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Click here to subscribeA selection of medal, coins, cap badges and other items to include George V special constabulary for faithful service named to Frederick G.King, along with other medals, wooden police truncheon with leather lanyard, and The Metropolitan whistle, silver football fob medals, double headed coin, silver enamelled Calabar Lodge No3434 medal, The Queen's and Middlesex regiment cap badges, and other itemsLocation:
* Wild (Frank Percy, 1861-1950). Cattle Watering at Bolton Abbey, oil on wood panel, depicting the ruins of a monastery, slightly elevated, with 3 horned cows standing in the river below, and several swallows swooping over the surface of the water, signed lower right, 29.5 x 38 cm (11 1/2 x 15 ins), framed (36 x 43 1/2 cm)QTY: (1)NOTE:Frank Wild began his training as an engineer, but turned to painting seriously in 1884, studied at the Royal Academy in Antwerp where he won a silver medal, and was elected to the Royal Society of British Arts in 1900.
* Turner (Benjamin Brecknell, 1815-1894). A large album of fine watercolours and drawings compiled by Benjamin Brecknell Turner, circa 1825-1870, containing: a pencil frame of foliage and branches for inscription (recently filled in); 64 watercolours (a few sepia or grisaille); 11 pencil, pen & ink, or chalk drawings; and 11 photographic prints, carefully mounted within line borders on rectos only of 78 leaves, including portraits, British and Continental views, and animal studies, many captioned and signed or attributed, a number dated, including 5 works by Benjamin Brecknell Turner (bust of a Roman soldier; 'The Old Royal Humane Society's House, Hyde Park'; view of a beached sailing boat captioned 'Hastings'; a grisaille watercolour of prancing Arab stallions; and an interior scene with figure); a rural riverside scene by Henry Robert Robertson; studies of narcissi, an auricula, and dogs by Lucy Jane Turner; several works by Agnes Chamberlain (a view of Caernarvon Castle, and one of Bredicot Court, Worcestershire, showing trackbed before rails and bridge of proposed new railway), study of a purple daisy flower by Elizabeth Brecknell Turner, 'Cromer from the East (Augt. 1870)’ by Agnes Lucy Turner, a number of skilful portraits of young ladies by E. Preston, and 3 photographs, 1 of Mundapam with façade of stone horses, Tiruchchirappalli, by Samuel Bourne (1834-1912), circa 1860s, vintage albumen prints, signed and numbered '2064' & '2066' in the negatives, and 1 by Vernon Heath captioned 'The Porch', circa 1860s, plus a hand-coloured engraving inscribed 'The Walhalla. Bought at Ratsibon. 1845', leaf size 37.5 x 26.5 cm, all edges gilt, pink moiré endpapers, bookplate of Benjamin Brecknell Turner on front pastedown, original green morocco, spine and sides gilt panelled, extremities rubbed, upper cover near-detached, folioQTY: (1)NOTE:Provenance: Formerly the property of John Patrick Lory Allen (1929-2017) of Laddenvean, 77 Wembdon Hill, Bridgwater.A unique and important album compiled by pioneering photographer Benjamin Brecknell Turner.Several of the works in the album offered here are by Benjamin Brecknell Turner himself (initialled 'B.B.T.' or labelled 'B.B. Turner'). A number of the other drawings are by family members, notably: Turner's mother Lucy Jane Turner, née Fownes (1786-1870); his wife Agnes Chamberlain (1828-1887), who grew up at Bredicot Court, Worcestershire; his sister Elizabeth Brecknell Turner; his daughter Agnes Lucy (1851-1901); and her husband Henry Robert Robertson (1839-1921). Of the remaining works, many appear to be by expert hands or at least accomplished amateurs, and include paintings by E. Preston, F.G. Jones, Elizabeth Lucas, Charles May, Mark Bond, W.H. Urwick, T.M. Joy, J. Churchill, and George Fisher.One of the earliest amateur photographers, Benjamin Brecknell Turner - a chandler by trade - began experimenting with the medium barely ten years after its invention, making an important contribution to its rapid development. He took out a licence in 1849 to practise Fox Talbot's patented photographic process, and soon began exhibiting widely. In 1852 he showed six photographs of the interior of Crystal Palace at the first exhibition devoted solely to photography, held by the Royal Society of Arts in London, and in 1855 he won a bronze medal whilst exhibiting at the Universal Exhibition in Paris. The following year the Photographic Society of London was formed, Turner one of the founding members. He is best-known for his evocative scenes of rural life, typically photographing picturesque, quintessentially English scenes, such as ruined abbeys and castles, thatched barns and farm implements, half-timbered houses, crumbling cottages, ancient oak trees and woodland paths. The V&A holds an album of his works, entitled Photographic Views from Nature, containing some of the earliest photographs of rural England as well as images of the Crystal Palace. The album - in a binding not dissimilar to ours - was assembled by Turner in the mid 1850s, and purchased by the V&A from his descendents in 1982.
A large collection of Olympics related memorabilia and ephemera belonging to Dr Roman Guthrie Uchotski, covering when he acted as Steward at several Olympic Games, including his Polish Order of Merit 3rd Class Commander, Order of Merit 4th Class, the Cross of Merit in gold and International Co-operation medal, along with photographs, pin badges and others (lot)Please refer to department for condition report
A group of white metal oddments, comprising: a mesh purse, with white metal and black enamel suspension loop and mesh wrist strap, with swan punch marks, approx. 20cm high; a medal commemorating the dredging and installation of lighted buoys on the rivers La Plata, Parana and Uruguay, 1904; a tapered seal embossed with floral swags and urns, 8.7cm high; a small scent bottle, with pierced white metal case with religious vignettes within scrolling foliate design, having glass inner bottle, lacking stopper, 4.5cm high; a seal in the form of a woman holding her hat to her head, 5.6cm high; a novelty Israeli cruet in the form of an urn, 4.8cm high; and an oval plaque with repousse decorated Classical scene, 4.4cm wide; a filigree inkstand with one glass inkwell, 11cm wide; and an oblong plaque with repousse figure of a boy carrying a tray of drinks, 10.2cm high (9)Please refer to department for condition report
A silver bon bon dish, with fleur de lys open work and pierced handles, by Deakin & Francis, Birmingham 1924, a cased silver and enamel Imperial Chemical Industries Limited 25 Years of Service Medal, with presentational inscription, by Vaughton & Sons, Birmingham 1937?, a pair of silver sugar tongs by Cooper Brothers & Sons, and a silver napkin ring, silver blades of a fish server set, by Martin Hall & Co, Sheffield, 266gms (6) Condition Report:Available upon request
A silver gilt and pink guilloche enamel cigarette case, body with geometric decoration, the borders cast with banded decoration, import marks for P H Vogel & Co, London 1926, and a Royal Horticultural Society Medal 'PRESENTED TO MRS. D. BUCNALL FOR ANENOMES 5 MAY 1931' (2) Condition Report:cigarette case has chips and scratches to the enamel
A Glasgow Corporation Tramways cap badge by JR Gaunt & Son, Birmingham; together with a Halifax Passenger Transport cap badge; a hallmarked silver Royal Army Reserve lapel badge; an Order of Scottish Mechanics gilt and enamel medal; an Australian Commonwealth Military Forces cap badge, etc. Condition Report:Available upon request
A Royal Artillery Lieutenant Colonel's service dress uniform by Gieves & Hawkes of Savile Row, consisting of jacket and trousers, together with a Uniformal shirt, the jacket with Commando Dagger and Jump Wings shoulder patches and Queen Elizabeth Golden and Diamond Jubilee medal ribbons Condition Report:Available upon request
A collection of items pertaining to the military career of Private Charles Lawson McCulloch (3658) of the Highland Light Infantry, comprising death plaque with oak mount and accompanying framed scroll and letter (loose); 1914-15 Star; portrait photograph; inscribed bible; and another bible inscribed to a family member; together with an interesting sketch book containing drawings and inscriptions by various hands and a Victory Medal to 14191 Pte. R, McGavin S. Gds. Condition Report:Available upon request
A selection of 19th and later metal wares, including four Art Nouveau style bronze tealight holders in the form of ginkgo leaves, each 11cm long, an early 20th century miner's lamp with plaque for The Protector Lamp and Lighting Co, Type SL, 25.5cm high, a Milner's Patent Fire-Resisting brass safe plaque, 21cm diameter, a medal for the 6th Centenary of the National Crisis of 1383-1385 (Battle of Aljubarrota - 1385), 9cm diameter, a Victorian doorstop modelled as a soldier on horseback, Rd. No.218993, 24.5cm long, and a further selection of tableware and accessories (Qty) (at fault)
An Elizabeth II Campaign Service and Long Service and Good Conduct medal duo, the first with Northern Ireland clasp, each with partial ribbon similarly marked GT W F Simeon 0040481 123* RAF, and a pair of eye protector spectacles with shaped side bars and tinted lenses, marked to the case CPL W F Simeon. (3, AF)
OLE WANSCHER (Denmark, 1903-1985).Writing table.Rosewood.Measurements: 74 x 167 x 84 cm.The desk table presented here, a model by Ole Wanscher, made of rosewood, has a design of refined shapes, straight lines and rounded volumes, which contrast expressively with the beautiful natural grain of the wood, with sinuous and organic lines. Standing on four square legs, it has three drawers on each side and two drawers on each side of the central axis.Considered integral to the core aesthetic and functionality of Danish design, Ole Wanscher studied KaareKlint at the Royal Danish Academy of Fine Arts and then worked at Klint's design studio before becoming a freelance furniture designer. Wanscher's classic and contemporary designs made him popular. In 1958, the Danish newspaper Politiken wrote: "Having a Wanscher chair is an adventure every day, and it will be so even several hundred years from now, for this is how long it lasts. Today, his modern classics are still revered for their detailing and his deep respect for materials. While travelling in Egypt and Europe, Wanscher studied furniture design, finding inspiration in diverse visual expressions that he incorporated into his own unique design aesthetic. He saw furniture design as a branch of architecture and emphasised slender dimensions and sturdy forms, a pursuit exemplified in many of his works, particularly the Colonial Chair and Colonial Sofa. Wanscher created his best-known designs mainly between the late 1940s and early 1960s, in the post-war era, when the philosophy of "design for all" emerged. In Denmark, some of the biggest names in design created functional and affordable furniture for the Danes and the small spaces in which they lived. Wanscher took a keen interest in industrially produced but high quality furniture, designing several successful pieces. Wanscher's design won him numerous accolades, including the Copenhagen Carpenters' Guild Annual Prize and the gold medal at the Milan Triennale in 1960, honours that underlined Wanscher's esteemed reputation both in Denmark and internationally.
AN IRISH GEORGE II STYLE MAHOGANY SIDE TABLE BY HICKS OF DUBLIN, late 19th CENTURY, the moulded top over on a carved frieze with foliate swags issuing from eagle heads and centred with a mask, on foliate carved ‘broken’ cabriole legs and paw feet, stamped HICKS. 79.5cm high, 179cm wide, 70cm deep.Provenance: The Davey Family; sold Mealy's Co. Kilkenny, 30 July 1991, lot 476 The work of James Hicks, from Dublin, is the antithesis of modernism. Renowned for his use of exotic woods, astounding marquetry and a profound interest with Chippendale, Adams and Sheraton styles, Hicks opened his workshop in 1894. Worldwide royal patronage followed and the firm won many famous commissions.Early furniture reflected the 18th century Palladian style featuring decorative shells, acanthus leaves, laurel swags, and heavyset cabriole legs. Later work was classical in style and refined.Hicks won many awards - notably the Aonach Tailteann in 1928. This satinwood display cabinet won a silver medal at the Royal Dublin Society Spring show in 1934, and the satinwood table dating 1929 was one of several pieces, which represented Ireland’s craftsmanship at the New York World Trade Fair in 1939. The President and Chairman of the fair sent a certificate to the Hick’s firm conveying their appreciation of the substantial contribution which Hick’s exhibit had made towards the success of the fair. Hick sadly died in 1936, never gaining the opportunity to receive this accolade in person.This impressive side table is attributed to the celebrated Dublin cabinet-maker, James Hicks and Sons of 5 and 6 Lower Pembroke Street. James Hicks was born in 1886, the son of a chairmaker, Patrick Hicks. The family may have been associated with the Dublin cabinet-making firm of Michael Butler, by tradition living next door in Upper Abbey Street. Butler made some of the finest 18th century revival Irish mahogany furniture and dealt in antique furniture. James Hicks set up his own business in Lower Pembroke Street, in 1894, having worked in Tottenham Court Road, London. He described himself as ‘Cabinet Manufacturer, Collector and Restorer of Chippendale, Adam and Sheraton furniture’, and included among his clients, several members of the Royal family as well as the aristocracy. Hicks had many important patrons and President Cosgrave in 1928 gave the firm the big commission of fitting out the Dail and Senate in the new Parliament in Leinster House and work was done in the Four Courts. Sets of Chippendale style chairs were ordered for the President’s house - Aras an Uachtaráin - and the Irish Embassy in Berlin. Hicks died in 1936.James Levins Snr. was the finest carver at Hick’s workshop and was responsible for the Irish baroque style mahogany side table with its grotesque head that was sold by the McGrath family, Cabinteely House, Co. Dublin, Christie’s house sale, 5-6 November 1984, lot 18 (see introduction by The Knight of Glin, ‘The McGraths, Cabinteely and James Hicks and Sons’). That mask is very close to the mask on the present table, also being flanked by C-scrolls, so it is probably that Levins carved the present lot. The table draws heavily on Irish 18th century prototypes, with its deep carved drapery-swagged apron and Venus shell badges, but is clearly of the revival period in its exageration of some of the lines (for example the oversized feet and narrow legs). That the essentially conservative nature of the Irish collector is nothing new can be demonstrated by the career of James Hicks. The most proficient and admired of this country’s cabinetmakers in the 20th century, Hicks enjoyed as much popularity during his life as he has posthumously.Pieces from his workshop come up regularly at auction and they always secure excellent prices, as buyers are confident of every item’s quality and durability. Hicks’s furniture, in addition to its impeccable craftmanship, is invariably graceful and easy to place in any home. However, while his high standards are consistent, so too is Hicks’s want of imagination and the essentially anachronistic character of his designs. When he first started his own business in 1894, the Celtic Revival movement was at its height, yet Hicks showed no interest in producing items with a distinctively “Irish” appearance. By the time he died in 1936, the modernist movement had permeated Ireland but evidence of this is non-existent in his work. Instead, Hicks was content to design and manufacture what might be called pastiche 18th-century English furniture.Except on a handful of pieces, he did not employ Irish motifs such as the lion’s claw foot or central mask on tables which had been so popular during the early and mid18th century. Hicks’s preference was for designs from a slightly later period, when neoclassicism had come into favour; Adam, Sheraton and Chippendale were his three muses.A specific influence has been traced to the late 18th-century cabinet-maker William Moore, who moved to Dublin in 1782 after training in London with the firm of Ince and Mayhew. The son of a chair-maker, James Hicks was born in Dublin and after serving an apprenticeship in London he returned to open premises in his native city on Lower Pembroke Street in 1894. His success appears to have been rapid; in 1903, Princess Victoria, daughter of Edward VII, bought a number of his pieces - the king himself is also supposed to have purchased a set of chairs - and two years later the newly-married Crown Princess of Sweden ordered Hicks’s furniture for her palace in Stockholm. In 1928, Hicks was commissioned to furnish the Dail and Seanad in Leinster House and he refurnished Cabinteely House after 1933 for Joe McGrath.In The Arts & Crafts Movements in Dublin and London, 1885-1925, published in the late 1990s, Nicola Gordon Bowe quotes Daisy, Lady Fingall as recalling that in 1904 Hugh Lane arranged for Hicks to make shelving and bookcases for her home, Killeen Castle. “His own high standard of art”, she remembered, would not allow him to produce anything unworthy of “the great tradition of cabinetmaking from which he was descended”.In her memoirs, Lady Fingall also referred to Hicks possessing “an untidy workshop in Pembroke Street, where many great people visited him”. His firm employed some 24 cabinet-makers and artisans, supervised by Hicks, who seems to have been particularly preoccupied with high standards.According to Desmond Fitzgerald, the Knight of Glin, Hicks’s marquetry was done to his designs by Harry Sherrard of Liffey Street, while carving was usually left to James Levins Snr and Jr; they would have been responsible for the rococo-style mirrors produced by Hicks and for the friezes featured on certain table fronts.Hicks’s nephew, Harry, was another member of staff, who worked on Titania’s Palace, the dolls’ house designed by Sir Neville Wilkinson, the framework of which was built of mahogany in eight sections in the Pembroke Street workshop. Mahogany was the most common material used, but his work also features a variety of imported woods such as satinwood, tulipwood and rosewood. Furniture by Hicks regularly won awards when exhibited at fairs, including the Gold Trophy at the 1928 Aonach.Although he found time to teach at craft schools in Dublin, Hicks, who died in 1936, seems to have had few successors and certainly none of his calibre. He was, in effect, this country’s last master cabinet-maker of the old school. His want of innovation, occasionally the subject of critical comments during Hicks’s lifetime, never deterred admiration either then or since.Condition Report: 178 x 71 x 80cm highIn excellent original condition - no damages to the carvingThe top could do with a wax polish
Egypt 1882, 1 clasp Tel El Kebir (17884 Gunr J Dixon 7/1.. Bde RA) NVF with much pitting; Khedive's Star 1884-6 (un-named as issued) NEF; a photograph of a gentleman wearing Egypt medal and Khedive's star (not identified); a brass Q Vic Jubilee 1887 star shaped medal (missing suspender) and a collar badge of lion in wreath over Egypt plinth. £150-160
Egypt 1882, no clasp (A. Beaney, AB, HMS Inconstant) VF (little pitting from other medal(s)) With some photocopy research notes, recipient served from 1877, with Inconstant from Aug 1880 to Nov 1882, he served 34 yrs being discharged in 1911 (aged 50). He also served with Irish Coast Guard service £80-120
Clasps for QSA medals: Tugela Heights, Natal, OFS, Rel. of Ladysmith, Transvaal (2), L. Nek, Witte. Average GC some rivetted together; 2 KSA medals, each with both date clasps, (one renamed the other erased); Some useful lengths of medal ribbons inc. QSA, Naval LS, WWII stars etc. New condition.£60-80
Pair: BWM, Victory (47020 Pte T C Lewis, K.R. Rif. C), Abt VF, with photocopy of medal index card. BWM (5518 Sgt H J Patten RAF) VF; Victory medals: (305226 Sjt H Lester R War R) F, (203190 Pte J J Payne R War R) VF; (5302 Pte J East, Midd'x R) VF; (24179 Pte J Parks R Highrs) Fair-Fine; (371036 Dvr J W Wood ASC) EF, in carton which originally also included BWM, now absent), some Victory medals have verdigris. £60-80
Pair: BWM, Victory (GS-71603 Pte F E Hunt R Fus), GVF. BWM (21578 E A Barrett Act Jr 4, RN) VF. Pair: Pacific star and War medal (carton addressed to L.C.E. Barrett via Navy Accounts) GVF. An RAF base metal sweetheart brooch, and a Victoria 1837-97 Jubilee cross shaped commemorative medal, GC £60-90
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