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A MASONIC SASH - ORDER OF ODDFELLOWS, with silk panel 'Amicitia Amor et Veritas' - Friendship, Love and Truth

A TRAY OF ASSORTED TOOLS TO INCLUDE SASH CLAMPS

Of film and television interest, a large collection of costume accessories, including a reproduction George V Knight Grand Cross Star Sash and Badge, made for the 1986 TV production of 'Mountbatten: The Last Viceroy', in fitted case, together with a cased French Marshal's Baton, pattern 1815-1830, made for an unknown French TV series, a cased (but unfinished) Napoleon I Marshal's Baton, a replica WWI Prussian helmet produced for the 1979, movie "Riddle of the Sands" a large composition prop figure of a ships naked female figure had bearing the legend "Dread-Nought" and a large quantity of reproduction metalware and textile badges and uniform braids, lanyards to include military and Western examples, produced for assorted unknown productions.Private collection, deceased estate, from the collection of AR Fabb Bros. Ltd of Maidenhead, designers and manufacturers to the film and television industry.

20 sash and other cramps In used condition

Suitcase and contents of Masonic regalia, silk and leather apron, sash, booklets etc

Hertfordshire Regiment Officer Home Service Helmet and Uniform A collection of 1902-1914 uniforms worn by Captain. George Macdonald Brown MC. Comprising: A good example of an Officer post 1902 Home Service Pattern blue cloth helmet. The helmet is complete with gilt metal cross piece, spike and rose bosses supporting a velvet backed chin chain. To the front, a gilt metal helmet plate to the centre the regimental device on a field of black velvet within a strap The Hertfordshire Regiment. Leather sweatband to interior with crimson silk edging. Tailor stamp of Hawkes & Co London. Housed in original japanned tin with brass name plate G.Macdonald Brown. Hertfordshire Regt TF. Also with maker tablet. Gilt furniture toned, gilt to helmet plate remains bright. An 1880 pattern scarlet tunic with white facings to the cuff and collar. The collar is with fine gilt metal badges and bullion lace. Plated shoulder cords with single rank star and bullion T. Complete with gilt brass buttons. Tailor label Hawkes & Co. and ink name G.M.Brown Esq. Scarlet remains fresh, superb condition, slight wear to the lining. Scarlet mess jacket and waist coat. The jacket with white facings to cuff and white piping to the collar. Complete with bullion rank star, T and gilt brass buttons. Tailor label and ink name. Waist coat of regimental pattern. Scarlet fresh. An Officer’s peaked forage cap. Dark blue Melton cloth with scarlet piping. Gilt brass regimental badge and regimental buttons. Pattern leather peak and chin strap. Leather sweatband and tailor gold embossed stamp Hawkes to interior. Cap is now misshapen and patent leather now congealed with tissue paper. Gilt remains bright. Officer pattern undress belt and sword slings and crimson waist sash. The collection is with a associated family tunic. Bedfordshire and Hertfordshire Regiment an Officer patrol pattern blue tunic. Major rank crown and gilt brass regimental buttons. With service wear GC. All contained in the original japanned metal storage tin, with engraved brass name plate to the lid. Capt. G.Macdonald Brown MC. Commissioned 19th June 1912. Capt 1st June 1916. Awarded MC. 1914 Star MID. PAYMENT BY BANK TRANSFER ONLY

A group of Bibendum and Michelin related items and memorabiliaComprising: a drawing by Ricca Kawai on the occasion of the 20th birthday of the Bibendum restaurant; a book on the history of Michelin posters; a cast iron Michelin Man, circa 1925, painted on his sash: Reg 67548 Detroit; various plastic and resin Michelin man figures; an ashtray; a sugar bowl with a Michelin Man surmounted on the cover, and a large painted plastic Michelin Man table lamp shade, circa 1965 (missing all fittings), the large plastic Michelin Man table lamp shade: 30cm wide, 20cm deep, 48cm high (11 1/2in wide, 7 1/2in deep, 18 1/2in high) (9)Footnotes:The Bibendum restaurant opened after Sir Terence (in partnership with publisher Paul Hamlyn) purchased Michelin House, the French tyre manufacturer's London HQ, in 1987. The first floor became the restaurant.For further information on this lot please visit Bonhams.com

* Austrian Tarock. A deck of monkey tarock cards, Vienna, Austria: Josef Glanz, circa 1870s, 54 lithographed cards with stencilled colour, French suits, comprising pip cards hearts and diamonds 1-4 (ace of hearts with maker's circular ink stamps), spades and clubs 7-10, 16 double-ended court cards (queen of hearts with maker's name on sash), Fool card, and 21 double-ended trump cards with monkey on card I and genre scenes/scenic views on cards II-XXI, bowed, and somewhat dusty and soiled, versos with orange, black, and white pattern, square corners, 102 x 54 mm QTY: (1)NOTE:An attractive tarock set by Josef Glanz, with a most unusual grotesque grinning monkey-figure on the first of the trump cards.

An oak sash window pole, with wrought iron pick end, 210cm long.

A Steiff ‘Berlin’ teddy bear, modelled with Berlin sash and crown, label and button to ear; together with a Steiff ‘Emma’ rose miniature teddy bear; and two other Steiff miniature bears. (4)

Circle of Hugh Douglas Hamilton (British, c.1740-1808) Portrait of a young lady, head and shoulders, seated on a chaise longue wearing a white dress with blue sashoil on canvas61 x 50.5cm, unframed***CONDITION REPORT***Oil on original canvas which remains tight but has a number of small holes knocked through it, notably one hole just below 12 o'clock and two others through her chest, other surface damage elsewhere, a fine but stable craquelure running through most of the paint, a few small patches can be seen when viewed from behind, these line up with small areas of retouching, not framed.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Four sash cramps of varying size, one stamped Record 135

Two large metal sash clamps

A SELECTION OF LARGE AND SMALL G CLAMPS AND 3 SASH CLAMPS

TWO BOXES OF 'R.A.O.B' REGALIA, to include a metal case containing a light blue, white and gold detailed apron, three light blue sashes with gold detailing for lodge 7151, a light blue jewelled collar with enamel medallions attached for the 'Royal Antediluvian Order of Buffaloes', two enameled medallions hanging from a light blue ribbons, a black and gold detailed sash, a blue and white sash, an enameled medallion fixed to a screw, a black wallet, together with a wooden box containing a paper scroll, a 'Scottish Craft Rituals' handbook, a burgundy jewelled collar with enameled medallions for the lodge No 5208, and a burgundy and white apron

An early 20th century engraved 9ct gold hunter fob watch, with Roman dial, gross 36.7 grams, on a blue sash with yellow metal mounted hardstone fob.

Tang Dynasty, Ca.618-907 AD.A terracotta Tang Dynasty female dancer wearing a long flowing gown with her hands uncovered. The dress is a deep orange, which continues to the waist sash, separates the skirt from the bodice and is also the same orange colour. Her upper body is slightly bent to the side, with her left arm in the air, indicating motion. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style whilst also showing no modern trace elements. The TL certificate with its full report will accompany this object. Report No. 11AG2132022.Size: L:320mm / W:140mm ; 1,05kg.Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Stehendes Paar (Corpsstudent). Um 1906/07. Farbige Kreidezeichnung. Auf Velin. 14,5 x 11,5 cm (5,7 x 4,5 in), blattgroß. [CH]. • Unmittelbar, unverfälscht und treffend festgehaltene, farbkräftige Figurenszene aus der frühen 'Brücke'-Zeit in Dresden. • Die kleinformatige Skizze erhält große Wertschätzung: Kirchner klebt sie ursprünglich wohl in eines seiner Skizzenbücher ein. • Ähnliche frontal gezeigte Figurenkompositionen finden sich u. a. auch in dem Gemälde 'Straße, Dresden' (1908/1919, Museum of Modern Art, New York) und in dem frühen Farbholzschnitt 'Spazierengehendes Paar' (Städel Museum, Frankfurt/Main) wieder. Wir danken Herrn Prof. Dr. Dr. Gerd Presler für die Hinweise und die Unterstützung bei der Bearbeitung dieses Werkes. PROVENIENZ: Sammlung Lise Gujer, Davos (bis 1956). Galerie Kornfeld und Klipstein, Bern (1956 von der Vorgenannten erworben, verso mit der Lagernummer). Privatsammlung (1956 vom Vorgenannten erworben). Sammlung Hermann Gerlinger, Würzburg (mit dem Sammlerstempel Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina Wien, 1.6.-26.8.2007, Kat.-Nr. 122 (m. Farbabb.). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 137, SHG-Nr. 108 (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 295, SHG-Nr. 664 (m. d. Titel 'Sitzende und Chorstudent', m. Abb.). Prof. Dr. Dr. Gerd Presler, Werkverzeichnisverfasser der Skizzenbücher Ernst Ludwig Kirchners Diese zur damaligen Zeit auf Bällen oder im Theater nicht ungewöhnliche Begegnung muss Kirchner zu dieser schnellen Skizze verführt haben: ein in Vollwichs stehender Corpsstudent neben seiner sitzenden Begleitung in langer schwarzer Robe und pompös ausladender Kopfbedeckung. Deutlich zu erkennen sind bei ihm die schwarzen Stiefel sowie die blaue Uniformjacke mit der rot-schwarzen Schärpe in den Verbindungsfarben Schwarz, Rot und Weiß (?), was auf das 1859 in Dresden gegründete Corps Teutonia hinweisen könnte. Es gibt keinen Hinweis darauf, dass Kirchner sich als Student der Architektur für Corps interessiert oder gar zum Beitritt aufgefordert wird. Studentische Verbindungen, Landsmannschaften und Corps gründen sich in den traditionsreichen Universitätsstädten seit Beginn des 19. Jahrhunderts, so auch in Dresden. Im Deutschen Kaiserreich erreichen die Corps größte Aufmerksamkeit und prägen mit dem Tragen ihrer Farben, Mütze und Schärpe bei Anlässen das gesellschaftliche Leben. Mitglieder der Corps fühlen sich verpflichtet, ihre Führungsrolle auch durch ein korrektes, äußeres Auftreten zu untermauern. [MvL] Aufrufzeit: 10.12.2022 - ca. 18.14 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Stehendes Paar (Corpsstudent). Um 1906/07. Colored chalk drawing. On wove paper. 14.5 x 11.5 cm (5.7 x 4.5 in), the full sheet. [CH]. • Immediate and unerring figure scene from the early Brücke days in Dresden, captured in strong colors. • The small sketch is highly acknowledged: Kirchner originally pasted it into one of his sketchbooks. • Similar frontal figure compositions can also be found in, among others, the painting 'Straße, Dresden' (1908/19, Museum of Modern Art, New York) and the early color woodcut 'Spazierengehendes Paar' (Städel Museum, Frankfurt/Main). We are grateful to Prof. Dr. Dr. Gerd Presler for his kind support in cataloging this lot. PROVENANCE: Collection Hermann Gerlinger, Würzburg (with the collector's stamp Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina, Vienna, June 1 - August 26, 2007, cat. no. 122 (with color illu.). Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 137, SHG no. 108 (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, SHG no. 664, p. 295 (titled 'Sitzende und Chorstudent', with illu.). Prof. Dr. Dr. Gerd Presler, catalog raisonné of Ernst Ludwig Kirchner's sketchbooks This encounter, not uncommon at balls or in theaters at the time, must have enticed Kirchner to this quick sketch: A corps student in full attire standing next to an accompanying lady in long black robe and with pompous headdress. He is wearing black boots, a blue uniform jacket with the red and black sash in the fraternity colors black, red and white (?), which could refer to the Corps Teutonia founded in Dresden in 1859. There is no indication that Kirchner, as a student of architecture, was interested in student corps or even asked to join. Student fraternities and corps were founded in traditional university towns, including Dresden, in the early 19th century. In the German Empire, the corps saw the greatest popularity. Members wearing their colors, cap and sash were a vital part of social life on many occasions and felt obliged to underpin their leadership role by an appropriate appearance. [MvL] Called up: December 10, 2022 - ca. 18.14 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ausländische Orden & Ehrenzeichen - Italien : Orden der Krone von ItalienSatz der Großkreuze. Das Kreuz in Gold und Emaille, an schöner, genähter Originalschärpe mit Bandschleife. Der Bruststern in Silber mit emailliertem goldenen Medaillon.Rückseite mit Etikett der Firma Fratelli Borani, Turin und Rom aus der Zeit um 1878-1900. Der Satz in rotem Original - Samtetui mit Firmenlogo der Firma Gravanzola succ, Fratelli Borani, Rom. Auf dem Deckel geprägte goldene Chiffre "U" König Umberto I. mit Königskrone. Sehr schöner Satz in feinster Qualität und Erhaltung.Foreign Orders & Decorations - Italy : Order of the Crown of ItalyGrand Cross Set. The sash badge in gold and enamel, on fine original sash. The breast star in silver with enamelled gold center. Reverse with maker's label of the firm Fratelli Borani, Turin and Rome from around 1878-1900. The set in it's original red velvet case of issue with company logo of Gravanzola succ, Fratelli Borani, Rome. On the lid embossed golden cipher "U" with royal crown for King Umberto I. of Italy.

Ausländische Orden & Ehrenzeichen - Italien : St. Mauritius und Lazarus Orden.Großkreuzsatz. Das Ordenskreuz in Gold und Emaille, an konfektionierter Schärpe mit Schleife. Auf dem unteren Kreuzarm erhaben geprägter Herstellername: D.Cravanzola. Der Bruststern Silber mit goldener und emaillierter Auflage. Die Rückseiteb mit Herstelleretikett der Firma D.Cravanzola und Borani, Rom. An Nadel und 2 Tragehaken. Ordenskreuz und Bruststern im schönen grünen Original - Samtetui mit Goldprägung der Firma Cravanzola/Roma und Deckelprägui "VC" mit Königskrone. Prachtsatz. Foreign Orders & Decorations - Italy : Order Saint Mauritius and Lazarus.Grand Cross set. The sash badge in gold and enamel, on original silk sash. On the lower arm of the cross raised manufacturer name D.Cravanzola. The breast star silver with gold and enamel cross. Reverse with maker's plaque of D.Cravanzola and Borani,Rome. Reverse fitted with pin and 2 carrying hooks. Set is contained in it's original case of issue made of green velvet . Inner lid with gold embossed maker's label of the company Cravanzola/Roma and lid embossed "VC" with royal crown. Beautiful set.

Ausländische Orden & Ehrenzeichen - Portugal : Christus Orden. Großkreuz. Silber - vergoldet und emailliert. Am Schärpenabschnitt. Beidsetige Ausführung. Die Herz - Jesu Dekoration über dem Ordenskreuz separat aufgelegt. Exemplar vom Ende der Monarchie, um 1910.Foreign Orders & Decorations - Portugal : Order of Christ. Grand Cross. Silver - gilded and enameled. On the sash section. Double-sided execution. The Heart of Jesus decoration above the cross of the order separately applied. Example from the end of the monarchy, around 1910.

Vitrinenobjekte und Preziosen : Geschenk - Bonboniere mit Porträtminiatur Karl Albrechts von Bayern, als Karl VII. Kaiser des Heiligen Römischen Reiches Deutscher Nation.Die goldmontierte Dose aus geschnitem Horn in Form einer Baumrinde. Die Wandung guillochiert. Im Innendeckel auf Pergament gemaltes Halbporträt Karl Albrechts von Bayern, des nachmaligen Kaisers Karl VII. im Harnisch und Hermelin mit der Schärpe und dem Stern des Kurbayrischen Ritterordens vom Hl. Georg und einer juwelenbesetzten Halsdekoration des Ordens vom Goldenen Vlies. Karl Albrecht von Bayern (* 6. August 1697 in Brüssel; ? 20. Januar 1745 in München) aus dem Hause Wittelsbach war von 1726 bis 1745 als Karl I. Kurfürst und Herzog von Bayern. Nach dem Tod des habsburgischen Kaisers Karl VI. im Jahr 1740 beanspruchte er aufgrund seiner Ehe mit Maria Amalia von Österreich, der Nichte Karls VI., auch das Erzherzogtum Österreich und war von 1741 bis 1743 als Karl III. kurzzeitig König von Böhmen, konnte sich im Österreichischen Erbfolgekrieg aber nicht gegen Maria Theresia durchsetzen, was ihn zeitweise sogar seine Herrschaft in Bayern kostete. Als er zwischenzeitlich siegreich zu sein schien, erlangte er 1742 als Karl VII. die Wahl zum Kaiser des Heiligen Römischen Reiches und blieb dies bis zu seinem Tod, Wunderschön gearbeitete Dose in feinster Qualität aus der 1. Hälfte des 18. Jahrhunderts. Höhe: 38 mm. Durchmesser: 80 mm.Objects of Vertu - Precious Objects : Geschenk - Bonboniere mit Porträtminiatur Karl Albrechts von Bayern, als Karl VII. Kaiser des Heiligen Römischen Reiches Deutscher Nation. The gold-mounted box made of carved horn in the shape of a tree bark. The wall is guilloché. On the inner lid, a half-portrait painted on vellum of Karl Albrecht of Bavaria, the future Emperor Karl VII, in armour and ermine with the sash and star of the Order of the Knights of St. George of Bavaria and a jewelled neck decoration of the Order of the Golden Fleece. Charles Albrecht of Bavaria (* 6 August 1697 in Brussels; ? 20 January 1745 in Munich) of the House of Wittelsbach was Elector and Duke of Bavaria as Charles I from 1726 to 1745. After the death of the Habsburg Emperor Charles VI in 1740, he also claimed the Archduchy of Austria on the basis of his marriage to Maria Amalia of Austria, Charles VI's niece, and was briefly King of Bohemia from 1741 to 1743 as Charles III, but was unable to prevail against Maria Theresa in the War of the Austrian Succession, which even cost him his rule in Bavaria for a time. When he seemed to be victorious in the meantime, he gained election as Holy Roman Emperor in 1742 as Charles VII and remained so until his death. Beautifully crafted box of the finest quality from the 1st half of the 18th century.

Ausländische Orden & Ehrenzeichen - Russland/Zarenreich : Zarenreich Rußland: Weisser Adler Orden. Ordensdekoration. Gold und Emaille, ohne Schärpe. Auf der Rückseite in den Klauen des Adlers das Herstellerzeichen der Firma Eduard, St. Petersburg sowie Meistermarke und Beschaumarke von St. Petersburg (Kokoschnik) sowie die Goldpunze "56" (14 Karat). Die Bandöse ebenfalls punziert. Sehr schönes Exemplar in bester altrussischer Goldschmiedearbeit und aus der Fertigung von Eduard seltener als die bei Keibel gefertigten Exemplare. Geringfügige Tragespuren im weißen Emaille der vorderseitigen Kreuzarme sowie kleinere Chips und Ausbesserungen im blauen Emaille der Kronenbänder. Insgesamt jedoch in sehr schöner Erhaltung.Foreign Orders & Decorations - USSR/Russia : Imperial Russia: Order of the White Eagle. Sash Badge. Gold and enamel, without sash. On the reverse side in the eagle's claws the maker's mark of Eduard, St. Petersburg as well as master's mark and mark of St. Petersburg (Kokoshnik) and gold hallmark "56" (14 carat). The suspension loop on the reverse of the crown also hallmarked. Beautiful example in bestImperial Russian goldsmith's craftmanship and from the production of Eduard rarer than the examples made by Keibel. Minor traces of wear in the white enamel of the front cross arms and minor chips and touch-ups in the blue enamel of the crown bands. Overall, however, in very nice condition.

Ausländische Orden & Ehrenzeichen - Russland/Zarenreich : St. Andreas Orden. Originaler genähter Schärpenabschnitt aus feiner Moiréeseide. Durch Seidenschlaufe zusammengebunden. Am oberen Ende beschnitten. Länge der beiden Bandenden jeweils 37 cm. Seltenes Originalband.Foreign Orders & Decorations - USSR/Russia : Order of Saint Andrew. Original sewn sash section of fine moiré silk. Tied together by silk loop. Trimmed at the upper end. Length of both ends of the ribbon 37 cm each. Rare original ribbon.

Ausländische Orden & Ehrenzeichen - Russland/Zarenreich : Rußland: St. Alexander Newski - Orden. Bedeutendes frühes Ordenskreuz, wohl österreichischer Fertigung aus der 1. Hälfte des 19. Jahrhunderts. Gold und Emaille. Die beidseitig ausgeführten russischen Doppeladler mit herabhängenden Flügeln in besonders plastischer Ausführung. Das vorderseitige Medaillon mit der Darstellung des Heiligen Alexander Newski in allerfeinster Emaillemalerei vor Landschaftshintergrund. Reversmedaillon mit handgemalter gekrönter Chiffre. Das leuchten rote, transluzide Emaille der Kreuzarme mit guillochiertem Untergrund. Die Medaillonreife in ganz typischer, brillantierter Ausführung ähnlich der in Wien gefertigten Ordenssterne aus dem 19. Jahrhundert. Der Ring ebenfalls mit brillantiertem Mittelgrad. Prachtexemplar in etwas größerer Ausführung als die in Rußland hergestellten Kreuze desselben Zeitraums. In dieser wunderschönen, prächtigen und ungewöhnlichen Ausführung von großer Seltenheit. 57 x 57 mm (nur Kreuz) Foreign Orders & Decorations - USSR/Russia : Imperial Russia. Order of Saint Alexander NevskijImperial Russia - Order of Saint Alexander Nevsky Important early sash badge of the order of Austrian manufacture dating from the 1st half of the 19th century. Gold and enamels. The Russian double-headed eagles executed on both sides with drooping wings in particularly fine and bulbous workmanship.. The obverse center medallion depicting St. Alexander Nevsky in the very finest enamel painting against landscape background. Reverse center with hand painted crowned cipher. The luminous red translucent enamel of the arms of the cross with guilloché background. The medallion hoop in quite typical diamond pointed finish similar to the 19th century Vienna made order breast stars. The ring also with diamond pointed center. Magnificent badge slightly large than the crosses made in Russia of the same period. In this beautiful quality and unusual design of great rarity. 57 x 57 mm (cross only)

Orden & Ehrenzeichen Deutschland - Preußen : Königreich Preußen: Roter Adler Orden - Großkreuzsatz mit Krone und Eichenlaub.Das Ordenskreuz Gold und Emaille, ohne Schärpe. Auf dem unteren Kreuzarm das Herstellerzeichen "S.F.S." der Hofjuweliere Friedeberg & Söhne, Berlin.Die Krone in feinster Hohlprägung, die Medaillons und das Eichenlaub besonders fein ziseliert. Der Emailleuntergrund der Adler in feiner Guillochierung.Hervorragend erhaltenes Prachtexemplar in bester Berliner Juweliersqualität. Der Bruststern Silber - vergoldet, das Medailon emailliert. Das Eichenlaub separat in Gold aufgelegt. An Nadel. Auf der Rückseite Schraubmedaillon. Unterhalb des Nadelhakens Ritzmarke "W" der Hofjuweliere Wagner & Sohn, Berlin. Beide Stücke zusammen im Originaletui aus rotem Leder, der Deckel mit goldgeprägter preußischer Königskrone (nur für die Verleihungen des RAO mit Krone). Im Innenteil schwarze Samteinlage, bzw. weißes Seidenfutter. Die Krone zum Großkreuz des Roten-Adler-Ordens war eine ganz besonders exklusive und nur sehr selten verliehene Auszeichnung. Sie wurde zum überwiegenden Teil an die Prinzen des preußischen Königshauses, bzw. des Gesamthauses Hohenzollern, Fürstlichkeiten sowie an die hohe Generalität und Admiralität verliehen.Für eine Liste der Beliehenen vgl. Dr. P. Sauerwald: Die Königliche Krone zum Roten-Adler-Orden, Teil II., in BDOS (Hrsg.): Orden und Ehrenzeichen, BDOS Jahrbuch 2000, S. 62 ff. Mit 92 Verleihungen in allen Kombinationen, davon nur etwa die Hälfte mit Eichenlaub, eines der seltensten preußischen Großkreuze. Wunderschöner Satz in feinster Juweliersqualität.German Orders and Medals - Kingdom of Prussia : Kingdom of Prussia: Order of the Red Eagle - Grand Cross set with Crown and Oakleaves. The sash badge gold and enamel, without sash. On the lower arm of the cross the maker's mark "S.F.S." of the court jewelers Friedeberg & Söhne, Berlin. The crown in finest hollow embossing, the medallions and the oak leaves particularly finely chased. The enamel background of the eagle in fine guilloché. Excellent preserved magnificent badge in the best Berlin jeweler quality. The breast star silver - gilded, the center enameled. The oak leaves separately applied in gold. Reverse fitted with pin for wearing. On the back screw medallion. Below the pin's catch incised mark "W" of the court jewelers Wagner & Sohn, Berlin. Both pieces together in the original red leather case of issue, the lid with gold embossed Prussian royal crown (only for the awards of the RAO with crown). Inside black velvet inlay, respectively white silk lining. The crown to the Grand Cross of the Order of the Red Eagle was a very exclusive and rarely awarded decoration. It was mostly awarded to the princes of the Prussian royal house, or the Hohenzollern dynasty as well as to the high generals and admirals. For a list of the bestowed see Dr. P. Sauerwald: Die Königliche Krone zum Roten-Adler-Orden, part II, in BDOS (ed.): Orden und Ehrenzeichen, BDOS Jahrbuch 2000, p. 62 ff. With 92 awards in all combinations, only about half of them with oak leaves, one of the rarest Prussian Grand Crosses. Truely magnificent, splendid set.

Ausländische Orden & Ehrenzeichen - Spanien : Orden der Königin Maria - Luisa. Ordenskreuz, Gold und Emaille. An besonders schöner, genähter Originalschärpe aus feiner Moiréeseide. Das Medaillon mit separat aufgelegter Heiligenfigur in Emaillemalerei. Die Ketten auf der Vorderseite in die Kreuzarme eingelassen. Die Türme und Löwen zwischen den Kreuzarmen sowie der über dem Kreuz befindliche Lorbeerkranz fein ziseliert. Dieses Exemplar wurde an Melania Taparelli d'Azeglio verliehen. Prachtexemplar in allerfeinster Juweliersqualität aus der 1. Hälfte des 19. Jahrhunderts. Foreign Orders & Decorations - Spain : Queen Maria Louisa Lady's Order. Sash Badge, gold and enamel. On particularly beautiful, sewn original sash made of fine moiré silk. The obverse with separately applied figure of the Saint in enamel painting. The chains on the front embedded in the arms of the cross. The towers and lions between the arms of the cross and the laurel wreath above the cross finely chased. This badge was awarded to Melania Taparelli d'Azeglio. Magnificent example of the very finest jeweler's quality from the 1st half of the 19th century.

Ausländische Orden & Ehrenzeichen - Grossbritannien : Geschenkdekoration des Prinzregenten (König Georg IV.) von Großbritannien. Ovales Kleinod in plastischer Goldschmiedearbeit von der Königskrone überhöht. Auf der Vorderseite in feiner Emaillearbeit auf granuliertem Untergrund der aus einer Gewitterwolke mit Blitzen ragende geharnischte Arm mit einem Schwert (Symbol des Krieges) und Spruchband mit der Devise: DIEU ET MON DROIT" (Devise des englischen Königs). Das Medaillon umgeben von einem separat aufgelegten plastischen Lorbeerkranz in grüner Emaille. Die Rückseite mit einer aus Wolken ragenden Hand mit einem Olivenzweig (Symbol des Friedens und Bandeau: "BEATI PACFICI" (Gesegnet sei der Friedensstifter). Das Medaillon umgeben von einem plastisch grün emaillierten Lorbeerkranz. Bedeutende Insignie, die in der ovalen Form an die Dekorationen der Ordensbeamten der britischen Orden aber auch an die Ordenskleinodien des Garter, Thistle, Patrick und Bath Ordens erinnert. Die beeindruckenden Juweliersqualität dieses königlichen Geschenks legt die Vermutung nahe, daß es sich um eine Dekoration für einen hohen Diplomaten, vielleicht im Zusammenhang der Friedensverhandlungen des Wiener Kongresses 1815, handeln könnte. Einmaliges historisches Liebhaberstück. 76 x 45 mmForeign Orders & Decorations - Great Britain : Presentation Jewell of the Prince Regent (King George IV.) of Great Britain. Oval jewel in finest sculptural goldsmithcraftmanship surmounted by the royal crown. On the obverse in fine enamel work on granulated background the armored arm with a sword (symbol of war) rising from a thundercloud with lightning and banner with the motto: DIEU ET MON DROIT" (motto of the English king). The medallion surrounded by a separately applied laurel wreath in green enamel. The reverse with a hand rising from clouds with an olive branch (symbol of peace) and bandeau: "BEATI PACFICI" (blessed be the peacemaker). The medallion surrounded by a plastic green enameled laurel wreath. A truely magnificent piece of insignia, the oval shape of which is reminiscent of the sash badges of the Garter, Thistle, Patrick and the Order of the Bath as well as of the Officer's badges of these British Orders. The impressive jeweler's quality of this royal presentation jewell suggests that it may have been a decoration for a senior diplomat, perhaps in connection with the peace negotiations of the Congress of Vienna in 1815. Unique historical collector's item. 76 x 45 mm

Orden & Ehrenzeichen Deutschland - Preußen : Königreich Preußen: Schwarzer Adler Orden - Ordenskreuz in Brillanten.Gold und Emaille, das Medaillon und der Bandring mit Altschliff-Brillanten besetzt.Auf dem unteren Kreuzarm Hersteller- und Verleihungsgravur des Berliner Hofjuweliers: „J. WAGNER & S. 24.7.97“. Exemplar des letzten Kreuztypus mit den eleganten schwarz emaillierten Adlern zwischen den Kreuzarmen.Die Diamanten des Medaillons in Silber gefasst. Die Öse mit aufgesetztem Diamantreif.Der Bandring mit sieben Altschliff-Brillanten besetzt. Rückseitig „à jour“ gearbeitet.Die Silberfassung auf der Rückseite mit Golddoublierung. Der Tragebügel Gold. Die Vorderseite in nahezu perfekter Erhaltung. Auf der Rückseite im Zentrum minimale, tragebedingte Chips. Der Schwarze-Adler-Orden in Brillanten wurde nur ausgesprochen selten verliehen, meist an ausländische Monarchen wie etwa den Kaiser von China oder die verschiedenen Sultane des Osmanischen Reiches aber auch an bedeutende preußische Politiker und Militärs wie z. B. den Reichskanzler Fürst Otto von Bismarck oder Großadmiral von Tirpitz.Seit dem Regierungsantritt Friedrich des Großen bis zum Jahr 1918 wurden weniger als 100 Ordensdekorationen in Brillanten ausgegeben. In dem für das hier angebotene Ordenskreuz maßgeblichen Verleihungszeitraum unter Kaiser Wilhelm II. erfolgten ca. 28 Verleihungen.Die Seltenheit bei der Verleihung der Brillantdekorationen ist auch darin begründet, dass die Insignien in der Regel einen hohen materiellen Wert verkörperten (z.B. beim Roten-Adler-Orden 1. Klasse in Brillanten einen Wert von 6.000,– Reichsmark).Die zur Herstellung privilegierten Ordensjuweliere waren von höchster Stelle angehalten bei Rücklieferung der Dekorationen durch die Beliehenen diese Beträge an die Berechtigten auszuzahlen.Da eine Ordensverleihung in Brillanten von den preußischen Monarchen stets auch als indirekte finanzielle Zuwendung gedacht war (die Brillantdekorationen waren nicht rückgabepflichtig), machten viele Träger von dem Recht Gebrauch, die Ordensdekorationen mit echten Steinen beim Hersteller durch solche mit Simili-Brillanten ersetzen und sich den Gegenwert ausbezahlen zu lassen. Von dieser Regelung machte beispielsweise Reichskanzler Otto v. Bismarck gebrauch, dessen Ordensdekorationen mit Simili - Steinen auf Schloß Friedrichsruh in Schleswig - Holstein aufbewahrt werden.Die im Familienbesitz verbliebenen Dekorationen der Träger, die ihre Orden mit echten Steinen belassen hatten, wurden oftmals nach deren Ableben von den Erben veräußert. Dabei kam es in den seltensten Fällen dazu, dass die Steine der Orden bei den ursprünglichen Herstellern in der oben geschilderten Weise ausgetauscht wurden.Zumeist wurden die Dekorationen an Juweliere verkauft, die die Orden „ausschlachteten“ und die Fassungen dabei zerstörten. Dementsprechend haben sich nur sehr wenige Originaldekorationen mit echten Brillanten erhalten. Prachtexemplar in feinster Berliner Juweliersqualität. Eines der ganz wenigen Ordenskreuze im Originalzustand, die Brillanten in sehr schöner Qualität. Dieses Stück ist bei Klingbeil/Thies, Orden 1700 – 2000, Band III, S. 29, Nr. 1458 abgebildet und beschrieben. Bedeutende Ordensdekoration von größter Seltenheit.German Orders and Medals - Kingdom of Prussia : Kingdom of Prussia: Order of the Black Eagle - Sash Badge in Diamonds. Gold and enamel, the center and the suspension loop set with old-cut diamonds. On the lower arm of the cross maker and award engraving of the Berlin court jeweler: J. WAGNER & S. 24.7.97. This badge represents the last type of the order with the elegantly shaped black enameled eagles between the arms of the cross. The diamonds of the obverse center set in silver. set with diamonds. The suspension loop set with seven old cut diamonds, worked à jour on the back. The obverse in near perfect condition. On the back in the center minimal chips due to wear. The Order of the Black Eagle in diamonds was awarded in very few examples, mostly to foreign monarchs such as the Emperor of China or the various Sultans of the Ottoman Empire but also to important Prussian politicians and military leaders such as the Imperial Chancellor Prince Otto von Bismarck or Grand Admiral von Tirpitz. From the beginning of the reign of Frederick the Great until 1918 less than 100 decorations in diamonds were issued. In the period of Emperor Wilhelm II, (1888-1918) which is decisive for the badge offered here, about 28 awards were made. The rarity of the award of Prussian jewelled decorations is also due to the fact that the insignia usually embodied a high material value (e.g. for the Red Eagle Order 1st Class in brilliants a value of 6.000, Reichsmark). The jewelers who were privileged to produce the medals were ordered by the highest authority to pay the amounts to the entitled persons in case of return of the decorations. Since the Prussian monarchs always considered the bestowal of an order in diamonds as an indirect financial benefit (the diamond decorations did not have to be returned after the recipient's death), many recipients made use of the possibility to replace the decorations with real stones by those with simili-brilliants at the manufacturer and to have the equivalent value paid out. Chancellor Otto v. Bismarck, whose decorations with simili-stones are kept in Friedrichsruh Castle in Schleswig-Holstein, made use of this regulation. The decorations of recipients who had left theirinsignia with real stones were often sold by the heirs after their death. In the rarest cases it happened that the stones of the medals were exchanged at the original manufacturers in the way described above. Mostly the decorations were sold to jewelers, who cannibalized the medals and destroyed the settings. Accordingly, very few original decorations with genuine diamonds have survived. Splendid badge in finest Berlin jeweler quality. One of the very few examples preserved in original condition, the diamonds of very fine quality. This piece is illustrated and described in Karsten Klingbeil/Andreas Thies, Orden 1700 - 2000, Vol. III, p. 29, No. 1458. Important piece of great rarity.

Orden & Ehrenzeichen Deutschland - Bayern : Königreich Bayern: Theresien - Orden. Das Ordenskreuz Gold und Emaille. An besonders schöner, genähter Originalschärpe aus feinster Moiréeseide. Das Monogramm "T" der Stifterin im vorderseitigen Medaillon mit geschliffenen Diamanten besetzt. Die Kreuzarne in besonders gewölbter Ausführung. Die hohl geprägte Krone mit rückseitigem Tragebügel zur Befestigung an der Schärpe, bzw. Bandschleife. Dieses Exemplar wurde an Melania Taparelli d'Azeglio verliehen. Prachtexemplar in feinster Juweliersqualität und makellosem Erhaltungszustand.German Orders and Medals - Kingdom of Bavaria : Kingdom of Bavaria: Order of Theresa. The sash badge gold and enamel. On particularly beautiful, sewn original sash of finest moiré silk. The monogram "T" of the founder on the obverse center set with rose cut diamonds. The arms of the cross in a particularly bulbous design. The hollow embossed crown with a carrying handle on the back for attachment to the sash or ribbon bow. Splendid specimen in finest jeweler's quality and immaculate condition.

Militaria Ausland - Rußland : Ovale Portraitminiatur Zarin Katharina der Großen. Sehr fein ausgeführte Porträtminiatur Zarin Katharina II. mit Stern und Schärpe des St. Andreas Orden. Auf dem Haupt die für sie typische kleine Zarenkrone in Brillanten. Unbekannter Porträtmaler, Ende 18. Jhd. Im feuervergoldeten Rähmchen unter Glas. 51 x 42 mmForeign Militaria - Russia : Oval Portrait Miniature of Empress Catherine the Great. Very finely executed portrait miniature of Empress Catherine II with star and sash of the Order of St. Andrew. On her head the typical small imperial crown in diamonds. Unknown portrait painter, end of 18th century. In fire-gilded frame under glass. 51 x 42 mm

Orden & Ehrenzeichen Deutschland - Württemberg : Verdienstorden der Württembergischen Krone. Schärpe zum Großkreuz. genähtes Originalband mit großer Bandrosette österreichischer Trageweise. Feinste Moiréeseide. Sehr schönes Exemplar.German Orders and Medals - Kingdom of Wurttemberg : Merit Order of the Crown of Wurttemberg. Sash to the Grand Cross. sewn original ribbon with large ribbon rosette Austrian style of wearing. Finest moiré silk. Very nice original sash.

Militaria Ausland - Rußland : Porträtminiatur des russischen Feldmarschalls und Sieger über Friedrich den Großen in der Schlacht bei Kunersdorf  Graf Pjotr Semjonowitsch SaltykowOvale Emaille - Porträtminiatur auf Kupfer, goldgefaßt. Am rechten Rand Künstlersignatur: "de la Mare 1770". Sehr schön ausgeführtes Porträt des berühmten russischen Feldherren mit Stern und Schärpe des St. Andreas - Ordens und dem Kreuz des polnischen Weißen Adler Ordens. 43 x 36 mm Graf Pjotr Semjonowitsch Saltykow (russisch ???? ????????? ????????, * 11. Dezember jul. / 21. Dezember 1698 greg. in Kogajewo; ? 26. Dezember 1772 jul. / 6. Januar 1773 greg. in Marfino), russischer Generalfeldmarschall. Saltykow wurde 1714 von Peter I. zum Studium des Marinewesens nach Frankreich geschickt. 1729 kaufte er das Landgut Marfino. Unter der Regierung Anna Iwanownas wurde Saltykow Generalmajor. 1733 erhielt er zusammen mit seinem Vater den Grafentitel. 1734 war er am Polnischen Thronfolgekrieg beteiligt und 1742 am Russisch-Schwedischen Krieg (1741?1743). Im Siebenjährigen Krieg hatte er seit 1759 den Oberbefehl über die russische Armee inne. Am 23. Juli 1759 besiegte er in der Schlacht bei Kay den preußischen General Wedel und am 12. August, nachdem er seine Truppen mit denen des österreichischen Generals Laudon vereinigt hatte, in der Schlacht bei Kunersdorf König Friedrich II. selbst. Dafür mit der Feldmarschallswürde belohnt, wurde er später Generalgouverneur von Moskau (1764?1771). Provenienz: Auktion Christie's vom 13.11.1990, lot 207.Foreign Militaria - Russia : Portrait miniature of the Russian field marshal and victor over Frederick the Great at the Battle of Kunersdorf Count f Pjotr Semjonowitsch Saltykow. Oval enamel portrait miniature on copper, gold mounted. On the right edge artist's signature: "de la Mare 1770". Very beautifully executed portrait of the famous Russian commander with star and sash of the Order of St. Andrew and the cross of the Polish Order of the White Eagle. 43 x 36 mm Count Pyotr Semyonovich Saltykov (Russian ???? ????????? ????????, b. December 11 jul. / December 21, 1698 greg. in Kogaevo; ? December 26, 1772 jul. / January 6, 1773 greg. in Marfino), Russian general field marshal. Saltykov was sent by Peter I to France in 1714 to study naval affairs. In 1729 he bought the Marfino estate. Under the reign of Anna Ivanovna, Saltykov became a major general. In 1733, together with his father, he received the title of count. In 1734 he was involved in the Polish War of Succession and in 1742 in the Russo-Swedish War (1741-1743). In the Seven Years' War he held the supreme command of the Russian army since 1759. On July 23, 1759, he defeated the Prussian General Wedel in the Battle of Kay, and on August 12, after uniting his troops with those of the Austrian General Laudon, he defeated King Frederick II himself in the Battle of Kunersdorf. Rewarded for this with the rank of Field Marshal, he later became Governor General of Moscow (1764-1771). Provenance: Christie's auction of 13.11.1990, lot 207.

Orden & Ehrenzeichen Deutschland - Preußen : Königreich Preußen: Schwarzer Adler Orden.Ordenskreuz, Gold und Emaille. An späterer Schärpe. Frühes Modell mit schwarz lackierten Adlern zwischen den Kreuzarmwinkeln. In der Öse Herstellerzeichen "W" der Hofjuweliere Wilm, Berlin. Prachtexemplar um 1860 in besonders feiner Juweliersqualität. Das Emaille der Vorderseite perfekt erhalten, auf der Rückseite im Zentrum tragebedingter Emailleschaden mit alter Ausbesserung. In dieser Ausführung von Wilm sehr selten.German Orders and Medals - Kingdom of Prussia : Kingdom of Prussia: Order of the Black Eagle.Sash badge gold and enamels. With later sash. Early type with black lacquered eagles. In the eyelet maker's mark "W" of the court jewelers Wilm, Berlin. Splendid badge dating from circa 1860 in particularily fine jeweler's quality. The enamel of the front perfectly preserved, on the reverse in the center enamel damage with old repair. In this early version made by Wilm very rare.

A GILT COPPER ALLOY FIGURE OF PADMAPANI, LICCHAVI REVIVAL 利察維王朝鎏金合金銅蓮華手菩薩Nepal, 17th century. Gracefully cast seated in lalitasana on a double lotus base, the right foot supported by a beaded lotus dais. Clad in a close-fitting dhoti and sash neatly incised with flowers and foliage, the latter a hallmark of the Licchavi revival in Nepal, the left hand holding a lotus stem coming to full bloom at the shoulder. The serene face with heavy-lidded eyes and full lips, the hair pulled up into a high chignon with locks escaping over the shoulders, secured by a beaded and floral headdress, backed by a foliate-incised mandorla.Provenance: A & J Speelman Oriental Art, London, United Kingdom. A Hungarian collector, acquired from the above. Condition: Very good condition with extensive wear to gilt, some casting flaws, few small losses, nicks and dents, remnants of pigment. The base unsealed.Weight: 770.0 g Dimensions: Height 14.4 cm The present sculpture depicts Padmapani, identifiable by the lotus stalk held at the left shoulder. Cast in lustrous copper alloy, the figure is defined by flowing lines and soft features, and clearly inspired by the sensitivity of modeling and graceful beauty of Licchavi and Transitional period sculpture. Originating in Northern Bihar, the Licchavi aesthetic was deeply rooted in North Indian artistic traditions. Characterized by soft rounded modeling and languid forms, the Sarnath style of sculpture from the Gupta period had an immense influence on Nepalese art. Faint traces of blue pigment in the hair suggest that this bronze may have been absorbed into a Tibetan collection at some point in its history.Literature comparison:Compare a related gilt copper alloy figure of Ratnapani, Licchavi period, dated 10th century, in the collection of the Norton Simon Museum, accession number F.1972.45.13.S. Note the noticeable lack of incised flowers and foliage as well as the similarities in the alloy, the gilt, the design of the base, the posture of the figure and the jewelry.Auction result comparison:Type: RelatedAuction: Christie's New York, 21 March 2012, lot 835Price: USD 86,500 or approx. EUR 110,500 converted and adjusted for inflation at the time of writingDescription: A Gilt Bronze Figure of Padmapani, Nepal, Licchavi Revival Style, 17th CenturyExpert remark: Compare the subject, the design of the base, and the neatly incised flowers and foliage. Note the larger size of 24.8 cm.利察維王朝鎏金合金銅蓮華手菩薩尼泊爾，十七世紀。菩薩以休閑姿坐於蓮花座上，右腳下垂踩在小蓮花台上。初月眉，雙眼微垂，擴鼻小嘴，臉部輪廓飽滿，雙耳以大環型耳環為裝飾，兩側黑髮垂肩，胸前飾以多寶項鍊。腰帶上裝飾著花朵和樹葉，後者是尼泊爾利察維王朝復興時期的標誌，左手自然下垂，按在蓮座上，握著曲延而上的蓮花莖，右手施予願印。後有光背。 來源：英國倫敦A & J Speelman Oriental Art收藏，匈牙利藏家購於上述收藏。 品相：狀況極好，鎏金大面積磨損，有鑄造缺陷，小缺損，有刻痕和凹痕、顏料殘留。底座開封。 重量：770.0 克 尺寸：高14.4 厘米 此造像描繪了蓮花生大士，特徵是其左肩上的蓮花莖。銅合金鑄造，線條流暢，五官柔和，明顯受到利察維王朝和過渡時期造像風格的啟發。利察維美學起源於北比哈爾邦，深深植根於北印度的藝術傳統。以其柔和的圓形造型和慵懶的形式為特徵，笈多時期的鹿野苑雕塑風格對尼泊爾藝術產生了巨大的影響。頭髮中微弱的藍色痕跡表明，此銅造像可能在某時期在西藏收藏中。 文獻比較： 比較一件相近十世紀利察維王朝鎏金合金Ratnapani銅像，收藏於 Norton Simon 博物館，編號F.1972.45.13.S。請注意此像明顯沒有雕花和葉子，但相似的合金、鎏金、底座的設計、姿勢和鑲嵌珠寶。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年3月21日，lot 835 價格：USD 86,500（相當於今日EUR 110,500） 描述：十七世紀利察維王朝風格鎏金銅蓮華手菩薩 專家評論：比較主題、底座設計，以及雕花和葉子。請注意尺寸較大 (24.8厘米)。

A LARGE AND EXCEPTIONAL GRAY SCHIST STATUE OF A DANCING SHIVA, EARLY MALLA DYNASTIES 馬拉王朝初期大型灰色片岩雕舞王濕婆Nepal, c. 12th-15th century. Finely carved in openwork, depicting the deity dancing on a pedestal, above Nandi and two figures, flanked by two attendants, his upper left holding a naga, the lower left with a bowl, the right hands with a dagger and hourglass drum, adorned in elaborate jewelry, including a beaded pendant, armlet and a sash made of skulls. The face with downcast eyes, a mustache and curled beard framing the pursed lips, the head surmounted by a conical headdress centered by a skull, backed by a flaming mandorla, and flanked by two dancing figures.Provenance: A Nepalese private collection, by repute acquired in Rajasthan, India circa 1950. A noted Spanish private collection, acquired in 1969 from the above in Katmandu, Nepal, and thence by descent in the same family to the last owner. Condition: Excellent condition, commensurate with age. Extensive wear, encrustations and signs of weathering and erosion, all exactly as expected. Losses, nicks, scratches, structural cracks, and minor old repairs to nose and fingers. Scientific Analysis Report: An Expert Report from Antiques Analytics - Institute of Scientific Authenticity Testing, test report number AA 22-01044, dated 5 May 2022, written and signed by Dr. R. Neunteufel, analyzing the surface alterations after examination by scanning electron microscopy (SEM) and element analysis with attached energy-dispersed X-ray micro element analyzer (EDX), concludes that the observed surface alterations are not in contradiction with the dating above. A copy of the report accompanies this lot. Dimensions: Size 95 x 50.5 cmLiterature comparison:Compare a related black schist figure from Nepal, Uma Mahesvara, Malla dynasty, dated to the 11th century, in the collection of the Princeton University Art Museum, accession number 2002.393.馬拉王朝初期大型灰色片岩雕舞王濕婆尼泊爾，約十二至十五世紀。神尊在台座上翩翩起舞，正上方為護法南迪及左右侍者，左上侍者持蛇，左下手持碗，右邊侍者手持匕首和鼓。濕婆佩戴精美珠寶以及頭骨腰帶。雙眼微垂，鬍鬚捲曲，嘴唇微抿，頭上戴著一個以骷髏為中心的圓錐形帽飾，背後是火焰光背，兩側是兩個跳舞的人物。 來源：尼泊爾私人收藏，據説1950年前後購於印度拉賈斯坦邦；一個知名西班牙私人收藏在尼泊爾加德滿都購於上述收藏，在同一家族保存至最後一任藏家。 品相：狀況極佳，與年齡相稱。大面積磨損、結殼，以及風化和侵蝕的跡象。鼻子和手指有缺損、刻痕、劃痕、結構裂縫和輕微的修補。 科學檢測報告：Institute of Scientific Authenticity Testing研究所出具的專家檢測報告 AA 22-01044，2022年5月5日，由 Dr. R. Neunteufel博士簽署，通過電子顯微鏡（SEM）掃描和附加的能量分散X射線微量元素分析儀（EDX）對金屬進行分析後，得出結論，其表面變化與上述測年並不矛盾。隨附報告複印件。 尺寸：95 x 50.5 厘米 文獻比較： 比較一件相近十一世紀馬拉王朝尼泊爾黑色片岩雕濕婆像，收藏於普林斯頓大學藝術博物館，編號2002.393。

AN INDIAN MINIATURE PAINTING OF A PRINCEIndia, 19th century. Gouache, ink and gold color on paper. Standing sideways in an open field, his left hand holding flowers, his right a sword, with a further sword at his side. Wearing a sheer kurta and green sash over yellow jamas, a festive headdress, richly adorned in beaded jewelry. Condition: With some wear, rubbing, creasing, soiling, staining, few minuscule losses, small tears with associated touchups. Provenance: Danish private collection. Dimensions: Sheet size 28.5 x 20 cm

A REVERSE-GLASS MIRROR PAINTING OF A NOBLE LADY WITH DEER, CANTON SCHOOL, QING DYNASTY 清代廣州外銷玻璃油畫《貴婦與鹿》China, 18th to early 19th century. Depicting an elegant lady, dressed in a fine brocade robe with gilt details and a skirt of stoat fur, a blue sash wrapping around her body, the long black hair surmounted by a floral headdress partly covered by a hat, standing on a rocky path, a deer to her left, and with a pagoda shaped column in the background. Provenance: French trade. Condition: Excellent condition. The mirror with minor wear, few light scratches, the colors very crisp. The wood frame with some wear, few nicks, scratches, and age-related cracks.Dimensions: Size incl. frame 74.5 x 42.7 cmWith an original hardwood frame. (2)Auction result comparison:Type: RelatedAuction: Bonhams London, 11 May 2021, lot 300Price: GBP 6,375 or approx. EUR 8,000 converted and adjusted for inflation at the time of writingDescription: An 'erotic' reverse-glass mirror painting of a lady, 18th centuryExpert remark: Compare the related motif. Note the much smaller size (42 x 35.5 cm) and the significant damage to this lot.清代廣州外銷玻璃油畫《貴婦與鹿》中國，十八至十九世紀初。描繪一位優雅的女士，身著精緻的中式氅衣，大衣裏面還穿著多層次長裙，雙臂上搭著飄帶，黑發上佩戴者絹花頭飾，並戴著一頂帽子；靠著一棵樹，左邊是一隻鹿；背景可見一個寶塔。 來源：法國古玩交易。 品相：品相極好，鏡子磨損不大，少量輕微劃痕，顏色鮮豔。木框上有一些磨損，輕微刻痕、劃痕和老化裂縫。 尺寸：總74.5 x 42.7 厘米 原始硬木框。 拍賣結果比較： 形制：相近 拍賣：倫敦邦瀚斯，2021年5月11日，lot 300 價格：GBP 6,375（相當於今日EUR 8,000） 描述：十八世紀美人圖玻璃畫鏡 專家評論：比較相近的主題。請注意尺寸較小 (42 x 35.5 厘米) ，以及此鏡有明顯的損壞。

Masonic regalia: various awards to include four hallmarked silver, 1908, 1944, 1975 and one indistinct, three to C. Dry, Lord Collinwood Lodge the other to James E. Dalton, Wilberforce Lodge together with Order of Ladie's Glades sash belonging to Amy Johnson etc.

A pair of post WW II white leather gaiters, together with a scarlet Sargeants sash, a red and green rope twist aiguillette, one other and a sporran tassle.

A 19th Century circular portrait miniature of an infant, reclining wearing a red sash, 10cm diameter, framed

The Most Distinguished Order of St. Michael and St. George, G.C.M.G., Knight Grand Cross star and sash badge. Comprising sash badge, silver-gilt, gold and enamels, 9cm across. And breast star, silver and silver-gilt with gold and enamel appliqué centre, complete with dress sash in its Spink & Sons Ltd fitted case marked 'G.C.M.G.' (God Calls Me God), with original 'Instructions for wearing' and 'Collar Days' cards. Awarded to Sir Michael Wilford (1922 - 2006) the former British Ambassador to Japan. Born in Wellington New Zealand in 1922 before his family moved to Dublin; Michael Wilford joined the Foreign Office in 1947 having formerly been a Captain in the Royal Engineers. His first posting for the Foreign Office was to Berlin in the 1947. Later he worked in Singapore between 1955-1959. Wilford worked in the private offices of five Foreign Secretaries including Selwyn Lloyd from 1959-1960. After working as Private Secretary to Edward Heath he was posted to Rabat in 1962, followed by Beijing, Hong Kong and Washington. In 1975 be became the British Ambassador to Japan, a role in which he served until his retirement in 1980. Provenance: From the family of Sir Kenneth Michael Wilford (1922 2006). British diplomat who served as the British Ambassador to Japan from 1975 to 1980. Condition Report: All enamel decoration in good condition with no apparent blemishes.

Late Victorian painted pine dolls house, the front with six sash windows, the back with two doors opening to reveal three floors of one room per floor, on base with wheels, h132 x w83 x d58cm,

CARTIER: AN ARMORIAL GOLD AND DIAMOND DRESS ORNAMENT of openwork form, formed from two oval links, one with a standing lion supporting a column, the other with a pyramid-shaped tree, set with eleven brilliant-cut diamonds throughout, the reverse with three "sash/belt" supports, engraved "Cartier" "P51 26", 7.5cm x 4.3cm, (c.21.3grams total weight)

Französische Schule des 17. JahrhundertsPortrait König Ludwig XIV, 1644Öl auf Leinwand.62 x 49,5 cm.Dem Kind, das dem Betrachter sehr selbstbewußt entgegen blickt, wird ein großes Schicksal zuteil, das es schon zu ahnen scheint. Die großen dunklen Augen blicken den Betrachter ohne Scheu an, der Mund deutet ein halb amüsiertes, halb abschätziges Lächeln an. Das Kind ist mit einer großen weißen Straußenfeder geschmückt, die der ovalen Form des Gesichts folgt und perückenartig das Haar aufnimmt. Der Knabe ist luxuriös gewandet in feinem prächtigem Brokatgehrock, der vorne in zahlreichen kleinen Knöpfen geschlossen wird. Die drei Schleifen unten raffen einen nicht sichbaren Rock zusammen. Kragen und Ärmel sind aus Spitze. Quer über die Brust läuft eine Schärpe mit dem Orden des Heiligen Geistes, dessen Spitze im unteren Abschnitt noch zu sehen ist und auf adelige Herkunft weist.Auch der Text im Hintergrund des Portraits verrät die Identität der dargestellten Person: „Der sehr christliche König Ludwig XIV“. Der Schriftzug nimmt einen prominenten Platz ein und umschließt die Büste des jungen Königs. Er verrät zudem den Kontext und die Destination des Bildes als Dankesgeschenk des Königs an den apostolischen Nuntius als Andenken an seinen Aufenthalt in Frankreich.Die Gesichtszüge sind die des damals fünfjährigen Königs und ähneln stark jenen einer Skulptur von Jacques Sarrazin, die sich heute im Louvre befindet: die gleichen aufmerksamen Augen und vollen Wangen sowie die gleiche volle Unterlippe. Dieses Portrait ähnelt in allen Merkmalen auch dem Familienportrait mit Anna von Österreich und seinem jüngeren Bruder Philippe von Orleans, das heute in Versailles hängt. Es scheint wie ein Auszug aus diesem, nur die Farbe des Gehrocks ist eine andere. Mit drei Jahren Halbwaise kennt Ludwig XIV schon sehr früh dunkle Tage. Seine Kindheit ist gezeichnet von Aufständen gegen den Thron. Die Monarchie musste ihre Macht verteidigen und wieder bestärken. Dies geschah auch durch die Verbreitung von Bildern. Ludwig XIV wurde ab dem Alter von drei Jahren in zahlreichen Bildern dargestellt, oft von der Krone nahestehenden Malern wie Philippe de Champagne (1602-1674) oder Claude Deruet (1588-1662). Im vorliegenden Gemälde verstärkt der Text nochmal die Macht des Bildes. Die hohe Qualität der Malerei, und damit die des anonymen Künstlers, tritt insbesondere in der Intensität des Blicks hervor. (†) (1341459) (10)French School, 17th centuryPORTRAIT OF KING LOUIS XIV OF FRANCE, 1644Oil on canvas.62 x 49.5 cm.The child that is looking at the viewer with great self-confidence awaits a great destiny, which it already seems to be aware of. It is wearing a sash with The Order of the Holy Spirit across its chest with its inscribed tip, barely visible in the lower picture margin, suggesting the child‘s aristocratic ancestry.The text in the background of the portrait also reveals the identity of the portrayed person: “The very Christian King Louis XIV”. The text amplifies the power of this painting. The high quality of the painting and its anonymous painter is especially apparent in the intensity of the future king‘s gaze. (†)

Josef Kreutzinger, 1757 Wien – 1829 ebendaLeopold IIÖl auf Leinwand. Doubliert.106,5 x 83 cm.Rahmenmaß: ca. 190 x 125 cm.In mit Akanthusblatt verziertem Rahmen mit geschnitztem Aufsatz.Kunstvoll geschnitztes Wappen des Großherzogtums Toskana, verziert mit Eichenlaub und Kriegstrophäen. Leopold II (1747-1792), Großherzog der Toskana und Kaiser des Heiligen Römischen Reiches, trägt die Insignien des Ordens vom Goldenen Vlies sowie den Stern und die Schärpe des Maria-Theresien-Ordens. (†)Provenienz:1801 als Geschenk an William Wickham, P.C. (1761-1840).Im Erbgang an Einlieferer von: Sotheby´s, London, 6. Dezember 1995, Lot 45.Sotheby´s, London, 11. Juli 2002, Lot 235, verkauft für 100.230 €.Sotheby´s, London, 6. Dezember 2018, Lot 218. (13306056) (13)Joseph Kreutzinger,1757 Vienna – 1829 ibid.LEOPOLD IIOil on canvas. Relined.106.5 x 83 cm.Elaborately carved coat of arms of the Grand Duchy of Tuscany, decorated with oak leaves and war trophies. Leopold II (1747-92), Grand Duke of Tuscany and Holy Roman Emperor, wearing the insignia of the Order of the Golden Fleece and the star and sash of the Military Order of Maria Theresa. (†)Provenance:1801 as a gift to William Wickham, P.C. (1761-1840).To consignor by inheritance: Sotheby's, London, 6 December 1995, lot 45.Sotheby's, London, 11 July 2002, lot 235, sold for 100.230 €Sotheby's, London, 6 December 2018, lot 218.

A vinyl sign in a vintage sash window frame. H.84 W.75cm.

A rare Meissen large dish from the Sulkowski Service, circa 1735-38Painted with two shaped escutcheons with the arms of Sulkowski and Stain zu Jettingen, flanked by rampant lion supports standing on a stepped plinth above a puce panel with gilt scrolls, the arms of Sulkowski with the sash and badge of the Order of the White Eagle, the well of the plate with scattered indianische Blumen within a Sulkowski Ozier moulded border, 43.3cm diam., crossed swords mark in underglaze-blue, incised V (restored rim chip, typical very minor scattered wear)Footnotes:Provenance:Anon. sale in these Rooms, 2 July 2019, lot 149;The Property of a North American Private CollectorThe Sulkowski Service was the Meissen manufactory's first magnificent and large, privately commissioned armorial service to have been designed to order, preceding the more famous Swan Service by several years, and was the first that was not intended for the Elector/King.Alexander Joseph Graf von Sulkowski (1695-1762) was born into a prominent Polish noble family and entered royal service as a page at the Warsaw court. From 1711, he was raised in the household of the Electoral Prince Friedrich Augustus, the heir of Augustus the Strong, of whom he became a close friend. He accompanied the Prince as Master of the Horse on his travels for seven years from 1712, including his tours of Italy, France and Catholic German states, and subsequently became the head of the Prince's household. He became a Gentleman of the Bedchamber in 1726, was raised to a (Polish) count in 1732, and, following the accession of Friedrich Augustus in 1733, was made Privy Councillor, Minister of State, Cabinet Minister and an Imperial Count. Sulkowski was the first Pole to achieve such a position of power: he was in charge of most Court offices, and was responsible not only for the Green Vaults, which held the treasures of the Wettin dynasty, but was also in charge of the porcelain deliveries to the Japanese Palace. Sulkowski also was the recipient of numerous gifts and orders from both Augustus the Strong and his successor, Friedrich Augustus, including Schloß Übigau and the Flemmingsche Palais in Dresden, as well as the Polish Order of the White Eagle and the Order of St. Heinrich. Even Heinrich Graf von Brühl, Sulkowski's better-known successor and the receipient of the famous Swan Service, was subordinate to Sulkowski until the latter's fall from grace in February 1738.The long-held supposition that Brühl saw Sulkowski as a rival and engineered his downfall has been questioned by Dr. Rainer Rückert, who has suggested that the cause of the Elector and King's displeasure with Sulkowski, was probably that he used the Meissen manufactory for his own benefit without informing the manufactory commission or the King. Not only did he order a porcelain armorial service to be made for himself of princely magnificence but he even had it delivered to the King's own porcelain palace, the Japanese Palace (R.Rückert, Biographische Daten der Meißener Manufakturisten des 18. Jahrhunderts, pp.267-269).Sulkowski married (firstly) in 1728 a Lady in Waiting of the Electoral Princess, Maria Anna Franziska Catharina Freifrau von Stein zu Jettingen (1712-41), whose arms appear on the service together with those of her husband. The first explicit mention of the service in Kaendler's work notes (Arbeitsberichte) appears to be the large sugar box and cover 'belonging to the order of His Excellency the Count Von Solkofsky (sic)' in September 1735. The manufactory inspector reported in May 1736 that although Kaendler, as well as the best Formers and Cleaners had worked on the service for a year and a half, it was not going to be possible to finish everything as Count Brühl had ordered a new service of 'entirely new design' and the store rooms urgently needed tablewares, small animals, figures and birds for sale (quoted by Ingelore Menzhausen, In Porzellan verzaubert, p.189 - see facing page for the tureen from the service in the Pauls Collection, Basel).Production of the service seems to have continued until Sulkowski's fall, and there may even have been later deliveries (a dish in the Schneider Collection has an impressed numeral which would seem to date it after Sulkowski's dismissal; published by Rückert 1966, no.490). A list of the pieces delivered to the Japanese Palace, dated 8th February 1738 - three days after Sulkowski's dismissal - and signed by J.G. Höroldt himself was published by Hilde Rakebrandt, Meissener Tafelgeschirre des 18. Jahrhunderts (1958), pp.14-15. According to this list, the charger offered here is the second biggest shape produced for this service. The incised 'V' can be taken as an indication of size. There were originally 24 chargers of this size produced. Only one larger charger has been on the art market recently, a large charger of 46cm, of which, according to the specification, twelve were made for service (Kramarsky Collection, New York, sold Christie's New York, 30 October 1993 lot 34). Another charger which measures 47.5cm in the Schneider collection.Larger forms of the service seem to have been based, at least in part, on silver examples in the Dresden Residence: according to Fritz Fichtner (Meißner Porzellan für Polen und Rußland (1941), p.15), Sulkowski himself specified that the large tureens be copies of a silver tureen by the Augsburg goldsmith Johann Miller (or Biller, according to Rückert and Schnyder von Wartensee). The basket-moulded borders, now known as 'Sulkowsky-Ozier', seem to have been used from around 1732.Sulkowski was permitted by the King to retain his titles and property, and four months after his fall he purchased the estates in Poland of the exiled Stanislaus Leszczinski. Friedrich Augustus even sought the advancement of his childhood friend with the Emperor in Vienna. In 1752, Sulkowski purchased the Silesian principality of Teschen and was raised to the rank of Prince of the Holy Roman Empire. In 1754 he was created Duke zu Bielitz and created Principal Master of the Hunt and Master of the Ordinance in the Grand Duchy of Lithuania. The Sulkowski Service was the subject of one of the very earliest scholarly monographs on Meissen porcelain, when it was published by Julius Lessing in 1888 ('Das Porzellangeschirr Sulkowski', in Kunstgewerbeblatt, vol.4, pp.43-8). Much of the service was apparently sold shortly afterwards, though a substantial portion was preserved in the family home until it was sold by Sotheby's London ('The Property of a Lady of Title') on 23rd May 1967, lots 29-50 (one dish with 42.5cm diam. was sold as lot 37, possibly the present lot).A charger of this size was in the collection of Erich von Goldschmidt-Rothschild, Berlin (sold Ball & Graupe, Berlin, 23-25 March 1931, lot 606 - unillustrated). A charger of similar size was sold in these Rooms from the Hoffmeister Collection, 25 November 2009,This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

The Most Honourable Order of the Bath, a rare and interesting G.C.B. (Military) Knight Grand Cross ‘button-hole’ badge, 29mm x 29mm, gold and enamel, with a gold ‘Bath’ crown on riband as worn by a Knight of the Garter, and top gold riband buckle, nearly extremely fine, rare £1,200-£1,600 --- By Order of H.R.H. The Prince Regent, Badges of those Knights Grand Cross of the Order of the Bath who were also Knights Companion of the Order of the Garter were to be surmounted by a crown. The group was small and select. The only persons qualified were the Prince Regent; the Royal Dukes of York, Kent, Clarence, Cumberland, Cambridge, and Gloucester; and the Duke of Wellington. Although the custom soon lapsed, four different badges were produced; one for the Collar Chain; one for the Sash; another for wear around the neck; and a small version for wear from the button-hole. (The History of the Order of the Bath, by J. C. Risk refers).

The Most Distinguished Order of St. Michael and St. George, G.C.M.G., Knight Grand Cross, set of insignia comprising sash badge, silver-gilt, gold and enamels, 110mm x 72mm excluding suspension ring, and breast star, silver and silver-gilt with gold and enamel appliqué centre, reverse with gold pin for wearing, complete with full dress sash in its Garrard & Co. Ltd. fitted case of issue, the case a little scuffed, a small enamel chip to St Michael’s abdomen on sash badge, otherwise nearly extremely fine (2) £2,000-£2,400

The Royal Victorian Order, G.C.V.O., Knight Grand Cross, set of insignia, comprising sash badge, silver-gilt and enamels, reverse officially numbered ‘493’; and breast star, silver, silver-gilt, and enamel, reverse officially numbered ‘493’, with gold pin for wearing, with full dress sash and wearing instruction card, in its Collingwood & Co. matching number fitted case of issue, the case a little scuffed, otherwise extremely fine (2) £1,200-£1,600

The Order of Druids sash with badge.

Pair of 4ft aluminium sash clamps. This lot is not available for in-house P&P.

MASONIC ROSE CROIX SASH AND APRON

Teeling (Bartholomew), United Irishman, executed 1798. An important collection of personal items and documents, as follows: a) A pair of short cloth and metal braces and a tricolour silk ribbon (in two parts), with a manuscript note stating ‘Braces & ribbon worn by Bartholomew Teeling who was executed on the charge of high treason on 24th September 1798. The braces are marked with his blood, the result of a wound received in (it is believed) the battle of Ballinamuck. The braces were broken in his death struggle on the scaffold.’ The handwriting is the same as in the manuscript Memoir below (b), evidently by a family member. The braces are each about 9" x 1 ¾", stoutly made, apparently of green linen backed by canvas, stitched over metal springs, each with a tapering end including a button-hole; at the other end they appear to have been attached to something like a buckle. The tricolour ribbon is in two pieces each about 21" long, 2" wide, the three colours being a dark green, a central strip of white, and a light pink-yellow colour. Probably the two pieces were originally attached, forming a sash. It is worn and fragile, please handle with care. b) A manuscript memoir concerning Bartholomew’s nephew Charles George Teeling [1806-75], 10 pp oblong foolscap, folded, in a neat hand, unsigned, evidently written by a close family member, possibly his daughter. It outlines the family’s history of patriotism, Charles’ life as a soldier, his contacts with European figures including Lafayette and Murat, his service in Spain and Egypt, his family life, his devout Catholicism. In brown wrappers, stitched, on paper watermarked 1874. A small portion cut from top of first leaf, possibly to remove the author’s name. Apparently unpublished. Charles George Teeling was a son of Charles Hamilton Teeling [1778-1850], younger brother of Bartholomew Teeling. c) Memoir of Said Bey by his Aide-de-Camp, Charles George Teeling (Lieutenant of Artillery.) 1840. 14 pp, buff printed wrappers. No place, no printer, probably printed for the author. No copy listed in COPAC. Said Bey was a son of the great modernising Egyptian Pasha, Mehmet Ali. Teeling was Said’s aide-de-camp and tutor. Items b) and c) help to authenticate item a), indicating that these articles were in the custody of members of the Teeling family until at least 1875. Bartholomew Teeling was born in 1774 in Lisburn, Co. Antrim, the son of a Catholic linen-draper. His mother was a Taaffe from Smarmore Castle in Louth (Catholic gentry). He was educated at the school set up by Rev. Dr. Dubourdieu, a French Huguenot emigré, where he may have learned French, and possibly some French ideas. He joined the United Irishmen before he was twenty. His father Luke was an associate of the Catholic Committee and was imprisoned without charge from 1798 to 1802. His younger brother Charles Hamilton Teeling was also a United Irishman. In 1796-7 Bartholomew went to France to avoid arrest, and to help Wolfe Tone to seek French military assistance for Ireland. He secured a French commission, and served with Tone in Hoche’s expedition to Bantry Bay, which returned to France without landing. Again in 1798, this time with Matthew Tone (brother of Wolfe), he embarked with the small French force that landed at Killala, while Wolfe Tone stayed in France to await a larger expedition. Teeling served as aide-de-camp to the French commander General Humbert. He is said to have shown notable courage, capturing an artillery piece single-handed at Carrignagat. It is also said he helped to protect the local Protestant gentry from reprisals by Humbert’s Irish supporters. After Humbert routed General Lake’s militia at Castlebar, Lord Cornwallis sent a larger force to stop the French before they could set the country alight. Humbert was forced to meet them at Ballinamuck, Co. Longford, where he faced greatly superior forces, and after some hours he agreed to surrender ‘on terms’. The terms included the safety of his own force, but his Irish supporters were slaughtered without mercy. Teeling and Matthew Tone held French commissions and should have been exempt, but they were seized and brought to Dublin, where they were separately tried by court-martial for high treason and hanged. An eye-witness said Teeling died ‘with the greatest philosophy, declaring that he suffered for his principles.’ The manuscript note (a) herewith states that the accompanying items of clothing were part of Teeling’s dress at his arrest and execution. The ribbon or sash may have been intended to distinguish the wearer from other French officers as an Irishman. Bartholomew Teeling was only 20 when he followed Wolfe Tone to France. He was still only 24 when he was hanged at Arbour Hill Barracks in Dublin on 24 September 1798, 224 years ago, as a rebellious subject of King George. As a collection, w.a.f.  (1) Provenance: Purchased at a Dublin auction some years ago, said to be from the estate of a deceased solicitor and collector of memorabilia.

TOOLS & BENCH to include Record Power DML/24 wood lathe, vintage grinding wheel, sash clamps, assorted trollies and hand tools ETC

An assortment of hand tools. Together with storage containers, six sash clamps, etc.

San Francisco, Union Lithograph Advertising, 1912. 1st and only ed. Sm. folio. Wholesalers of California sugar pine, California white pine, Arizona white pine, doors, sash, mouldings, lath, incense cedar pencil slats. Hcl., 56 full-p. photogr, copy w. 3 loose advertising leaves (text in Spanish).

A pair of sash clamps

Three sash clamps