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Click here to subscribeCartier: An Art Deco onyx and diamond brooch circa 1920 Centrally set with a pyramidal-cut onyx, within an openwork geometric plaque set with single-cut diamonds, accented at the cardinal points with square step-cut diamonds, millegrain detail throughout, diamonds approx. 0.95 carat total, signed Cartier Paris Londres, numbered, French assay mark, length 2.6cmAccompanied by a Cartier case.
Cartier: An aquamarine and diamond brooch circa 1935 Designed as two demi-lunes, composed of oval-cut aquamarines and brilliant-cut diamonds, connected by a rectangular step-cut aquamarine, diamonds approx. 0.60 carat total, signed Cartier London, numbered, width 3.5cm By repute, purchased in the 1930s from Cartier. The original owner was an English socialite who had a home in Kent and was good friends with Lady Vita Sackville-West, the well regarded author, who lived nearby at Knole House. Hence by descent. Following the US Stock Market Crash in 1929, the global economy felt the shockwaves. Although disproportionally affecting those in lower economic classes, the jewellery industry was not untouched. As prices, supply and demand for top coloured stones, such a rubies, sapphires and emeralds felt the repercussions, so to did the spending power of clients. Jacques Cartier chose to make a unique strategic move. For several years the three Cartier brothers subtly bought up the best quality aquamarines (as well as topaz) on the wholesale market. Jacques Cartier was particularly drawn to aquamarines, as well as topaz, as those stones lent themselves to the rectangular cuts which complimented the architectural style of Art Deco jewels. In order not to alert their competitors that they were planning new ranges of jewels featuring these “semi-precious” gemstones, they would acquire the best gems available, but never so much as to draw attention to themselves.Cartier’s aquamarine jewellery appears to have been predominantly produced from the London workshop starting in 1932. Several American clients ordered aquamarine jewellery specifically through the New Bond Street London premises. One of the most notable advocates for Cartier’s aquamarine collections was the famed American interior designer Elsie de Wolfe. She commissioned a striking aquamarine spiral halo tiara in 1935, and to complete the look, had her hair tinted blue to match. Due to their strategic gemstone buying in both London and Paris, when the Cartier store windows were filled with aquamarine and platinum jewels as well as topaz and yellow gold creations, their competitors found it almost impossible to find premium gemstones. If they were offered any, the gemstones would cost substantially more than the Cartier brothers had paid.See Rudoe, Judy Cartier 1900-1939, British Museum Press, London, 1997, page 263 and Cartier Brickell, Francesca, The Cartiers, Ballantine Books, New York, 2019, pages 323-325.
Cartier: A 5.08 carat diamond single-stone ring circa 1925 Set with a cut cornered, step-cut diamond, weighing 5.08 carats, in a four-claw setting, signed Cartier, numbered, ring size PAccompanied a later Cartier case as well as a Letter of Expertise from IAJA Expertise stating that the ring is a genuine Cartier New York item from circa 1925. Letter numbered XP2197-290125, dated 29th January 2025.The diamond has been assessed unmounted by GCS and a verbal result given that the diamond is L colour, VS1 clarity. It is rarely discussed in jewellery history who actually cut the diamonds and gemstones which find themselves adoring fabulous jewels. The role of the lapidary is even further removed from the limelight than that of the goldsmith.However one name in diamond cutting has managed to carve out a well deserved reputation. The Amsterdam based firm of I J Asscher Diamond Company has cut some of the most famous diamonds in history, including the 3,106 carat Cullinan Diamond.Founded in 1854 by Joseph Asscher, its global headquarters are still located on the original site Tolstraat 127, Amsterdam, The Netherlands. In 1904 they patented a cut of diamond unlike anything else at the time. The Asscher-cut is almost square and was composed of 50 or 58 facets. The geometric style meant that it perfectly suited the Art Deco jewels made in the coming decades.Asscher was well known to be a preferred diamond supplier to Cartier. A diamond of similar appearance to this one, appears central in the Patiala necklace made by Cartier in 1928.Sadly a large amount of the Asscher firm’s archives was lost in the Nazi occupation during WWII. Like the vast majority of other diamonds, it is not possible to know for sure who cut this particular diamond but the style and angular facet arrangement are indicative of the firm’s output.
Cartier: A diamond 'Love' bangle The polished bangle accented at intervals with alternating screwhead motif and brilliant-cut diamonds, signed Cartier, maker's mark, numbered, Cartier size 19Accompanied by a Cartier case, box and screwdriver as well as a certificate of authenticity dated 2016. Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Cartier: A platinum "Love" ring Small model; the thin platinum band decorated at intervals with screwhead motifs, signed Cartier, numbered, European convention mark, Swiss assay mark, Cartier size 59 Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
Cartier: A gold necklace by Georges Lenfant with a detachable Imperial topaz and diamond cluster 1960 The 18 carat gold necklace of polished and matte woven design in a herringbone pattern, featuring a detachable spacer that converts into a brooch, centrally set with a step-cut topaz, each of the four claws buttressed by a baguette-cut diamond, within an oval angled surround pavé-set with brilliant-cut diamonds, diamonds approx. 4.50 carats total, topaz approx. 24.50 carats, necklace signed Cartier, partial maker's mark GL for Georges Lenfant, numbered, maker's mark JC and London import mark, French export marks, brooch unsigned, lengths: necklace 37.3cm, brooch 3.3cmAccompanied by a fitted Cartier case.Please note this lot will be subject to VAT of 5% on the hammer price. The design of this brooch is identical to two which featured in a Cartier necklace previously sold at Christie's sentinel auction “Jewellery and Objects by Cartier” held in Geneva on the 25 May 1993, lot 799. As with this example, that necklace was unsigned but was presented with a catalogue footnote “Although not signed, this necklace was purchased by the present owner at Cartier, London in July 1962”.Georges Lenfant (sometimes seen as "L’Enfant") and his son Jacques Lenfant are regarded as some of the most skilled goldsmiths of the 20th century. Their distinctive work is now highly sought after by collectors. However, throughout their careers they operated behind the scenes, making exquisite jewellery for the famous Parisian jewellers of the Place Vendôme and Rue de la Paix. He was a workmaster for Cartier, as well as making creations for Mellerio, Hermès, and Van Cleef & Arpels amongst others. Born into the jewellery trade, Georges Lenfant set up his own workshop around the turn of the last century. In 1903 he was listed in the ‘Revue de la Bijouterie, Joaillerie, Orfèvrerie’. By 1909 he had registered his distinctive maker's mark. In 1915 Jacques Lenfant began helping in his father's workshop at just 11 years old. He continued his education studying in France, Germany, Austria and England before formerly joining the company in 1927. Following the Second World War, Jacques took over control of the company. It was Jacques who in the late 1950s pioneered the now iconic woven and textured goldsmithing techniques for which the house became world famous. Jacques Lenfant died in 1996 and the company was subsequently purchased by Benjamin Leneman in 1998, thereafter becoming the Bouder workshop. Jacques teaching roles at the Chambre Syndicale de la Joaillerie, Bijouterie et Orfèvrerie were testament to his dedication to goldsmithing education. In 1980 he created an award to celebrate top students, which is still awarded today. He also wrote the book Le Livre de la Chaîne, which was commissioned by the Chambre Syndicale, but was sadly only published posthumously in 1996.The pattern of this necklace is identified in Le Livre du Chaine as "Tissu Polonais Presse Empire Relief" or Polish Press Empire Relief Fabric, see page 90. This was a term Lenfant used to describe a distinct type of woven gold chain designed as an homage to patterns in traditional Polish and Milanese fabric.
Cartier: A 'Love' Bracelet The polished bangle, decorated throughout with screwhead motifs, signed Cartier, numbered, Cartier size 16Accompanied by a Cartier case and screwdriver. Born out of the cultural revolution happening in late 1960s America but also the transformation happening internally at Cartier, a drastically different jewel was created. In 1962 Claude Cartier took the monumental step to sell Cartier New York. For the first time in history a branch of Cartier was not under the control of the family. By 1968 Cartier New York was owned by Kenton Corporation, and the chairman Robert Kenmore was keen for a fresh take on the historic French house.When the charismatic young Italian American Aldo Cipullo (1935-1974) left Tiffany & Co. and joined Cartier in 1969, he brought with him the design for a simple gold bangle that screwed onto the wrist, designed never to be removed. Cipullo had offered the design to Tiffany & Co. while working there, but they had passed on it.Kenmore saw the potential in the simple gold bracelet and Cipullo’s first creation for Cartier was put into production. The romantic notion behind the “Love” bangle was coupled with the advent of a far greater output of machine-made fine jewellery entering the market. It was an instant sensation, retailing for $250 dollars initially. To market the Love Bangle's release in 1970, Cartier gifted twenty five pairs to famous couples including the Duke and Duchess of Windsor, Elizabeth Taylor and Richard Burton, and Steve McQueen and Ali Macgraw. Many of whom would go on to wear those bangles for years to come.The range was expanded quickly, platinum Love bangles were released in 1970, white gold in 1973, diamond-set versions in 1979 and finally rose gold in the 1990s. Ordinally only available in the US, it's popularity meant that it was soon released in Europe via the Cartier Paris branch in the early 1970s where it was called the Bracelet à Vis. Finally by 1982 it was available to purchase worldwide. It has been suggested that the Love bangle was a homage to the Menotte bangle designed in 1939 (see lots 49 and 50). However, as the original Menotte bracelets were heavily gem-set and devoid of the working screw mechanism, both features so intrinsic to the later Love bangle, this attribution seems doubtful. It would have also been unlikely that Cipullo, who was working for Cartier in New York which at that time not an affiliate company of Cartier Paris, would have had access to the French archives. The more realistic archival inspiration integrated into both the contemporary Menotte and the Love bangles' design was the screwheads that decorated the original Santos watch’s bezel, designed by Louis Cartier in 1904.For further reading see Cipullo, Renato and Becker, Vivienne, Cipullo; Making Jewellery Modern, Assouline, 2001.
The rare and superb 'Operation Grapeshot' M.B.E., 'Monte Rogno' Virtuti Militi, 'Monte Cassino' Cross of Valor group of nine awarded to Lieutenant-Colonel T. Lipowski, 9th Heavy Artillery Regiment, Polish Army, whose remarkable life story includes a tragic episode during the Fall of Poland which saw him narrowly escape the fate of two of his comrades, who were arrested and murdered during the Katyn MassacreReturning to active service his extreme bravery attached to the 5th (Kresowa) Division in Italy saw him honoured on several occasions and even wounded during the Battle of Monte Cassino, being hit by shrapnel that had already passed through the lung of a brother Officer who stood besidePoland, Republic, Order of Virtuti Militari, breast Badge, 5th Class, silver and enamel, of wartime manufacture by Spink; Cross of Valor, with Second Award Bar; Cross of Merit, with swords, 2nd Type, silver-gilt; Army Medal; Monte Cassino Cross 1944, the reverse officially numbered '33078'; United Kingdom, The Most Excellent Order of the British Empire, 2nd Type, Military Division, Member's (M.B.E.) breast Badge, silver; 1939-45 Star; Italy Star; Italy, Kingdom, Croce al Valore Militare, sold together with an archive including a named cigarette case, portrait and photograph album and the named document of issue for the award of the M.B.E., overall good very fine (9)Virtuti Militari awarded 30 June 1944, the original citation (translated) states:'During the operations 'Adriatyk', he distinguished himself by working in difficult conditions under strong and accurate enemy fire, especially at the Observation Point on Monte Regano. He cooperated perfectly with the infantry, conducting accurate and effective fire, not breaking off observation despite the fire. With his behaviour, he set an exemplary example for officers and privates at the Observation Points, as always. He fully deserves the decoration.'Cross of Valor awarded 6 August 1944, the original citation (translated) states:'At Cassino he organized an Observation Point and stayed there. On May 10-12, 1944, despite heavy enemy mortar and artillery fire, he remained at the Observation Point and continued his work. On May 12, 1944, despite heavy fire, he left the Observation Point to get better information and moved forward. He was wounded, but he did not want to stop his work.'Second Award Bar awarded 1945.M.B.E. London Gazette June 1945, the original recommendation states:'During the period 9th -21st April 1945, this officer worked with the maximum devotion as B.M., F.A. 5th Kresowa Division Artillery, which was in support of the Infantry in their operations against lines of Rivers Senio, Santerno, Sillaro, Gaina and Idice. Major Lipowski made a particularly great effort and showed special dexterity on 19th April and night 19th/20th, when Headquarters 5th Kresowa Division was faced with the task of co-ordinating the fire plans not only of the Divisions Artillery but also Artillery under command of the neighbouring RAK Force (Reinforced 2 Polish Armoured Brigade with 2 British Royal Horse Artillery and 3 Polish Field Regiment in SP). Rud Force (3rd and 4th Polish Infantry Brigades supported by 5th Polish Field Regiment and 7PHA) and AGPA.Major Lipowski's skillful [SIC] Staff work at HQ 5th Kresowa Division Artillery on 19th April and night 19th/20th resulted in the rapid working out and co-ordination of the Artillery fire plans which effectively helped the Infantry and assisted the Armour in breaking down enemy opposition, crossing the Gaina River and approaching River Quaderno.The Staff work at HQ 5th Kresowa Division Artillery had to be completed in a limited time in order to prepare the above Artillery plans and called for great effort and extreme accuracy. Major Lipowski not only directed the Staff work most efficiently but shone as an example of adroitness and devotion to duty.'Note the number of the recipient's Monte Cassino Cross is confirmed upon the roll.Tadeusz Lipowski was born on 29 March 1904, the son of two flour mill owners. His parents were forced to produce food for the German Army during the Great War, whilst the young Lipowski attended the local grammar school. Joining the Infantry Cadet School in 1926 he transferred to the Artillery Cadet School the next year and was commissioned Lieutenant in 1929.September 1939 and escaping to fight againPosted to Bendzen, Lipowski was set to work training new recruits, he was still there when the German Army invaded Poland in September 1939. His Regiment was left in an exposed position and forced to withdraw to avoid being encircled.Lipowski was interviewed post-war and the interviewer wrote a summary of his experiences, this narrative takes up the story:'The regiment was soon split up and within three days it had been officially annihilated although splinter groups had joined other regiments to continue fighting. Tade was able to join the Le Wolf East Polish soldiers on the 21st September and together they had fought their way out of danger or so they thought. Similar situations repeated themselves throughout Poland where the soldiers fought bravely on their own without the support of their planes which had been destroyed during the first day and without the aid of advanced weaponry…'Not long later the Russians invaded as well, tightening the noose around the Polish Army, communications at the time meant that many soldiers were not even aware of the Russian attack. One of these was Lipowski who awoke in a wood one morning to the sight of a Russian soldier on patrol. Unsure of whether this man was a friend or foe he remained hidden as the unsuspecting Russian passed beneath his sights, it was not until later that he discovered how close he had come to disaster.As the Polish defences were overrun, the Regiments began to splinter in small groups either seeking to withdraw to France and carry on the fight or set up resistance organisations. Lipowski, accompanied by two brother Officers, returned to the town in which he had been at school. His sister was living in the town and while they planned their next step she concealed them in her home.His brother came up with a plan to move them to a safer location by dressing the three men in his suits and putting them in the back of a wagon driven by a friendly farmer. Lipowski was forced to borrow a suit by his brother however the two Officers with him refused as the suits were expensive and they didn't want to take them. Instead, they removed their rank pips and took on the appearance of other ranks.During the journey the travellers were stopped by a Russian soldier, the farmer attempted to explain away the soldiers in his cart however this was for naught:'The Colonel could remain silent no longer and admitted to the Russian that they were in fact Officers so that the farmer would not get into trouble. Tadek said nothing but looked straight ahead. These Officers were only two of the many who were shot at Katyn by the Soviet secret police and left to rot in the mass grave, later discovered and dug up by the Germans two years later. Tadek had once again narrowly escaped death by what he called "good luck".' (Ibid)Reaching an underground resistance organisation, Lipowski was concealed by them and on 25 December 1939 dressed as a civilian he set out for southern Poland and the border. At one point he was stopped by a German soldier and asked when he was going, for one heart stopping moment it seemed that he was caught. This was not the case however, and it turned out the German was drunk and looking for someone to share a beer with - Lipowski agreed to a drink and later the soldier even waved him off on the tr…
'It is always good to know some of us survived the War, it is a long time now but looking back we were very fortunate to get into Oosterbeek at all! And then to live to tell the tale is remarkable, many of our fellow Glider Pilots didn't survive that 10 days of chaos. How you managed to get over the Rhine at the evacuation is a marvel.'So wrote Sergeant Thomas, 2nd Pilot, to Sergeant Cawthray.The well-documented Battle of Arnhem campaign group awarded to Sergeant Pilot G. Cawthray, 23 Flight, 'G' Squadron, Glider Pilot RegimentA pre-War professional cricketer who turned out for Yorkshire, Cawthray successfully went into action on Op Mallard - 6 June 1944, D-Day - and Op Market Garden, the Battle of Arnhem, sharing fully in the action over those famous days1939-45 Star; France and Germany Star; Defence and War Medals 1939-45, mounted as worn, good very fine (4)George Cawthray was born on 28 September 1913 at Selby, Yorkshire and from a young age excelled as a cricketer, in perhaps the most important county for that game in England. Such was his skill that Cawthray shone for Brayton School, Hull Cricket Club and eventually the Second & First XI for the 'White Rose' County.With the outbreak of the Second World War however, he joined the Glider Pilot Regiment (No. 4695914) and became a Sergeant Pilot, going through 21 EFTS during 1943 and having some 178hrs 25mins on his Flying Log Book by early May 1944 and having taken his 'Wings'.Op MallardSo it was that on 6 June 1944, flying with 23 Flight, 'G' Squadron, Glider Pilot Regiment he clocked up 2hrs of Night Flying in PW661, landing near Zetten, with Sergeant Thomas as 2nd Pilot, taking in a jeep & trailer and two motorcycles for the 1st Parachute Brigade, on D-Day itself. Little more need be said of the importance of the work of this embryonic unit on that fateful day. Cawthray was also called on as 2nd Pilot of Stirling 'B' on 26 August for an Op to France to assist the Special Operations Executive. He logged 6hrs 55mins and landed back at Harwell the next day.Op Market GardenThe unit were of course to be kept plenty busy in September 1944, Cawthray went in with Sergeant Thomas again, taking Horsa PW656 on 18 September for their fateful three hour flight by day. Cawthray got them down and then shared in the epic events that followed. His name features in the diary of Lieutenant Mike Dauncey:'18 September -S/Sgt. Cawthray of our Sqdn arrived in great form - he had landed south of the Rhine and got his party with jeep over by the ferry - a good show.Spent a shocking night hiding in our trenches on the banks of the Rhine waiting for an attack which did not materialise. Extremely cold. Had difficulty in keeping chaps awake as we were not to move about.'He gives a good flavour of what Cawthray would have shared in on 25 September:'Things started fairly early Monday morning, particularly on our left. The old tigers started coming down the road once more and I thought that if they did not have a little opposition they would go right through, so with one paratroop I took THE gammon bomb and set off through the gardens a little up the road andsettled down to wait for them at the side of a house by the road. We could hear them too clearly though they were moving very cautiously and obviously had plenty of ammunition. After a few minutes the chap with me belted off, so my local protection wasn’t too good. Eventually the tank crept into view and I waited until it was exactly level with me and ran forward and let fly with the bomb.The result was disappointing. The fuze was quite a long one so I wondered if it would work however eventually after a long pause, there was a loud explosion and lots of dust but when it had all settled down the tiger looked very much the same as before. As I only had a pistol there wasn't much future in staying put so I made my way back to my house which had been evacuated. A little further down the road there was a sort of barn complete with outhouses etc. where there were about 4 chaps rather wondering what to do We arranged a little ambush around here (after a little hand grenade duel) as of course they were quite close. I was told that they had broken through on the other side of the road and indeed this wasthe case and we had a slogging match across the street using the Bren and pistols.Just then someone shouted "Look out here they come" and two chaps darted off. However luckily it wasn’t true. However I was then shot through the thigh. The two other chaps with me one of them wounded in the face were very good. We all got down one man looking out for the jerries and the other helped me to dress my leg. We had just done that and were deciding on the next step when something came over the corner of the outhouse and landed about 3 feet away. I turned to see what it was and the grenade exploded immediately in my face. The two paraboys were excellent and put a shell dressing over my mouth. I could think clearly but felt very weak. The two chaps then helped me to the RAP which unfortunately wasso full that I couldn’t get inside. I was left outside by the side of a dead manwhere I stayed for some time until awakened by the rain when I managed to pull the dead man’s blanket partly over myself. I couldn’t get to that house though and stayed there until someone came outside and I managed to attract his attention.The MO had been hit and it was impossible for the orderly and Padre to do anything as there must have been at least 300 chaps there. The drill was get a blanket, find a spot to lie down and a cup of char (tea) but unfortunately this came out again through the hole in my chin which I have since heard from other people was a most amazing sight. The padre then did a very good thing - I don’t know the time but fighting was going on all around with the tigers knocking all the houses for six as usual and he went outside with the Red Cross flag and told the tank commander the situation with the result that we were left alone.'Cawthray was lucky not to go 'in the bag', as recalled in a letter by Sergeant Thomas:'...It is always good to know some of us survived the War, it is a long time now but looking back we were very fortunate to get into Oosterbeek at all! And then to live to tell the tale is remarkable, many of our fellow Glider Pilots didn't survive that 10 days of chaos. How you managed to get over the Rhine at the evacuation is a marvel.'The Log Book confirms his flight from Brussels to Northolt on 29 September as 2nd Pilot on Dakota DK866, no doubt glad to have a break from the controls. Cawthray then transferred out to India.25001 SALEROOM NOTICE:A newspaper report in the Sunday Mirror of 17 December 1944 gives moving details on how Cawthray swam the Rhine out of Arnhem, carrying a letter for his good friend, Sergeant Pilot Stanley Lewis, which he carried home to his wife and children to let them know he was thinking of them. Cawthray stated: "I am very lucky to be alive myself, having had my nose and both lips shot away, as well as bullet wounds in the head. Once again, please don't worry about Stanley - he's being well cared for."
Vinyl - Over 50 Reggae, Punk, Rock & Pop 7" singles to include Hugh Roy (PAMA), Barbara Jones (Bullet), Max Romeo (PAMA), Owen Gray (PAMA), Harry J Allstars, Junior English (PAMA), Stranger Cole (PAMA), Owen Gray (Punch), The Cortinas (A Step Forward), The Stranglers, Badfinger, Rainbow, Queen, Duran Duran, Yes and others. Vg overall
Vinyl - Soul - 6 foreign pressing 7” singles to include: Barbara Acklin – Just Ain't No Love (Coral – 59507, French), Toussaint McCall – Step By Step / The Title Escapes Me (Stateside – FSS 538, French), Little Johnny Taylor – Part Time Love / You'll Need Another Favor (America Records – 17006, French), Inez And Charlie Foxx – Mockingbird / Hurt By Love (United Artists Records – 38249 UAF, French), The Soul Runners – Grits 'N Cornbread / Spreadin’ Honey (Relax / Soul Sound – 45.041, Dutch), Spencer Wiggins – Up Tight Good Woman / Anything You Do Is Alright (Stateside – FSS 503, French). Condition VG overall on picture sleeves and VG+ on vinyl
RIFLE BREECH "LEFAUCHEUX" | FRANCE, FRENCH | Model pattern: Lefaucheux | Country: France | Date: 3rd quarter of the 19th century | Condition: Period repair on barrel, cracked ejector case, patina of metal parts | Lot information | This Lefaucheux system breech dates from the 3rd quarter of the 19th century and represents a significant step in the development of firearms through the use of a revolver drum. The gun shows a period repair on the barrel and a cracked ejector case. The metal parts bear a patina commensurate with age and frequent handling, while the elegant engraved decoration on the bascule and drum indicates precise gunsmithing. This model is an interesting example of a technical innovation of its time, which combined the advantages of a revolver mechanism with a long barrel, thereby achieving greater accuracy when shooting. | Dimensions | Length: 1045 mm | Caliber: 10 mm | Barrel: 616 mm | Weight: 1,9 kg***IMPORTANT NOTICE*** | SHIPPING ONLY WITHIN THE EUROPEAN UNION | Bidders are obliged to inform themselves about the condition of the lots before the auction, subsequent complaints will not be taken into account.
Inspired by the golden era of single-seat automotive racing, these DITA Mach Five sunglasses represent the fusion of motorsport heritage and cutting-edge eyewear design. Model DRX-2087-G-PLD-BLK-64 is part of DITA's celebrated Mach series and features a titanium and acetate frame crafted for strength and style. Notable design elements include a titanium lens structure, titanium mesh nose bridge, custom titanium nose pads, and molded acetate temple tips. Enhanced with DITA's signature step-down lens design and unique hex screw hinges, the sunglasses are fitted with gradient lenses offering 100% UVA and UVB protection and an anti-reflective coating. Precision-made in Japan using advanced techniques and premium materials, this pair delivers high-performance luxury.Issued: c. 2010-2020Dimensions: 6.5"LCondition: Age related wear.
A boxed Tool Master TM4413 240v 800w belt sander, a boxed Tool Master TM3323 240v 2050w angle grinder, a boxed Duotool DXP85/110 110v 850w rotary hammer drill with five drill bits, a JCBD-CD 12v cordless battery drill with battery and charger, a Defender 230v 500w portable light rig, a Nutool 240v 850 w router and a five step aluminium folding stepladder 166cm high.
A boxed vintage radio frequency testing set, a vintage hand held telephone, a Bedlam loud-tone caller, two Zumtobel aluminium industrial lamp shades 31.5cm diameter, a Thane handheld 240v 800w steam cleaner, an electrical extension cable, Beldray two step folding aluminium stepladders, three vintage blow lamps, a vintage Black and Decker 1/2" standard drill 240v 400w serial No, 193834, two sets of horse hames both 82cm in length, a wooden oxen/horse yoke with chains 89cm in width, a coal poker and coal tongs both 66cm in length and a stainless steel four rung vehicle ladder for a Toyota Land Cruiser/Prado 117cm in length.
Apollo 17 Astronaut Harrison Schmitt signed 10 x 8 inch colour WSS photo, White space suit image dedicated to Kelly and the Future, inscribed Apollo 17 USS-NM. Moonwalker. Original NASA Litho with printed information on reverse. Big bold autograph and now exceedingly rare. Harrison Hagan "Jack" Schmitt (born July 3, 1935) is an American geologist, former NASA astronaut, university professor, former U.S. senator from New Mexico, and the most recent living person-and only person without a background in military aviation-to have walked on the Moon. In December 1972, as one of the crew on board Apollo 17, Schmitt became the first member of NASA's first scientist-astronaut group to fly in space. As Apollo 17 was the last of the Apollo missions, he also became the twelfth and second-youngest person to set foot on the Moon and the second-to-last person to step off of the Moon (he boarded the Lunar Module shortly before commander Eugene Cernan). Schmitt also remains the only professional scientist to have flown beyond low Earth orbit and to have visited the Moon. He was influential within the community of geologists supporting the Apollo program and, before starting his own preparations for an Apollo mission, had been one of the scientists training those Apollo astronauts chosen to visit the lunar surface. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
A three-strand cultured pearl necklace with a ruby and diamond clasp The three graduated strands of 4.6-8.2mm cultured pearls, the clasp centrally millegrain collet-set with an oval-cut ruby, within a brilliant and step-cut diamond surround, diamonds approx. 0.75 carat total, ruby approx. 0.80 carat, length of shortest strand 47.2cm
A watermelon tourmaline, lapis lazuli and diamond bangle The central motif modelled as an arrow with a lapis lazuli arrowhead and fletching, piercing a brilliant-cut diamond starburst, set with a large step-cut watermelon tourmaline, flanked by two rectangular lapis lazuli panels, to a segmented bracelet, diamonds approx. 1.10 carats total, watermelon tourmaline approx. 26.05 carats, illegible signature, Italian assay mark, length 19.5cm
An emerald, diamond and pearl brooch / pendant, late 19th century The step-cut emerald within an old brilliant-cut diamond surround, mounted on a bar brooch, suspending a later 5.4mm cultured pearl drop, diamonds approx. 2.50 carats total, emerald approx. 4.50 carats, detachable brooch fitting, later bale, length 3.2cmThe emerald has been examined by GCS and a verbal assessment given that it is of Colombian origin, with indications of minor clarity enhancement.
A natural pearl necklace with a peridot and diamond clasp Composed of a single-strand of graduated 3.1-7.8mm pearls, the clasp set with a hexagonal step-cut peridot, in a border of old brilliant-cut diamonds, length 55.0cmAccompanied by a report from The Gem and Pearl Laboratory stating that the majority of pearls are natural, saltwater, with two beaded cultured pearls. Report number 25674, dated 25 February 2025.
A 19th century amethyst rivière necklace, designed as a line of graduated oval mixed-cut amethysts in open-backed pinched collet settings, to a square step-cut amethyst clasp, length 38cmGeneral surface wear, scuffs, chips/nicks and scratches to the mounts and amethysts, commensurate for age and use, with areas of patchy tarnishing. Variable wear to the tips of the settings, with occasional splits to some of the settings. Solder joins/repairs visible at some junctions within the necklace. Amethysts have variable mid to dark purplish hues with areas of colour zoning and inclusions such as 'tiger's stripes' and fractures visible to the unaided eye. The clasp and later safety chain are currently functioning. The mounts have the appearance of gold but are untested as such and we are unable to comment on metal standard. Approximate gross weight 27.3gm.
An Art Deco diamond panel ring possibly by Cartier, the shaped rectangular panel centred with a lozenge-shaped step-cut diamond, enclosed by trios of graduated round brilliant-cut diamonds and pairs of baguette-cut diamonds, white precious metal mounted, indistinctly signed and indistinctly numbered 9706, accompanied by possibly associated Cartier gilt tooled pink leather case, total diamond weight approximately 1ct, panel length 1.9cm, ring size K½Diamonds are well matched, bright and lively, with estimated VS2 to SI2 clarity and H to J colour, assessed mounted. The ring mount has a solder repair to the base of the setting, to one of the ends, and there are further solder joins/repairs visible at the junctions of the setting to the shoulders. The mount has general surface wear, scuffs and nicks/chips throughout and the shank may have been re-sized and has worn slightly thin to the back. The signature is heavily worn. The number to the base of one of the shoulders is rubbed. Metal standard is untested. Length of panel setting approximately 1.9cm. Gross weight approximately 4.1gm. The possibly associated case is worn, with patchy staining, scuffs and small losses to the exterior finish.
Two gem set bar brooches, the first centred with a bouton pearl between trios of old and lasque-cut diamonds, spaced by square step-cut rubies, stamped '750', the second designed as a line of vari-cut diamonds spaced by step-cut rubies and emeralds, stamped '585', (all rubies untested for natural/synthetic origin, pearl untested for origin), together with a cultured pearl set golf club brooch, stamped '9CT', and a smaller riding crop brooch, first brooch length 6.85cm (4)Approximate gross weights only: first brooch 3.9gm, second brooch 3.8gm, third brooch 8.9gm
A tourmaline and diamond dress ring, the rectangular step-cut green tourmaline claw set between channels of Swiss-cut diamonds, two colour precious metal mounted, stamped '18CT PLAT', total diamond weight approximately 0.20ct, ring size NTourmaline of brownish-green hue, with surface wear, chips and nicks. Diamonds have variable clarity, some stones containing eye visible inclusions, but give a fairly lively appearance. The ring mount has general surface wear with patchy tarnishing and some heavier chips/dings to the shank. Length of tourmaline approximately 12.8mm. Metal standard is untested. Gross weight approximately 4.5gm.
A 19th century gem set panel ring, centred with a quatrefoil-shaped cluster of half pearls and foil-backed step-cut green stones, between leaf and shell decorated shoulders, (half pearls untested for origin), ring size MChips, scuffs and abrasions to all stones, with losses and peeling to the surface of some of the half pearls. The ring mount has general surface wear, commensurate for age and use, with patchy rubbing to some of the decoration and thinning to the edges of the settings. It is likely that there would have originally been a glazed aperture to the back of the setting, which is now vacant. The shank has been re-sized. Metal standard is untested. Gross weight approximately 3.7gm.
An emerald and diamond dress ring, of crossover design, obliquely collet set with an old brilliant-cut diamond and a rectangular step-cut emerald, spaced by channels of graduated old, single and lasque-cut diamonds, two colour precious metal mounted, indistinctly stamped, total weight of old and single-cut diamonds approximately 0.60ct, ring size approximately K - LThe emerald measures approximately 5mm in length, is heavily included, and has chips, scuffs/scratches and surface-reaching fractures. The principal diamond has small chips to the outer edge and is lively and fairly bright in appearance, with estimated K to L colour and P1/P2 clarity (due to chips), assessed mounted. Remaining diamonds have very variable colour and clarity, some with chips and fractures, some with dark greyish hues. It's likely that some of these smaller diamonds are later replaced. The ring mount has general surface wear with a fine seam/split below one shoulder and thinning to the back of the shank. There is a worn mark to the outside of the shank, possibly starting '56'. Metal standard is untested. Gross weight approximately 3.7gm.
A pair of Art Deco natural pearl and diamond ear pendants by Cartier, each natural saltwater pearl drop surmounted by chevrons of baguette-cut diamonds and a single square step-cut diamond, signed Cartier London, on screw-back fittings, white precious metal mounted, accompanied by maker's gilt tooled red leather case with dual hinged opening, total diamond weight approximately 1.10ct, length 3cmAccompanied by a Pearl Jewellery Report issued by AnchorCert Gem Lab, stating that the half-drilled pearls are of natural saltwater origin, measuring 8.4 - 8.5 x 8.2mm and 8.4 - 8.9 x 8.0mm respectively, report no. 329465/20070745, dated 5 March 2025 The pearls have slightly different hues; one has a silvery-white base colour and the other has a more yellowish-white base colour. Both pearls have a subtle and faint pinkish/greenish orient/overtone. Both pearls are off-round with slight irregularities to the overall shape and both pearls have surface pitting, possible faint surface crazing, scuffs/scratches and shallow ridges to the nacre. The yellowish pearl has slight deeper surface pits. Both pearls also have glue residue/grease residue to the backs, at the junctions with the mounts, and one pearl has a linear imperfection to the back at the junction to the mount. Diamonds are well matched and bright, with estimated H to J colour and VS1 to SI2 clarity (one diamond has a fairly small surface-reaching inclusion). The mounts have general surface wear, scuffs and chips/nicks commensurate for use, with slight thinning to the edges of the collet settings. Both screw-back fittings have dark solder joins/repairs at the junctions to the mounts. The screw-back fittings are assumed to be original but are unconfirmed as such, and are currently functioning. There are further dark solder joins/repairs at junctions within the mounts. It is possible that these dark joins are due to discolouration of the original solder joins. We are unable to see trace of any numbered marks. Signatures are fairly crisp. Metal standard is untested. Combined gross weight approximately 9.2gm. The case is in worn condition, with loose threads and light patchy staining to the cushion and patchy wear to the interior signatures. The exterior finish is scuffed and has patchy discolouration. Length of case 7.7cm.
A diamond and gem set jabot pin, designed as an arrow, the pierced and millegrained flight set with old and lasque-cut diamonds in a foliate spray, spaced by two rows of step-cut sapphires, two colour precious metal mounted, indistinctly marked, (sapphires untested for natural/synthetic origin, one diamond deficient), length 8cmThe largest panel has been squashed to the back, with kinks and bends to the gallery of the setting. The pin is slightly out of shape and the clasp is currently functioning. Solder join visible to tip of smaller panel, possibly as a result of repair. The mount has an indistinct mark to one side but is untested for metal standard. Diamonds have variable colour and clarity, some stones with chips and fractures, many of the smaller stones with greyish hues. Chips, scuffs and fractures to sapphires. Gross weight approximately 3.7gm.
A pair of emerald and diamond earrings, each foliate panel centred with ribbons of graduated old-cut diamonds and step-cut emeralds, on post and hinged clip fittings, two colour precious metal mounted, total diamond weight approximately 0.40ct, length 2.7cmGeneral surface wear, chips/nicks and scuffs/scratches throughout the mounts and to the emeralds, commesnsurate for use. Both post fittings are mis-shapen and the hinged clips are currently functioning. The mounts have areas of grease residue and verdigris staining and would benefit from professional cleaning. Diamonds are mostly well matched with some brightness and liveliness but some stones have chips and fractures. Gross weight approximately 7.9gm (metal standard is untested).
A 19th century Continental stone set panel brooch, designed as a lozenge-shaped cluster of circular and pear-shaped fluted panels, each centred with a step-cut green stone in closed-back setting, enclosed by further green stone accents and scrolled borders, later fitting, length 5cmPlease note - green stones are too small and abraded to test.Approximate gross weight only 12.2gm.
Three gem set brooches, comprising an emerald, diamond and enamel bar brooch, the square step-cut emerald in foiled closed back setting (emerald untested for natural/synthetic origin), within a red and white enamel surround accented with two old-cut diamonds, a half pearl floral spray brooch, modelled as lily of the valley, and a half pearl and blue stone bar brooch, 18ct gold mounted, first brooch length 3.7cm (3)
A SET OF OAK AND STUDDED VELVET-COVERED LIBRARY STEPS LATE 19TH/EARLY 20TH CENTURY 159cm high, 64cm wide, 49cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and useChips and losses, the velvet treads with wear, the lowest tread with losses and balding - probably moth damage, some other areas too,Overall solid and stableThe pole is removable, it fits nicely in the recesses, the recess to the second step has some later timber to cover the underside - previously the pole may have gone through both steps to rest on the lowest These are sold as a decorative furnishing lot only and not as useable steps - Dreweatts make no comments or guarantees as to their load bearing capabilities Please see additional images for visual reference to condition Condition Report Disclaimer
An inter-War George Cross (converted E.G.M.), Great War ‘Western Front’ D.C.M. group of three awarded to Warrant Officer T. P. McTeague, Royal Air Force, late Royal Irish Rifles, who was awarded the E.G.M. for his gallantry in rescuing the future Air Chief Marshal Sir Hugh Constantine from the freezing sea after he had crashed off the Isle of Sheppey on 10 December 1928 George Cross (No. 346415 Cpl. Thomas Patrick Mc.Teague, R.A.F. 12th. April 1929.) in Royal Mint case of issue; Distinguished Conduct Medal, G.V.R. (8722 L.Cpl. T. P. Mc.Teague. 2/R. Ir: Rif:); War Medal 1939-45, in Air Ministry card box of issue, addressed to ‘T. P. McTeague, Esq., 64 Clifton Street, Belfast, N. Ireland.’, the DCM with edge bruising, polished and worn, this good fine; the GC and War Medal extremely fine (3) £12,000-£16,000 --- E.G.M. London Gazette 12 April 1929: 346415 Corporal Thomas Patrick McTeague, D.C.M., Royal Air Force (in a joint citation with Flying Officer Walter Anderson, Royal Air Force). ‘Pilot Officer H. A. Constantine while flying an aeroplane off Leysdown on 10 December 1928, crashed into the sea, about 200 yards from the shore. Corporal McTeague and Flying Officer Anderson immediately entered the sea from the shore and swam to his assistance. The weather was bitterly cold; an on-shore wind was blowing and the sea was fairly rough. Constantine, fully clothed and suffering from injuries and shock, commenced to swim ashore, but was in a state of collapse when the first swimmer (McTeague) reached him. McTeague, though exhausted himself, supported him until the arrival of Anderson, and Constantine was then brought to safety (this involved swimming for a distance of about 100 yards) by their combined efforts. The extremely prompt and timely action of Anderson and McTeague, and the gallantry and persistence they displayed, undoubtedly saved the life of Constantine.’ D.C.M. London Gazette 22 October 1917: ‘For conspicuous gallantry and devotion to duty. During an attack he displayed the greatest dash and initiative, and by rushing forward when any signs of resistance were offered he put to flight and captured at least two parties of the enemy. After reaching the objective he carried an important message back to battalion headquarters, and whilst crossing the enemy barrage he was wounded. He delivered his message safely, however, returned at once to his company, and remained on duty doing excellent and gallant work for the remainder of the operation. He refused to have his wound dressed until afterwards.’ Thomas Patrick McTeague was born in Belfast on 2 October 1893, and following the outbreak of the Great War attested for the Royal Irish Rifles, serving with the 2nd Battalion during the Great War on the Western Front from 19 September 1914 (entitled to a 1914 Star trio). Promoted Corporal, for his gallantry in 1917 he was awarded the Distinguished Conduct Medal. Demobilised following the cessation of hostilities, McTeague subsequently enlisted in the Royal Air Force in 1921, and served throughout the 1920s in the Middle East; amongst his Commanding Officers were the future Marshals of the Royal Air Force Lord Tedder and Sir Arthur Harris. As an air-gunner in twin engine bi-planes he later told how he would lean out of the aircraft in order to drop small 5lb bombs by hand onto the insurgents on the ground (One Step Further, by Marion Hebblethwaite refers). Subsequently posted to the Royal Air Force’s Armament and Gunner School on the Isle of Sheppey, McTeague was awarded the Empire Gallantry Medal for his part in rescuing Pilot Officer H. A. Constantine [later Air Chief Marshal Sir Hugh Constantine, K.B.E., C.B., D.S.O.], after he had crashed into the sea off Leysdown on 10 December 1928. He was invested with his Empire Gallantry Medal by H.R.H. The Prince of Wales (later H.M. King Edward VIII) at St. James’s Palace on 9 July 1929, and subsequently with the George Cross by H.M. King George VI at Buckingham Palace on 23 September 1941. Returning to Belfast, McTeague was promoted Sergeant and was stationed at R.A.F. Aldergrove, seeing further service during the Second World War as a Recruiting Sergeant in Belfast. His final posting was as a Warrant Officer at R.A.F. Abingdon. He died in Belfast on 28 February 1961. Sold with a group photograph featuring the recipient. Note: The recipient’s Royal Air Force Long Service and Good Conduct Medal was sold by Spink in April 2009. The location of his 1914 Star trio and 1953 Coronation Medal is unknown.
AN EXCEPTIONALLY RARE QUARTER MUTCHKIN POT-BELLY MEASURESCOTTISH, C.1710of the early type with a distinct ‘step’ between the lower body and foot, four incised lines around the body, the edge of the foot rim finished with an incised line, fine turning lines show inside the lid and under the base, a 5-lug hinge and 'plouk' soldered inside the neck indicating the point to which the capacity of 3.75 fl oz is measured11.5cm highProvenanceThe Carl Ricketts Collection of Pewter.
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