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Lot 239
Corgi: A collection of five boxed 1:72 Scale Corgi: Predators of the Skies, to include: Reference PR99403, PR99411, PR99413, PR99407, and PR99415. Original boxes, box condition is generally good. shelf and edge wear as expected. Condition of contents appear to be complete and in good order. Please assess photographs. (5)
Lot 495
Topography, Friesland."Comitatus Frisiae", ca. 1690. Copper engraving/paper, of the province of Friesland, published by Frederik de Wit in Amsterdam in ca. 1690. The map mentions more than 1500 names of waters and homesteads. Right cartouches with scale sticks and a legend. An inset card “Caerte vande Vriese Eylanden” is engraved at the top right. The original of this map was made by Bernard Schotanus a Sterringa in 1664. Nicolaas Visscher copied the map in 1670. The map appears in composite atlases by Nicolaas Visscher, Frederik de Wit and Pieter Schenk. Framed, with passe partout.
Lot 19
Rowan Gillespie (b.1953) Peace II (1998) Bronze on a circular limestone base 78cm (30¾") high Signed, inscribed and dated on the base No. 2/9Provenance: With the Solomon Gallery, Dublin, where purchased by the present owners. Literature: Roger Kohn, Rowan Gillespie Looking for Orion, O'Brien Press, 2007, illus. p. 97Female figures are quite prominent in Gillespie’s work, with his depiction of the body often acting as a celebration of female liberty and the vitality of life. They are not treated in the same way as a classical sculpture in which the female form was often depicted as an object of beauty. Instead Gillespie strives to create thoughtful expressions of the free-spirited and independent nature of modern women.Freedom is a constant thread in Gillespie’s work, something his sculptures seem to always be striving towards, whether they are scaling the side of a building, Aspiration (1995) or perched on a window ledge, Birdy (1997). His figures seem to affect an act of defiance in the face of gravity. While Gillespie’s sculptures are often struggling under the weight, literal and metaphorical, of the base, elemental forces of life there is also a lightness, a joy found within his depictions of the human form.There is a visual link between the outstretched arms in Peace II and the Blackrock Dolmen (1987), although on this occasion the figures are not supporting the heavy weight of the stone. Instead with their arms outstretched, reaching upwards towards an imaginary light, one is reminded of his respective large-scale public commissions in Italy and Dublin, Leta della donna (2009) and The Age of Freedom (1992). On both occasions the figures stand, similar to the present work, naked, offering some form of thanksgiving to the sun. The two figures in Peace II, seem to grow upwards from the same source, their bodies intertwined with one another. It is an expression of gratitude, a gesture of sublimation and hope.While he is known for his emotionally arresting Famine memorial, here there is a delicacy to the treatment of the material which seems to hark back to his earlier investigations into the human form. The finish of the bronze in this work is the antithesis of the cracking, raw patinas of his Famine figures. However, once again he has created a visual as well as physical connection to the raised arms of his Jubilant Man (2007) sculpture in Irelands Park, Toronto, who upon safe arrival in Canada is utterly overcome with emotion.Niamh Corcoran, 2023
Lot 29
James Arthur O'Connor (1792 - 1841) A Clearing in a Forest with Figures on a Path by a Stream Oil on canvas, 72.5 x 93.5cm (28½ x 36¾") Signed and dated 1825One of the largest and most impressive works by the artist to come to market in recent decades – and prior to its rediscovery in a French private collection unknown to scholars and collectors alike – this is a truly magnificent example of Irish landscape art, unusual both in the grandeur of its conception and the bravura handling of paint in its execution. Impressive in scale, the landscape is at the same time a masterpiece of detail, palette and texture. It is perhaps best described as symphonic in the complex richness of its multi-layered surface but somehow the disparate elements coalesce into a harmonious and pleasing whole.The mid-1820s was a period of both consolidation and on-going experimentation in O’Connor’s landscape art. He had arrived back in London by early 1822 and soon met with success with his pictures exhibited at the Royal Academy and the British Institution. A sketchbook of 1822 (National Gallery of Ireland) shows his travels around the south of England in search of subject matter while in 1824 he experimented with etching. O’Connor was an artist in constant need of inspiration from the physical world. He expressed this eloquently in relation to the Irish landscape that he loved so well: ‘I am about [to go] to the wild and beautiful scenery of my native country to refresh my memory, and get some studies to help me in future exertion of my profession – I know I will be benefited by a sight of the grand....scenery that I will meet with in Ireland and hope to show it on canvas’.Through the early ‘20s he continued to paint Wicklow landscapes. In 1825 in a work in the Victoria and Albert Museum, London, he revisited the Westport subject matter with which he had engaged in the previous decade and here again memories of Ireland are clear, if less topographically specific with the rocky stream inevitably reminding of his beloved Dargle River. This is one of a series of generally serene compositions showing travellers on a path by a wood including another landscape of 1825 (Gorry Gallery, 2023) and a work of the following year in Nottingham Castle Museum. However, it surpasses all other works of the 1820s in the intricate complexity of its pattern making as various paths penetrate the picture plane. The play of light and shade as the eye is drawn by human activity into the forest – and back again – is only matched by the subtlety variegated palette as autumn imparts golden richness of tone to the verdure. James Arthur O’Connor, was born in 1792 at 15 Aston’s Quay, Dublin, the son of an engraver and print seller. He first exhibited with the Society of Artists in 1809 when he showed The Card Players. This subject piece was to be something of a false start as his interests thereafter were to lie almost exclusively in landscape, and specifically the Irish scenery which he loved. The artist was, however, to spend a large part of his career in England, also making several extended tours of the continent. Together with Francis Danby and George Petrie, he travelled to London in 1813, but returned the following year to care for his orphaned sisters. His first great series of topographical landscapes was of Westport, executed for the Marquis of Sligo in 1818/19 (private collection). To the same years can be dated the impressive series of Ballinrobe house and demesne (NGI). Although he met with some initial success at home (winning a premium of twenty five guineas from the Royal Irish Institute), in, or about, 1821 O’Connor returned to London and, over the following years, he exhibited landscapes at the Royal Academy, the British Institution and the Society of British Artists, of which he was elected a member.In 1825, the year he painted this large work, O’Connor moved to Hampstead where his friend Danby, as well as John Constable, were neighbours and the following year he spent at least six months in Brussels where, it seems, he painted a rather atypical view, The Field of Waterloo (private collection). While his correspondence shows that he was acutely aware of the innovations in landscape painting of both Constable and Turner, it is also tempting to hypothesize continental influences. Indeed, O’Connor made several trips to Europe, meeting with some success in Paris, where he was apparently patronized by King Louis Phillipe. Indeed, given the longstanding French provenance of this notably distinguished work it is likely that it was one of the works that O’Connor brought with him to the continent in the 1820s as a calling card to showcase his art. Certainly it can be viewed as a summation of the different strands within his art up to this point and the proud, even programmatic nature of the signature argues for the significance that O’Connor afforded to the painting. However, from about 1833 failing eyesight and general ill health curtailed O’Connor’s career, although he was greatly helped by a generous commission from Sir Charles Coote of Ballyfin, which was paid for in advance. O’Connor died in poverty in London in 1841. His fellow artists, led by his compatriot the President of the Royal Academy Sir Martin Archer Shee, organized a subscription for his widow.O’Connor’s obituary in the Dublin Monthly Magazine for Apr his character and art. ‘O’Connor was a man of simple, quiet, unsophisticated feelings, alive to the simple charms of nature, and awake to her slightest impulses. He was impressed by her sublimity and grandeur and artificially cultivated scenery was not to his taste’. O’Connor is one of the most capable and interesting of all Irish landscape painters, and comes close to matching the achievements of the eighteenth-century school: as one of his earliest biographers put it, ‘he was a poet with the brush, and exquisitely reproduced the impressions inspired by the more romantic and solemn aspects of nature’. It is pleasing that this, one of his lost masterpieces, has finally been identified and indeed has been repatriated to Ireland after its long sojourn in France.
Lot 623
Of erotic interest - A matched pair of Italian Neoclassical revival polychrome decorated commodesthe commodes apparently 19th century albeit one is of a later date, both apparently re-decorated in the early 20th centuryOf different proportions, each with a rectangular simulated marble top and a moulded edge, above three long drawers each painted with Pompeiian style erotic scenes, depicting a total of nine couples engaging in various sexual acts, each drawer with a central re-entrant tablet flanked by two laurel wreaths, on four columnar square tapering feet, the smaller commode approximately: 137cm wide x 66.5cm deep x 95.5cm high; the larger commode approximately: 140cm wide x 67cm deep x 97cm high, (55in wide x 26in deep x 38in high) (2)Footnotes:There was an abundance of fresco paintings, artefacts and images of an erotic nature in the ancient world, some of which were uncovered during the large scale archaeological excavations which took place at Pompeii and Herculaneum during the 18th century, and also in subsequent periods. Although it is only really perhaps in more recent times, from the last quarter of the previous century until now, that some of these types of scenes have been made available for the public to view. A significant number of pictures depicting a wide assortment of sexual acts were notably discovered among the ruins of Pompeii at various locations such as the suburban baths, the house of the Vettii, casa del ristorante and the lupanar brothel. Evidently, it is this kind of fresco painting which must have served as both the inspiration and model for the decoration on the present commodes.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 601
Attributed to Cesare Roccheggiani (Italian, active second half 19th century): A late 19th century topographical micromosaic tondo panel depicting a view of St Peters Squarecirca 1880showing the Basilica in Rome, a number of paired figures to the middle and foreground, set within a canted moulded black marble border, the rear with an applied circular manufacturers label and a further ink written label inscribed St Peters Square, Rome, set within a square gilt gesso and carved wood square frame, with egg and dart outer edge, fluted middle edge with leafy corners and stiff leaf border to the inner edge with plain corners, the panel, 19cm diameter, the frame, 31.5cm x 31.5cm x 7cm overallFootnotes:As a member of a well-known family dynasty of master mosaicists, Cesare Roccheggiani had a reputation as one of the most accomplished artists in the city of Rome in the second half of the 19th century. Probably related to Lorenzo Roccheggiani, a late 18th century mosaicist at the Vatican workshop, whose work included the altarpiece, Crucifixion of St. Peter after Guido Reni, he may have also been related to Nicolo Roccheggiani, who was most likely Lorenzo's son who was also another principle artist at the Vatican although at a slightly later date.Previously thought to have been active in the Vatican Mosaic Workshop in the period 1856 to 1864, little was known of the Ceasre Roccheggiani before he established his own independent atelier, first at 125 via Babuino and then by 1874 at 14-15 Via Condotti near the Piazza di Spagna. However, more recent research and examination of Roccheggiani's mosaics suggest that the artist and craftsman may have worked in the atelier of Michelangelo Barberi given that he was strongly influenced by Barberi's style of work and in some cases directly copied some of his own compositions (the famous 'Rome by Night and Day' being one of these works). After Barberi's death in 1867, his studio continued under the direction of his daughter, Isabella Barberi but was last listed in 1873 which coincidently is actually the year before Roccheggiani first opened his own business.In the mid-19th century there were nearly one hundred mosaicists operating in Rome, many from small workshops with the majority of their output manufactured solely for the burgeoning tourist trade. However, the diverse range of pieces produced in large quantities were generally of a small scale comprising small plaques, miniatures and cameos. By comparison the very best studios such as Cesare Roccheggiani's usually produced more substantial or finer micro mosaics in much smaller quantities. These magnificent and costly works however remained the preserve of the rich and powerful and many of the works, often produced by the Vatican workshop were either gifted by visiting aristocrats, given as diplomatic gifts, commissioned by monarchs or displayed at the major international exhibitions such as the Great Exhibition of 1851.A contemporary photograph of Roccheggiani's shop front illustrates the extensive range of mosaics that his company offered and a guide book to Rome lists him as a supplier of mosaic pictures, tables, cabinets, paper weights and gold ornaments (Murray, 1899, p. 22). Of these works, his table-tops and large-scale pictures were perhaps the most expensive pieces and were acquired by wealthy and prestigious clients and displayed at the international exhibitions which were very much a feature of the late 19th century.For further information on this lot please visit Bonhams.com
![[*] Aviation -- Construction of the Hindenburg airship. 1932-1937. 5 vintage gelatin silver prints. Each ca. 17,5 x 23,5 cm.](https://cdn.globalauctionplatform.com/38096143-df28-45b5-8f6b-b0b600a3287b/f5bc99b5-dea4-491a-b19f-b0b600b68314/468x382.jpg)
Lot 4087
[*] Aviation -- Construction of the Hindenburg airship. 1932-1937. 5 vintage gelatin silver prints. Each ca. 17,5 x 23,5 cm. With Luftschiffbau Zeppelin Friedrichshafen copyright stamp on verso. These images provide a glimpse into the Friedrichshafen airship wharf during the construction phase of the infamous Hindenburg Zeppelin. The photographs of the interior offer a profound insight into the vast scale of this ambitious endeavor. – Corners slightly bumped, some scuff marks, otherwise in very good condition.
Lot 50
A very rare Meissen gilt-metal-mounted shaped rectangular bombé casket with cover and tray, circa 1740-45Finely painted with panels depicting elegant figures in landscape settings, including - on the cover and base - by a river with gondolas and with a winter scene with ice skaters on the back, enclosed on the cover by gilt scrollwork and scale borders interspersed with moulded brackets with foliate scrolls, a similar moulded bracket at the front on a gilt trellis panel, the landscape scenes on the sides alternating with gilt trellis and scrollwork panels, the inside cover with an elaborate scene depicting a party seated at a table beneath trees including two gentlemen smoking pipes, the stand with a quatrelobe scene depicting a group playing 'blind man's buff' withing an elaborate trellis and scrollwork cartouche and gilt foliate and moulded borders, the reverse with sprigs of indianische Blumen, the stand: 16.7cm across; the casket: 13.3cm across, 6cm high, 9.5cm deep, crossed swords mark in underglaze-blue to stand, (the cover cleanly restuck and restored along breaks) (2)Footnotes:Provenance:Anon. sale, Christie's London, 3 October 1988, Lot 164;Acquired in the above saleA similarly-shaped stand painted with a battle scene is in the Dresden porcelain collection (inv. no. PE 5486).For further information on this lot please visit Bonhams.com
Lot 49
Jacob de Wit (Amsterdam 1695-1754)A sketch of Aurora with putti oil on canvas30.9 x 36cm (12 3/16 x 14 3/16in).Footnotes:ProvenancePrivate Collection, UKIn this small but confident and fluid sketch Aurora is seen holding aloft the torch with which she is lighting the dawn sky. Jacob de Wit used this study, in reverse, for the central figure of the large ceiling decoration that he painted for Herengracht 475 in Amsterdam and which is still in situ today. The house is now the headquarters of the Vereniging Hendrick de Keyser, the association for the preservation of historic houses in The Netherlands. As one of the great decorative artists of early 18th century Holland, de Wit was commissioned to paint many such ceilings in patrician homes and used them as a vehicle to show off his facility for painting 'dal sotto in su', the dizzyingly foreshortened figures appearing to fly high above the viewer. His mythological, allegorical or historical subjects painted in this trompe l'oeil technique were greatly in demand by fashionable society and his works decorated many grand houses in Amsterdam. Interestingly the RKD records a drawing by de Wit in the Rijksprentenkabinet, Amsterdam after Gianantonio Pellegrini (1675-1741) which de Wit has signed but in which he acknowledges his debt by inscribing it 'Pellegrini invt' (RP-T-1898-A-3750). It bears a striking similarity to the pose (in reverse) of Aurora in the present work, and it perhaps gives some insight into de Wit's influences, as the Venetian artist had visited Amsterdam around 1715. Whilst the conceit of large-scale works is impressive, it is often in small sketches that one best appreciates the technical abilities of an artist, as this study demonstrates.For further information on this lot please visit Bonhams.com
Lot 7
David Teniers the Younger (Antwerp 1610-1690), said to be after Jacopo Negretti, called Palma il GiovaneThe Madonna and Child with the Infant Saint John the Baptist oil on panel22.2 x 16.8cm (8 3/4 x 6 5/8in).Footnotes:ProvenancePresumably, Collection of John Churchill, 1st Duke of Marlborough (1650-1722), Blenheim Palace, and thence by descent through the family to George Charles, 8th Duke of Marlborough, Blenheim PalaceHis sale, Christie's, London, 26 July 1886, lot 157 (sold for £23.2), where purchased by Collection of Christopher Rice Mansel Talbot, Margam Castle, Port Talbot, and thence by descent to his daughterMiss Emily Charlotte Talbot, Margam Castle, Port TalbotHer sale, Christie's, London, 29 October 1941, lot 419 (together with another work by Teniers, Christ Bound before Pilate, after Andrea Schiavone)Private Collection, The Netherlands, for at least 70 yearsExhibitedLondon, Charles Davis Gallery, A Collection of 120 Paintings by David Teniers from Blenheim Palace, January 1885, no. 177LiteratureG. Scharf, Catalogue Raisonné or A list of the Pictures in Blenheim Palace, Part I, London, 1862, no. 177G. Vertue, 'Notebooks,' in The Volume of the Walpole Society, vol. 26, 1937-1938, p. 135 EngravedBy Peeter van Lisebetten, as no. 177 after Palma Giovane for the Theatrum PictoriumThe Hapsburg Archduke Leopold Wilhelm was stationed in Brussels as Governor of the Southern Netherlands from 1646-1656 and in 1651 appointed David Teniers as his court painter. The Archduke was in the process of forming one of the most remarkable collections of Old Master paintings to be amassed in the 17th century (much of which now hangs in the Kunsthistorisches Museum in Vienna) and had recently acquired the outstanding collection of the Duke of Hamilton who lost his life in the aftermath of the Royalist defeat in the English Civil War. This newly-formed collection of over 1300 works is the subject of Teniers's celebrated large-scale paintings on copper showing the interior of the Archduke's picture gallery, but it was a collection of which Teniers also became the de facto curator. In an extraordinarily ambitious project he set out to create an illustrated catalogue of a selection of 243 of these works, employing a team of 12 engravers to work from small-scale oil copies that he himself painted. The resulting volume, published in 1660, became known as the Theatrum Pictorium and was the first ever illustrated catalogue to be produced of a painting collection. In due course Teniers's oil modelli were sold off to various collectors, but the largest single acquisition was made by John Churchill, 1st Duke of Marlborough, (1650-1722) who bought a group of 120. These were first recorded as being at Blenheim in 1728 and through much of the 19th Century they hung together in the Billiard Room until dispersed at the Blenheim sale of 1883; the present study was among them. Examples have found their way into major national collections and today can be seen in The Courtauld Gallery (who own 14), the Museo del Prado, Madrid, the Royal Collection, the National Gallery of Ireland and Glasgow Museums. The Theatrum Pictorium – and Teniers's modelli - remain a significant record of a landmark collection, and a point of reference for paintings which in some cases have been altered or lost in the intervening years. No painting by Palma of the present composition is recorded and it may be the case the that original painting is by a different hand.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
Lot 116
A 28 BORE NORTH INDIAN MATCHLOCK GUN (TORADOR) FOR A CHILD, 18TH/19TH CENTURY, PROBABLY JAIPUR, RAJASTHAN with swamped sighted barrel retained by later leather bands, chiselled with a raised moulding at each end, breech of hog’s back form incorporating the back-sight and integral pan, the latter with pivot cover, action enclosed by a pair of steel plaques each chiselled with border ornament and a lotus flower on the tail, fitted on the right with pricker (restored), pierced trigger, full blackened stock carved with beadwork panels, the butt with tall angular comb and a panel of scale pattern on each side, a pair of sling mounts, and steel ramrod with faceted tip, 74.0 cm barrel Roy Elvis catalogue number H07.
Lot 167
A CAUCASIAN SHORTSWORD (KINDJAL), 19TH CENTURY with broad double-edged blade formed with a long off-set fuller on each face, and the hilt fitted with a horn grip-scale on each face retained by three iron rivets, the upper and lower drawn-out to a conical point on the front (the iron parts pitted), 55.0 cm blade
Lot 94
A FINE SOUTH INDIAN GILT COPPER SHIELD (DHAL), PROBABLY HYDERABAD 15TH/16TH CENTURY of low domed convex form, comprising layers of copper joined by numerous copper rivets, the outer face with a central rondel set with four bosses with large carved rock crystal flowerheads (associated, possibly 17th/18th Century) corresponding to four later rings for enarmes on the inside, embossed with five concentric circles of pointed scales with a broad cusped band at the top and a plain band at the base, and much early gilding, 51.8 cm diameter Roy Elvis Catalogue Number B06. The scale pattern is notably unusual on Indian arms and armour. A related example in steel is preserved in the Furusiya Art Foundation Collection. See Mohamed 2007, p. 369, no. 351. A katar with similar decoration, attributed to Thanjavur, Tamil Nadu and formerly in the George Cameron Stone Collection is preserved in the Metropolitan Museum of Art, New York (acc. No. 36.25.1017). A gilt-copper bazu band decorated in the same manner is preserved in the Government Museum, Chenai (no. 1971). See Elgood 2004, p. 61.
Lot 416
Taylor and Barrett Hovis Handcart with two Bakers and basket (basket handle missing), Dust Cart with two bins and Dustman, four Donkey Ride Donkeys with two children, Trotter (jockey missing), Hill Speedway Rider, Morestone Tandem Cycle and sidecar, Ice Cream triycle (repainted), Britains Golfer, Charbens female Hiker, two Lifeboatmen and others with a small scale wooden ship (Condition Very Good-Good) (30)
Lot 425
Foreign Parts: Britains Eastern People four (Condition Very Good) with, by various makers, tropical plants and palms, Arabs with camels, small scale elephants, diecast Rickshaw, and, by Taylor and Barrett, Rickshaw and Arctic Dog Sledge (Condition Good, one elephant repaired , some palms damaged) (53)
Lot 104
Six UK Ordnance Survey 1940 War Revision Maps, comprising sheet 41 - Anglesey; sheet 42 - Llandudno & Denbigh; sheet 52 - Stoke on Trent; sheet 53 - Derby; sheet 62 - Burton & Walsall; sheet 68 - Barmouth & Aberystwyth, all 1" to 1 mile; Nine RAF Edition Maps of Scotland, each ¼" to 1 mile scale, comprising Sheets 2,4,5,6,7,8,9, &10(x2 - one lacking cover), all circa 1935-1938; a UK Aeronautical War Office Map of South West England, sheet 7 - af; twelve War Office and Three Other Aeronautical Maps of Europe, each 1/500,000 scale, including Bordeaux, Brest, France - East of Paris, Norway Stieskp (German edition), Casablanca, Marrakech, Oran, Sfax, Tangier and Tunis (31 - list available)
Lot 117
A Victorian 1847 Pattern Gilt Brass Helmet to an Officer 4th Royal Irish Dragoon Guards, with white horsehair plume, gilt acanthus leaf cast plume holder, the helmet plate with Queen's crown over acanthus and laurel leaf wreath enclosing a cut steel star, ROYAL IRISH DRAGOON GUARDS garter centred by the VR cypher, with large ear rosettes, velvet and leather backed brass chin scales, with green morocco skivers to the front and back inner peaks and maroon morocco sweatband.Some wear to the gilding. Five areas of creasing to the back right skull. The lower edge of the back peak is missing the original laurel leaf trim. The chin scale liner has some stitch loss and wear.
Lot 388
Breitling: A stainless steel wristwatch Sprint model 2212, stainless steel case, manual wind movement, round silver dial, central ovoid black section, applied stainless steel hour markers, ovoid subsidiary dials at 3 and 9, orange hands, orange centre seconds hand, outer pulsimeter scale in red and black, black bezel with 12 hour scale, crown with B logo flanked by twin cylindrical push buttons, caseback with model and serial numbers, on a later bracelet, no box and papersDimensions:Case: 38mm (excluding crown)
Lot 398
Rolex: A bi-colour wristwatch Oyster Perpetual Date Submariner model 16613, 2006 from papers, stainless steel case, automatic movement, round blue dial with applied gold-edge lume plots, date aperture at 3, lume-filled Mercedes hands, centre seconds hand with lume plot, 18ct gold bezel with blue insert and count-up scale, gold screw-down crown with coronet, caseback with sticker intact, on a bi-colour Oyster bracelet strap with signed Oysterlock clasp numbered OP2 3253, in box, with outer box and sleeve, with papersDimensions:Case: 45mm excluding crown
Lot 415
Rolex: A rose gold Daytona chronograph Oyster Perpetual Cosmograph Daytona model, rose gold case, automatic movement, round rose gold satin finish dial with baguette and square step-cut diamond indicators, three subsidiary dials, outer seconds track, lume-filled hands, sweep centre seconds hand, bezel with tachymeter scale, screw-down crown with coronet, on a rose gold oyster bracelet with signed fold over clasp, no box or papersDimensions:Case: 40mm (excluding crown)
Lot 397
TAG Heuer: A bi-coloured wristwatch Formula 1, WAZ1120, stainless steel case, quartz movement, round blue dial with gold-bordered lume-filled hour markers, gold bezel with blue insert with count-up scale in blue, lume filled pencil hands, on a stainless steel bi-colour bracelet strap with signed TAG Heuer claspDimensions:Case: 40mm (excluding crown)
Lot 738
Late 18th century English blue and white Toy porcelain, Caughley Salopian - a large scale dolls’ house sauce boat —2 1/4in. (6cm.) long (broken down the middle of body and glued) and a meat platter, marked S (chip to back of rim); and a Lowestoft jug —2 1/4in. (5.5cm.0 high (missing handle and repaired spout); and a Lowestoft small tea bowl (cracked and chipped)
Lot 890
Large scale dolls’ house or doll’s kitchen and produce, a wooden utensil shelf with utensils —3 1/4in. (8.5cm.) high; a blue painted tinplate hot-water bottle, a white painted tinplate Salz box, seven tin of food, a wood mangle, a white painted wooden table, sauce pans, buckets and other items; and an interesting mahogany folding table with slide down stretcher
Lot 433
Pair: Marine F. G. Kemp, 41st (Independent) Commando, Royal Marines, who was present at the Chosin Reservoir action in November 1950, for which action his unit was awarded the United States of America Presidential Unit Citation Korea 1950-53, 1st issue (R.M.8770 F. G. Kemp. Mne. R.M.); U.N. Korea 1950-54, unnamed as issued, nearly extremely fine (2) £500-£700 --- Francis Gerald ‘Frank’ Kemp was born at Norfolk in 1931 and joined the Royal Marines in February 1949. He was an original member of 41st (Independent) Commando when it was raised in August 1950, in response to a request from the commander of the United Nations Naval Forces for a small scale raiding force to operate against Communist Lines of Communications in Korea. Serving in the unit’s Heavy Weapons section, Kemp also acted as Marine Officer Attendant to Lieutenant Peter Thomas, the section’s commander. Flown out to Japan, the commandos were issued with American weapons and equipment and underwent a short period of intensive training, before embarking in American warships for their first operations, a series of three successful raids against enemy rail communications on the north east coast of Korea. As U.N. Forces advanced and the requirement for raiding forces reduced, the unit was attached to the First United States Marine Division, for which it was intended to act as a reconnaissance company. On 28 November 1950 the unit was at Kotori, about 10 miles south east of Hagaruri, where the Divisional headquarters, a battalion, and about 2,000 service troops were located in the area of the Chosin Reservoir. On 28 November 1950, at the Chosin Reservoir, the Chinese 9th Army launched a surprise offensive in freezing weather, intended to separate the American force from its link to the sea and destroy it. The road between Kotori and Hagaruri was cut, isolating the important supply base and leaving it in urgent need of reinforcement. At Kotori, the Royal Marines were included in a mixed force of about 900 troops, commanded by their own Commanding Officer, Lieutenant-Colonel Douglas Drysdale, that was ordered to fight through to Hagaruri at all costs. While the break-out from Kotori was successfully accomplished, it soon became apparent that the enemy was entrenched along the route in greater strength than anticipated, and over the next 12 hours Drysdale’s men were engaged in fierce close-quarter fighting as they forced their way through “Hell Fire Valley”. About half the men and 70% of vehicles were lost before the depleted force arrived in Hagaruri. One of Kemp’s comrades in 41 Commando’s Heavy Weapons Section was Marine Fred Hayhurst, who later recorded the unit’s history in his book Green Berets in Korea. During the Chosin action, the two marines found themselves aboard the same vehicle, an American 30 cwt weapon carrier driven by USMC corporal Saunchegrow, whose staunch performance under heavy fire afterwards saw him celebrated as an ‘Honorary Royal Marine’. Hayhurst recalls Kemp riding on the truck's running board, hanging on with one hand while firing his weapon with the other, as they made their way through yet another ambush. With the road finally blocked by burning vehicles, the Marines loaded their wounded aboard Saunchegrow’s truck and one other and formed a protective ring around them as they completed their journey cross-country, finally crossing a frozen minefield to enter Hagaruri’s defensive perimeter. Theirs were the last vehicles to make it through. The surviving Royal Marines took place their place in the line at Hagaruri for the next week, before the whole garrison made an orderly withdrawal back to Kotori under the protection of close air support, and ultimately to the coast. The combination of intense fighting, appalling weather conditions and harsh terrain has led some historians to assess the 17-day Chosin Reservoir campaign as one of the most brutal in modern warfare; their part in it won 41 Independent Commando the admiration of their American counterparts, and the award of the Presidential Unit Citation. Sold with a DVD of copied research.
Lot 310
‘Come on back now. There is no time to lose. We can cover you from the knoll.’ The last recorded words, shortly before he was killed in action, of Lieutenant Victor Hughes, to the dangerously exposed Winston Churchill, with the Malakand Field Force in the Mamund Valley, 16 September 1897 The historically important campaign group of three awarded to Lieutenant V. Hughes, 35th Sikhs, Indian Army, who was killed in action at Shahi-Tang, high in the Mamund Valley, on 16 September 1897 whilst leading a rear-guard action to prevent the dangerously exposed Winston Churchill from being overrun and killed by the Pathan tribesmen. Hacked to death by the leading tribesman, Hughes’ death was personally avenged by the future Premier: ‘I forgot everything else at this moment except a desire to kill this man. I pulled out my revolver, took, as I thought, most careful aim, and fired’ Queen’s Sudan 1896-98 (Lieut: V. Hughes, 35: Sikh B. Inft:) impressed naming; India General Service 1895-1902, 2 clasps, Punjab Frontier 1897-98, Malakand 1897 (Lieut. V. Hughes. 35th. Sikhs.); Khedive’s Sudan 1896-1908, no clasp (Lieut: V. Hughes. 35th. Bl. Infy.) engraved naming, good very fine and better (3) £8,000-£10,000 --- Provenance: Bought Baldwins, November 1955 (£3 10s.) Victor Hughes was born on 8 April 1866 and was first commissioned into the Lincolnshire Regiment on 9 May 1888. He transferred to the Indian Army Staff Corps on 4 January 1890, and was posted as Lieutenant and Quartermaster of the 35th Sikhs, Bengal Infantry, on 15 January 1891. He served with them as part of the Sudan Field Force in 1896, returning to Peshawar in December 1896, and then saw further service with the Malakand Field Force the following year. With Winston Churchill in the Mamund Valley In the summer of 1897, following a series of disturbances on the North West Frontier of India, a large punitive force, the Malakand Field Force, was assembled under General Sir Bindon Blood. News of this proposed expedition reached Winston Churchill, then a young subaltern with the 4th Hussars on leave in England, whilst he was a spectator at Goodwood Races. Having previously extracted from Blood a promise that he would be accommodated on his Staff if ever the opportunity arose, Churchill immediately proceeding to India, and at length joined the Force as a War Correspondent. The Malakand Field Force proper consisted of three Brigades, with the 2nd Brigade, under the command of Brigadier-General Jeffreys, composed of the 1st Battalion, East Kent Regiment; the 35th Sikhs; the 38th Dogras; and the Guides Infantry. Proceeding up Malakand Country, by the night of 15-16 September 1897 the 2nd Brigade, including both Hughes and Churchill, was camped at the mouth of the Mamand Valley Churchill sets the scene in The Story of the Malakand Field Force:
‘The story has now reached a point which I cannot help regarding as its climax. The action of the Mamund Valley is recalled to me by so many vivid incidents and enduring memories that it assumes an importance, which is perhaps beyond its true historic proportions. Throughout the reader must make allowances for what I have called the personal perspective. Throughout he must remember how small is the scale of operations. The panorama is not filled with masses of troops. He will not hear the thunder of a hundred guns. No cavalry brigades whirl by with flashing swords. No infantry divisions are applied at critical points. The looker-on will see only the hillside, and may, if he watches with care, distinguish a few brown-clad men moving slowly about it, dwarfed almost to invisibility by the size of the landscape. I hope to take him close enough to see what these men are doing and suffering; what their conduct is and what their fortunes are. But I would ask him to observe that, in what is written, I rigidly adhere to my role of a spectator. If by any phrase or sentence I am found to depart from this, I shall submit to whatever evil things the ingenuity of malice may suggest. On the morning of 16th September, in pursuance of Sir Bindon Blood's orders, Brigadier-General Jeffreys moved out of his entrenched camp at Inayat Kila, and entered the Mamund Valley. His intentions were to chastise the tribesmen by burning and blowing up all defensible villages within reach of the troops. It was hoped that this might be accomplished in a single day, and that the brigade, having asserted its strength, would be able to march on the 17th to Nawagai and take part in the attack on the Bedmanai Pass, which had been fixed for the 18th. Events proved this hope to be vain, but it must be remembered that up to this time no serious opposition had been offered by the tribesmen to the columns, and that no news of any gathering had been reported to the General. The valley appeared deserted. The villages looked insignificant and defenceless. It was everywhere asserted that the enemy would not stand. Reveille sounded at half-past five, and at six o'clock the brigade marched out. In order to deal with the whole valley at once the force was divided into three columns ... ’ But as coming events would shortly confirm, the assertion that the enemy would not stand was woefully inaccurate. Churchill continues the story in his autobiography, My Early Life: ‘We got to the head of the valley without a shot being fired. Here we dismounted, perhaps fifteen carbines in all, and opened fire at seven hundred yards’ range. Instantly the whole hill became spotted with white puffs of smoke, and bullets began to whistle through our little grove. This enjoyable skirmish crackled away for nearly an hour, and meanwhile the infantry toiled nearer and nearer to us across the plain. When they arrived, it was settled that the leading company of the 35th Sikhs should attack the conical hill and two more companies should proceed up a long spur to the left of it. The cavalry meanwhile would guard the plain and keep connection with the reserve of our force. I decided to go with the second party up the long spur towards the village [of Shahi-Tang]. I gave my pony to a native and began to toil up the hillside with the Infantry. It was frightfully hot. The sun, nearing the meridian, beat upon one's shoulders. We plodded and stumbled upwards for nearly an hour. As we ascended, the whole oval pan of the Mamund Valley spread out behind us, and pausing to mop my brow, I sat on a rock and surveyed it. It was already nearly eleven o'clock. The first thing that struck me was that there were no troops to be seen. Where was our Army? It occurred to me for the first time that we were a very small party: five British officers including myself, and probably eighty-five Sikhs. That was absolutely all; and here we were at the very head of the redoubtable Mamund Valley, scrambling up to punish its farthest village. I was fresh enough from Sandhurst to remember the warnings about “dispersion of forces”, and certainly it seemed that the contrast between the precautions which our strong force had taken moving out of camp in the morning, and the present position of our handful of men, was remarkable. However, like most young fools I was looking for trouble, and only hoped that something exciting would happen. It did! At last we reached the few mud houses of the village [of Shahi-Tang]. A quarter of an hour passed and nothing happened. Then the Captain of the company arrived. “We are going to withdraw”, he said to the subaltern. “You stay here and cover our retirement till we take up a fresh position on that knoll below the village.” He added, “The Colonel thinks we are rather in the air here”. It struck me this was a sound observation. Suddenly the mountain-s...
Lot 266
A post-War 1949 ‘Malaya operations’ M.M. awarded to Private H. McPhee, Seaforth Highlanders, who rushed to the aide of his officer during a Company Contact in North Johore, 12 November 1949, accounting for at least 1 ‘bandit’ and probably several more Military Medal, G.VI.R. (2824888 Pte. H. McPhee. Seaforth.) minor edge nicks, generally very fine or better £1,400-£1,800 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- M.M. London Gazette 21 March 1950: ‘In recognition of gallant and distinguished services in Malaya.’ The recommendation states: ‘On the afternoon of 12th November, 1949, “B” Coy had a fierce encounter with a large force of bandits in a camp situated in overgrown rubber about 3 miles SW of the village of Chaah in North Johore. This was the first day of a full scale battalion operation in the vicinity of the Ma’Ckill Forest Reserve estimated to last for 7 days; the role of “B” Coy was to search a given area. On arrival in the area the Coy. Comd. took the Coy. a short distance into the jungle and there formed a temporary firm base while he himself went forward with an armed recce party of platoon strength to reconnoitre a locality where there was believed to be water for a permanent firm base. Pte. McPhee was one of those who was left at the temporary firm base with the remainder of the Coy. When the recce party had proceeded about a quarter of a mile forward of the Coy temporary firm base they bumped into the enemy in a very new and temporary camp in some overgrown rubber; they at once attacked the camp which is now known to have contained approximately 160 bandits. As they had no sentries on this occasion they were taken completely by surprise and were forced to put up a stubborn resistance to extricate themselves from the camp. A fierce battle ensued; the bandits counter attacked strongly and subjected the recce party who were in very open ground in some cleared rubber to very heavy fire. At this stage Pte. McPhee arrived on the scene with the first party of reinforcements from the temporary firm base. In the very early stages of the battle the Coy. Cmd. and 2 of the subaltern officers were killed. The only surviving officer, Lieut. Brown, was therefore left in command. Immediately Pte. McPhee arrived up, and acting on his own initiative, he made his way forward to Lieut. Brown and requested permission from him to take up a position on the left forward flank of the Coy. With complete disregard for his own safety he then doubled forward to this position, which was an extremely vulnerable one, and from it dominated the whole of the left flank. He remained in this position, firing away steadily whenever he saw any enemy movement, throughout the remainder of the battle which continued for a further hour and a quarter. He was completely unaffected by the heavy fire which he drew upon himself, and was extremely cheerful throughout the whole battle. He definitely killed at least 1 bandit and probably more. The initiative and bravery shown by Pte. McPhee were undoubtedly responsible for denying the ground on the left flank of the Coy. position to the enemy, and his cheerfulness and high morale were an inspiration and example to all those who were near.’ A picture of Hugh McPhee appears in the regimental journal Cabar Feidh for May 1950. Note: Another M.M. to this recipient, an officially re-impressed G.VI.R. 2nd issue example (and therefore almost certainly a duplicate issue), was sold in these rooms in November 2022; the MM in this lot is undoubtedly the recipient’s original award.
Lot 240
ITALERI; eight scale model aeroplane kits, comprising 'Dornier DO-217K2', 'Junkers JU-86', 'A.S.51 Horsa Assault Glider', 'Martin B-57B Canberra', 'Heinkel HE 111 H6 121', 'Douglas B-66B Destroyer 149', 'Junkers JU-86-D 114', and 'Dornier Reconnaissance Sea Plane DO24', all boxed (8).Condition Report: - These all belonged to the vendor's father. The vendor states that to the best of their knowledge, none of these have had items removed, and they should be complete. However, this is no guarantee that all components are present. Some boxes will also have white labels with writing on, with extra description.
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