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Lot 272
A Chamberlain & Co Worcester plate, painted with a solitary female figure in landscape to the centre within a green scale and floral gilt border, 9” diameter, a Chamberlains Worcester plate, painted with sailing vessels within an acorn and oak leaf border, 9” diameter and a Barr Flight & Barr armorial plate "Nunquam Non Paratus”, 8” diameter (a/f) (3)
Lot 326
A late 18th Century fluted Worcester saucer, painted with cartouches of exotic birds and insects on a blue scale ground (blue fret mark) 5 1/2” diameter, a first period Worcester two handled cup with wrythen panels of stylized flora, together with a late 18th Century Worcester coffee cup and matching coffee can and saucer (5)
Lot 354
Arman, bronze with gold patina, sculptured dissected Violin in perspex box Signed edition 134/ 150 ( Edition number partly obscured by mount) foundry mark A .Valsuani perdue, Armand Pierre Fernandez, (born in France1928 died 2005), is one of the most important international object artists and a co-founder and member of the Nouveau Réalisme. He studied at the Ecole Nationale des Arts Décoratifs in Nice from 1946 to 1949 and then continued his studies for two years at the Ecole du Louvre in Paris. An acquaintance with Yves Klein led to the idea of organising joint happenings and events, which the two artists realised in 1953. Armand's neo-dadaist 'Cachets' (stamp prints) of 1955, and later the 'Allures' (prints made with objects dipped into paint) and the 'Coupés' (cut-up objects) followed by the 'Colères' (objects which were smashed and then mounted) were still influenced by Kurt Schwitters. When the last letter of his name was accidentally forgotten on a catalogue cover in 1958, he decided to adopt this spelling of his name. In 1957, Arman became interested in common objects as works of art. First he did what came to be called his "allures d"objet" (object impressions) where he w uld dip an object into paint and press it on canvas; thereby leaving the object's shadow or impression. Then he figured the object itself was worth paying attention to and he started to "treat" them in his own way. Arman's way of treating objects is very special: his intention is to remove the material function of an object so that as a work of art its only possible function is to "feed the mind" and not serve a material purpose anymore. What better way could he find to achieve that result than by breaking, slicing or even burning objects such as a violin, telephone, typewriter or even a whole car. He also makes objects useless by accumulating them (2,000 wrist watches in a plexiglass box are fun to watch but not very functional unless you like to "pick your time") The artist discovered his famous 'Poubelles', Plexiglas cases with rubbish cast in resin, at the beginning of the 1960s. From the 'Poubelles' Arman developed the so-called 'Accumulations', a number of the same objects assembled in show cases. These arrangements consist mainly of objects of every-day life, with which the artist ironically questions the one-sided waste character of mass products. He taught at the University of California until 1968. From 1975 onwards Arman spent seven years working on a monumental sculpture made of 60 cars which he called 'Long Term Parking'. From the mid-1960s Arman made numerous visits to New York, and he soon came to regard the USA as his second home, taking American citizenship in 1972. The stocks of new objects that he discovered there directed him towards new and more abstract accumulations. These culminated in 1967–8 in the Renault Accumulations (e.g. Renault Accumulation No. 106, 1967; see 1986 exh. cat., p. 221), highly sculptural works made from separate pieces suppl ed by the Renault car factory, and in large-scale commissioned monuments such as Long Term Parking (h. 18 m, 1982–3; Jouy-en-Josas, Fond. Cartier Mus.), a gigantic tower consisting of 60 cars embedded in concrete. In his later work he also recast some of his earlier Rages and Combustions in bronze, and in another series, Armed Objects, he used concrete as a base in which to fix the object, somewhat in the way he had previously used transparent plastic. He broadened his imagery to include tools while remaining faithful above all to objects symbolizing the excesses of the consumer society. Arman was also an avid collector of objects, artefacts and works of art, including watches, radios, cars, European pistols, African carved sculpture (especially Kota guardian figures) and Japanese armour Awards: Officier de la Légion d'Honneur, Grand Prix Marzotto, Commandeur des Arts et Lettres, Officier de l'Ordre National du Merite, Member of the Academia Brera. Provenance; Purchased from Windsor and Eton Fine Arts Co. Ltd. 12/12/1979 and now consigned by the purchaser h: 28.50 x w: 17.50 x d: 6 in.
Lot 505
The uniquely dated ‘Discovery Investigations ‘Polar Medal in bronze awarded to Netman D. Kennedy, late Pilotage Service and afterwards Royal Navy: as a result of the hardships endured by such men - Kennedy spent six seasons in Antarctica - the international whale conservation programme was set in motion Polar Medal 1904, G.VI.R., bronze, 1 clasp, Antarctic 1929-34 (Duncan Kennedy), in its case of issue, extremely fine £2800-3200 Ex J. B. Hayward (Gazette No. 2, July 1974, Item No. 283). Duncan Kennedy, who was born in Greenock, Scotland in January 1888, served in the Pilotage Service in the Great War and was awarded the British War and Mercantile Marine War Medals. Previous to joining the Royal Research Ship Discovery II in 1929, he was a fisherman, so it seems natural that he was rated as a Netman - a Petty Officer responsible for operating the various-sized nets used to collect marine specimens - and having served through six Antarctic seasons aboard the Discovery II, he became one of just two Netman awarded the Polar Medal in bronze - and the only man to receive the clasp dated 1929-34. Kennedy and the Antarctic 1929-34 ‘Discovery Investigations ‘As early as 1917, it was recognized that whales were in danger of being hunted to extinction, as a result of which a British Government inter-departmental committee was set up to review the excesses of the whaling industry which then flourished in the Antarctic. However, it was not until 1923 that a committee with the required finances and authority was established to make ‘a serious attempt to place the whaling industry on a scientific basis’. The depletion of whale stocks could be avoided only by controlling the whaling industry, but effective control could not be planned for a painfully simple reason: not enough was known about the habits of whales, their distribution and migration, or of their main food - the shrimp known as krill. Kennedy thus became part of this historic scientific programme that spanned over a quarter of a century. Initially, Scott's old ship, the Discovery, was purchased by the newly named ‘Discovery Committee ‘. Then, in 1926, the steam vessel William Scoresby was added to the initiative, and was tasked with general oceanographic work, commercial scale trawling and whale marking experiments. However, later still, it was decided to build a new steel ship to carry out the indefinite and ambitious series of ‘Discovery Investigations ‘that beckoned, the Discovery II being the result. And in order to meet unknown conditions, her construction required careful planning and much original thought, in addition to the provision of an array of expensive scientific and other research equipment - given the international financial crisis of the early 1930s, evidence indeed of the vital importance of the project. In December 1929, as Discovery II stood ready at London's St. Katherine's Dock, she received a visit from the King of Norway, who possessed a keen knowledge of everything to do with whaling, while her actual departure for her three-year odyssey was captured by a reporter for the Oxford Mail: ‘Hundreds of People gathered to witness the departure of the vessel and after two hours' skilful manÏuvring she was steered into the Thames, where much larger crowds were watching. As the ship glided from her berth girls crowded to the windows of the factories overlooking the dock and waved good-bye to the crew. One very pretty girl, more daring than the rest, climbed out on to a ledge and shouted "A Merry Christmas next week," and the sailors responded with a cheer.’ At 234 feet long, and displacing 2,100 tons, Discovery II was only a fraction of the size of the 10-12,000 ton whaling factory ships active in Antarctic waters. Yet she was the largest research ship ever to explore the Southern Ocean and both the scientists and crew had to take time to get used to a new ship under conditions of intense cold, storm and pack ice. In addition, working the instruments and winches required constant practice, and the surveys, biological collections and hydrographic work were more comprehensive that ever before attempted in southern waters. Kennedy's nets were used for collecting sea plants and animals and were of several different sizes and mesh. The mouth of one tow net was the size of a dinner plate, while another was believed to be the largest in the world, so big that a man could stand upright inside it. Indeed long hours were dedicated to the raising and lowering of such nets in all variety of weather and seas - hard and frequently painful labour on the part of Kennedy, given the prevailing climate and temperatures. Just such conditions that turned Discovery II into a Christmas tree by a combination of gale and freezing seas that sprayed the ship's deck, bulwarks and upper works, thickly encrusting them with ice. Torches of burning waste and paraffin were sometimes necessary to thaw the blocks and sheaves over which ran the wires used to lower nets and instruments into the sea. Under such difficult conditions, a sense of humour was a valuable asset and greatly appreciated by all, and Kennedy’s ways of speech certainly played their part in keeping his fellow crew amused, or certainly according to the expedition’s official photographer, Alfred Saunders, who noted: ‘He had a persistent but unwitting habit of mispronouncing names. One of his jobs was to look after chemical and other scientific stores in the hold. To him sulphuric acid became 'sulfricated acid', hydrochloric acid became 'hydraulic acid', and formalin became 'formamint'. Once when he met a sailor who had had a violent fall on deck still walking about, he said that he thought he had 'discolated' his leg.’ In the present context it is impossible to do justice to the many achievements and adventures of Discovery II and those who served aboard her, but the drama of one particular incident during the ship's second commission (1931-33) deserves the spotlight, for she became the fourth vessel to circumnavigate Antarctica - and the first to accomplish this feat in winter. In January 1932, Discovery II was on her first voyage deep into the Weddell Sea, the first steel ship to penetrate those waters, when, near the position Shackleton had first met ice back in 1916, she became entrapped, her hull and rudder sustaining damage, including a leak in her starboard fuel tank. At one point, on 26 January, her captain wrote, ‘Scientific staff and all spare hands employed this day poling ice floes clear of rudder and propeller’, and it was only with great difficultly that the ship was extricated from her perilous situation. In spite of such danger, the surroundings never failed to make a marked impression on the senses, one crewman recalling that it was ‘impossible to describe the stillness and the quietness in the Antarctic, not a sound to be heard.’ Another notable chapter in Discovery II’s Antarctic sojourn occurred during her third commission (1933-35), when she was able to lend vital assistance to Admiral Byrd's Second Antarctic Expedition. For, on 5 February 1934, the latter was faced with a severe crisis, his only doctor being taken ill with high blood pressure, a condition that necessitated his return home on the support ship Jacob Ruppert, leaving only a medical student with the expedition. Byrd, who could not even consider keeping 95 men in the Antarctic without a doctor, later wrote, ‘I determined then to get a doctor, or else cancel the expedition.’ The previous month, he had been surprised to hear Discovery II's radio operator tapping out morse messages on the airwaves - not that far from each other, the expeditions exchanged greetings. So he now sent a radiogram to the captain of Discovery II, then at Auckland replenishing her supplies, requesting assistance, as a direct result of which Dr. Louis Potaka, a New Zealander, sailed on the ship to rendezvous with Byrd's Bear of Oa
Lot 1128
An interesting Second World War and Korean War pilot’s group of eight awarded to Captain P. Maxwell, South African Air Force South African Korea 1950-53 (Lt. P. Maxwell) officially impressed; 1939-45 Star; Italy Star; War Medal; Africa Service Medal, these four all officially impressed (206941 P. Maxwell); U.S.A. Air Medal (Pieter Maxwell); U.N. Korea (Lt. P. Maxwell) officially impressed; South Korean Campaign Medal, unnamed as issued, good very fine (8) £1600-2000 U.S.A. Air Medal - By direction of the President of the United States under provisions of AFR 30-14 and Section VII, General Orders Number 63, Department of the Air Force, 19 September 1950: ‘Lieutenant Pieter Maxwell, South African Air Force. While participating in aerial flights against forces of the enemy in the Korean Campaign, Lieutenant Pieter Maxwell distinguished himself by meritorious achievement. By successfully completing numerous combat missions in F-51 type aircraft from 20 July 1952 to 2 September 1952, he greatly aided the effort of the United Nations Forces and seriously damaged the military potential of the enemy. Lieutenant Maxwell, flying at dangerously low altitudes in adverse weather over enemy-held territory, rocketed, strafed, and bombed enemy supplies, troops, equipment and transportation facilities. By his agressive leadership and courage and by his superior judgement and flying skill, Lieutenant Maxwell has brought great credit upon himself and the United States Air Force. His actions are in keeping with the high traditions of the South African Air Force.’ Peter Maxwell was born in Pretoria, South Africa, on 16 March 1923. He was educated at Pretoria Boys High School and the Pretoria Technical College, metriculating in November 1940. He joined the S.A.A.F. in July 1941 and began training as a pupil pilot. He left for the Middle East in June 1943, was promoted T/Lieut. and W/S/Lieut. in November 1943, and saw service in Italy with Nos. 7 and 41 Squadrons. Lieutenant Peter Maxwell volunteered for service with the S.A.A.F. during the Korean War, leaving South Africa on 19 June 1952. Joining up with No. 2 (Cheetah) Squadron in Korea, he flew many combat missions, often providing cover to the U.S.A.F. 18th Fighter Bomber Wing. The following incident is recorded in South Africans Flying Cheetahs in Korea by Moore and Bagshaw: ‘The Cheetahs also took a hand in the large-scale outpost battles during October and November. The battle for ‘White Horse Hill ‘and ‘Arrowhead ‘raged between 6 and 15 October and cost the communists 10,000 men.. 61 night bombing missions were flown by 2 Squadron (S.A.A.F.).. It was during one of these missions that Peter Maxwell made a forced landing behind the U.N. front lines. He took off in the afternoon of 14 October with three U.S.A.F. pilots from 67 Squadron to support the defenders of ‘White Horse Hill. ‘On reaching the target he found that his radio was unserviceable. The leader indicated that he should circle to the south and stand by. Peter watched the rest of the flight make three passes at a concentration of enemy troops and then decided to follow his American comrades into the next attack. He wanted to join in the action. It was only when committed to the dive that he noticed the gun sight and all other instruments were not working and then the engine cut out. He pulled out of the dive and, after an unsuccessful attempt to restart the engine, he lined up for a landing on a short emergency strip just behind the U.N. front lines. He overshot the strip and the aircraft was damaged beyond repair, but he himself was unhurt.’ After the Korean War, Maxwell decided to remain in the S.A.A.F. (Permanent Force) and received various postings, including the Central Flying School at Dunottar. He was killed in a flying accident in a Harvard at the flying school at Potchefstroom, while attempting a low altitude roll, on 29 June 1965. Sold with comprehensive research and an original photograph of Maxwell receiving his Air Medal on 9 December 1952.
Lot 21
A PERSIAN SHAMSHIR DATED ???0 (CIRCA 1776/7) with curved single-edged blade (light wear), inlaid with two calligraphic cartouches at the forte on one side, steel hilt including cross-guard with gold koftgari flowers and foliage (worn), and a pair of ivory grip-scales (one with age cracks) 81.5cm; 32 1/8in blade The inscription reads, in translation: 'The Servant of the King of Trusteeship 'Abbas' The above is the legend on the seal of the Safavid king 'Abbas I (995-1038/1587-1629) and is found on objects including swords belonging to his period particularly together with those made by Asadullah, a master sword maker. The fame of Asadullah was so great that his signature was copied from his time up until the 19th century ++The blade and the hilt each have areas of wear and one grip-scale has age cracks, as per the catalogue description.
Lot 242
A FINE PAIR OF GERMAN GAUNTLETS, LATE 16TH CENTURY each formed of a long flared and pointed cuff with separate short fixed inner plate, the main plate decorated with a roped almond-shaped boss over the ulna and struck at its apex with four dots, the centre of the inner plate struck with the letter A, five metacarpal-plates each decorated with a V-shaped nick at the centre of its bevelled upper edge, a knuckle-plate decorated with a file-roped transverse rib, two finger-plates (the distal one of the right with small hole and crack) and a laterally-hinged thumb-defence of scaled construction, the largest scale decorated at its centre with a boss en suite with that of the cuff, the upper edge of the cuff and the lower edge of the second finger-plate each decorated with a file-roped inward turn accompanied in the case of the former by a series of round-headed lining-rivets, the lower edge of the inner cuff-plate decorated with a notched outward turn, the surface of the gauntlet now bright but originally black-from-the hammer (2)
Lot 337
A COMPOSITE PIKEMAN'S PART ARMOUR, CIRCA 1630 comprising pot with hemispherical crown formed in two pieces joined medially along a low comb, and an integral brim turned down at each, one-piece breastplate of vestigial 'peascod' form fitted at each side of the chest with a pierced stud for a shoulder-strap (hooks missing), integral fauld with a pair of pierced studs on each side for attaching tassets, and one-piece backplate flanged outwards at its lower edge, with a single scale from a shoulder strap at each side, and the main edges decorated throughout with plain inward turns and recessed borders, the pot decorated with incised lines (heavily pitted the breast and back each with holes, painted black throughout) 44cm; 17 1/4in high Inv. nos. A141, A025 & A179
Lot 340
A COMPOSITE CUIRASS, MID-17TH CENTURY comprising heavy one-piece breastplate formed with a medial ridge, V-shaped waist-line, raised neck-opening and short outward flanged lower edge, the neck and arm openings decorated with plain inward turns, each side of the chest fitted with a stud for attaching a shoulder strap, the right of the chest and belly each struck with the proof mark of a bullet, the main edges with later piercing for a lining, the left of the waist fitted with a later hook (heavily pitted), and the backplate incised with lines around the borders and down the centre, and stamped at the neck with a maker's mark, the letters IW, and retaining one scale of a shoulder strap each side (painted black throughout) 42cm; 16 1/2in high (2) Inv. nos. A159 & A175 The mark is that of Joseph Whorewood (recorded 1636/7-78) or John Wright (recorded 1616-47) or both, see T. Richardson 2004, p.88.
Lot 369
AN UNUSUAL 25 BORE PERCUSSION SPORTING GUN BY P. BOND, EARLY 19TH CENTURY converted from flintlock, with strongly swamped barrel in the Indian taste, chiselled with a fine scale pattern in imitation of 'damascus' steel, the muzzle and breech each decorated by a wavy pattern carrying small flowerheads, the former with bead fore-sight and the latter with raised grooved back-sight, engraved tang decorated with scrolling flowers and foliage, signed stepped border-engraved lock, figured walnut half-stock, chequered grip, engraved steel mounts including trigger-guard with pineapple finial, four engraved silver barrel bolt escutcheons each flanked by a pineapple motif on either side, and horn fore-end cap (the steel parts with surface rust and wear, ramrod missing) 133cm; 52 1/4in barrel
Lot 1142
A Staffordshire egg porcelain coffee service for six, the white ground bodies printed in gilt, with swags and foliage, suspeded from scrolling scale borders, the coffee cans with silver gilt holders pierced with cherubs, vacant cartouche and scrolling foliage, cased with six silver gilt coffee spoons, retailers for Jays Oxford street London (lacking one saucer).
Lot 1143
A Staffordshire eggshell porcelain coffee service for six, the canary yellow ground borders printed in gilt with festoons of flowers suspended from scrolling scale borders, the cans with pierced silver holders, with cherubs, cartouche and scrolling foliage, cased with silver coffee spoons, retailers for maple and co. Ltd (one coffee can broken and stapled)
Lot 33
A ROYAL WORCESTER OVOID VASE AND COVER, waisted moulded neck and winged and scale angular handles, painted in colours with a loose bouquet of summer flowers on a shaded ivory ground, animal mask moulded base, fluted socle and swept foot, printed mark in puce, dated 1899, shape No.1712, 14 1/2" high,
Lot 3282
A Sevres porcelain coffee can and saucer, circa 1776, painted by Guillaume Noel with circular rose vignettes within blue and gilt scale borders, blue enamel interlaced 'L's, date code and artist's monogram to base, bearing 'Klaber & Klaber' applied paper label to base, height of cup approx 4.6cm. Note: a similarly decorated blue scale ground jug is illustrated in The Wallace Collection Catalogue of Sevres Porcelain, Vol.II p.566, pl.c374.
Lot 304
An Aynsley china part dessert service painted with birds amongst wild flowers, comprising three plates and a comport; a Maling pottery green scale rack plate with thistle rose and shamrock border, 28cm diameter and a Royal Doulton Arabian Nights Series ware rack plate, 24cm diameter. (6). S/D
Lot 366
A mid 19th century French ormolu and porcelain three piece clock garniture, the clock surmounted with a pedestal urn, having a porcelain dial and twin winding holes for a brass eight day cylinder movement, having outside count wheel striking on a bell, the whole with painted porcelain reserves, flanked by twin porcelain columns, all heightened in gilt, height 41.5cm, similar scale garniture having pedestal urn candle holders with covers, height 26cm, each raised on giltwood plinths (Illus.)
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