group Postectura. In 1951 he travelled to Paris to complete his training, with a grant from the Institut Français in Barcelona. He returned to Barcelona in 1953 and was awarded the Sculpture Prize at the Salon del Jazz. After two years working and exhibiting in Belgium he returned to Spain, and in 1958 he was awarded the Gran Premio San Jorge by the Diputación de Barcelona and the "Julio González" by the Cámara Barcelonesa de Arte. Since then he has been commissioned for a succession of public works, among which his important sculptural work on the façade of the Passion of the Sagrada Família stands out. He has held numerous solo and group exhibitions in various Spanish cities, as well as in Lisbon, Geneva, Antwerp, Brussels, Taipei, Chicago, Paris, New York, Zurich, Stockholm and Copenhagen, among others. His awards include the Ynglada-Guillot Drawing Prize (1966), the San Martín Prize (1971) and the Medal of Merit in the Fine Arts (1988). In 1980 he was elected member of the Royal Academy of Fine Arts of San Jorge. He has participated in the main international biennials, such as São Paulo, Venice, Havana, Antwerp, Cairo, Alexandria, Lausanne and Budapest. He is represented at the Centro Reina Sofía, the MACBA Museums in Barcelona, Ibiza, Seville and New York, the Fine Arts Museums of Bilbao, Birmingham, the Vatican, Taipei and Nebraska, the Museo al Aire Libre del Paseo de la Castellana in Madrid, the Petit Palais Museum in Geneva and the Millesgärden in Stockholm, among others.
Lot 73
MANOLO VALDÉS BLASCO (Valencia, 1942)"Composition", 1982-1983.Collage (oil, acrylic, coloured pencils and letters) on paper.Signed in the lower left corner.Measurements: 90 x 71.5 cm; 103 x 83.5 cm (frame)Provenance: Private collection of the widow of Rafael Solves, who together with Manolo Valdés and Joan Antoni Toledo, formed the Equipo Crónica. This piece was a gift from Manolo Valdés to the widow.Exhibited at Galería Sen in Madrid.In the exhibition this piece was in, there were different canvases evoking different artists to whom Valdés paid homage, making a menina with the most representative characteristics/style/movement of each artist, without losing his focus and his own style.Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan, the silver medal at the II International Biennial of Engravings in Tokyo, the Bridgestone Art Museum prize in Lisbon, the National Prize for Plastic Arts, the medal at the International Festival of Fine Arts in Paris, the International Festival of Fine Arts in Paris, and the National Prize for Sculpture, among others, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andrés Bello in Venezuela, the prize of the National Council of Monaco, the Gold Medal for Merit in Fine Arts, the Prize of the Spanish Association of Art Critics and the Prize for the Best Print Artist, among others. Formally, Valdés produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. He is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
Lot 19
Antlers/Horns: A Group of Bronze Medal Class European Roebuck Trophies, a set of large adult Bronze medal class antlers on cut upper skull, with accompanying CIC measurement certificate, scoring 105.1, this specimen was naturally blind in the left eye showing affected eye socket, mounted upon a shaped oak shield with attached Bronze medal, a set of large adult Bronze medal class antlers on upper skull, with accompanying CIC measurement certificate, scoring 107.53 mounted upon a shaped oak shield with attached Bronze medal, a set of large adult Bronze medal class antlers on upper skull, with accompanying CIC measurement certificate, scoring 107.57 mounted upon a shaped oak shield with attached Bronze medal, together with two further large sets of adult Roebuck antlers on cut upper skulls, each mounted upon shaped oak shields, (5).
Lot 255
Antlers/Horns: A Group of Four Medal Class European Roebuck Antlers (Capreolus capreolus), circa late 20th century, a large set of Medal Class abnormal antlers on cut frontlet, right antler 28cm, left antler 28.5cm, mounted upon a shaped mahogany shield, a set of large adult Medal Class antlers on cut frontlet, right antler 25cm, left antler 25cm, mounted upon a shaped mahogany shield, a set of large Medal Class abnormal antlers on upper skull, right antler 23cm, left antler 22cm, mounted upon a shaped mahogany shield, a large set of abnormal antlers on cut skull cap, right antler 19.5cm, left antler 20.5cm, mounted upon a shaped mahogany shield, (4).
Lot 44
Taxidermy: South African Steenbok (Raphicerus campestris), modern, South Africa, Rowland Ward Medal Class, a large adult male full mount, with head turning to the left, right horn 13cm, left horn 12.5cm, tip to tip 10cm, stood upon an arid groundwork base, nose to tail 53cm, overall height 79cm,Stitched scar to left flank, left ear lobe split (peri-mortem).
Lot 55
Taxidermy: Cape Grysbok (Raphicerus melanotis), modern, South Africa, Rowland Ward Medal Class, a large adult male full mount, with head turning to the right, right horn 10cm, left horn 9.5cm, tip to tip 5cm, stood upon an arid groundwork base, nose to tail 68cm, overall height 76cm.stitched scar to back and left flank.
Lot 94
Taxidermy: Indian Sambar (Rusa unicolor unicolor), circa 1911-1937, India, by Peter Spicer & Sons, Taxidermy, Leamington, a large medal class adult stag with head turning slightly to the right, 6 points (3+3), right antler 37.5", left antler 34.5", widest span 104cm, from the wall 60.5cm, overall height 136cm, mounted upon a typical trade mark shaped shield, bearing impressed taxidermist's trade mark to verso, taken by Indian Civil Service, R.C. Hobart circa 1911-1937.Robert “Charles” Arthur Stanley Hobart was born in Naini Tai in the United Provinces on Wednesday, 27th July 1881 (at 6am!), the eldest son of Robert Thompson Hobart of the Bengal Civil Service and Janet Stanley from County Tyrone. He received a hindu baptism by being dipped into the River Ganges by one ankle as a baby and given the Indian name of the storm god Ananda. He had a brilliant academic career, first at Charterhouse School and then gaining a double first in Classics at Trinity College, going on to study at Heidelberg University in Germany. In 1905 he joined the Indian Civil Service and served in United Provinces as Assistant Commissioner and Collector, and finally as Divisional Commissioner from 1931 to 1937 when he was given the CIE. He then retired to Mayfield in Kent and died in 1955. My grandfather reportedly spoke 37 distinct Indian languages on top of Latin, Greek and German, and was highly admired and respected not only by the British administration with personal commendations from Lord Haig amongst others, but also by the Indian community. Robert Skelton, who was head of the Indian department of the V&A museum wrote to me that “Charles was a champion pig sticker, winning two Hoghunters’ Races in 1920 and broke his neck pigsticking (but survived!). Apparently years after his time in India in places where he served people would point out “this is where Hobart Sahib sat” and if he returned to a place, hundreds of people turned out to greet him.”some shrinkage splits to either side of the upper lips, nose has dried and cracked, in need of cleaning, some shrinkage around either eye socket, both ears have suffered some light damage and shrinkage around the tips, in need of sympathetic restoration, 03/10/22
Lot 195A
A silver salver, Sheffield 1910, of circular shaped outline, on four supports, inscribed with a Masonic presentation, 30.5 cm diameter, 863 g (27.7 troy ozs) gross; with a silver gilt masonic medal, cased; and a Masonic door knocker ‘Thesaurus 3891’, also a menu and toast list regarding the installation of Brother Percy Bottomley Craven at the Thesaurus Lodge, and menu for the ladies evening 5th November 1936 held at the Thesaurus Lodge
Lot 113
A miniature Channel Islands silver can by Martin Guille of Guernsey, 3¼in. (8.2cm.) high; together with an EPNS Jersey style can with rattan wrapped handle and chased floral scroll decoration, 6¼in. (15.8cm.) high; a George V silver and MOP folding pocket knife; a Queen Victoria 1887 silver crown; and a cased 1902 Guernsey coronation medal. (5). * - Silver & EPNS cans: Both good condition. * - Pocket knife: Good condition. * - Crown: Worn, coin grading Very Good. * - Medal: Very good condition - bright and crisp, minor scratches and wear to bright finish.
Lot 1795
Collection of Medals belonging to Captain John Mark Noel Richardson & photographs and ephemera, Long Service Medal awarded to '2310575 SJT . J. M. N. RICHARDSON', medals to include 39-45 Defence and star medals, Africa Star, France & German Star, and six dress medals, together with Officer's ration card, various photograph's to include troops, cars etc, Army Book 3, etc etc. (quantity)
Lot 1812
A Guernsey interest snuff box, the plated metal box of navette form, inscribed 'John Marsh 2 Tower Hill Guernsey' to the cover amidst chased scrollwork, the base with a chased sunburst, 2¾in. (7cm.) long; together with a WW1 Queen Mary Christmas 1914 brass tin; and a WW1 1914-15 Star medal, inscribed '18466 L.CPL. A. MARSH WILTS:R'. (3)
Lot 324
Sir John Everett Millais, Bt., PRA, RWS (British, 1829-1886), An historically important drawing of the artist and his wife Effie as Queen Victoria and Prince Albert, inscribed lower edge 'EVER & EFRI REX' and extensively inscribed on the reverse, pen and brown ink, circular 4in. (10.2cm.) diameter; mounted with the Great Exhibition bronze medal of 1851 of Queen Victoria and Prince Albert, designed by William Wyon, and from which Millais derived the image.. * * Provenance: Christie's, London 27th February 2007, 27, £9,000; Private collection, Jersey.. * ** It is thought that the drawing was made around the time of Millais' marriage on 3rd July 1855 to Euphemia, known as Effie, who had previously been married to the art critic John Ruskin. Millais and Effie had fallen in love while holidaying in Scotland with Ruskin in 1853 and she successfully had her marriage annulled on the grounds of non consummation. This intensely private and sensitive matter was reported in detail by the press eager to satisfy the public's curiosity. To escape the gossip surrounding their marriage Millais and Effie spent the first six years of their marriage in Scotland. Effie often appeared in Millais' paintings, most famously in The Order of Release (Tate Britain) which was exhibited at the Royal Academy in 1853.. * Although born in Southampton, Millais spent his childhood in Jersey and would always describe himself as a Jerseyman.. * Good condition.
Lot 463
Royal Jersey Infantry interest - Lord Alexander Coutanche's uniforms contained in metal trunk, the uniforms - scarlet tunic, having seven brass buttons to the front bearing crowned lion on crown, missing epaulettes, gold trim black collar with silver badge, gold trim cuffs, the back with two white pipes with button to top, leather belt with 3rd Royal Jersey Light Infantry buckle, navy blue trousers with red pipping, scarlet Mess / tunic with brass beaded fasteners to the front, black collar with gold piping, gold braided woven epaulettes with applied buttons and badges and letter 'M', gold trim black cuffs; dark navy blue jacket with black woven detail and black toggle fasteners, waist coat with gold trim; khaki jacket with three 'Tria Juncta In Uno' pips and button to epaulettes, medal stripe, sown on tag to inner 'R.B. COLLEY & CO JERSEY, Lieut A M Coutanche, Date - June 25/19', khaki cap with badge, together with other buttons and badges, the trunk. 27 x 13½ x 9½in. (68.6 x 34.3 x 24.2 cm.) high.. * * Alexander Coutanche was posted to Belgium during World War One as a Lieutenant with the War Claims Commission and left in 1920 as a Captain.. *
Lot 559
A George III Christ's College, Cambridge Beilby Porteus Medal, 1808, by J. Phillip, the edge engraved JOHANNES COLLETT REYNOLDS. AD.MDCCCXLL., high grade gold (tests as 22ct), 49mm, weight 82.8g, cased.. * * Beilby Porteus (1731-1808), Archbishop of Canterbury, Chaplain to George III and a Fellow of Christ's College.. *
Lot 283
Coins - a Westminster British Monarchy Commemorative Collection, The House of Normandy 1066-1154 set, comprising four proof cupro-nickel coins; a United Nations Official 25th Anniversary Commemorative medal in sterling silver and a Franklin Mint Presidential Journey for Peace Eyewitness medal in sterling silver
Lot 590
A Victorian silver brooch, Birmingham 1889; a miniature cobalt blue enamel pocket knife, 2.5cm; another in powder blue; a strand of polished coral beads, some loose; an Art Deco style arrow brooch; a Primrose League gilt brass medal, cased; a "Dame or Knight Warden" enamel badge; a Swarovski necklace, boxed; a strand of simulated pearls; a 1977 Silver Jubilee medal, boxed; an Old England fashion watch with two further straps; qty
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