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Click here to subscribeH&R Daniel - A low pedestal dessert dish, circa 1844-46of rectangular 'Savoy' form with twin pierced handles, green ground with four enamelled panels of fruit, the centre painted with a large purple orchid and other flowers, unmarked, 27cm wideCondition:Several typical stress cracks near handles and the base, one further hairline to the rim.
H&R Daniel - A mixed group of dessert warescomprising a plate, of 'Pierced or Queen's shape, circa 1841, pattern 8089, with a drab border decorated with a floral garden, further decorated to the centre with a still life of fruit including peaches, strawberries and damsons, unmarked, 24.5cm diameter; a further plate, of the same form, with a green trellis panelled border, printed and hand-coloured with fruit and flowers, unmarked, given provisional pattern number 'Dan168', 24.5cm diameter; a pair of 'Shell Pierced' dessert plates, green border alternating with buff perforated panels, central decorated with a spray of flowers and fruit, numbered, 22.5cm diameter; a plate, of 'Shrewsbury Shape', circa 1828, pattern 4661, the green ground painted with four crown-shaped panels of birds on branches, flanked by a garland of flowers, 22.5cm diameter; a pair plates, pattern 3886, of 'cusped form', circa 1823, mazarine blue ground with gilded border, with a central panel of a vase of flowers on a table, unmarked, 21.5cm diameter; and a 'Second Gadroon' plate, white ground enamelled with floral sprays, 21.5cm diameterProvenance: The Michael Berthoud Collection.Literature: Both 'Pierced or Queen's' shape plates are illustrated in Berthoud, H&R Daniel, plate 92. The 'Shrewsbury' plate is illustrated in plate 47.Condition:Pattern 8069 'Pierced or Queen's' shape plate - Large discoloured Y-shaped crack. Some further discolouration to the underside.'Dan168' Pierced of Queen's Shape plate - Some scratches to centre fruit and flower. V-shaped crazing line visible to the reverse.Pair of 'Shell Pierced' plates - Both have fine crazing throughout, with some losses to gilding and scratches to green and yellow ground. One plate has a faint hairline to the rim.'Shrewsbury' plate - Badly cracked.Pair of cusped plates - Both with riveted repairs. One has been broken into two pieces, the other into numerous pieces, with a further filled in break to the rim.'Second Gadroon' plate - Yellow discolouration to front and reverse. Chip to foot rim.
A group of H&R Daniel scent bottles or essence jars, lacking coverscirca 1830-35of baluster form with moulded flowers and leaves, with pale pink, pale blue, light green and dark blue grounds, variously painted with fruit, a landscape and birds, unmarked, 24cm high (damages, repairs) (4)Provenance: The Michael Berthoud Collection.Literature: Illustrated in Identifying Daniel Ornamental Wares, page 83.Condition:Pink example - small section of Handle broken and re-stuck.Blue - Missing handle. Numerous breakages to flowers, foot with crude repairs. Neck broken and again crudely repaired.Green - Handle missing. Re-glued break to spout. Flaking to landscape panels.Light blue - Crack to handle. Breakages and losses to relief foliage.
H&R Daniel - An oval dish, circa 1824of 'cusped' form with ribbon and wreath moulding, decorated with enamelled shells and moths, unmarked, 28cm wideProvenance: The Michael Berthoud Collection.Literature: Illustrated in Berthoud, H&R Daniel, plate 4.Condition:Good condition with no damages or repairs, though there are scratches through the enamel decoration.
H&R Daniel - Five assorted 'Shrewsbury' shape dessert plates and one 'Second Gadroon' plate, circa 1828-30comprising a pair, pattern 4227, rich blue borders with floral sprays and single flowers to the centre, one plate numbered, 21.5cm diameter; a further pair, pattern 4339, white ground with a green and buff vined leave border alternating with chained gold rings, enamelled with flowers to the centre, unmarked; and two further claret bordered and floral plates, 21.5cm diameter; sold together with one further dessert plate, 'Second Gadroon variation B', with piercing to the border, painted with a spray of flowers in a landscape, faintly numbered, 22.2cm diameter (7)Provenance: The Michael Berthoud Collection.Condition:Pair of Vine leaf plates - One Cracked, the other with a hairline to the centre.Pair of 4227 plates - No damages or repairs.Claret plate - Heavy rubbing to the gilding around the inner border, rubbing to painted enamels.Claret plate with floral roundels - Broken into four pieces and re-gluedSecond Gadroon plate - No damages or repairs but several scratches through the enamel scenePlease see images.
H&R Daniel - A small collection of dessert wares and one bread and butter platecomprising a pair of cusped dishes, circa 1824, the apricot border with gilt sprays, painted to the centre with floral sprays, unmarked, 22cm wide; a 'Second Gadroon' plate, circa 1827, pattern 4357, with a scalloped apricot border and enamelled flowers to the centre, unmarked, 21cm diameter; a 'First Gadroon' plate, circa 1824, pattern 3968, with a pale blue border and enamelled basket of flowers to the centre, faintly numbered, 21.5cm diameter; a 'Rococo Scroll' plate, in a pattern similar to the 'Green Plaid' design for Mortlock's in 1837, painted to the centre with enamel flowers, unmarked, 22cm diameter; a 'C Scroll' plate, pattern 4377, the white ground with a rose border alternating with other sprays, the centre moulded with blue on-glaze enamel, numbered, 21cm diameter; a side dish, of 'Second Gadroon Variation B' form, circa 1828, the white ground decorated with floral sprays, 25.5cm wide; and a further low oval dessert dish, of 'Second Gadroon Variation B' form, with green ground border, finely painted to the centre with a garden scene of a nest of eggs and flowers, unmarked, 29cm wide, with a matching dessert plate, 22.5cm diameter; together with a circular bread and butter plate from a tea service, pattern 4822, of 'Ribbed A' form, with a pink and gilt border and centrally enamelled flowers, numbered, 23.5cm diameter (10)Provenance: The Michael Berthoud Collection.Literature: The 'First Gadroon' plate is illustrated in Berthoud, H&R Daniel, colour plate D and the 'C-Scroll' plate is illustrated in colour plate D(v).Condition:Pair of cusped dishes - No damages or repairs but some general rubbing to the gilding, peach borders and a few scratches through the enamels of both plates.Second Gadroon pattern 4357 plate - Three hairlines, some slight discolouration.First Gadroon pattern 3965 plate - Large crack to the centre and a further smaller Y-shaped hairline, also to the centre. Rubbing to the gilded inner border.'Green Plaid'-type plate - Broken in half and stapled.'C Scroll' plate - Cracked.'Second Gadroon' side dish - No damages or repairs, but scratches and wear to enamel flowers.'Second Gadroon' green bordered oval dish - Section broken and re-stuck, further section missing. Matching dessert plate - Old stapled repair to the rim which has now broken further, with a piece missing.'Ribbed A' bread and butter plate - Scratches to pink ground.
A H&R Daniel teacup and coffee cup with a similarly matched saucercirca 1827the cups of of 'C' scroll shape, pattern 4415, the mazarine blue border with yellow painted panels, enamelled flowers and rich gilding, raised on three 'daisy wheel' feet, unmarked, the saucer pattern 4495, second Gadroon variation A, with a scalloped mazarine blue border with inner yellow panels separated by gilt loops, decorated with a central spray of enamelled flowers, numbered, saucer 14.5cm diameter(3)Provenance: The Michael Berthoud Collection.Condition:Teacup cracked. Saucer rubbed. Handle to coffee cup restored.
H&R Daniel - Three teapots and covers, and a part servicethe first teapot circa 1830-34, of 'Ribbed Variation B' form, pattern 5229, printed and hand-coloured in colours with a Fence design, unmarked, 16.5cm high; and the second, of 'First Bell or Bath' shape, circa 1834-5, pattern 6161, printed and hand coloured with flower sprays and moulding pick out in green, unmarked, 17.5cm high; and a 'Second Bell' teapot, printed and hand coloured with flowers (all at fault); and a part service, of 'Second Gadroon' form, pattern 4002, decorated with sepia trays, comprising slop basin, 18.5cm diameter; six sideplates, 18.5cm diameter; one plate, 21cm diameter and a further plate 22.5cm diameter (qty)Provenance: The Michael Berthoud Collection.Condition:Imari teapot - Badly crackedFirst Bell or Bath teapot - Numerous body and spout cracks.Part service - 21cm diameter plate with a foot rim chip.
H&R Daniel - A small group of tea and coffee wares comprising a 'C' scroll teacup, raised on daisy wheel feet, and matching saucer, circa 1827, with a green border and painted flower sprays, unmarked, a further 'C' scroll' coffee cup, the lemon yellow ground painted with floral swags alternating with gilt lozenge motifs, pattern 4366, unmarked; a very finely decorated saucer, of 'Shrewsbury' shape, circa 1827, the maroon red border with slightly raised gilding of acorns and flowers, painted to the centre with a bird in a landscape, unmarked, 14.2cm diameter; together with five further 'Shrewsbury' shape saucers, patterns 4329 and 4318; a 'C' scroll shape saucer, pattern 4271, with green borders decorated with rich panels of flower sprays flanked by roses, 15cm diameter; a 'Spode Bell shape' coffee cup, pattern 3863, with enamelled flowers and seeded gilt panels, numbered, 7.5cm high; a 'Shell Variation B' saucer, pattern 5060, 14.5cm diameter; a plain edge Variation C coffee cup, with a lavender border enamelled with roses and a bird on a branch to the interior, 8.4cm high; together with a further coffee cup and further teacup (14) (some repairs) Provenance: The Michael Berthoud Collection. Condition:C Scroll cup and saucer - Handle replaced. Single C scroll cup - Handle repaired.Three 4329 saucers - One broken into several pieces and re-glued, another with various stress cracks. Two 4318 saucers - One with large broken section re-stuck and various other cracks. The second with a crack right through the centre and other smaller hairlines. 5060 saucer - Typical crazing and discolouration. Scratches and discolouration to the well.
H&R Daniel - A trio of teacup, coffee cup, and saucer, circa 1824of 'First Gadroon' form, pattern 3907, enamelled with nicely painted floral sprays, numbered, saucer 14cm diameter (3)Provenance: The Michael Berthoud Collection.Literature: The teacup is illustrated in Berthoud, H&R Daniel, pl. 16.Condition:Firing crack to base of teacup, otherwise good.
H&R Daniel - Two lavender sprigged dessert centrepieces, circa 1825-6of cusped, twin-handled form raised on pedestal bases, the first in pattern 4019, painted with large central flowers and a gilt band around the edge, numbered to the base, 33cm wide, the second in pattern 3835, featuring a slightly similar but more complex gilt spray design, unmarked, 35cm wide, both 25cm high (2) (one at fault)Provenance: The Michael Berthoud Collection.Literature: Items in the 4019 pattern are illustrated in Berthoud, H&R Daniel, colour plate D(ii), plates 38 and 43.Condition:4019 centrepiece - Several repaired breaks and cracks.3835 - Good condition with no damages or repairs. Very minor gilding wear to the upper rim.
H&R Daniel - An 'Earl of Shrewsbury' armorial low pedestal porcelain dessert comport, circa 1827 painted to the centre with the crest with the earl's coronet, within an apple-green border reserved with floral and exotic bird panels, framed with gilded foliate scrollwork, unmarked, 21cm diameter and 6cm high (restored) Provenance: The Michael Berthoud Collection.Notes: Daniel secured the patronage of the Earl of Shrewsbury, who ordered several services during his refurbishment of Alton Towers in 1827. The Earl died in that same year and the title passed to his nephew John, the sixteenth Earl, who continued placing orders with Henry and Richard Daniel. Reputedly, items were ordered for 'every room in the castle'. Condition:There has been a V shaped break to the rim, which appears to have affected approximately 1 quarter of the rim, including part of one floral and the bird panel. However, other than the corners and edges, the painted panels appear to be mainly unaffected. The gilding to the underside rim has been touched up to cover the repair and the underside of the plate has been fully colour matched. There is some slight crazing to the glaze. Please see additional images
H&R Daniel - A twin-handled vase circa 1825-30 pattern 159, the maroon-red ground with a finely painted oval white panel containing a basket of flowers, surrounded by raised and burnished gilding, unmarked, 25cm high Provenance: The Michael Berthoud Collection. Sold together with the original purchase receipt from Halls in 1998, purchased as a Christmas gift from his son. Literature: See Smith, Identifying Daniel Ornamental Wares, page 201, fig.361 for this vase illustrated. Condition:Foot restored.
H&R Daniel - A part dessert service, circa 1825pattern 4019, of cusped form with lilac vine springing, finely painted with large central flowers in polychrome and a gilded outer edge border, comprising three canted dessert dishes, 28cm wide and seven plates, 22cm diameter (some damages)(10)Provenance: The Michael Berthoud Collection. Literature: Pieces illustrated in Berthoud, H&R Daniel plates 38, 43 and colour plate D(II).Condition:All three oval cusped dishes cracked, one very badly. Four plates badly cracked, the others with stress cracks to the reverse typical of Daniel porcelain.
A mounted chromed car mascot depicting Hermes the Winged messenger of the gods - used as Boxing trophy Hermes holding the staff of Caduceus, the silver plaque, dating to Birmingham,1923, reads 'R. C. of SIGNALS BOXING CHAMPIONSHIPS ~1925~ BANTAM WEIGHT WINNER', 10 1/8in. (26cm.) high, together with a bronze version of the same, the shield cartouche engraved 'BOXING CHAMPIONSHIP 1925 FEATHER WEIGHT WINNER CPL. RICHARDSON'. (2)
A collection of interesting antique books To include Manuel de procedure by Isaure-Toulouse 1888; Le Trevor de Grand Prix, Marguerite S. Comrie 1897; The Arabian Nights Entertainments; Hearts of Oak - A story of Nelson and the Navy by Gordon Staples, surgeon, Royal Navy; In the dashing days of old - The Worldwide adventures of Willie Grant, Gordon Staples; 40,000 quotations, Charles Noel Douglas; The Natural History & Antiquities of Selborne, Gilbert White; Lorna Doone, R. D. Blackmore. (8)
An 1888 British Regimental marked bayonet wooden two-piece grip secured with brass rivets, 30.5 steel blade, EFD (Royal Arms Factory, Enfield) manufacturers marked to ricasso, together with crown over V,R and inspection marks, further marked at pommel with broad arrow and S A 4 INF 907, black leather scabbard with metal mounts.
A set of the Eight Daoist Immortals carved in Chinese hardwood probably 19th century, the robes of each finely inlaid in silver wire with Oriental symbols of Good Fortune, each standing approximately 13½in. (34.5cm.) high, two with chips and one with a split down the abdomen. (8) *Figure 1) Chips to headband, whiskers and instrument over left shoulder. 2) 'Han Xianzi' Tiny chips to nose, chin and costume. 3) 'Li Tieguai' Small chips to hands, piece mising on instrument over r/h shoulder. 4) 'Lan Caino' Body length split in wood, small chip to edge of costume, split to head and right arm, small base cracks. 5) 'Lu Dongbin' Large chip to hat, piece missing from knife hilt over l/h shoulder. 6) 'He Xiangu' Tiny chip to costume. 7) 'Zhang Guolao' Stained chip to sheath over l/h shoulder, tiny chip to rear of costume. 8) 'Gao Guojio' Two possible re- stained chips to base.
John Constable RA (English, 1776-1837) View of the back of Willy Lott’s House with Log-cutter, 1814. Inscribed upper left with the brush ‘June 1814’; and, on verso (in a later hand), ‘J. Constable [R.A.]’ Oil on canvas laid on canvas, 11 ½ x 9 5/8in. (29.2 x 24.4 cm.). English, early 19th century, swept gilded frame inscribed on the slip “Willy Lott’s House Flatford”. The frame bearing a plaque inscribed with the artist’s name “J. Constable” and dates “born 1776 died 1837”. *Provenance: by descent from the artist to his grandson Hugh Golding Constable (1868-1949); Leggatts by 1899 (probably no. 14, ‘Willy Lott’s House, Flatford’ in Catalogue of Pictures & Watercolour Drawings by John Constable R.A., Leggatt’s, Nov 1899); Caroline M.G. Williams (1933-2018), probably inherited from her grandparents Frederick and Ann Williams; and from 2018, by inheritance. **Literature: C. Peacock, John Constable; The Man and his Work, 1965, revised edition 1971, plate 26 and p.142; R. Hoozee, L’Opera Completa di Constable, 1979, no. 194; see also under G. Reynolds, The Early Paintings and Drawings of John Constable, 1996, p.194 (where discussed in connection with related drawing, no 14.25, in collection of Royal Albert Memorial Museum, Exeter). Note: We are grateful to Anne Lyles for confirming the authenticity of this work based on first hand inspection and for providing the following catalogue essay. ***“This fascinating oil sketch, dated by Constable ‘June 1814’ on the upper left, was last recorded in the scholarly literature on the artist in 1979, when it was catalogued by Robert Hoozee in a catalogue raisonné of the artist’s work published by Rizzoli. It thus now reappears here, on the market, after a gap of over forty years. The sketch has a firm provenance reaching as far back as the nineteenth century when it was owned by Constable’s grandson, Hugh Golding Constable (1868-1949), who subsequently sold it to distinguished Fine Art dealers Leggatt Brothers. It almost certainly featured (as number 14, ‘Willy Lott’s House’) in Leggatt’s historic exhibition mounted in their Cornhill Gallery in November 1899, the first to be devoted solely to Constable’s work. When painting in Suffolk in the early part of his career, it was Constable’s regular practice to make oil sketches in the open air. It seems more than likely that this sketch was made by him directly from nature, a conclusion which his inscription on the upper left, with the date ‘June 1814’, tends to support. It relates closely to a pencil sketch in the Royal Albert Memorial Museum, Exeter (fig.1) which was catalogued by Graham Reynolds as ‘ A house amid trees’ (G. Reynolds, Early Paintings and Drawings, no. 14.25). Both Reynolds (op.cit) and Constable scholar Ian Fleming-Williams described the farmhouse in the drawing (and thus by implication the same building in this related oil sketch, which they knew only through reproduction) as an unidentified Suffolk farmhouse (Constable: a Master Draughtsman, Dulwich Picture Gallery, 1994, see under cat. 25 and pp 136-8). However it is now clear that both drawing and oil sketch actually show Willy Lott’s House, the building at Flatford which appears in two of Constable’s most famous paintings, The Hay Wain, 1821 (National Gallery) and The Valley Farm, 1835 ( Tate Britain), but from an unusual angle at the back. This sketch’s original title, as first recorded in the nineteenth century when owned by Hugh Golding Constable and then sold by Leggatt’s, can therefore now be reinstated. When this sketch was first reproduced in the Constable literature by Carlos Peacock (John Constable: the Man and his Work, 1965; revised edition 1971), the author described it as apparently showing a man using a pole to manoeuvre a floating branch. Peacock was presumably basing his interpretation of this figure on his reading of another oil sketch by Constable, Willy Lott’s House from the Stour, c.1812-13, showing the house from the opposite side where a man adopting a similar strenuous posture is polling a ferry boat on the water through the shortcut to the mill stream, Victoria & Albert Museum (fig. 2). As Peacock himself recognised, the latter sketch closely relates to Constable’s painting of The Valley Farm in Tate Britain. However, it would seem that the figure in this oil sketch is actually standing on dry land, and apparently cutting logs, perhaps from a recently felled tree”. Anne Lyles. ****The tiny hamlet of Flatford situated on the north bank of the river Stour in Suffolk is at the centre of the area now known as “Constable Country” where the great painter grew up and which provided the inspiration for much of his work. Willy Lott was a tenant farmer who lived in the house in Flatford attached to the land that he farmed. He lived there for over eighty years and spent only four nights away from the house in his whole life. For Constable the house became emblematic of the rural way of life that was so precious to him. In Edwardian times the house became known as Willy Lott’s Cottage, but John Constable knew it as Willy Lott’s House, as it has been renamed today. *****The English Romantic painter John Constable RA (1776-1837) was best known for his views of the English countryside particularly the area surrounding the river Stour that is known today as “Constable Country”. Born in the Suffolk village of East Bergholt, he entered the Royal Academy schools in 1799 and later exhibited at the Royal Academy and Paris Salon. He made many open-air sketches and used these as the basis for his large exhibition paintings which were completed in the studio. Like many other artists, Constable was influenced by the work of Dutch 17th century painters however he moved away from the idealism expected of the period and experimented with a much freer style of representation, particularly in his studies and sketches. Along with J.M.W. Turner, Constable revolutionised landscape painting in the 19th century and had a profound effect on European artists, particularly in France. As such, Constable is regarded as a precursor of the Impressionists. ******With regard to the attribution, we are pleased to have received the endorsement of Sarah Cove ACR, FIIC, FBAPCR, accredited conservator of paintings and an acknowledged authority on the work of John Constable. Sarah has seen the work and is fully in agreement that this is a work by John Constable. She also anticipates that there would be a significant improvement to the appearance of the painting if it was cleaned. ** CONDITION: The painting has been wax lined and given a thick coat of varnish within the last fifty years and is in stable condition. The conservator and founder of the Constable Research Project, Sarah Cove ACR, FIIC, FBAPCR, has seen the oil sketch and anticipates that there would be a significant improvement to its appearance if it was cleaned. Her approach would be to clean the painting, removing much of the wax that it visible around the edges and on the back and potentially on the surface and remove any old retouchings. If required she would remove the painting from its lining canvas and return the oil sketch to its original structure. Sarah can be contacted at sarahcove101@gmail.com for further information about the conservation of the painting.
A 9ct yellow gold and diamond three-stone ring, the round brilliant-cut diamonds in star settings, total diamond weight 1.06 carats, colur L-M, clarity VS2- SI1, ring size R, total gross weight approx 6.2 grams, accompanied by a WGI certificate WGI9624140619 *Good, stones and settings intact, little wear
Robert Theer (1808-1863) Portrait miniature of a lady, said to be Princess Eleonore of Liechtenstein (1812-1873) in a blue dress signed and dated lower right 'R. Th. 1830' inscribed in later hand in German to the reverse 'Prinzessin von Liechtenstein vermuthlich die Lori Schwarzenberg' watercolour on ivory, oval 7.2cm Provenance: From the estate of the late Barry Lock (1934-2021) The presumed sitter, the daughter of Prince Moritz of Liechtenstein (1775-1819) married in 1830 Johann Adolf von Schwarzenberg (1799-1888). One of their seats was Ceský Krumlov. A portrait of her by Josef Kriehuber dated 1836 is known. This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. V89QPJQZ.
English School, circa 1800 Portrait miniature of an officer in red uniform with white standing collarsigned indistinctly lower left 'R (M?)'watercolour on ivory, oval8cmProvenance:With Kozminsky Galleries, Melbourne, 1966;Janet Niven, Woollahra, Australia, from whom acquired in 2011 by the late Barry Lock (1934-2021)This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. WQZ6KDF8.Few losses around the edges. The inner slip of the frame is not secured properly within the frame and keeps moving freely. Framed 14.2 x 12cm
Edward Robert Hughes, RWS (1851-1914) Portrait study of Dorotheasigned lower left 'E R Hughes. del.' and dated lower right 'July 25. 1901.'; inscribed upper right 'Dorothea'charcoal on paper32 x 24cmProvenance:Millea Bros. Auctions, Boonton, NJ, USA, 5th June 2020, when acquired by the present ownerThe sitter in the present drawing might be identified as Dorothea Brooke, the daughter of the Reverend Stopford Brooke.Framed 49.5 x 43cm
A George III satinwood bonheur du jour writing desk, the raised superstructure with two shelves above a single frieze drawer fitted with sliding leather writing surface, raised on square tapered legs and brass castors118 x 68 x 47cmProvenance:W. R. Harvey & Co., London, 1986Some old lateral cracking to top but otherwise in good condition
Richard H. Hilder (1813-1852) A Surrey cottage signed and dated lower left 'R Hilder 1844'oil on canvas69.5 x 89cmProvenance:Mr J Sharples;Sotheby's, London, 5 June 2008, lot 99, when acquired for £7250 incl. premiumThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are in a good, stable condition. There is a regular network of age cracks which is slightly raised in a few, localised areas. The varnish is clear, even and glossy. There are a few small areas of overpaint, mainly located in the sky, which are well matched to the original.84 x 106cm framed
WW1/WW2 No 14 MK4 Periscope In Transit Boxgreen painted, tubular body. Â Lower angled viewing lens with adjustment dial. Â Top angled lens marked "Periscope No 14 TPL MK4 by R & JB". Â Attachable top lens shield. Â Removable lower wooden handle. Â Both contained in their linen covered, fibre box. Â Webbing shoulder strap.
Post War Cruise/Shipping Cap Tallies With Illustrations Of Shipsincluding Stirling Castle ... HM Bark Endeavour ... SS Arcadia ... MS Leonid Brezhnev ... MS Black Watch ... Arcadia ... Royal Princess ... Sailing Barge Will ... HMY Britannia ... Queen Elizabeth R ... Warwick Castle ... SS Canberra. Â 61 items and photos.
37 x Cloth Badges And Titlesincluding printed 1st AGRA slip on  ... Printed 2nd AGRA ... Embroidery N 1/2 wing ... Pair RAMC Lt Colonel slip on.  Titles include printed Pioneer Corps ... Embroidery Royal Signals ... Embroidery RASC ... Embroidery Essex slip on ... Embroidery R Signals slip on ... Embroidery RASC slip on ... Embroidery AMPC slip on ... Small selection of Naval trade badges ... Bullion embroidery FAA pilot wings.  37 items.
Small Selection Of Various Equipmentconsisting brass Imperial German drum hanger with buff leather top strap. Â Rear of buckle dated 1889. Â Regimental stamp "9.R.7.II". ... WW2 German civilian respirator in issue box ... Slade Wallace buff belt with brass Victorian General List buckle ... Pair of post war, anti mine protective goggles ... German Bakelite powder tube. Â 7 items.
Scarce Imperial German NCO's Seitengewehr M1898 Sawback Bayonet20 3/4 inch, single edged blade. Â Rear sawback edge. Â Narrow fuller. Â Forte with maker "C G Haenel Suhl". Â Back edge dated "14". Â Steel, turn up quillon crossguard, regimentally stamped "244.R.8.16". Â Steel pommel with Acceptance stamps. Â Polished, grooved wooden slab grips. Â Contained in its steel mounted leather scabbard (minor shrinkage).
A cased set of cufflinks and buttons Comprising a pair of cufflinks, two collar studs and four buttons, each terminal of hexagonal outline with mother-of-pearl ground and seed pearl detail, stamped 9CT & 18CT; in a fitted box for James R Ogden & Sons Ltd ... Harrogate ... LondonDimensions:Width of cufflink terminals: 1.2cm
Large Swiss white metal lever pocket watch, 15 jewel bar movement, inscribed hinged cuvette signed Aubert, Genéve, Roman numeral dial, within an engine turned and engraved case with inscription within an engraved cartouche, 62mm; together with a George IV silver fusee cylinder hunter pocket watch, London 1823, the movement signed R. Winch, Reading, no. 8548, dust cover, Roman numeral dial, within a plain case with engraved initials within a ribbon, case maker 'WL' (William Linsley), 55mm (case at fault) (2)-Swiss:Movement - currently functioning although will require a clean/service as stopping after a short time.Dial - chip repairs and surface marks.Glass - surface marks, small blemishes to the outer edge at the five and seven positions.Hands - surface marks, hairline to the minute hand, surface corrosion present.Case - some wear to the edge of the cuvette from case opening, some rubbing to the case back and mild bruising to the case back, light surface marks.Crown - adjusting correctly.-George IV:Movement - currently functioning, stopping after a short time so will require a clean/service.Dial - faint hairlines, chip at the centre hole.Glass - light surface marks.Hands - light surface marks.Case - couple of indentation marks to the edge of the case front, case back with small area of surface loss and hinge broken so case back loose.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots
A Middle Sepik River female ancestor figurePapua New Guineaseated on a mask support and with inset cowrie shell eyes, pierced ears and a long nose, with hands raised to her chest, the abdomen with carved 'ribs' and linear symbols, with pigment decoration, 98cm high, on a base.ProvenanceDr Laurence R. Goldman Collection.Remains of exhibition label 1044 Middle Sepik.
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