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Click here to subscribeA group of 6 large size 20th century division 4 Netsuke.These are classified in the NBS in division 4. The Asian people didn't use buttons but they did use Netsuke to tighten their sash. This is a nice group of figurals including men and women. All hand carved. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and above
A group of 4 large size 20th century division 4 Netsuke.These are classified in the NBS in division 4. The Asian people didn't use buttons but they did use Netsuke to tighten their sash. All hand carved and each figure is carrying something different, nice lot. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and above
American Legal Services Officer's Mess Uniformshort black mess jacket. Collar with green facing. Cuffs with gilt gimp Austrian knot decoration. Gilt cord shoulder straps. 3 rows of miniature medals ... Light blue trousers with gilt side lines. Black waist sash. Together with a similar example with purple collar facing. No shoulder straps or medals ... Light blue trousers with gilt side lines.
Victorian Officer's Sword Belt And Sash Beltred leather belt with silver braid and red line facing. Buckle with acanthus leaf shoulders. Laurel circlet and central Victorian crown and royal lion. Belt complete with two sword hanging straps ... Maroon silk sash belt with two hanging tassels. 2 items.
Circle of William Dobson (British 1611-1646) Portrait of Montagu Bertie, 2nd Earl of Lindsey (1608-1666), bust-length, in armour, with a blue sash Unsigned, titled in the upper left-hand corner, oil on canvas.73.5cm x 60.5cm (29in x 23.75in)Montagu Bertie, 2nd Earl of Lindsey, was an English soldier, courtier, and politician who sat in the House of Commons between 1624 and 1626. He was created Baron Willoughby de Eresby by writ of acceleration in 1640 and inherited the peerage of Earl of Lindsey in 1642. He fought in the Royalist army in the English Civil War. Bertie was born in Grimsthorpe Castle, Grimsthorpe, the eldest son of Robert Bertie, 1st Earl of Lindsey, and his wife Elizabeth Montagu, daughter of Edward Montagu, 1st Baron Montagu of Boughton. After a brief term at Sidney Sussex College, Cambridge, in 1623, Bertie then served as Member of Parliament for Lincolnshire in 1624 and Stamford from 1625 to 1626, when, upon his father's elevation to an earldom, he assumed the style of Lord Willoughby de Eresby. Both Lord Willoughby and his father supported the King and raised a regiment of cavalry in Lincolnshire on his behalf. Lord Willoughby commanded the Life Guards at Edgehill, where his father was mortally wounded. Willoughby surrendered to the Parliamentarians in order to attend his father, whom he now succeeded as Earl of Lindsey and Lord Great Chamberlain. He was imprisoned in Warwick Castle, where he wrote a defiant declaration and justification of his loyalty to the King. He was not released until a prisoner exchange in July 1643, whereupon he re-joined the King at Oxford and was appointed a Privy Counsellor in December. As Colonel of the King's Life Guards of Foot and subsequently Lieutenant-General of the Life Guards "and all the foot", he fought at the First Battle of Newbury, Cropredy Bridge, Lostwithiel, Second Battle of Newbury, and was wounded at Naseby.Lindsey was present at the surrender of Oxford in June 1646, attended the King in 1647, and finally served as a commissioner for the Treaty of Newport in 1648. He continued to attend the King during his trial and accompanied the King's body to its burial at Windsor. After the Restoration, Lindsey was re-appointed to the Privy Council, admitted as Lord Great Chamberlain, and appointed Lord Lieutenant of Lincolnshire. He was made a Knight of the Garter on 1 April 1661 and officiated as Lord Great Chamberlain at the coronation of Charles II on 23 April 1661. In 1662, the office of Earl Marshal was placed in commission and he was named one of the commissioners. Lindsey died in 1666. Bertie had married, firstly, Martha Ramsay (nee Cockayne), Dowager Countess of Holderness, and secondly Bridget Wray, Baroness Norris. These two marriages produced a total of 12 offspring.The painting is in good, restored condition. The painting has been re-lined and there is evidence of cleaning and restoration. The varnish which is not applied consistently across the painting has yellowed in areas and there is some blooming varnish around the edges of the canvas. The surface of the painting is grubby and there is extensive craquelure. The painting is ornately framed but not glazed. The frame has the odd minor knock and loss commensurate with age.
Beswick Mountain and Moorland Ponies, Dartmoor Family: "Warlord", model No. 1642, brown gloss, "Another Bunch", unknown model, special edition of 1500, bay-brown gloss with sash, and "Another Star", unknown model, special edition of 1500, light brown gloss, with boxes (3)All three models in good condition.
A SCARCE EIIR COLDSTREAM GUARDS DRUM-MAJOR'S SASH, the black and red felt faced sash with bullion and red velvet battle honours to ITALY 1943, the numerous battle honours entwined with laurel sprays, upper central sphinx motif, the whole surmounted by a crowned regimental badge, in turn flanked by a pair of gilt mounted black wooden drumsticks.
A Leicestershire and Rutland Masonic apron and sash; white gloves; The Perfect Ceremonies of Craft Masonry, London 1965; Emulation Ritual, London 1927; The Lectures of the Three Degrees in Craft Masonry, London 1962; a Goldsmith Almanack for 1667, with hand-written notes in Latin and English; in a Masonic leather briefcase.
Attributed to Thomas Hickey (1741-1824)Portrait of a young lady, Charlotte Robinson, aged 16 years, half-length seated, in a white dress with a blue sashinscribed with title and dated 1786 on label verso, oil on panel26.5 x 19.5cm, ovalProvenance: With Frost & Reed, London.Condition ReportOverall 32 x 25cmThere is some surface dirt and discolouration with an overall yellow hue. There is some minor craquelure and some rubbing to the surface with a small loss to the centre right. Under UV light there is no significant sign of retouching, however, to the eye there is possibly a small area to the background to the right of the head, corresponding with a repaired scratch.
AN EARLY 19TH CENTURY HALF LENGTH PORTRAIT OF A YOUNG FEMALE FIGURE, she wears a white dress with a blue sash around her waist, in her right hand is a rose cutting, no visible signature, oil on relined canvas, maximum approximate dimensions 58cm x 49cm, Condition Report: the painting has been restored in places, obvious areas are to the end of the nose, her hand and hair, there is a repaired tear running from the top and down the right side with areas of overpainting to missing pieces of the original canvas, some losses to the frame
Coalport - Large ceramic figure group of Queen Elizabeth II taking the salute at Trooping the Colour. A limited edition model which depicts Her Majesty wearing scarlet Guards tunic, with state waist sash mounted upon her horse Burmese, the model numbered 7 of 450 and mounted to fitted wooden plinth, approximately 32 cm (h).Condition Report: Appears in very good condition, no chips, cracks, hairlines or restoration.
Masonic medals, jewels and regalia collection of Brother Robert Donaldson Whyte of Lodge Trinity No885 including various Masonic books, hipflask boxed set, EPNS presentation tankard, whisky miniature 'Lodge of Edinburgh 400th Anniversary', two aprons, a sash, ties etc. and a wealth of pamphlets and other ephemera.
Regency SchoolPortrait miniature of a Lady, white dress with blue sash, she wears a gold and opal diadem, gold shawl circular clip oval, 8.5cm, ebony and gilt metal frameFurther details: slightly faded This item has been registered for sale under Section 10 of the APHA Ivory ActSubmission reference: 5DZ59VKG
Sir James Jebusa Shannon, RA, RBA, RHA (British, 1862-1923)Portrait of Lady Gundrede O'Brien (nee de Trafford of Trafford Park) signed and dated 'J. J. Shannon/1892' (upper left)oil on canvas122.5 x 97.2cm (48 1/4 x 38 1/4in).Footnotes:ProvenanceThe sitter. By descent.The estate of Timothy James Price, the sitter's great-grandson.Private collection, UK (acquired from the above).ExhibitedLondon, Royal Academy, 1893, no. 570.Literature'Royal Academy', Athenaeum no. 3418, April 29, 1893, p. 546.'Fine Arts. The Royal Academy. (Fourth Notice. The Portraits)', Athenaeum no. 3423, June 3, 1893, pp.704-5.The County Gentleman (Sporting Gazette), April 29, 1893, p. 528 (in which the writer mistakenly attributes the portrait to another artist).'How Things Are Done . . . A Comic Guide to the Royal Academy', Sunday Times, April 30, 1893, p. 8.'Royal Academy of Arts Exhibition', Surrey Mirror May 13, 1893, p. 3.'The Royal Academy', Leeds Mercury, May 16, 1893, p. 8.'The Royal Academy. (Third Notice.)', North British Daily Mail, June 20, 1893, p. 2.The American-born portrait specialist James Jebusa Shannon was well on his way to a lucrative international career when this portrait of Mrs. T. Carew O'Brien was shown at the London Royal Academy's annual summer exhibition in 1893. As one writer put it, 'Among the younger portraitists Mr. J. J. Shannon is first favourite. . . . All his canvases represent people more or less well known in fashionable London society, and as usual Mr. Shannon is happiest in his depicture [sic] of ladies.' ('Round the Studios in London', The Glasgow Herald, April 3, 1893, p. 7). Shannon not only possessed artistic talent; he also had an outgoing, magnetic personality, a characteristic that was usually deemed essential for the success of portrait specialists who often found it necessary to entertain their subjects while they posed. Then, too, Shannon's currency on the portrait market was further enhanced by his 1892 acquisition of an imposing property in London's Holland Park Road (next door to the Royal Academy's estimable president, Lord Leighton), which served as his home and studio until his death in 1923.It is likely that the present portrait was one of the first Shannon executed in his Holland Park Road studio and it is just as likely that the sitter's social status is indicative of the painter's rising celebrity. Born in Barton upon Irwell, Lancashire, Gundrede Annette Teresa de Trafford was the second daughter of the wealthy Sir Humphrey de Trafford, 2nd Baronet of Trafford Park – a massive ancestral property that was sold in 1896 and later developed into the largest planned industrial estate in the world. Gundrede de Trafford married the famed 'gentleman' cricketer and heir presumptive of Sir Patrick O'Brien, Timothy Carew O'Brien (1861-1948) on September 22, 1885, thus joining two notable Roman Catholic families. In that regard, it is possible that Shannon gained the commission for the present portrait partly because of his own Irish (albeit lapsed) Catholic heritage. With a writer for the Athenaeum declaring the portrait 'one of Mr. Shannon's best pieces of portraiture . . .an excellent piece of art, charming in the flesh colour, and a vivacious design' (Athenaeum, no. 3418), Mrs. T. Carew O'Brien was gauged the more pleasing of the two canvases by Shannon on display at the 1893 Academy exhibition. What is more, the portrait fared well in the context of other examples of his work that were on view simultaneously at the New Gallery and the Society of Portrait Painters, all of which received considerable and largely positive critical attention. As noted by one reviewer, 'Mr. J. J. Shannon's portrait of Mrs. T. Carew O'Brien is an effective portrait of a fair, delicate-looking lady in a white gown and rose-coloured sash.' (North British Daily Mail). The image of the young mother of four (she would eventually have two sons and eight daughters) suggests a life of quiet dignity notwithstanding the apparent signs of luxury revealed by her fashionable white evening dress and bejewelled fingers. Her sober, direct gaze prompted another commentator to mention her 'air of determination' (Sunday Times) while another found her expression 'judicial' (The County Gentleman). Such impressions of a sitter's thoughtful inner existence rarely surfaced in critical discussions of society portraits of women, most of which allowed that the artists concentrated on flattering the sitter through idealization of face, fashion, and setting. Indeed, despite describing Gundrede O'Brien's pose 'a trifle stiff' and her 'expression . . .stern, if not peevish', a second review in the Athenaeum concluded that 'the flesh is painted with admirable freedom, while the colouration, although mannered, is excellent and pure.' (Athenaeum no. 3423). In the end, Mrs. T. Carew O'Brien stands as a fine example of the painterly, straightforward approach that characterized Shannon's art in the early 1890s as he established a career that ultimately took him to the heights of society portraiture in Britain.We are grateful to Barbara Dayer Gallati for preparing this catalogue entry.For further information on this lot please visit Bonhams.com
Sir John Everett Millais, PRA (British, 1829-1896)Forget-Me-Not signed with monogram and dated '1883' (lower left)oil on canvas84 x 63.5cm (33 1/16 x 25in).Footnotes:ProvenanceThe artist and his wife, Effie, Lady Millais.Her bequest (will of 26 July 1897, Scottish Probate Office) to their son John Guille Millais.Sold by John Guille Millais, Christie's, 26 May 1900 (lot 100), bought by Sir James Kitson, Bart. (later 1st Baron Airedale), Gledhow Hall, Leeds, 1,500 guineas.By descent to his daughter Emily Kitson.Sold from her estate, Tower Lodge, Tunbridge Wells, Kent, 28 November 1961, bought by her first cousin once removed Grosvenor Talbot Griffith, Old Swindon House, Swindon Village, Cheltenham, Gloucestershire.Bequeathed to the present owners.Private collection, UK.Exhibited London, Royal Academy, 1883, no. 323.Dublin, Royal Hibernian Academy, 1884, no. 51.London, Royal Academy, Works by the late Sir John Everett Millais, Bart., President of the Royal Academy, 1898, no. 121.Kitakyushu, Municipal Museum of Art & Tokyo, Bunkamura Museum of Art, Millais, (exhibition organized by Tate, London), 2008, no. 55.LiteratureAthenaeum, 5 May 1883, p. 575.Morning Post, 5 May 1883, p. 5.Times, 5 May 1883, p. 12.Illustrated London News, 5 May 1883, p. 438.Illustrated London News, 12 May 1883, p. 470.London Evening Standard, 24 May 1883, p. 2.Graphic, 26 May 1883, p. 20.The Age, (Melbourne, Australia), supplement, 23 June 1883, p. 2.Art Journal, July 1883, p. 218.Art Journal, August 1883, p. 254.Beatrix Potter, journal entry, 11 November 1883, The Journal of Beatrix Potter 1881–1897, transcribed from her code writings by Leslie Linder, 1989, p. 56.Magazine of Art, volume VII, April 1884, p. xxviii.Marion Harry Spielmann, Millais and His Works. With special reference to the exhibition at the Royal Academy 1898 . . . with a Chapter 'Thoughts on Our Art of To-Day' by Sir J. E. Millais, Bart., PRA, Edinburgh and London, 1898, pp. 122 & 176 ('List of Oil Paintings', no. 252.).John Guille Millais, The Life and Letters of Sir John Everett Millais, President of the Royal Academy, 1899, volume II, pp. 236 (reproduced) & 482 ('Chronological List of Millais' Work').When Forget-Me-Not was first exhibited, at the Royal Academy exhibition of 1883, the critic of the Athenaeum magazine called it 'a portrait in character'. It was generally recognized as a likeness of the artist's daughter Effie James (1858–1911), although her outfit and the title of the work suggested something other than a straightforward portrait; she was both being herself and playing a part, both sitter and model. Her summer dress with matching sash and ribbons was closer to fancy dress than real-life clothing of the time, and the style vaguely eighteenth-century. This was what the critic meant by 'a portrait in character'. Millais presents his daughter as a Victorian young woman with a touch of the aristocratic lady of a bygone age. She sits against a park or garden background with little definition to anything beyond some sprigs of honeysuckle, hinting at a love of nature on Effie's part but with little to distract from her figure. The general presentation, like the costume, recalls portraits of the Georgian era. In his middle age Millais embraced conventions and traditions of British painting which he had reviled as a young Pre-Raphaelite. A pioneer of the 'eighteenth century revival' in Victorian art and design, he painted loosely-brushed recollections of British masters of the past, Joshua Reynolds, Thomas Gainsborough, and George Romney—alluding to their works as they, in turn, had alluded to the works of their revered predecessor Anthony van Dyck. Gainsborough held a special appeal since he too had been a fond father who loved to paint his daughters. It is difficult to say whether Forget-Me-Not was begun primarily as a portrait or as a so-called 'fancy picture'—that is, whether it was private and intended for the family, or commercial and intended to be sold. Millais may have kept both possibilities open as he painted and exhibited the work, although as a young-woman subject it would not have been quite as immediately saleable as his nostalgic paintings of children. On balance it was likely painted more with family purposes in mind; the family certainly kept it, at least until the artist and his wife had died. It may even have had a private meaning for them. The forget-me-nots that Effie has been picking gently suggest what she might be thinking—'forget me not'—as a daughter who has left home; she was now twenty-four years old, married, and the mother of two little boys. Writing for the Art Journal, one critic thought Effie was in a state of yearning, with 'a soft, pleading expression in her wistful eyes'. One can imagine her father coming up with the 'forget me not' conceit as both an expression of paternal affection (he would hope she cared to be remembered) and, given his love of humour, a chance for quips and raillery. He would later use the title The Last Rose of Summer for the portrait of another daughter, Mary; she was his 'last rose of summer' as the one who never married and stayed in the family home, helping him in his work and public duties until the end. Alongside Forget-Me-Not, Millais began another painting of Effie on a canvas the same size, in more or less the same pose though wearing a different, more contemporary dress. Finished as a gift for Effie herself in 1885, it now belongs to one of her great grandchildren. Named after her mother, Effie was the artist's second child, his eldest daughter, and one of his favourite models. She appears in more of her father's works than any of her siblings; as a child she posed for the popular My First Sermon and its sequel, My Second Sermon. From the age of ten she attended a boarding school in Forest Hill, south London, with her sister Mary; when she was seventeen the girls stayed in Paris for a time to study languages and the piano. Good-looking and sociable, Effie was delighted by the round of balls, parties, and at-homes that she attended in London as a girl. On 28 November 1879 she married Captain William James, an officer in the Royal Scots Greys and son of the eminent judge Sir William Milbourne James. They had two sons, George and William ('Willie'), and two daughters, Phyllis and Sylvia. Willie was the model for Bubbles, which became famous as an advertisement for Pears' soap. Both sons pursued military careers like their father. George became an army captain and was killed in the First World War. Willie
An impressive Elizabeth I oak, fruitwood, inlaid and penwork headboard or overmantel, circa 1570Having a pair of panels, decorated with Classical figures within a leafy-surround, enclosed within an ornately carved arcade, spaced by broad figural terms, two male and one female, each topped by pendant fruits, with naked torso, folded arms, and with one hand tucked into a sash, above a Moor and Green Man mask 'pedestal', below a deep frieze with two fruitwood panels decorated with intricate leafy-scroll strapwork, spaced by geometric-carved corbels, with female 'satyr' carved ears, 164.5cm wide, 28.5cm deep, 98.5cm high
SUFFRAGETTES – 'VOTES FOR WOMEN' SASHOriginal 'Votes for Women' tri-coloured sash, originally woven in purple, green and white with 'Votes for Women' printed in blue in central strip on front and reverse, hook for banner pouch and hook and eye fastening, faded and marked, folded length 540mm., early 20th centuryFootnotes:Emmeline Pethick Lawrence introduced purple (for dignity), white (for purity) and green (for hope) as the colours for the WSPU at the Hyde Park rally of 21 June 1908, the sashes designed by Sylvia Pankhurst clearly visible against the suffragettes' white dresses. Suffragette accoutrements were retailed through a network of independent WSPU shops and department stores such as Selfridges which opened its doors in the same year.For further information on this lot please visit Bonhams.com
AN UNUSUAL PAINTED 'COUNTRY HOUSE' BOX OR TRUNK LATE 18TH/EARLY 19TH CENTURY AND LATER The front and sides later decorated with a smart Georgian frontage, pedimented door, sash windows, balustraded roof, the whole of domed form, twin carrying handles and close nailed edges 62cm wide, 41.5cm high, 39cm deep
A RARE CARVED OAK MODEL OF A EUROPEAN MERCHANT OR ARMY OFFICER 18TH CENTURY, DUTCH OR POSSIBLY FRENCH In contemporary attire including tricorn hat, cravat and long coat with sash, on a rectangular base41cm high, 16cm wideThe present lot shows similarities to depictions of East India traders manufactured in the English and Dutch colonies during the early years of the 18th century. The best-known versions of these are by Chinese plaster sculptor Amoy Chinqua. As the sculpture presented here is made of oak, it is more likely an unusual European rendition of a similar subject.Condition Report: The sculpture bears the usual minor marks, knocks and scuffs overall consistent with age.There is some evidence of minor old worming, particularly to the base and the left sleeve, though this doesn't appear to be active.There is an old repair across the base, mostly visible to the underside. There are two shallow surface inconsistencies (narrow, each circa 0.5-1cm long) to the coat, possibly inconsistencies in the timber of very small chips. The left elbow is a little scuffed.Condition Report Disclaimer
A good Japanese sword Katana, with green and black gilded lacquer Saya (scabbard), the blade 76cm long (from notch to point), having straight 'Hamon' and being signed to the tang (Nakago) 'Echizen No Kami Fujiwara Sukehiro'. Suke Hiro was an Edo period 17th century swordsmith, but such a signature does not guarantee the age of the sword. Double handed silk bound shark skin grip with iron Tsuba and gilded dragon Menuki. Overall 1.06M long including saya. Provenance: local private vendor who's relative acquired the sword at the end of WWII. (B.P. 21% + VAT) Overall appearing in fair to good condition, silk binding is grubby, tiny loss to blade point under magnification, small area of rust to the iron tsuba. We are not able to warrant the age of this item.Overall appearing in fair to good condition, silk binding is grubby, tiny loss to blade point under magnification, small area of rust to the iron tsuba. We are not able to warrant the age of this item.----Detailed Report of the Japanese Samurai Katana. Fine Art Sale – March 2023This ‘Katana’ is identified by the two handed grip or handle (Tsuka), the shallow curvature of the blade, the position and manner in which the sword is worn and, also, the positioning of the maker’s signature, which here appears on the side of the Tang (Nakago) which would traditionally face to the front, away from the body, where the sword is worn on the left side, blade curve up and held in place by the Kimono Sash. The ‘Nakago’ is signed – ‘Echizen No Kami Fujiwara Suke Hiro’. Suke Hiro was a renowned Edo period seventeenth century swordsmith. Because of his fame, there are many fakes and copies of his work, so the signature alone is not a guarantee of authenticity. However, there are many interesting features on this sword and its scabbard (Saya) which would fit with the period that the signature suggests.The Scabbard (Saya) – Ornately decorated in a dark green toned lacquer with black lacquer mottling and all highlighted with extensive gilding. The black lacquered cord loop (Kurigata), is a further indicator that this sword is a Katana. The earlier ‘Tachi’ curved sword, from which the ‘Katana’ was ultimately developed, was essentially a cavalry weapon and wielded from horseback, whereas the Katana became the favoured weapon for hand to hand combat, on foot. The ‘Tachi’ scabbard would have two cord loops and was mounted suspended, unlike the Katana which has one loop and is worn through the belt sash. The finely chisel-engraved metal binding around the scabbard has been tested and proves to be Silver. The configuration of the metalwork around the bottom of the ‘Saya’ appears to be in keeping with some Edo examples observed.The Silver banding was worn by second rank Samurai aristocrats. On this sword, the metal work on both the ‘Saya’ and the ‘Tsuka’ is beautifully enhanced by very finely hand engraved leaf scroll-work. The highest ranks wore gold bound swords.The Katana Blade – This sword has a 76 centimetre blade length, measured from the notch on which the blade collar (Habaki) seats, to the point of the blade. The blade is quite long for a ‘Katana’, which usually has a blade length in the low sixty centimetre range, though ‘Katana’ blades up to 80cm. have been recorded. This blade has a ‘Straight Hamon’ which is the line of a somewhat cloudy appearance immediately above the cutting edge and is an indicator that the blade has been ‘differentially tempered’ in the traditional manner. ‘Differential tempering’ is achieved by applying a layer of clay to the blade, of ever decreasing thickness from the spine of the blade to the cutting edge, the last few millimetres having little or no clay at all, applied to it. The blade is differentially tempered by a process of forge-firing and quenching which produces the required hard edged but flexible sword blade. It is worth mentioning that Suke Hiro achieved some fame in his later career when he developed a technique that produced the elaborately decorative ‘Toran Midare Hamon’ which, in appearance, resembled large high-rising ocean waves and was highly prized by the seventeenth century Edo Samurai. There are, however, extant blades attributed to Suke Hiro, which show a Straight ‘Hamon’. Microscopic investigation of the ‘Hamon’ on this blade, appears to reveal the ‘Martensite Crystals’ at the tempered edge, reducing in density from the cutting edge towards the back of the ‘Hamon’ (nearest to the spine), all in all suggesting that this ‘Hamon’ is correct. A ‘Hamon’ can be contrived and faked by acid etching, but this does not appear to be the case with this sword. The naked blade and Nakago of this sword appear to compare visually to the 17th. century Edo blades of the period, illustrated in ‘Facts and Fundamentals of Japanese Swords – a Collector’s Guide’ by Nobuo Nakahara (translated by Paul Martin). The cross section shape of the blade (Mune), appears to conform with the ‘gyo-no-mune’ shape seen on page 60 fig. 70 of Nobuo Nakahara’s guide. The patina on the ‘Nakago’ is of a brownish hue and the finishing hand filing marks are clearly visible.The Sword Handle (Tsuka) – The ‘Tsuka’ is the double-handed grip which is separated from the sword blade by the blade collar (Habaki) and two sword guard spacers (Seppa) which sit either side of the sword guard, itself (Tsuba). On this sword there appears to be a ‘Tsuba’ maker’s signature, in the Kanji flanking the ‘Nakago’ aperture. We think that part of the inscription on the ‘Tsuba’ makes reference to Yamashiro no Kuni province and the Kanji to the left of the ‘Nakago’ aperture, though somewhat obscured by rust, can be the name ‘Tadatsugu’. Further research has revealed that there were at least three swordsmiths of that name working in Yamashiro province, between 1644 and 1673. The ‘Tsuka’ is held in place on the ‘Nakago by a Bamboo tapered peg (Mekugi) which passes through a single hole in the ‘Nakago’ and secures the whole assembly in place. The ‘Tsuba’ is plain iron with no adornment other than the Kanji characters mentioned above. The body of the ‘Tsuka’ is made from wood, before being traditionally wrapped in a layer of Ray skin (Samegawa). There are two gilded white metal, in this case, ‘Dragon’ talismans (Menuki) , one on each side of the hilt where the sword is held and these are secured in place by a two-colour silk ‘wrap’ (Ito). The ‘Ito’ is secured at the ‘Tsuba’ end of the handle with the ‘Tsuka’ collar (Fuchi) and at the opposite end, by the ornate pommel (Kashira) which, on this sword is fashioned as two arms with hands folded, one on top of the other and embracing the top of the hilt. Both the ‘Fuchi’ and the ‘Kashira’ are emblazoned with the Family Crest (Mon) of the ‘Minokuni branch of the Ikeda family’, two of which are raised and gilded and two which are raised, but with no gilding. The circular ‘Mon’ is in the form of a stylised Butterfly.Condition – There is some degradation of the Lacquer-work on the Saya and very minor fraying of the silk in the ‘Ito’, which is also grubby in places. There is a small loss to the point of the blade which becomes apparent under magnification. There is a small area of rust visible on the signed surface of the ‘Tsuba’. There is a minor distortion of the ‘Mekugi’ peg. Otherwise, the ‘Katana’ is in very good condition.We have described this Katana to the best of our ability and knowledge but, ultimately, it must rest with the buyer regarding decisions as to authenticity and age.
JOHN SMART (BRITISH, 1741-1811)Portrait miniature of Admiral Sir Charles Saunders (1715-1775), wearing the sash and breast star of the Order of the Bathsigned with initials and dated ‘JS 1778’ (centre left)on ivory (ref. ZN31B8RM)5cm highin a gilt metal frameProvenanceSotheby’s, London, 16 December 1974, lot 155;Private collection, UKLiteratureD. Fosket, JohnSmart, The Man and his miniatures, London1964, p. 73.FootnoteAnother version of this portrait by John Smart was painted in1773.An apparent copy of the present portrait in oil on copper was soldSotheby’s, London, 23 September 2021, lot 224 (from the collection of the lateTimothy Clowes).The sitter was a Royal Navy officer and served during The SevenYears’ War. He was awarded the Order of the Bath in 1761 and he was buried atWestminster Abbey.Condition reportRetouching, lower right background.After the Sotheby’s sale, the miniature underwentsome restoration by Limner Antiques.The present work will be on view at Cromwell Place, SW7 2JE, 21 & 22 March, 11am-5pm
A large collection of British Army dress uniforms, to include a George VI Officer’s No.1 dress tunic, for the Army Service Corps, with white facings, gilt braided epaulettes, a gold and blue body sash with personal load (PL) pouch, and a conforming waist sash with a regimental badge, mounted on a mannequin, total 76cm high, an associated peak cap, with ‘ER’ badge, retailed by Thomas & Stone Hat and Cap Makers, the interior 16 x 20cm, and two No.2 Service dress tunic, one for the Royal Army Service Corps, approximately 78cm high, together with various belt sashes, to include a British Army Officer’s belt, a maroon example, and a Royal Crops of Transport stable belt, a pair of Huntley brown field boots,marked Huntley Bootmaker Aldershot,48cm hightwo Brodie steel helmets, with chinstraps, one example marked 'W', the interior 16 x 20cm and 19 x 15cma Royal Army Service Corps flag,175 x 82cmand various maps and aerial pictures Condition ReportMarks and wear throughout.No.1 dress tunic) The uniform has not been taken off the mannequin and so the condition of the interior and structural integrity is unknown. Wear to the gilt elements, particularly the arm cuffs and epaulettes.Peak cap) The interior lining of the cap is damaged and there is a tear to the chin strap.Boots) Heavy wear and cracks to the leather. Brodie helmets) Knocks and dents throughout. In need of a clean. Loss to the paint.Flag) In need of a clean. Visible holes.Maps) Marks and wear throughout. Creases, tears and fold lines.
A Greek military dress uniform belonging to Edward John Trelawny, worn during the Greek War of Independence (1821-32), comprising a jacket, embroidered linen waistcoat, scarlet wool sash, linen breeches, scarlet felt cap, nickel bridle mounts, a circular cast metal target brooch and a cast nickel sword hilt (10)Edward John Trelawny (1792-1881) was an English gentleman and novelist, best known for his friendships with Romantic poets Shelley and Lord Byron. In 1823, Trelawny joined Byron in the Greek War of Independence, where he commanded a troop of 25 Albanian soldiers under the Eastern Greek Warlord; Odysseas Androutsos. Trelawny later married Androutsos' half-sister following his campaign in the mountains. Upon his return to England in 1831, he documented his adventures in his semi-fictional autobiography Adventures of a Younger Son.Provenance: Directly from the family - a relation of Trelawny, and thence by descent.Condition ReportMinor holes and wear.
Sir William Strang, G.C.M.G., K.C.B., M.B.E. (1893-1978) and Anthony Eden, 1st Earl of Avon, KG, MC, PC (1897-1977).The Most Distinguished Order of Saint Michael and Saint George, Knight Grand Cross (Civil) GCMG, comprising silver gilt and enamel badge of the Grand Cross and silver, silver gilt and enamel breast badge, by Garrard & Co Ltd, cased with sash ribbon and neck ribbons; together with a letter dated 25th May 1932 from John Simon of the Foreign Office informing Strang of his appointment of Companion of the Order; and a letter from Anthony Eden as Foreign Secretary dated 21st November 1943, informing Strang of his appointment to Knight Commander; Strang received the Class of Knight Grand Cross in 1950.After the First World War, in which he fought as an Officer in the Worcestershire Regiment, in 1919, he joined the Diplomatic Service and served at the British embassy in Belgrade from 1919 to 1922, at the Foreign Office from 1922 to 1930 and at the embassy in Moscow from 1930 to 1933. During his time in Moscow he played an important role in the Metro-Vickers engineers trial, in which six British engineers were accused of spying. He returned to the Foreign Office in 1933, and held office as head of the League of Nations section until 1937 and of the Central Department from 1937 to 1939.During the 1930s he was an adviser to the government at the major international meetings, and met Mussolini, Hitler and Stalin. He was a tacit opponent of appeasement, but always stayed loyal to the government. Strang was present at the major conferences between the Allied leaders during the Second World War. In 1943 Strang was appointed the British representative on the European Advisory Commission, with the rank of ambassador. The commission was established by the Allies to study the possible post-war political problems in Europe and make recommendation but was dissolved at the Potsdam Conference. In June 1945, Strang became political adviser to the Commander-in-Chief of British forces in Germany, Bernard Montgomery.Strang again returned to the Foreign Office in 1947 and served as Permanent Under-Secretary of State for the German section from 1947 to 1949 and as Permanent Under-Secretary of State for Foreign Affairs from 1949 to 1953. The six years Strang served as Permanent Under-Secretary of State saw the gradual recovery of Europe through the Marshall Plan, the establishment of the Western European Union and NATO and the breaking of the Berlin blockade. He retired from the Foreign Office in December 1953 due to ill health, following an incident where he fainted during Queen Elizabeth II's coronation ceremony at Westminster Abbey.While serving as an army captain, Strang was appointed a Member of the Order of the British Empire (MBE) in 1918. He was made a Companion of the Order of St Michael and St George (CMG) in 1932, a Companion of the Order of the Bath (CB) in 1939, a KCMG in 1943, a GCMG in 1950 and a KCB in 1953. In 1954, he was raised to the peerage as Baron Strang, of Stonesfield in the County of Oxford. He later served as a Deputy Speaker and Deputy Chairman of Committees in the House of Lords and as Convenor of the Crossbench Peers.
Vintage costume jewellery, mainly brooches, to include a pair of Sarah Coventry gold tone and peach teardrop clip-on earrings, an Aurora Borealis necklace, 2 Coalport china brooches, an 'Exquisite' gold tone heart and sash design brooch, an engraved gold tone bangle and a Mirella tulip brooch together with a quantity of modern fashion jewellery and key rings together with a quantity of silver items including 2 silver thimbles and an Italian silver gilt necklace with matching bracelet all housed in a late 19th Century/early 20th Century rosewood jewellery box A/FLocation: BWR/R2:2
After Sir Thomas Lawrence, a copper plate engraving Princess Metternich, engraved by Clifford R James. 37 cm x 33 cm and another similar after De La Riviere engraved by Gulland. CONDITION REPORT: Both prints are in reasonably good order. The colours are strong. Both margins are a little yellowed. The mounts are also discoloured but both match. The frames have nibbles to the corners and to the bottom moulding. The frame to the lady with the blue sash has sprung at the bottom left-hand corner. Both pictures are glazed.
An English carved Sandstone garden figure of a young woman, early to mid 18th century standing full length and bare foot, in a richly pleated dress, bonnet, and sash, upholding the hem of her dress with one hand, holding a gathering of fruits in the other 123cm high, 57cm wide with an associated and later concrete open plinth base 15.5cm highProvenance:'Hillsleigh', Burford, OxfordshireAcquired from Olympia in the 1980s.weather worn and mossy.
A sash section18th century, PolishDesigned with alternating horizontal lines of a lozenge pattern and flower spray, the border with undulating carnation and leaf pattern, woven in coloured silks and gold thread, and four matching fragments, 37cm high x 202cm wide, the other four: 37cm x 59cm (5)Footnotes:Literature: 'Woven from the Soul, Spun from the Heart' by Carol Bier, pub.1987 page 232 ISBN 0-87405-026-X.For further information on this lot please visit Bonhams.com
FOUR BOXES OF VINTAGE TINS, TREEN AND SUNDRIES, to include a Macfarlane Lang & Co. confectionery tin, a 5lb Farmers Tea tin, Winton's Devon Maid Toffee tin, James' tobacco, Craven A cigarettes, a collection of fine handmade 'Fibre D'Oylies' from Jamaica, a Freemasons apron and sash, a boxed set of Post Office weights, a Revue tripod, a case of approximately fifty L.P records to include artists Jim Reeves, Harry Secombe, Neil Sedaka, etc. (s.d) (4 boxes)
Steve Harley + Cockney Rebel, a 1970's fan club sash/scarf in orange fabric printed with an image of Harley and the band to each end, signed verso Steve Harley, George Ford and Duncan Mackay, 13 x 102cm.Lots 1001-1020 have been consigned by Steve Harley, singer and frontman of 1970s group Cockney Rebel, whose number one hit ‘Make Me Smile (Come Up and See Me)’ has been covered at least 120 times and appears on soundtracks as diverse as The Full Monty, Lego Rock Band, and a Marks & Spencer’s advert.
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