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Lot 2390
A late 19th century Swiss hallmarked silver key wind pocket watch, with pink enamel dial decorated with flowers and subsidiary seconds, the case dated Birmingham 1894, with a hallmarked silver curb link watch Albert, 29g, a Hebdomas patent white metal pocket watch, a silver Masonic medal titled 'Justice Truth Philanthropy', and a 1935 Silver Jubilee Masonic guilt medal.
Lot 61
JAUME PLENSA (Barcelona, 1955)."Suite Voleurs", 1993.Set of seven aquatints, photoengravings, lead letters and collages, copies 9/35.Signed and justified by hand.Size: 62 x 47 cm; 73 x 57 cm (frame).The series "Voleurs" pays homage to the days of the week. The syllables "Mon", "Tue", "Wed", "Thu", "Fri", "Sat" and "Sun", corresponding to the beginning of the English terms designated for the days of the week, can be read backwards in this particular homage to the cycle of time.Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and has recently been awarded an honorary doctorate degree by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mold iron with the casting technique, and developed a sculptural concept based on zoomorphic elements. His work evolved gradually, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both materially and formally, and began to use different materials such as scrap metal, polyester and resins. During these years he elaborated series of walls, doors and architectural constructions, seeking to give space an absolute protagonism. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting with "La Fura dels Baus" four classical operas by Falla, Debussy, Berlioz and Mozart, and alone a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has had solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he inaugurated in London, at the BBC headquarters, his work "Breathing", a monument dedicated to journalists killed in the exercise of their profession. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture or the National Prize for Plastic Arts in 1997, from the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA or the Museo Reina Sofía in Madrid.
Lot 62
BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980)."Castle", 1958.Oil on canvas.Attached certificate issued by Don Ramón Palencia del Burgo, legal heir of the artist.Signed, dated, and dedicated to Don José María Moro, in the lower right corner.Measurements: 33 x 46 cm; 51 x 64 cm (frame).During this period Palencia isolated himself in the village of Villafranca, dedicating himself completely to painting, without any distractions that could disturb his pictorial exercise. It was then that he turned to the themes of views that reflected the lands of Avila, thus capturing the deepest Spain, but charged with a lively colouring that he recovered after a period of cold and arid tones caused by the consequences of the civil war.Founder of the Vallecas School together with sculptor Alberto Sánchez, Benjamín Palencia was one of the most important heirs of the poetics of the Castilian landscape characteristic of the Generation of '98. At the age of only fifteen Palencia left his native town and settled in Madrid to develop his training through his frequent visits to the Prado Museum, as he always rejected the official teachings of the San Fernando Royal Academy of Fine Arts. In 1925 he took part in the Exhibition of Iberian Artists held at the Retiro Palace in Madrid, and in 1926 he travelled to Paris for the first time. There he met Picasso, Gargallo and Miró and came into contact with the collage technique, which he later applied to his work, incorporating new materials such as sand and ashes. It was during this Parisian stay that Palencia's work took on a surrealist tone, evidenced by an increasingly greater expressive freedom that reached its peak in his mature period. On his return to Madrid he founded the Vallecas School (1927) and made his individual debut at the Museum of Modern Art (1928). Palencia gradually abandoned still lifes to return to the Castilian landscape, capturing it through a magnificent synthesis of tradition and the avant-garde. This personal aesthetic of landscape painting reached its culmination in the Vallecas School and, after a brilliant surrealist incursion in the early 1930s, when the Civil War broke out Palencia remained in Madrid and, like his fellow artists of his generation, suffered a period of profound crisis. When the war ended, between 1939 and 1940 his painting took a radical turn; he abandoned cubist and abstract influences and even aspects of a surrealist nature in search of an art with a strong chromatic impact, linked to Fauvism. Focusing on his work as a landscape painter, in 1942 Palencia took up again the experience of the Vallecas School together with the young painters Álvar Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His work would include images of the Castilian countryside and its peasants and animals; his painting became a testimony to the rough, the coarse and the rural, to the subtle expressiveness of Castilian sobriety. Already fully consolidated, in 1943 he won the first medal at the National Exhibition of Fine Arts and in 1944 he was selected to take part in the Salón de los Once de Eugenio D'Ors in Madrid. The following year he was awarded the medal of honour at the National Exhibition, although he renounced it in order to facilitate its award to José Gutiérrez Solana.
Lot 64
ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."La folle au chapeau. Paris, 1948.Oil on canvas.Signed in the lower right corner.Titled on the back.Attached is a photograph of the artist's Parisian studio, in which this painting appears together with Pedro Flores (Paris, January 1948).Measurements: 61 x 50 cm; 75 x 64 cm (frame).Clavé's work developed along two lines, one of which was more conceptual and experimental, while the other remained within the limits of figuration, although it was a completely avant-garde figuration. This portrait belongs to the second line, endowed with an inner strength that subjugates us: through the voluntary roughness of the brushstroke and the boldness of the colours, Clavé conveys the fragile and vulnerable psychology of "the madwoman". Large eyes that seem to have wept, the curled hand on her lip, the grotesque headdress... all contribute to silently moving the viewer.Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop an oeuvre marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He already enjoyed great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In the 1960s he paid homage to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage and inventing new ones such as papier froissé. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to Clavé that made him one of the most prestigious artists of his generation. His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennale in 1954 and at the Tokyo International Biennale in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.
Lot 75
TOMÁS DÍAZ MAGRO (Madrid, 1941)."Tiovivo", 2020.Silk thread, wood and polychrome cardboard.Signed and dated on the base.Measurements: 44 x 32 x 28 cm.Known for his successful career as an industrial designer, Tomás Díaz Magro began his professional career in 1959 with the Spanish Society of Design. His research into the curved wood system won him the Gold Medal at the Brussels Inventors' Exhibition in 1961. Three years later, he was a founding member of the ODM, for the development of materials. From 1968 he worked for Talleres de Arte Granda, and for other companies such as TAG, Otaola, Huarte muebles or LOEWE. Throughout his career he has won numerous awards, including the IFI International Prize. 1988, the Brúmel International Award (prefabricated and mobile platform for Renfe.1991, and the BEDA International Award. 1993, among others. In addition, in 1998, he took part in the exhibition "Industrial Design in Spain; a century of creation and innovation", which was held at the Reina Sofía Museum and Art Centre. From the 1980s onwards, Tomás Magro, who has always been linked to the world of design, began to devote himself entirely to artistic creation. His knowledge of materials and mastery of matter have given him a skill that he develops in his balanced works of art, in the words of the author himself; "This daily contact with matter, imagination and drawing, has created a world full of ambition, understood as how to make the different proposals that were being generated a reality. I observed the artists' works and I continue to look at them out of the corner of my eye, I don't want to know more about them, I don't want to learn too much, their burden will weigh me down. However, I enjoy them inside me like a collector, some of them live with me".
Lot 76
TOMÁS DÍAZ MAGRO (Madrid, 1941)."Glass faces".Methacrylate with mesh and polystyrene on plastic base.Signed on the base.Measurements: 42 x 16 x 11 cm.Known for his successful career as an industrial designer, Tomás Díaz Magro began his professional career in 1959, with the Spanish Society of Design. His research into the curved wood system won him the Gold Medal at the Brussels Inventors' Exhibition in 1961. Three years later, he was a founding member of the ODM, for the development of materials. From 1968 he worked for Talleres de Arte Granda, and for other companies such as TAG, Otaola, Huarte muebles or LOEWE. Throughout his career he has won numerous awards, including the IFI International Prize. 1988, the Brúmel International Award (prefabricated and mobile platform for Renfe.1991, and the BEDA International Award. 1993, among others. In addition, in 1998, he took part in the exhibition "Industrial Design in Spain; a century of creation and innovation", which was held at the Reina Sofía Museum and Art Centre. From the 1980s onwards, Tomás Magro, who has always been linked to the world of design, began to devote himself entirely to artistic creation. His knowledge of materials and mastery of matter have given him a skill that he develops in his balanced works of art, in the words of the author himself; "This daily contact with matter, imagination and drawing, has created a world full of ambition, understood as how to make the different proposals that were being generated a reality. I observed the artists' works and I continue to look at them out of the corner of my eye, I don't want to know more about them, I don't want to learn too much, their burden will weigh me down. However, I enjoy them inside me like a collector, some of them live with me".
Lot 200
A Society of Arts Instituted 1753 Mercury and Minerva Medal, bronze, by W Wyon, obv. conjoined busts of Mercury and Minerva 'Arts And Commerce Promoted', rev. wreath border with no inscription, a bronze 'The Thomasson Metallic Vase' medallion, a bronze 'The British and Foreign Bible Society Medal' and a Plymouth Competitive Musical Festival medal, (4).
Lot 207
A WWII group of six medals awarded to D J X 129985 E W Walbridge: 1939-45, Atlantic and Italy Stars, War Medal 1939-45, Naval General Service Medal with Palestine 1945-48 clasp (D J X 129985 E W Walbridge CPO RN) and Long Service Good Conduct Medal (JX 129985 E W Walbridge PO HMS Drake), also a Mine Clearance Service badge with back plate, with steel-cased pocket watch and silver watch chain.
Lot 209
A WWI DSM group of five medals awarded to 175824 A W Ferris CH-STO-RN: Distinguished Service Medal (175824 A W Ferris CH STO HMS Lion), 1914-15 Star (175824 A W Ferris DSM CH STO RN) British War Medal (175824 A W Ferris CH STO RN), Victory Medal (175824 A W Ferris CH STO RN) and Long Service Good Conduct Medal (175824 A W Ferris STO PO HMS Sapphire II), together with two gilt metal and enamel Royal Ancient Order of Buffaloes medals, (7).
Lot 211
A WWI/WWII Military OBE group of seven medals awarded to Major William John Stuart RM: OBE on 2nd-type military ribbon, 1914 Star with 5th Aug-22nd Nov clasp, (PLY9406 Sergt Maj W J Stuart RM Brigade), British War Medal (Capt W J Stuart RM), Victory Medal (ditto), Defence and War 1939-45 medals and Long Service Good Conduct Medal (PLY9406 W J Stuart Qr Mr Sergt I of G RMLI), sold with service papers 1898-1915, photographs, two certificates of qualification for promotion, two certificates of conduct HMS Impregnable 1921/22 and other ephemera, OBE box, two dog tags (RMLI), various rifle shooting medallions, medal ribbon bars, etc, in a small suitcase initialled 'WJS'.
Lot 142
British National Antarctic Expedition 1901-04. A silver plated fork engraved 'Discovery 1901' formerly the property of Louis Charles Bernacchi: 20.5cm long.*Notes- Louis Charles Bernacchi was born in Belgium in 1876 to Italian parents who subsequently emigrated to Australia. Attending Melbourne Observatory in 1895 he developed an interest in Antarctic exploration and joined Carsten's Borchgrevink's Southern Cross expedition (1898-1900) when he was just 22 years old. This was the first expedition to spend the winter on the Antarctic continent and the first to sledge towards the South Pole. Louis then joined Robert Falcon Scott's Discovery expedition (1901-1904) and was the only man on board the Discovery who had previously been to the Antarctic (in relative terms he was a "veteran" of the Antarctic) . As one of the scientific officers on board his role was to collect geomagnetic data as they approached the South Pole, something that had not been studied to any extent before. Scott was Louis's best man at his wedding. He was awarded the Polar Medal and the French Legion d'honneur amongst other awards.*Provenance- By direct family descent.
Lot 166
WWI British War medal named to 1471 Private W Halliday, a 1914 Mons Star medal named to 3212 Private R Hislop, a vintage Ronson lighter, a small collection of mainly late 19th/early 20th century one penny coins and others and a small collection of badges mainly relating to bowlingCondition ReportPlease see extra photos of medals added for regiments.
Lot 167
Silver-coloured metal medal for the Royal Academy of Music, inscribed 'Olive Pull Piano Forte 1921' in original red leather presentation case, a 1981 crown coin for the wedding of Prince Charles and Lady Diana, a 1980 Queen Mother's birthday commemorative crown coin, a small collection of coins to include two shillings, a George V silver three pence piece, etc
Lot 655
Yellow-coloured metal decoration star with red, blue and green ribbon, a larger example with red, blue and green ribbon, stamped 1 over 14 to reverse, with eagle's headNotes: The Order of Friendship (Azerbaijani: "Dostluy" army) is the medal of Azerbaijan, given to citizens of Azerbaijan and other foreign countries who develop and strengthen relations with Azerbaijan and the Azerbaijani people; the decoration was given on February 16, 2007, by the decree of the Present of AzerbaijanCondition ReportBoth stamped 1 14 on the back , the smaller one is 3.7 x 3.8 cms approx, the other 5.1 x 5.3 - this is not including the claspsthe weight is 13.6 gmsand 34.1 gms which includes the clasp.More images have been uploaded. We are not sure about the Eagles Head. I have attempted to photograph a mark on the loop of the pendant. We have tried also with a high res camera too but to no avail.
Lot 1049
A personal archive of Henry Montague Knight (b. 1878), including Registrar certificates, photographs, personal effects including 1914 - 1948 War Medal and Victory Medal (35316 Pte Essex Regiment) with miniatures, lapel badges, photograph in uniform, woven name tapes, albums of photographs including holidays in the German Alps; lot also includes his walking stick with Alpine Badges including 1936 Garmisch Olympics and Oberammergau, Passion Play programs and other ephemera, education certificates in Japanned tube, etc
Lot 1087
Various silver coins, including William III sixpence fair, Maria Theresa 1780 thaler EF and other antique silver coins, commemorative silver crowns including 1977 Canada Dollar, 1983 US Olympic Dollar, 1991 Australia Five Dollars and 1995 Australia One Dollar; lot also includes WW1 medals awarded to 11412 Pte. P.A. Cooke, Gloucester Regt. - 1914-15 Star, 1914-18 War Medal and Victory Medal
Lot 1109
A WWI Military Cross miniature group of six comprising an MC, 1914 'Mons' Star with Aug-Nov clasp, War Medal, Victory Medal, 1935 Jubilee Medal and Territorial Decoration (GRV), to/w Territorial Decoration (GRV), silver, a 1953 Coronation Medal; lot also includes rolls of medal ribbon, various military and other badges, coins, Victorian military subject pictorial magic lantern slides - probably Crimea, etc
Lot 17
FRANÇOIS ÉMILE DÉCORCHEMONT (Conches-en-Ouche, France, 1880-1971).Centrepiece, ca.1920.In glass paste.With stamp on one side.Measurements: 5 x 18,5 x 12 cm.Décorchemont was born into a family of artists. In 1902, he began to experiment with glass, inspired by the work in pâte de nuit of the glass artist Albert Dammouse. In 1903, he made his debut at the Salon des Artistes Français with paintings and some vases in pâte de nuit. He received an honourable mention for his vases. After that, he concentrated entirely on working with pâte de nuit. These first experiments were laborious, but he persevered and exhibited regularly at the Paris Salons, with great success, receiving several prizes and even a travel grant in 1908. On his return he settled in Conches-en-Ouches. He then also began to use the cire-perdue technique, (lost-wax technique) by which he tried to achieve the brilliance of precious stones in the pâte d'evening. He showed his new work at the Salon des Artistes in 1911 and in 1912 at the Salon d'Automne and immediately received the gold medal. During the 1920s, Décorchemont's designs often became more stylised, and he also began to use geometric patterns. Figures were often incorporated into his handles, such as chameleons, snakes, fish and caryatids. Décorchemont's fame rose rapidly and he was awarded many honourable positions in the various Paris salons. His works became (and still are) very valuable. He also exhibited at the Exposition Internationale des Arts Decoratifs in Paris in 1925. His work can be seen in several pavilions, such as Jacques Ruhlmann's "Hotel d'un Collectioneur". He participated in important international special exhibitions, in Geneva, USA, Athens, Amsterdam and Barcelona.
Lot 244
Comprising: an India General Service Medal, 1936-1937, impressed 5770057 Cpl T Evans, R. Norfolk, a 1939-1945 Star, an Africa Star, An Italy Star, a Defence Medal, a 1939-1945 War Medal, an Africa General Service Medal with Kenya clasp, impressed Major T. Evans R.E., a United Nations Korea Medal and a Queen Elizabeth Coronation Medal; And a corresponding set of miniature medals
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