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Lot 060
An antique 18ct yellow gold five stone ring set with three sapphires & two diamonds, the central sapphire being oval in shape, approx. 0.50 carats, the two round cut sapphires, total weight approx. 0.20 carats, the two old round cut diamonds, total weight approx. 0.30 carats, (stones measured within the restrictions of their settings), 4.39gm, size P.
Lot 10
Duncan Grant (British, 1885-1978)Still Life oil on canvas56.5 x 49.5 cm. (22 1/4 x 19 1/2 in.)Painted circa 1917-18Footnotes:ProvenanceSir John Rothenstein, thence by family descent to the present owner Private Collection, U.K.ExhibitedLondon, Tate, Duncan Grant, A Retrospective Exhibition, 12 May-20 June 1959, cat.no.32 (as Dahlias, circa 1913)In 1916 Duncan Grant moved to Charleston in East Sussex, a rented farmhouse on the Gage estate. He discharged his duties as a conscientious objector by working on a nearby farm. He had little time for painting but was able on his free Sundays to carry out some decorations in the house and paint several modest-sized works, often of domestic objects, and also occasional portraits.The present painting shows an opalescent glass holding three or four white clematis flowers (or possibly dahlias). These star-like blooms occur in other paintings of circa 1917-18, especially in a flowerpiece of 1918 in the Keynes Collection, Kings College, Cambridge. Presumably the clematis were established in the Charleston garden. The glass stands on a stone slab in front of the fire grate in the dining room of the house, against a decorative back board. The work occupies the period between the fluent, often flat compositions of 1915 and the more solidly realised works of circa 1918 onwards in which the third dimension is taken seriously.Sir William Rothenstein was an encouraging admirer of Grant's early work and his son lent this painting to the Tate Gallery's retrospective (titled Dahlias). It may have been a gift to Sir William from the artist. It appears to have been exhibited only once since it was painted and has not been previously reproduced.We are grateful to Richard Shone for compiling this catalogue entry.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 40
Dame Elisabeth Frink R.A. (British, 1930-1993)Leonardo's Dog II signed, inscribed and stamped with foundry mark 'Frink A/C' (on the outside of the right rear foot)bronze with a brown patina101.6 cm. (40 in.) highConceived in 1992, an Artist's Cast aside from the edition of 6Footnotes:ProvenanceDame Stephanie Shirley, by whom gifted to Paintings in HospitalsExhibitedDorchester, Dorset County Museum, Elisabeth Frink: Man and the Animal World, 28 June-23 August 1997, cat.no.86 (another cast)LiteratureEdward Lucie-Smith, Elisabeth Frink: Sculpture since 1984 and Drawings, Art Books International, London, 1994, p.191 (ill.b&w, another cast)Annette Downing, Elisabeth Frink 1930-1993, Sculptures, Graphic Works, Textiles, exh.cat., Salisbury Festival, 1997, pp.27, 71, cat.no.86 (SC58) (ill.b&w, another cast)Annette Ratuszniak (ed.), Elisabeth Frink Catalogue Raisonné of Sculpture 1947-93, Lund Humphries in association with the Frink Estate and Beaux Arts, London, 2013, p.188, cat.no.FRC396 (ill.b&w, another cast)'Frink's dogs are an excellent example of the way in which she managed to remain a popular, communicative artist at a time when the visual arts, sculpture in particular, were becoming increasingly esoteric.' (Edward Lucie-Smith).It is true, as Edward Lucie-Smith comments, that Frink's large and imposing Leonardo's Dog II resembles the attractive Hungarian gun-dog breed of Vizslas; although the sculptor maintained they were not based on any one particular breed. The droopy ears, rounded nose and raised eyebrows lend the dog an inquisitiveness and friendliness which is also conveyed in her maquette for the present work. However, the author also notes:'It would have been easy to sentimentalize subject-matter of this type, and transform it into something unbearably kitsch. It says much for Frink's talent, and for her temperament – her attitude towards the natural world – that she was able to avoid this trap. Her avoidance of it is perhaps the more remarkable considering that some dogs she depicted are scarcely out of puppyhood.' (Edward Lucie-Smith, Elisabeth Frink, Sculpture Since 1984 and Drawings, Art Books International, London, 1994, p.19).As is often the case with Frink's animal sculptures the idea for representing the dog was established early on in her career, during the formative years of the 1950s. In one particular bronze, Blind Beggar and Dog (1957) the animal is used in a protective role, leading its helpless master forward in search of money. The dog's legs have been attenuated in much the same way as her other bronze, Dog from the same year, so that the creature takes on the appearance of something more wild, like a jackal perhaps. Revisiting the subject 35 years later this comforting idea, of protection, had not left Frink; the title of the present work was inspired by the stone dogs which guard and protect the entrance to the Chateau de Cloux near Amboise, Leonardo da Vinci's home when he died in 1519. Again, the dog is there to serve, ever faithful, but in this instance depicted in a far more domesticated fashion, one which is more accessible to the viewer and representative of the animal she is working from.It is difficult to appreciate when looking at a photograph of Leonardo's Dog II just how solid and three-dimensional the sculpture is. There is a 'presence' and weight attached to the work which Lucie-Smith has likened to the monumentality of War Horse for Chatsworth. Only upon walking the complete way around the sculpture can the viewer engage and appreciate the power behind this alert beast. Its vaguely rendered and over-sized paws serve to fix the seated dog to its chosen location, whether indoors or outside, and the lack of modelling to the surface emphasizes the vastness of the dog. Created in the penultimate year of her life, Leonardo's Dog II is a fitting tribute to Frink's love affair with all types of animals over a four decade long career.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 22
Dame Barbara Hepworth (British, 1903-1975)Intersection signed and dated 'Barbara Hepworth 1946' (lower right)pencil and gouache on gesso-prepared board26 x 37.7 cm. (10 1/4 x 14 3/4 in.)Footnotes:ProvenanceThe Artist, from whom acquired bySerge and Barbara Chermayeff, thence by family descent to the present ownersPrivate Collection, U.S.A.ExhibitedLondon, The Lefevre Gallery, Barbara Hepworth: Sculpture and Drawings, October 1946, cat.no.23To escape the onset of war Hepworth and Ben Nicholson left London for Cornwall with their three young children in late 1939. They initially stayed with the painter Adrian Stokes but by the end of the year had moved into their own house in Carbis Bay near St Ives. The house was small and the lack of space, combined with the wartime scarcity of raw materials and family demands, meant that Hepworth produced no sculpture between 1940 and 1942. Instead, she turned her attentions to drawing.Remembering the early 1940s, Hepworth would describe: 'In the late evenings, and during the night I did innumerable drawings in gouache and pencil – all of them abstract, and all of them my own way of exploring the particular tension and relationship of form and colour which were to occupy me in sculpture the later years of the war' (quoted in Herbert Read, (ed.), Barbara Hepworth: Carvings and Drawings, London, 1952). In 1943, Hepworth started carving again, exploring in sculpture what she had studied in her 1940-42 drawings. Works such as Intersection, executed in 1946, provided further means of exploring new sculptural forms and expanding the research begun at the outbreak of the war. Instead of being self-contained, the forms explored in this later group of drawings expand to the exterior, perusing the boundaries between space and object, surface and surroundings. In their pure geometry and dynamism, they pay homage to Hepworth's friend and artist Naum Gabo, who had also lived in St Ives in the 1940s. Meanwhile her use of colour recalls Piet Mondrian's gridded compositions, with whom Hepworth again enjoyed an engaging discourse.Speaking of the drawings executed after the Second World War, Hepworth explained:'Abstract drawing has always been for me a particularly exciting adventure. First there is only one's mood; then the surface takes one's mood in colour and texture; then a line or curve which, made with a pencil on the hard surface of many coats of oil or gouache, has a particular kind of 'bite' rather like incising on slate; then one is lost in a new world of a thousand possibilities because the next line in association with the first will have a compulsion about it which will carry one forward into completely unknown territory. [...] Suddenly before one's eyes is a new form which, from the sculptor's point of view, free as it is from the problems of solid material, can be deepened or extended, twisted or flattened, tightened and hardened according to one's will, as one imbues it with its own special life'. (Ibid).Intersection appears as a play of equilibrium between overlapping lines and curved arcs. The forms, which develop in a space that is abstract and purely geometrical, seem to be fixed in a precarious state of balance, ready to swing back into movement. Executed in pencil and gouache on gesso prepared board, Intersection is sparsely coloured with sections of sky blue and yellow, echoing in its restraint Hepworth's approach to colour in her sculpture whilst the two central fanned sections of lines also bring to mind her stringed works in the round.The present work enjoys distinguished provenance, having been acquired directly from the artist (a close friend) by Serge and Barbara Chermayeff. Serge Ivan Chermayeff (1900 – 1996) was a Russian-born architect, industrial designer, writer, and co-founder of several architectural societies, including the American Society of Planners and Architects. In 1928 he took British citizenship and with Paul Follot headed the Modern Art Studio at Waring and Gillow department store in central London, where he ensured that Ben Nicholson and Christopher Wood were given prominence in their exhibition rooms. Sculpture mattered greatly to him and figured in buildings he designed and lived in – indeed he commissioned the 1938 Recumbent Figure in green Hornton stone (now Tate Collection) by Henry Moore for his own 1935—38 house overlooking the South Downs (Bentley Wood, near Halland, East Sussex). Serge opened an architectural practice in 1930 and three years later, arguably one of Germany's most famous Modernist architects, Erich Mendelsohn, arrived in London fleeing racism. Chermayeff recognised the power of the moment and went into partnership with him and their projects together were De La Warr Pavilion, Cohen House and Shrubs Wood. He is also credited with the design of Shann House and the headquarters and factory complex of Gilbeys Gin in Camden, London. In 1940 Serge moved to the United States where he worked briefly as an architect before becoming an academic, first as the Chairman of the Art Department of Brooklyn College and then teaching at the California School of Fine Arts. In 1946 upon the recommendation of Walter Gropius, he became President of the Institute of Design in Chicago. In 1953 he moved to Massachusetts where he opened a practice with Haywood Cutting in tandem, he also took up the role of Professor of the Architecture Department at Harvard School of Design until 1962 when he moved to Yale (where Sir Norman Foster was one of his students), retiring in 1971.It is easy to see how the sculptural qualities of the present work would have appealed to him and given the date of execution (1946), it was painted after Serge and Barbara had left England for the US, therefore likely acquired on a return visit to England. A testament to their enduring friendship.We are grateful to Jenna Lundin Aral and Sophie Bowness for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 14
Rob Holland, London. An 18K gold key wind pair case pocket watchDate: Circa 1750Movement: Gilt full plate cylinder escapement, plain 3-arm balance, pierced and engraved balance cock, silver regulation, diamond end stone, No.362Dial: White, black Roman numeral hour markers, black outer minute track with Arabic numeral 5 minute markers, blued steel beetle and poker style handsCase: Polished inner and outerSigned: MovementSize: 49mm Accompaniments: Leather caseFor further information on this lot please visit Bonhams.com
Lot 15
Markwick, London. A silver key wind repoussé pair case clock watch with trip repeatDate: Circa 1750Movement: Gilt pierced and engraved full plate fusee verge, pierced and engraved winged balance cock, 3-arm balance, silver regulation, diamond end stone, engraved barrel, polished hammer striking on bellDial: Silver champlevé, black Roman numeral hour markers, black outer minute track with Arabic numeral 5 minute markers, blued steel beetle and poker style handsCase: Engraved inner with pierced sound frets, pierced and engraved repousse outer depicting a classical scene featuring CupidSigned: MovementSize: 58mmFor further information on this lot please visit Bonhams.com
Lot 18
A gold key wind pair case pocket watchDate: Inner case hallmarked for London 1766, outer case hallmarked for London 1769Movement: Gilt full plate cylinder escapement, bearing the signature of George Graham, plain 3-arm balance, pierced and engraved balance cock, silver regulation, diamond end stone, No.6497Dial: White, black Roman numeral hour markers, black dot outer minute divisions, gilt spade handsCase: Polished consular inner case, foliate engraved outer caseSigned: Movement, inner case stamped RP, outer HTSize: 51mm Accompaniments: Pocket watch keyFor further information on this lot please visit Bonhams.com
Lot 20
A continental gold stone set key wind open face pocket watch with stone set silver chatelaineDate: Circa 1800Movement: Skeletonised fusee verge, flat 3-arm balance, stone decorationDial: White with stone set decoration, black Roman numeral hour markers, black outer minute track with Arabic numeral 5 minute markers, winding aperture at 2, polished stone set Louis XV style handsCase: Consular with exhibition back, stone set bezel Size: 39mm Accompaniments: Stone set silver chatelaineFor further information on this lot please visit Bonhams.com
Lot 25
William Ross, London. An 18K gold key wind pair case pocket watchDate: London Hallmark for 1801Movement: Gilt full plate English lever, plain 3-arm balance, diamond end stone, silver regulation, No.1241Dial: White, black Roman numeral hour markers, black outer minute track, subsidiary seconds at 6, gilt spade handsCase: Polished inner and outer, cuvette numbered 1241Signed: Dial & movement, case stamped I.MSize: 54mm Accompaniments: Pocket watch keyFor further information on this lot please visit Bonhams.com
Lot 26
Parkinson and Frodsham, Change Alley, London. An 18K gold key wind full hunter pocket watchDate: London Hallmark for 1814Movement: Gilt full plate English lever, cut and compensated bi-metallic balance, diamond end stone, No.921Dial: White, black Roman numeral hour markers, black outer minute divisions with Arabic numeral 5 minute markers, subsidiary seconds at 6, gilt spade handsCase: Polished consularSigned: Dial & movement, case stamped DWSize: 57mmFor further information on this lot please visit Bonhams.com
Lot 28
Joseph Johnson, Liverpool. An 18K gold key wind open face pocket watchDate: Chester Hallmark for 1838Movement: Gilt full plate English lever, plain 3-arm balance, diamond end stone, No.1381Dial: Gilt, applied gilt Roman numeral hour markers, gilt dot outer minute track, two colour gold foliate borders, subsidiary seconds at 6, gilt spade hands with black tipsCase: Polished consular, foliate engraved band, personal inscription to back, No.1381Signed: Movement, case stamped JH THSize: 54mm Accompaniments: KeyFor further information on this lot please visit Bonhams.com
Lot 29
John Cragg, 8 Northampton Sq, London. An 18K gold key wind open face pair case pocket watchDate: Circa 1850Movement: Gilt 3/4 plate English lever, plain 3-arm balance, diamond end stone, No.28714Dial: White, black Roman numeral hour markers, black outer minute track, subsidiary seconds at 6, blued steel fleur de lys hands Case: Polished inner, foliate engraved band, engraved image of two hounds with foliate surround to back, polished outer engraved image of a figure on horseback with foliate surround to back, No.28714Signed: Dial & movement, case stamped F&CoSize: 57mmFor further information on this lot please visit Bonhams.com
Lot 5
Francis Robinson. A gold key wind repeating pair case pocket watchDate: Circa 1720Movement: Gilt full plate fusee verge, pierced and engraved balance cock, 3-arm balance, diamond end stone, silver regulation, two polished hammers striking on a bell secured to inner caseDial: White, black Roman numeral hour markers, black outer minute track with Arabic numeral 5 minute markers, blued steel beetle and poker style handsCase: Finely pierced and engraved inner case decorated with scrolling foliage and birds, finely engraved outer with pierced and engraved foliate design and four profiles in relief, monogram to back, push repeat activated via the stemSigned: MovementSize: 51mmFor further information on this lot please visit Bonhams.com
Lot 12
Yiannis Tsarouchis (Greek, 1910-1989)Dominique jouant le bouzouki signé en grec et daté '73' (en bas à droite)pastel et fusain sur papier marouflé sur toile70.5 x 118.5cm (27 3/4 x 46 5/8in).Peint en 1973.signed in Greek and dated (lower right)pastel and charcoal on paper laid on canvasFootnotes:ProvenancePrivate collection, London. ExpositionsRome, Il Gabbiano Art Gallery, Yannis Tsarouchis, May 29 -June 30, 1974, no.34 (illustrated in the exhibition catalogue).Bologna, Forni Gallery, Yannis Tsarouchis, 1975.Athens, Kalfayan Galleries, Yannis Tsarouchis (1910-1989), December 14, 2007 - January 26, 2008 (illustrated in the exhibition catalogue, p. 42).When I feel like a westerner,Vermeer is to me the greatest painter.Y. Tsarouchis1Inspired by Jan Vermeer's Love letter, c. 1669-1670 (Ritzmuseum, Amsterdam), this captivating work features Dominique, Tsarouchis's most characteristic sitter. 'The model I chose was a youngster from Chartres, Dominique, who showed skills in painting, poetry and music. At that time [1973], I was engrossed in that new type of youth with long hair and clothes usually bought in flea markets, embodying the traditional French with a touch of revolution.'2 As noted by A. Szymczyk who co-cutated the artist's 2021 retrospective in Chicago, 'the negotiation and transgression of limits between art and the everyday were central to Tsarouchis's work and philosophy. Many of his later works enter into erudite dialogue with the old masters revered and studied by Tsarouchis. Appropriating compositional schemes from Vermeer van Delft and other Dutch Golden Age painters (The letter, The painter and the model) or portraying himself copying Titian, Tsarouchis ignored artistic fashions of his day, keeping at a distance from his contemporaries and instead creating a world of thoughts, emotions, and imagery that was unmistakably his own. He dodged expectations and was a true postmodern artist avant la lettre, constantly brushing up against the grain of his time, fully aware of the fact that his work would only be appreciated in the future.'3 1 Yannis Tsarouchis Painting, Comments [in Greek], Yannis Tsarouchis Foundation, Athens 1990, p. viii.2 Y. Tsarouchis, 'The Four Seasons' [in Greek] in Stone Rejected by the Builders, Kastaniotis editions, Athens 1989, p. 151.3A. Szymczyk, 'The Entrance for Yannis Tsarouchis' in N. Gripari and A. Szymczyk ed., Yannis Tsarouchis, Dancing in Real Life, exhibition catalogue, Wrightwood 659, Chicago 2021, pp. 302-303. This lot is subject to the following lot symbols: * AR* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 40
A 9ct yellow gold ring set with five round faced garnets, size R 1/2 together with a 9ct gold sapphire and white stone ring, size R, a yellow metal eternity ring marked 9ct, size M, a 9ct gold shell cameo ring, size N, overall approximately 10.5 grams and a yellow metal Celtic inspired ring, size P
Lot 54
A sapphire and diamond five stone ring set with three sapphires and two old round cut diamonds to an 18ct gold shank, size R together with a sapphire and diamond cluster ring to a white metal setting and 18ct gold shank, size O 1/2, overall approximately 7.5 grams and a three stone diamond ring, set with three round old cut diamonds to a white metal claw setting and yellow metal shank, size P approximately 2 grams
Lot 55
The Grand Cross Mantle Star Of The Most Distinguished Order Of St. Michael And St. George Worn At Investitures By George IV And William IV And Presented By Admiral Sir George Seymour To His Excellency Lt. General Sir Gaspard Le Marchant, Governor of Malta in 1860Circa 1820Of polychrome enamelled silver-gilt, the central medallion finely painted with St. Michael vanquishing Satan (dark blue motto enamel with some old repairs and later minor damage, red enamel with areas of minor damage), and centred on the bright-cut parcel-gilt star: mounted beneath a domed glass frame of hexagonal form covered in burgundy velvet with gilt-metal mounts, the outer border pierced and engraved with foliage, and surmounted by an applied elaborately pierced and engraved 'VR' monogram centred on a crown, the reverse with central gilt medallion engraved 'THIS STAR OF THE GRAND CROSS OF THE ORDER ST. MICHAEL & ST. GEORGE WAS WORN AT INVESTITURES BY THEIR MAJESTIES GEORGE IVTH AND WILLIAM IVTH AND WAS PRESENTED BY ADMIRAL SIR GEORGE SEYMOUR, G.C.B. TO HIS EXCELLENCY LT. GENERAL SIR GASPARD LE MARCHANT GOVERNOR OF MALTA. 1860', hinged and pierced gilt-metal stand, and three rings for suspension The order 24 cm. wide, the frame 36.6 cm. wide X 50 cm. highFootnotes:ProvenanceLanglois Ltd. Auction, Guernsey C.I., according to an old label attached of the back of the frameAdmiral of the Fleet Sir George Francis Seymour, GCB, GCH, PC (1787-1870) joined the Royal Navy in 1797 and was assigned to the Royal yacht HMY Princess Augusta. In March 1798 he was transferred to HMS Sans Pareil and to HMS Prince of Wales in the West Indies later the same year. He was present at the surrender of Suriname in August 1799, and on promotion to midshipman he transferred to HMS Acasta in early 1800. During 1802 Seymour served aboard HMS Endymion and HMS Victory, flagship of the Mediterranean Squadron. Promoted to Lieutenant in October 1804, he took part in the pursuit of the French Fleet, and was present at the capture of the Spanish Rayo (100 guns) in October 1805. Promoted to Commander in 1806 Seymour served as commanding officer of HMS Northumberland in 1806 and fought at the Battle of San Domingo under Sir John Duckworth where he was wounded. He took part in the blockade of Rochefort, and was promoted to Captain in July 1806. In 1808 he was given command of HMS Pallas and fought at the Battle of the Basque Roads in 1809. During the War of 1812 he captured the privateer USS Paul Jones in May 1813 whilst in command of HMS Leonidas. Appointed a Companion of the Order of the Bath in June 1815, he became Serjeant-at-Arms to the House of Lords in 1818. He was appointed a Knight Commander of the Royal Guelphic Order in 1831 and was knighted later the same year. In 1834 he was advanced to Knight Grand Cross of the Royal Guelphic Order. In June 1837 he attended the funeral of William IV, his last act as Master of the Robes to the King. Appointed Third Naval Lord in September 1841 and soon promoted to Rear Admiral, he became Commander-in-Chief Pacific Station in May 1844. His tactful handling of the 'Pritchard Affair' during the Franco-Tahitian War that same year avoided a confrontation with the French Government. Promoted to Vice-Admiral in March 1850, he became Commander-in-Chief North America and West Indies Station in January 1851. In 1856 he was Commander-in-Chief, Portsmouth and was promoted to Full Admiral in May 1857. Appointed Rear-Admiral in 1863, Vice-Admiral in 1856, he became an Admiral of the Fleet in November 1866. Following his death in 1870 his body was placed in a tomb on which rests a recumbent marble sculpture of him by Victor Gleichen, at Holy Trinity Church, Arrow, near the family seat at Ragley Hall in WarwickshireLieutenant General Sir John Gaspard Le Marchant, GCMG, KCB (1803-1874) was the son of Major-General John Le Marchant, founder of the Royal Military College, Sandhurst and designer of the 1796 Pattern Light Cavalry sabre. In 1820 he was commissioned into the Royal Lincolnshire Regiment as ensign. In 1821 he transferred to the 57th Foot as Lieutenant and later into the 98th Foot with the rank Major. In 1835 he became Adjutant-General of the British Auxiliary Legion in Spain in support of Queen Isabella II in the First Carlist War. He transferred to the 20th Foot in 1837 and was appointed a Knight of the Order of Charles III by Isabella II the same year, being given permission to use his Spanish knighthood in Britain. He transferred to the 99th Foot as Lieutenant-Colonel in 1839, and to the 85th Foot in 1845. In 1847 he reluctantly accepted the governorship of Newfoundland, and served as Lieutenant Governor of Nova Scotia between 1852-58, before becoming Governor of Malta until 1864. In 1865 he was appointed Commander-in-Chief of the Madras Army and retired in 1868. His memorial stone is in Town Church, GuernseyFor further information on this lot please visit Bonhams.com
Lot 366
An 18ct certified three stone diamond pendant, the three round Octavia cut diamonds, total 1.00cts, all claw mounted in white gold, with a fixed bale of yellow gold stamped 750 with London assay mark, overall 20mm long, on 18ct gold chain, with tag and clasp stamped 750, chain 41cm long, with AnchorCert certificate, report no. 1/10290-007, total weight 1.00ct, Octavia cut, Clarity VS-SI, Colour H-I, cased
Lot 179
A Camillus N.Y. U.S.N Mark 2 knife with a 17.5 cm bowie blade and wooden handle with composition scabbard with webbing belt hanger, 33cm. Another similar in leather scabbard, and a third with broad Bowie type blade with saw-back, 17.5cm marked 546-92975.01, the handle containing a Dime and various items, in a leather scabbard with sharpening stone. (3). *CR Mixed states, all with some wear and scuffing.
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400830 item(s)/page