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Lot 704
A framed display Gallantry British Empire medal with oak leaf and box, other related medals (replacement Civil Defence Long Service Medal), a large archive of letters and photographs of Fire Officer Arthur Alec Dawton who saved the lives of four people on the 3rd floor of a burning building, lower floors were alight in dense smoke he rescued them all. Housed in a frame display. 49 x 56 cm overall.
Lot 101
England Squad 1998 Offical Medal Album Containing 24 Signatures inc: FerdinandMersonSeamanNevilleAdamsCampbellSouthgateInceGazzaScholesShearerOwen and More. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
Lot 281A
Battle of Trafalgar medal in white metal. 48 mm. Obv: Bust of Admiral Viscount Nelson with pigtail, in uniform and order. Legend: 'HORATIO VISCOUNT NELSON.K.B.DUKE OF BRONTE.&c.' Rev: General view of the battle. Legend: 'ENGLAND EXPECTS EVERY MAN WILL DO HIS DUTY'. Exergue: 'TRAFALGAR. OCTR. 21. 1805'. Inscription: 'CENTENARY OF THE BATTLE OF TRAFALGAR OCT. 1805'.
Lot 283
Medals consisting of: Silver George V, 1935 silver jubilee medal (57 mm), Extremely Fine. Silver George V, 1935 silver jubilee medal (31 mm), Extremely Fine. 2x Bronze Matthew Boulton medals (48 mm), obvs: Bust of Matthew Boulton right. Rev: Farewell within wreath. Both Extremely Fine. Bronze Matthew Boulton medal (40 mm), "in memory of his obsequies", Extremely Fine. James Watt and Matthew Boulton medal (38 mm) "James Watt & co Late Boulton and Watt engineers, London & Soho Birmingham", Extremely Fine. Bronze Matthew Boulton death medal (55 mm), "INVENTAS AUT QUI VITAM EXCOLUERE PER ARTES", Extremely Fine. Bronze Matthew Boulton death medal (63 mm), "INVENTAS AUT QUI VITAM EXCOLUERE PER ARTIS", Extremely Fine. Bronze J. P. Droz death medal (34 mm) by R. Dubois, Extremely Fine.
Lot 284
Charles II "Royal Sovereign" gold medal. 5.17 grams of .375/9 carat gold. Obv: Laureate bust of Charles II facing left, interlinked Cs and elephant and castle to right. Rev: ROYAL SOVEREIGN, depictions of the "Royal Sovereign", a 90-gun first rate ship under Charles II, the dates of her service, 1637 - 1697, below. Issued by Pobjoy Mint, some surface marks otherwise As Issued.
Lot 601
Silver & enamel medallions & 1 other: Includes 2 similar large hallmarked solid silver medals / medallions from the Borough of Newcastle under Lyme to Ex Mayor & Mayoress (57.5g), together with similar long service medal for a councilor (37.4g gross) with ribbon & bar and a large presidents medal 1969 for Wulstan club (4)
Lot 1736
Medals: a World War I pair, to Payr Lt F W Gimson RNR, comprising: 1914-19 Star and Victory Medal; together with a Royal Naval Reserve Decoration, in card box addressed to Lt Cdr P C R Gimson, Rd, RNR; naval officer's cap; another World War I pair, G 5004-Pte HT Squibbs, Midd'x R, comprising: Victory Medal and War Medal, with masonic medal to the same; and other related items.
Lot 2
SILVER DOUBLE ALBERT POCKET WATCH CHAIN,with T-bar and suspending fob medal, approx 82gCondition report: -No signs of any damage or repairs to the chain and face. - clasp appears to be loose but is still in working order and can still hold the chain once attached.- The chain itself seems to be in good condition but the face seems to be worn out/tiny bit rusty.- Chain is hallmarked on the links
Lot 24
LUIS ÁLVAREZ CATALÁ (Madrid, 1836 - 1901)."Melancholic young woman".Watercolour and pencil on paper.Testamentary stamp in the upper left-hand margin.Measurements: 20,5 x 14 cm; 45 x 35 cm.(passpartout); 53,5 x 43 cm. (frame).Luis Álvarez began his training in Oviedo, and later went to the San Fernando School in Madrid, where he was taught by Federico de Madrazo. He then went to Rome with Rosales and Palmaroli in 1857, remaining in the Italian capital until 1894, making occasional trips to Madrid. During these years he took part in various exhibitions and was awarded a medal of merit at the Florence exhibition of 1861 and a second-class medal at the National Exhibition in Madrid the following year for his historical painting "Calpurnia's Dream", which was acquired by Isabella II. In 1866 he won a second medal, and later his painting "The Chair of Philip II at El Escorial" was awarded a first-class medal at the Paris Universal Exhibition of 1899, the National Exhibition of 1890 and the Berlin Exhibition of 1891, and was finally acquired by Kaiser Wilhelm II. Although he worked on a variety of themes, his stay in Rome inclined him mainly towards precious painting, with gallant themes of eighteenth-century atmosphere, "de casacón", which was a great success at the time with the public and art dealers. His Asturian roots also led him to apply this précieux style to the rural genre painting of that region. He was also the portraitist of the queen regent Doña María Cristina and the child king Alfonso XIII. In 1898, until his death, Luis Álvarez was director of the Prado Museum. In addition to several new acquisitions for the art gallery, his most important cultural activity was the celebration of the third centenary of Velázquez's birth. One of the most awarded Spanish painters of the 19th century abroad, Luis Álvarez was above all a Romantic painter, who was inspired by historical themes in his paintings.
Lot 25
JUAN BAUTISTA DE GUZMÁN (Granada, 1850 - Barcelona, 1898)."Flamenca, 1892.Oil on panel.Signed and dated in the lower right corner.Size: 38.5 x 21 cm; 59 x 39.5 cm (frame).Representative of the Andalusian costumbrismo, Juan Bautista de Guzmán specialised in popular scenes of bullfighters, peasants, taverns and courtyards of Granada. On this occasion he offers us a scene set in a porticoed street. The protagonist, a lady dressed in a flamenco dress and draped in a Manila shawl, looks directly at the viewer in a jovial, casual attitude. Costumbrista genre painting was a characteristic exponent of Andalusian folklore during the period of the emergence of Romanticism and 19th-century Orientalism. Traditionally, Spanish painting and literature have been interested in popular customs and types. The arrival of Romanticism enlivened this trend, bringing to the Hispanic tradition the vision that foreigners had of our people, due to the snobbery of a Europeanising and liberal national bourgeoisie which, also due to foreign influence and under the Romantic fashion, turned its eyes to the people and monuments of the past. This, which was general throughout Spain, was particularly prevalent in Andalusia, as this land was the dream destination of foreigners, and where the influence of the vision they had of the Spaniards and their peculiar customs had to be felt most strongly.Juan Bautista de Guzmán Orante was a Spanish painter born in Granada but settled in Malaga as a child. The Malaga painter Leoncio Talavera passed on his love of painting to him. He painted his first picture by copying a painting by his friend Talavera. In 1879 he took part in the Cadiz Exhibition, winning a silver medal, and in 1881 he exhibited his works at the National Exhibition in Madrid. After settling in Barcelona, he took part with two paintings in the Fine Arts Exhibition of the Catalan capital in 1888 and 1891 with "Garden", "A Wrong Way", "A Hungarian Family Begging for Charity", "A Burro muerto la barley al rabo" and "Sensibility", as well as in the 1896 edition.
Lot 26
NICOLÁS RAURICH Y PETRE (Barcelona, 1871 - 1945)."Self-portrait of Francesc Gimeno with pipe".Oil on panel.Signed and dedicated "Del teu autorretrat, però amb pipa" on the back.Measurements: 50 x 38 cm; 64,5 x 52,5 cm (frame).Nicolás Raurich trained at the Escuela de Bellas Artes de la Lonja in Barcelona, where he was a disciple of Caba, Rigalt and Meifrén. In 1892 he took part in an exhibition at the Sala Parés and also at the National Gallery in Madrid. In 1894 he obtained his first official success with the gold medal at the IV Centenary of the Discovery of Puerto Rico. He furthered his studies in Rome between 1895 and 1899, where he became friends with Enric Serra. He completed his studies in London and Munich, and after a short stay in Paris he travelled around Castile, influenced by the Generation of '98 and his taste for the arid landscape of the high plateau. In 1910 he took part in the first exhibition of Les Arts i els Artistes in Barcelona, and in 1919 in the Exposition d'Art Espagnol in Paris, where the Musée du Luxembourg (the future Musée d'Orsay) acquired one of his works. As an illustrator, his contributions to the weekly magazine "Blanco y Negro" were particularly noteworthy. He submitted his works to numerous national and international exhibitions, and was awarded prizes at the National Exhibition in Madrid (honourable mention in 1892 and second medal in 1897), honourable mention at the Salon de la Société des Artistes Français in Paris in 1900, and first medal at the International Exhibitions of Athens (1903) and Barcelona (1907), as well as at the International Exhibition of Arts and Industries in Mexico in 1910. He is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo de Arte Moderno in Madrid and the Musée d'Orsay in Paris.
Lot 46
JOSÉ PINAZO MARTÍNEZ (Rome, 1879 - Madrid, 1933)"Still life of fruit".Oil on canvas.Signed in the lower left corner.Size: 94 x 68,5 cm; 121 x 84,5 cm (frame).Painter and sculptor, son of Ignacio Pinazo Camarlench, he was born in Rome when his father was a pensioner there, and when he was two years old he returned to Valencia with his family. In his early years he began his training in the family workshop, after which he entered the San Carlos School of Fine Arts in Valencia. He soon began to make a name for himself at the National Exhibitions of Fine Arts, being awarded an honourable mention in 1895 and a third medal in 1897 and 1901. He also took part in the Universal Exhibition in Paris in 1900, winning a second medal. After this period he began a series of trips that took him to Paris, Rome and London, settling in Madrid on his return to Spain. He continued to take part in important official exhibitions, being awarded the second medal at the Spanish-French Exhibition in Saragossa in 1908, third at the Universal Exhibition in Brussels in 1910 and second at the International Exhibition in Barcelona in 1911. Finally, in 1915, he won the first medal at the National Exhibition of Fine Arts for his painting "Floreal". Pinazo Martínez began his career with a language clearly influenced by modernism and the naturalism and costumbrismo of Sorolla, although around 1918 he began a process of stylistic purification which led to a more sober language. Works by José Pinazo Martínez are currently held in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Museo Municipal de Málaga and other public and private collections.
Lot 47
JOSÉ PINAZO MARTÍNEZ (Rome, 1879 - Madrid, 1933).Still life.1911.Oil on canvas.Signed and dated in the lower left corner.Cracks in the frame. The canvas is cracked in the margin.Measurements: 74 x 56 cm; 95 x 77 cm (frame).Painter and sculptor, son of Ignacio Pinazo Camarlench, he was born in Rome when his father was a pensioner there, and when he was two years old he returned to Valencia with his family. In his early years he began his training in the family workshop, after which he entered the San Carlos School of Fine Arts in Valencia. He soon began to make a name for himself at the National Exhibitions of Fine Arts, being awarded an honourable mention in 1895 and a third medal in 1897 and 1901. He also took part in the Universal Exhibition in Paris in 1900, winning a second medal. After this period he began a series of trips that took him to Paris, Rome and London, settling in Madrid on his return to Spain. He continued to take part in important official exhibitions, being awarded the second medal at the Spanish-French Exhibition in Saragossa in 1908, third at the Universal Exhibition in Brussels in 1910 and second at the International Exhibition in Barcelona in 1911. Finally, in 1915, he won the first medal at the National Exhibition of Fine Arts for his painting "Floreal". Pinazo Martínez began his career with a language clearly influenced by modernism and the naturalism and costumbrismo of Sorolla, although around 1918 he began a process of stylistic purification which led to a more sober language. Works by José Pinazo Martínez are currently held in the Museo del Prado, the Museo de Bellas Artes de Valencia San Pío V, the Museo Municipal de Málaga and other public and private collections.
Lot 49
LUIS ÁLVAREZ CATALÁ (Madrid, 1836 - 1901)."A confession to his mother". Rome, 1898.Oil on panel.Signed in the lower left corner.Includes, on the back, a certificate of dispatch from the Spanish Chamber of Commerce and Arts in Rome.Measurements: 37 x 25 cm; 41 x 31 cm. (passpartout); 67 x 54 cm (frame).In his genre painting, Luis Álvarez displayed a magnificent characterisation of both types and costumes, rendered with painstaking preciosity, which is evident in this intimate domestic scene. A young girl takes her mother's hands in hers as she brings her face close to the old woman's to whisper to her the concerns of her age.Luis Álvarez began his training in Oviedo and later went to the San Fernando School in Madrid, where he was taught by Federico de Madrazo. He then went to Rome with Rosales and Palmaroli in 1857, remaining in the Italian capital until 1894, making occasional trips to Madrid. During these years he took part in various exhibitions and was awarded a medal of merit at the Florence exhibition of 1861 and a second-class medal at the National Exhibition in Madrid the following year for his historical painting "Calpurnia's Dream", which was acquired by Isabella II. In 1866 he won a second medal, and later his painting "The Chair of Philip II at El Escorial" was awarded a first-class medal at the Paris Universal Exhibition of 1899, the National Exhibition of 1890 and the Berlin Exhibition of 1891, and was finally acquired by Kaiser Wilhelm II. Although he worked on a variety of themes, his stay in Rome inclined him mainly towards precious painting, with gallant themes of eighteenth-century atmosphere, "de casacón", which was a great success at the time with the public and art dealers. His Asturian roots also led him to apply his précieux style to the rural genre painting of that region. He was also the portraitist of the queen regent Doña María Cristina and the child king Alfonso XIII. In 1898, until his death, Luis Álvarez was director of the Prado Museum. In addition to several new acquisitions for the art gallery, his most important cultural activity was the celebration of the third centenary of Velázquez's birth. One of the most awarded Spanish painters of the 19th century abroad, Luis Álvarez Catalá was above all a romantic painter, who was inspired by historical themes in his paintings. Álvarez Catalá is represented in the Prado Museum, the Senate in Madrid, the Fine Arts Museums of Bilbao, Jaén and Oviedo and the University of Granada, among other public and private collections.
Lot 53
GREGORIO PRIETO MUÑOZ (Valdepeñas, Ciudad Real, 1897 - 1992).Untitled.Oil on canvas.Signed in the lower left corner.Measurements: 53.5 x 44.5 cm; 62.5 x 52 cm (passpartout); 74.5 x 64 cm (frame).Prieto developed a pictorial and photographic project in which he explored the proposals of surrealism, mixing classicism and the avant-garde. This painting reveals his interest in looking at Greco-Roman architecture through a metaphysical prism. Gregorio Prieto was a Spanish painter from La Mancha who belonged to the Generation of '27. In 1977 his largest anthological exhibition was held at the gallery of the Dirección General de Patrimonio Artístico in Madrid, with more than one hundred and thirty works. The moment of his full recognition came in 1982, when he was awarded the Gold Medal for Merit in Fine Arts. In 1990 he was made an honorary member of the San Fernando Royal Academy of Fine Arts. Prieto is mainly represented in the Museum of the Foundation that bears his name, in Valdepeñas, as well as in the Bilbao Fine Arts Museum, the Reina Sofía and other public and private collections.
Lot 57
Danish school of the 20th century. Follower of CARL HOLSOE (Aarhus, 1863-Asserbo, 1935)."Woman indoors".Oil on canvas.Signed "C. Holsöe" in the lower right-hand corner.Size: 81 x 65 cm; 107 x 91 cm (frame).An artist specialising in domestic interior scenes, Carl Holsoe studied at the Royal Danish Academy of Fine Arts in Copenhagen (1882-1884) and then at the Kunstnernes Frie Studieskoler with Peder Severin Krøyer. He received several stipends from the academy, in one case to visit Italy in 1897. He made his debut at the December 1886 Exhibition in Charlottenborg. From 1888 to 1910 and from 1922 to 1933 he exhibited at the Charlottenborg Spring Exhibition, and in 1909 and 1914 at the Autumn Exhibition. He participated in the Association of National Art Exhibitions and was a member of the board of the Gammel Strand Art Association from 1902 to 1905 and from 1909 to 1911. He received numerous awards, including the gold medal in Munich. His style was acclaimed by the Danish critics of the time, who even compared him to the Dutch masters of the 18th century. His intimate, quiet, leisurely scenes, with a marked compositional sense, are characterised by anonymous figures, mahogany furniture and a special treatment of light.
Lot 70
VALENTIN ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963) ."Portrait in front of a Basque landscape".Oil on canvas.Signed in the lower right corner.Size: 31 x 36 cm; 48 x 53 cm (frame).An old woman holds on her lap a big pitcher, opening behind her a mountainous landscape. This is a frequent type of composition in Valentín Zubiaurre's painting, which allowed him to ennoble both the inhabitants of rural areas and the Basque landscape. The intense chromatic contrast, with its twilight shifts, and the expressiveness of the old woman's weathered face are characteristic of this artist, who (together with his brother Ramón) was a renovator of Spanish regionalism.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, like his younger brother Ramón, also a painter. He began his training with the painter Daniel Perea, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a pupil of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum. In 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain they obtained a grant from the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions, and won prizes in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their most successful and renowned period, both in Spain and internationally. After the war Valentín de Zubiaurre resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the National Exhibition of Fine Arts in 1957, six years before his death. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.
Lot 93
LUIS ARCAS BRAUNER (Valencia, 1934 - Cambridge, United Kingdom, 1989)."Villarluengo", 1970.Oil on canvas.Signed and dated in the lower left corner.Measurements: 91 x 135 cm; 95.5 x 140 cm (frame).A landscape painter, although he also tackled portraits and still lifes, Luis Arcas began his training at the Escuela Superior de Bellas Artes de San Carlos in Valencia, where he also did complementary studies in engraving. He furthered his studies with the Pensión de Paisaje de El Paular (1953), and completed his training a year later. He subsequently obtained a painting pension from the Caja de Ahorros de Valencia (1958), a grant to study in Paris from the Albert-Álvarez Foundation (1958) and a grant from the Casa Velázquez awarded by the French Government and the Valencia City Council (1966). In 1974 he won the chair of life drawing at the Faculty of Fine Arts of the Polytechnic University of Valencia, and four years later he was appointed member of the Royal Academy of San Carlos. He was also a founding member of the group Arte Actual. He won numerous prizes throughout his career, including the silver medal at the 13th University Art Exhibition in 1952, the Extraordinary National Prize at the Fifth National Fine Arts Competition in Alicante in 1956, an honourable mention at the Sixth Autumn Salon of the Ateneo Mercantil in Valencia in 1960 and the prize awarded by the Diputación de La Coruña at the National Fine Arts Exhibition held in Barcelona that same year. Between 1954 and 1973 he showed his work in numerous exhibitions, both individual and collective, and among the latter it is worth mentioning for its importance the one entitled "75 Years of Valencian Painting", organised by the Valencia City Council in 1975. He also took part in the National Exhibitions in Madrid in 1954, 1960 and 1976, the Spanish-American Biennial in Barcelona in 1955, the Biennial of Spanish Contemporary Art in Paris and others. Likewise, the Caja de Ahorros de Valencia dedicated a retrospective exhibition to him entitled "Thirty years of professional life". Luis Arcas held individual exhibitions in Spain, France and Argentina.
Lot 94
JUAN GIMÉNEZ MARTÍN (Ávila, 1855 - Madrid, 1901)."Young saleswoman".Oil on canvas.Signed in the lower left corner.Measurements: 137 x 100 cm; 165 x 129 cm (frame).Giménez Martín began his academic training at the Royal Academy of Fine Arts of San Fernando in Madrid where he was a disciple of Federico de Madrazo, Carlos Luis de Ribera and Carlos de Haes. In 1881 he applied to the Diputación de Ávila for a pension so that he could settle in Rome. He lived in Rome from 1882 to 1886, where he became a member of the Spanish Academy of Fine Arts in Rome. During his stay in Italy he visited Florence, Naples and Venice, where he began to practise landscape painting. After settling in Spain, he took part in numerous national exhibitions, such as the National Exhibition of Fine Arts of 1876 and 1878, and the exhibition of 1881. His work was awarded several honourable mentions (1895, 1897 and 1899 respectively) and he won the third medal at the 1901 Exhibition.
Lot 244
circa 1914, the signed white dial, 42mm diameter, with black Arabic 12 hour numerals and an inner ring of red Arabic 24 hour numerals, gold coloured fretwork hands, subsidiary seconds register at 6 o'clock and baton minute track, signed fully jewelled mechanical crown wind movement number 4934079 with pumpkin shaped winder, case, 52mm diameter, rose gold coloured striped upper and lower bezels, verso hinged at 6 o'clock, engine turned all over around a vacant circular cartouche with garland surround, interior liveried and numbered 5730007 with Swiss Grouse mark for 800/1000 standard silver, Bienne, the cuvette similarly marked in addition to the engraved medal collection and engraved OMEGA, 92g grossCondition report: Case: Some minor scratches, dents and dings as to be expected. Verso with wear to the engine turning.Crystal: Complete and secure with some minor surface scratches.Dial: Some losses to the edge, particularly between 11 and 12 o'clock, 9 and 10 o'clock and 5 and 6 o'clock. Hairline crack at the edge between 5 and 6 o'clockMovement: In working order though not tested for timekeeping.
Lot 245
circa 1910, the signed white dial, 40mm diameter, with black Arabic numerals, gold coloured moon hands, subsidiary seconds register at 6 o'clock and chemin de fer chapter ring spaced with 24 hour indicators, signed 15 jewel mechanical crown wind movement number 10718816, calibre 38.5L.T1, with rose coloured pumpkin shaped winder, case, 50mm diameter, rose gold coloured upper and lower bezels, verso hinged at 6 o'clock, engine turned all over around a vacant circular cartouche, interior liveried and numbered 312 1272 with Swiss Grouse mark for 800/1000 standard silver, Bienne, the cuvette with engraved medal collection and engraved OMEGA BIENNE-GENEVE, 72g gross
Lot 247
circa 1915, the signed white dial, 42mm diameter, with black Arabic numerals, gold coloured fretwork hands, subsidiary seconds register at 6 o'clock and baton minute track, unsigned and unnumbered jewelled mechanical crown wind movement with pumpkin shaped winder, case, 52mm diameter, engine turned all over, front cover with vacant escutcheon shaped cartouche within a foliate surround, verso hinged at 9 o'clock, interior liveried and numbered 4309411 with Swiss Grouse mark for 800/1000 standard silver, Bienne, the cuvette similarly marked in addition to the engraved medal collection and engraved OMEGA GRAND PRIX PARIS 1900, 104.1g gross
Lot 248
circa 1913, the signed white dial, 42mm diameter, with black Arabic numerals, gold coloured fretwork hands, subsidiary seconds register at 6 o'clock and chemin de fer chapter ring spaced with 24 hour indicators, signed jewelled mechanical crown wind movement number 4094529 with pumpkin shaped winder, case, 52mm diameter, rose gold coloured stripe to upper and lower bezels, verso hinged at 6 o'clock, plain and polished with a monogrammed central escutcheon shaped cartouche within a foliate surround, interior liveried and numbered 4868257 with Swiss Grouse mark for 800/1000 standard silver, Bienne, the cuvette similarly marked in addition to the engraved medal collection and engraved OMEGA GRAND PRIX PARIS 1900, 90g gross
Lot 277
circa 1925, the signed champagne dial, 40mm diameter, with black Arabic numerals, blued moon hands, subsidiary seconds register at 6 o'clock and chemin de fer chapter ring, signed but unnumbered 15 jewel mechanical crown wind movement with pumpkin shaped winder, case, 50mm diameter, decorated all over with engine turned design, the front with a circular vacant cartouche, verso hinged at 9 o'clock, interior numbered 691425 together with Swiss marks for 14ct gold, Le Locle, the cuvette similarly marked together with engraved medal group and MOVADO GRAND PRIX AVEC FÉLICITATIONS DU JURY BRUXELLES 1910, 69.7g gross Condition report: The watch appears to be in working order, though it has not been tested for timekeeping.As per the description, the cuvette is marked for 14ct
Lot 282
circa 1930, the unsigned white dial, 37mm diameter, with black Arabic numerals, blued spade hands, subsidiary seconds register at 6 o'clock and chemin de fer chapter ring spaced with blue 24 hour indicators, unsigned jewelled mechanical crown wind movement number 62901 with pumpkin shaped winder, case, 45mm diameter, elaborately engraved all over with depictions of two butterflies continuing over the the edge, the front with a shield shaped monogrammed cartouche, verso hinged at 9 o'clock, interior stamped 18K, numbered 62185, the cuvette with Swiss marks for 18ct gold, Bienne, additionally engraved with two medal groups and ORION MONTRE ANCRE DE PRECISION, 66.7g gross
Lot 283
circa 1930, the unsigned gold coloured dial, 40mm diameter, with black Arabic numerals each in a silvered circular cartouche over concentric engine turning, the inner with engine turned engraving over a vacant rectangular name plate, blued spade hands and subsidiary seconds register at 6 o'clock, unsigned and unnumbered 15 jewel mechanical crown wind movement with pumpkin shaped winder, case, 48mm diameter, elaborately decorated all over with foliage in relief over a textured ground continuing over the edge, verso hinged at 9 o'clock, signed interior numbered 258238 8 with Swiss marks for 18ct gold, Chaux-de-Fonds, the cuvette similarly marked with additional engraved medal group and LEVEES VISIBLES DOUBLE PLATEAU SPIRAL BREGUET COMPENSATEUR 15 RUBIS FABRICACION EXTRA, 56.3 gross
Lot 1014
A folder of German WWII Nazi cap badges and other badges, mounted on card and taped to reverse. Includes a Luftwaffe Pilots/Observers badge (marked OSG to rear, a Parachutists badge, a coastal artillery badge, a Kriegsmarine U-Boat/Submarine badge, blockade runner badge, a Panzer Assault badge, the General Assault badge, the Infantry assault badge, the Minesweeper/Submarine chase badge, the PT Boat 1939 wound badges (x 3- one black), Kriegsmarine Aux, Cruiser Service badge, Luftwaffe Aerial Gunners badge, Nazi Reichspartetag 1939 badge, Nazi Rally badge 1938, Nazi NSDAP 1938 square badge, Luftwaffe ground combat badge, Hitler Youth enamel membership badge, Nazi Labour Corps badge, Adolf Hitler party election badge 1933, Panzer Tank 'Marksman' badge, Prussian Imperial bronze medal 1897, Helmet Cockade badge, Nazi Police helmet plate, Luftwaffe officers silver breast eagle, SS officers corps badge, Italian Parachutists breast badge, State Official cap badge, SS Afrika Korps Division arm eagle (cloth), tropical helmet badge. The remaining are cloth embroidered badges and consist of the Afrika Korps, Kriegsmarine, Kriegsmarine summer dress, Coastal Police breast badge, Luftwaffe Tropical breast, Waffen SS ski cap and Field Police breast badge N.B - The items in this Lot were from the private collection of Staff Sergeant Archie Gallon RASC (service 1939 - 1945), who amassed his collection of military medals and badges and insignia during the 1950's and 1960's. S/Sgt Gallon collected mainly original period items where possible, but we believe filled out the collection with later productions when the original item was not available. Therefore we advise careful examination of the items within this lot.
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