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Miniature Medals of Brigadier Norman Vause Sadler OBE DCM., TD Awarded to Brigadier Norman Vause Sadler OBE DCM., TD who after service at Gallipoli with the Westminster Dragoons attached to the topographical section of the Royal Engineers earning the DCM and during the Battle of Britain Commanded the Dover Anti Aircraft Defences resulting in the award of the OBE and would then be present during the Siege of Malta commanding AA guns. Comprising:Breast Badge of the Order of the British Empire, Distinguished Conduct Medal (GVR) 1914/15 Star, British War Medal, Victory Medal, 1939/45 Star, Africa Star, Defence Medal, War Medal, GVIR Coronation Medal, EIIR Coronation Medal, Territorial Decoration, Territorial Force Efficiency Medal. Group mounted as originally worn. ... Accompanied by an envelope addressed to the Brigadier. See previous lot for biographical details

WW1 Gordon Highlanders / Royal Air Force CBE, MC, Order of the Rising Sun Group of Eight Medals.Awarded to Group Captain Edward Humphrey Davidson CBE., MC. who by the end of the Great War was serving as Director of Intelligence Air Ministry and was recalled in 1939 to undertake similar work. Comprising:Commander of the Order of the British Empire neck badge, Military Cross, 1914/15 Star, “CAPT GORD HIGHRS”, British War Medal, Victory Medal, MID Oak Leaf “LT COL E.H. DAVIDSON RFC”, Defence Medal, War Medal, Japanese Order of the Rising Sun 3rd Class neck order. MC and campaign medal mounted as originally worn. ... Accompanied by miniature medal group. Both groups contained in original specially fitted leather and velvet case. ... Also a quantity of research. CBE London Gazette 3rd June 1919.Military Cross London Gazette 15th February 1917Order of the Rising Sun 4th January 1921.MID Four TimesGroup Captain Edward Humphrey Davidson CBE., MC was born in 1886 and after been educated at Harrow entered Sandhurst and in 1906 was commissioned in the 2nd Bn Gordon Highlanders, he joined the Battalion in India. At the outbreak of the War he found his Battalion posted to Egypt and in 1915 transferred to the Western Front and was appointed the Staff. By December 1917 he was serving as a Staff Officer attached to the Royal Flying Corps and on creation of the Royal Air Force transferred with the rank of Lt Col. He resigned his commission in the RAF and was posted to the Staff of the Egyptian Expeditionary Force in 1919 and held this post until 1920. In the interwar years he held posts as Private Secretary to the Governor of Victoria and a similar role to the Governor General South Africa. At the outbreak of WW2 he was recalled and employed with Bomb Intelligence at Bomber Command. He is noted as been wounded whilst on active service. He died in 1962.

Boer War, WW1 Imperial Yeomanry Middlesex Regiment Military Cross, Imperial Russian Order of St.Vladimir Group of Seven Medals.Awarded to Major Alan Mure Bellingham MC, who was wounded during the Boer War serving with the Shropshire Imperial Yeomanry and saw service in France with the Middlesex, Royal Irish Rifles and Machine Gun Corps, he would also serve in North Russia with the Royal Irish Rifles. Comprising:Military Cross, Queen’s South Africa Medal, three clasps “Cape Colony”, “Orange Free State”, “Transvaal”, “LIEUT A.M. BELLINGHAM IMP YEO”, King’s South Africa Medal, two clasps “South Africa 1901”, “South Africa 1902”, “LT. I.Y”, 1914/15 Star, “LIEUT MIDD’X R”, British War Medal, Victory Medal, “MAJOR”, Imperial Russian Order of St. Vladimir 4th Class (reverse centre absent, enamel damage to one arm). The group remains as originally worn. Military Cross London Gazette 16th September 1918.“For conspicuous gallantry and devotion to duty. This officer, though not ordered to take part in a counter-attack, seeing men on the left hesitate to start, led them to the attack under heavy rifle and machine-gun fire, and gained his objective. His fine example of gallantry inspired the men and caused the success obtained.”Major Alan Mure Bellingham MC was born in India in 1880, returning to the family’s native home Bellingham Ireland, he was employed as a War Correspondent for The Daily Sketch and at the age of 20 volunteered at Belfast for service in the ranks of the 46th Company (Belfast) 13th Battalion Imperial Yeomanry. He was captured and held prisoner in May 1900, but was released. After his one year service in the ranks he was granted a Commission with the Belfast Company in April 1901. Attached to the 13th Company (Shropshire) he was wounded in action at Kleinfontein on the 24th October 190. Recovering he remained in South Africa until the end of the war. Returning to Ireland he was granted a Commission into the Middlesex Regiment which he held until 1907 when he resigned. In 1914 he rejoined the Middlesex Regiment and appears to have been attached to the Royal Irish Rifles landing in France on the 15th November 1915. He volunteered for service with the Machine Gun Corps and promoted to acting Major in January 1917. With the end of the war he volunteered for service in North Russia with the Royal Irish Rifles, later Royal Ulster Rifles. The award of the Imperial Russian Order of St. Vladimir 4th Class is confirmed in “White Russian Awards to British & Commonwealth Servicemen during the Allied Intervention in Russia 1918-20”. Returning from Russia, in 1922 he is noted as serving as Adjutant with the Madras Guards.

WW2 4 Commando Attributed 1st pattern Fairbairn-Sykes Commando fighting knife.A good and rare carried example, attributed to Driver Frank William Maund of the Royal Artillery who served with 4 Commando The hilt with nickel grip of chequered design. Double edged spear point blade, the ricasso with etched panel Wilkinson Sword Ltd. London, the reverse side the F-S Fighting Knife. Recurved cross guard. Housed in an early pattern brown leather scabbard with nickel rounded chape. Tailored with a leather thong retaining strap the four tangs have been removed. The overall condition is good hard working used knife. The chequered grip is worn through use, the scabbard with field adaptations by the owner and the upper section is fragile. Blade length 16.3cm The Attribution for this knife is given by the vendor, Bosleys have only been able confirm the supplied name served with 4 Commando. Attributed to Driver Frank William Maund of the Royal Artillery who is confirmed as serving with 4 Commando, he was Mentioned in Despatches on the 27th May 1941, this believed to correspond with the 4 Commando Raid on the Lofoten Islands Norway which took place on the 4th March 1941. Still serving with 4 Commando he was reported wounded on the 4th July 1944 whilst fighting in North West Europe.

Victorian Attributed Royal Ayr and Wigtown Militia Officer’s shako.This shako is attributed to Lieutenant Hamilton D.Boswell who was serving with the Royal Ayr and Wigtown Militia in 1876.Officer’s shako with dark blue body with diced band red-white-red, red-green-red and red-white-red. Complete with mohair plaited cap lines terminating with acorn devices and also with scarlet woollen ball tuft. The interior is with leather sweatband and silk lining with tailor’s gold stamp of C Prater & Co. London. Minor moth to one edge of crown otherwise GC. ... Contained in original shako tin with brass name plate H.D. Boswell Esq. (2 items) PLEASE NOTE Shako plate not present. Lt Hamilton D.Boswell promoted Lt 11 Nov 1876.

WW1 Cameronians Scottish Rifles Battle of Doiran Military Cross Group of Six Medals. Awarded to 2nd Lieutenant Alexander Reid 11th Bn Scottish Rifles, a pre war soldier who had perviously served in the ranks of the Seaforth Highlanders. Comprising:Military Cross “2L/T A REID 19.9.18 THE CAMERONIANS” (Privately Engraved), India General Service Medal, clasp “North West Frontier 1908”, “8794 LANCE CORPORAL A REID 1ST BN SEAFORTH HIGHLANDERS”, 1914 Star, with clasp, “8794 PTE A REID 1/SEA HIGHRS”, British War Medal, Victory Medal, “2 LIEUT”, French Croix de Guerre, with palm. Group mounted for display. ... Accompanied by corresponding miniature medal group mounted as worn. ... Also a quantity of research. Citation Military Cross appeared in the London Gazette on the 1st February 1919“For gallantry and devotion to duty on the 19th September 1918. Although suffering from gas poisoning at the commencement of operations, he led his Company in the assault with great dash. By personal example and capable organisation of the mixed units in the Brigade, who came later under his command he was mainly responsible for the firm stand maintained on the Tongue against enemy counterattacks under an intense bombardment and machine gun fire. He set a fine example to all with him”.French Croix de Guerre London Gazette 21st July 19192nd Lieutenant Alexander Reid originally served in the ranks, enlisting into the 1st Bn of the Seaforth Highlanders and with the Battalion saw action on the North West Frontier in 1908 (Confirmed on medal roll). At the outbreak of the Great War, now reduced in rank back to Private landed in France on the 12th October 1914, seeing action earning him the clasp to the 1914 Star. He appears to have then been attached to the 11th Bn Scottish Rifles and was selected for a commission on the 16th June 1918. His gallantry which earned him the Military Cross took place on the 19th September, when he took command after all the more senior Officers had been killed or wounded. This was part of the Battle of Doiran when elements of the British and Greek army attacked positions of the Bulgarian First Army. He resigned his commission 20th June 1919.

WW1 3rd Bn Gordon Highlanders Officer’s Order of Sava Group of Four Medals.Awarded to Captain Robert Ian Baird, who served during WW1 with Military Intelligence and in the post war years was appointed Second Secretary with the Diplomatic Service. Comprising:1914/15 Star, “LIEUT R. BAIRD GORD. HIGHRS”, British War Medal, Victory Medal, “CAPT”, Serbian Order of St. Sava 4th Class”. Group remains mounted as originally worn. Serbian Order of St. Sava 4th Class London Gazette 15th October 1920.Captain Robert Ian Baird was born at Durris House County Kincardine in 1894. He attended Eton School and served in the OTC. He volunteered and was granted a commission in the 3rd Bn of the Gordon Highlanders on the 1st September 1914. He landed in France earning the 1914/15 Star and was wounded on the 18th July 1916, with gunshot and shrapnel to the right arm. H was sent back to England. After a long period in hospital and resting he was summoned to the War Office and posted to Military Intelligence in November 1917. After the war he joined the Diplomatic Service being appointed 3rd Secretary 1921 and two years later 1923 2nd Secretary.

WW1 Army Ordnance Corps Russian Order of Zeal Group of Four Medals.Awarded to “S-7414 W.O. CL2 E.A. HODGES A.O.C.”. Comprising: 1914 Star, “PTE A.O.C.”, British War Medal, Victory Medal, MID Oak Leaf, “W.O. CL2. A.O.C.”, Imperial Russia Medal of the Order of Zeal, (unnamed). Mounted for display, last medal with ribbon for the Order of St.Anne. ... Accompanied Regimental and rank badges. ... Also a quantity of research. Mentioned in Despatches on two occasions 7th November 1917 & 30th December 1918.Order of Zeal Confirmed on a Confidential List dated 16th July 1921.Warrant Officer Ernest Arthur Hodges a pre war regular who joined after service with the 4th Bn Dorset Regiment at Woolwich in January 1913. At the outbreak of war he landed in France on the 20th September 1914. Serving on the Western Front throughout the war he was promoted to Warrant Officer in September 1918. Volunteering for service in South Russia, he embarked on the 16th November 1919. He returned to the UK in June 1920 and was discharged on the 29th of that month.

WW1 8th BN Royal Scots Fusiliers Military Cross Legion d’Honneur Group of Four Medals.Awarded to Captain Henry Steven Bryce who took command when all senior officers were killed or wounded and led his men under heavy machine gun and artillery fire. Comprising:Military Cross “H.S. BRYCE R.S.F. 19TH SEPT 1917” (Privately Engraved), British War Medal, Victory Medal, “CAPT” (RENAMED), French d’Honneur Chevalier (Enamel Damaged). Group mounted for display. ... Accompanied by a quantity of research. Military Cross London Gazette 1st January 1919. “For conspicuous gallantry during operations against the Touque on 19th September 1918. His Company Commander and other Officers having early become casualties, he led the Company on to the objective under intense machine gun and artillery fire. He kept his men in the enemy second line until the last possible moment and when ordered to withdraw, he withdrew them successfully. His cool courage and able leadership were o fine example to those under him.”.French d’Honneur Chevalier London Gazette 7th October 1919.Captain Henry Steven Bryce was born in 1894 and enlisted into the Black Watch landed in France during August 1916. He applied for commission and this was granted into the Royal Scots Fusiliers which was granted in July 1917. Returning to France he was wounded to the right arm and hand at Verlianes on the 24th March 1918, but was soon returned to his unit. Joining the 8th Bn R.S.F. during the closing stages of the war the Battalion was transferred to Salonika, during the action which he won the Military Cross he was wounded along with 18 other Officers who were killed or wounded. He remained with the Regiment after the war for a short period.

WW1 2nd BN Gordon Highlanders DCM, MSM Italian Al Valore Group of Nine Medals.Awarded to Captain Quartermaster James Hardie DCM, MSM. who served with the mounted infantry during the Boer War and was awarded the DCM and MSM for gallantry and devotion to duty on the Italian front. Comprising:Distinguished Conduct Medal, “7125 C.S. MJR J HARDIE 2/ GORD HIGHRS”, Queen’s South Africa Medal, five clasps, “Cape Colony”, “Orange Free State”, “Transvaal”, “South Africa 1901”, “South Africa 1902”, “7125 PTE GORDON HIGHRS M.I.”, 1914 Star with clasp “SJT 2/GORD HIGHRS”, British War Medal, Victory Medal, “7125 WO CL2 GORDONS”, GVR Jubilee Medal “CAPT & QM J HARDIE DCM 6TH GORDONS”, Army Long Service & Good Conduct Medal (GVR), “7125 C.S. MJR GORD HIGHRS”, Meritorious Service Medal “7125 SJT A.C.S. MJR J HARDIE 2/GORD HIGHRS”, Italian Al Valore “7125 CMS J HARDIE GORDON HRS”. Group is mounted for display. ... Accompanied by a small quantity of original ephemera. including a photograph of Captain Hardie wearing his medals. Distinguished Conduct Medal London Gazette 25th February 1920.“On the night 26th-27th October, 1918, near Cimadolmo, under hostile shell fire, he was invaluable in getting his company into position. On the 27th he showed fine devotion to duty and fearlessness, attacking strong point after strong point, and leading and encouraging his men. On being held up he volunteered and led a party forward, clearing the house and capturing the machine guns”Meritorious Service Medal London Gazette 3rd June 1918 (Italy)Italian Al Valore. London Gazette 17th May 1919.Captain Quartermaster James Hardie DCM, MSM was a native of Bucksburn and enlisted into the Gordon Highlanders in January 1900, he embarked for South Africa in April 1901 and remained there until the Battalion was posted to the East Indies where they would serve 10 years on the 14th November 1902. In 1912 he along with his Battalion was posted to Egypt, until been rushed back to the UK in September 1914. He landed in France earning the 1914 Star on the 4th October 1914. He was severely wounded and was sent back to England on the 21st November 1914. Returning to duty he was promoted to the rank of Company Sergeant Major and returned to France on the 5th June 1917. The Battalion was shortly afterwards posted to the Italian Front. Surviving the war he transferred to the TA and was confirmed a Warrant Officer in November 1921. He was commissioned to the rank of Lieutenant and Quartermaster on the 1st April 1927 then serving with the 6th (Baniff and Donside) Bn. He died in 1936 and was buried with military honours.

WW2 RAF 1941 Aircrew Europe Star Casualty Group of Medals and Ephemera.Awarded to 1002245 Sergeant James Stanley Fazakerley who was killed on air operations when his Blenheim bomber of 110 Squadron crashed in the sea off Yarmouth. Comprising: Medals 1939/45 Star, Aircrew Europe Star, War Medal. .... Forwarding Condolence Slip “SERGEANT J.S. FAZAKERLEY”. ... Box of issue. ... Telegram informing his father he was missing in Action believed killed (dated 19/8/41). ... Series of official letters one confirming the telegram. ... Air Gunner’s brevet etc. Sergeant James Stanley Fazakerley after volunteering for aircrew qualified as a Wireless Operator / Air Gunner and was posted to 110 Squadron flying the Bristol Blenheim light bomber from RAF Wattisham. He joined the Squadron during July 1941 and on the 18th August was briefed for a daylight op to Lille, his aircraft was reported to have crashed in the sea, off Yarmouth. The Pilot and Observer’s bodies were recovered, by Sergeant Fazakerley was never recovered and is now commemorated on the RAF Runnymede Memorial.

44th / 45th Regiment Crimea War Medal gallantry group of fiveA scarce combination group awarded to Private John Burnside who fought with the 44th Foot during the Crimean War and was rewarded for his actions during the attack on the 18th June on Sevastopol with the French Medaille Militaire. Comprising: Crimea Medal three clasps “Alma”, “Inkermann”, “Sebastopol” “3013 John Burnside 44th Regt”, China Medal clasp “Taku Forts 1860” “John Burnside 44th Regt”, Army Long Service & Good Conduct Medal “1346 John Burnside 45th Regt”, French Medaille Militaire, (Heavy enamel loss), Turkish Crimea Medal (English issue Engraved) “N. 3013 J. Burnside 44th Regt”. Medals are loose three retaining their original ribbons. Contact wear GC. The Publication British War Medal and how they were won page 466 describes “Private John Burnside was always ready and willing for any duty and was present on the 18th June at the attack on the Cemetery”. On this day the French and British made a large scale combined attack on Sebastopol, only one section of the line was successful, that on the buildings and cemetery at the bottom of Picket House Ravine. The Russian bombarded the British troops throughout the day, desperate to recapture their lost ground. The British held and the position and was fortified by the Royal Engineers through the night. Of the 2,000 men that attacked 600 became casualties. Private John Burnside a native of Donegal and enlisted at Belfast in September 1846. He remained with the Regiment after the war, serving in China and in 1865 volunteered for service with the 45th Regiment. He was discharged with Four Good Conduct Badges in May 1868. Campaign medals entitlement confirmed.

WW1 1st Bn King’s Liverpool Regiment Officer’s Order of the Egyptian Nile Group of Four Medals.Awarded to Captain Thomas Marshall Warburton, who was appointed Provost Marshal of the Port of Alexandria. Comprising: 1914/15 Star “2.LIEUT T.M. WARBURTON L’POOL R”, British War Medal, Victory Medal, MID Oak Leaf (Tailor's example), “CAPT”, Egyptian Order of the Nile 4th Class (Reverse stamped LATTES). Group mounted for display. ... Accompanied by box for the Order of the Nile.... and a quantity of research. Order of the Nile London Gazette 26th November 1919.MID on two occasions.Captain Thomas Marshall Warburton was commissioned into the 1st Garrison Bn King’s Liverpool Regiment on the 5th March 1915 and embarked for Egypt on the 9th October 1915. During his service with the Egyptian Expeditionary Force served as Adjutant at Sidi Bishr and was appointed Provost of the Port of Alexandria. He returned to the UK in November 1919. His post war career included employment as a Master of Epsom College.

WW1 Welsh Regiment / WW2 Monmouthshire Home Guard Officer’s Group of Three Medals & Ephemera.This group was awarded to Lieutenant Alfred Williams who during the Great War served in the ranks of the both the Welsh Regiment and the King’s Shropshire Light Infantry and during WW2 served with the 6th (Tredegar) Bn Monmouthshire Home Guard as a Lieutenant. Comprising:British War Medal, Victory Medal, “59794 PTE A WILLIAMS WELSH R”, Defence Medal. Mounted for display. ... Accompanied by Military ID as Lieutenant 6th Mon Batt Home Guard. ... Named Home Guard Certificate of Service. ... Group photographs of D. Coy Home Guard. ... quantity of research etc. Lieutenant Alfred Williams was born in 1890 in Cardiff, by the outbreak of the Great War he was working as a Railway Servant. He volunteered joining the Welsh Regiment and landed in France after January 1916. He is noted as serving with the KSLI with the regimental number 27594. His name appeared in the casualty list if the 18th June 1918 noted as wounded. At the outbreak of WW2 still living in his home town of Tredegar he volunteered for duty with the home Guard on the 28th May 1940. Originally serving with D Coy as a Sergeant he was later commissioned. He remained with the Home Guard until stand down on the 31st December 1944.

Royal Air Force BEM. RAF Elizabeth II British Empire Medal Gallantry AwardThis is believed to be the first such award to be made in the reign of Queen Elizabeth II. Awarded to “4056492 LAC James W Dorey RAF”. Retaining original ribbon and pin as worn and contained in box of issue ... Accompanied by Buckingham Palace forwarding letter (Elizabeth R) ... Two original press photographs taken at the presentation ceremonially ... Original copy of the London Gazette. GC. The announcement of the BEM appeared in the London Gazette with a full citation on the 14th March 1952. “On the 22nd December 1951 a Meteor Mark VII aircraft WA 936 from Royal Air Force Station Coltishall crashed and caught fire within the airfield boundary of RAF Station Horsham St Faith. The fire crew quickly attacked the flames and soon it was possible to see that there were two occupants of the aircraft. The unconscious pilot was pulled out of the burning wreckage with little delay, but the Navigator who was fully conscious was still trapped. Leading Aircraftsman Dorey a member of the fire crew, who had already worked valiantly in the task of controlling the fire and rescuing the Pilot, climbed onto the fuselage and despite the obvious danger of imminent explosion and the extreme discomfort from the flames and smoke, held the navigator as far away from the flames as he could. This he did to the limit of his physical strength, thus enabling the Medical Officer more easily to administer to the injured man and finally effect his removal from the wreckage. Leading Aircraftsman Dorey thereupon collapsed from the effects of the smoke and his superhuman exertion and fell into the wreckage, from which he was rescued by his comrades. His magnificent conduct was largely responsible for the navigator being rescued alive; unfortunately he died subsequently in Hospital”LAC Dorey joined the RAF in late 1950. The Meteor in question WA936 was carrying out a formation flying practice, when it fell out of formation and crashed, both crew members succumbed to their injuries.The Navigator Flight Sergeant Edward Shipman died three days later on Christmas Day. Pilot Sergeant John Stuart Jennison died shortly after the crash on the 22nd December.With the death of King George VI one month before the announcement of the award, this would indicate the first award of the BEM to the RAF by Queen Elizabeth.

WW1 1/4th Bn Seaforth Highlanders Distinguished Conduct Medal & Bar.A rare group awarded to Sergeant Donald Gray DCM & Bar, who led his men in a bayonet charge overwhelming six times their number and taking a German strong point. . Comprising: Distinguished Conduct Medal & Bar “201290 SJT D GRAY 1/4 SEA HDRS TF”, 1914/15 Star, “4029 PTE SEA HIGHRS”, British War Medal, Victory Medal, “4029 SJT”. Group mounted for display, Star and Victory Medal appear to have been plated at some time. ... Accompanied by two original Gallantry on Active Service cards for the DCM’s, a small amount of original newspaper cutting and a quantity of research. Citation for the DCM London Gazette 18th July 1917. “For conspicuous gallantry and devotion to duty, when he led ten men to attack a strong point held by about sixty enemy with a machine gun and charged them at the pint of the bayonet killing nearly half and taking the remainder prisoners.”.Citation of the Bar to the DCM London Gazette 6th February 1918.“For conspicuous gallantry and devotion to duty. He took command of the Company and led the attack on the furthest objective. Later when the enemy heavily counterattacked and broke through one position of the line he rallied men of his own and other units and leading them back repulsed the enemy with heavy losses”. Sergeant Donald Gray was a native of inverness and along with his brother were keen footballer. His brother “Willie Gray’ a professional footballer who had played for Partick Thistle Raith Rovers and Southampton, he died of wounds 18th November 1916. Donald also played for Partick Thistle. Volunteering for service he landed in France on the 29th September 1915. The DCM was awarded for gallantry on the 23rd April 1917, this was for an attack on Roeux and the chemical works. The Bar to the DCM won the the 20th September 1917, He survived the war and many years later on his death a comrade wrote “Let us hope he will be reunited with his brother Billy and the rest of our comrades, who we shared our biscuits and bully beef and our dreams of home”.

WW1 Gordon Highlanders / Cypher Officeer’s Group of Three Medals.Awarded to Lieutenant Robert Murray Nassau Molesworthy, who after being wounded with the “Gordons” was appointed a Cypher Officer on the Italian Front. Comprising: 1914/15 Star, “2/LIEUT GORD HIGHRS”, British War Medal, Victory Medal, “LIEUT”. Medals loose. Lieutenant Robert Murray Nassau Molesworthy was commissioned in the Gordon Highlanders, arriving in France in March 1915. He was severely wounded in early 1917 and invalided home. Following his recovery he was employed as a Cypher Officer on the Italian Front and following the war, when he was placed on the Reserve of Cypher Officers, he was asked to join General Gorton's Budapest mission of 1919. He died in 1976.

WW1 Westminster Dragoons, Royal Engineers Officer WW2 Commanding the Cingue Ports Anti Aircraft Regiment Senior Officer RA Malta 1941-43A fine Defence of Malta group awarded to Brigadier Norman Vause Sadler OBE DCM., TD who after service at Gallipoli with the Westminster Dragoons attached to the topographical section of the Royal Engineers earning the DCM and during the Battle of Britain Commanded the Dover Anti Aircraft Defences resulting in the award of the OBE and would then be Senior Royal Artillery Officer during the Siege of Malta commanding AA guns 1941 to 1943. Comprising:Breast Badge of the Order of the British Empire, Distinguished Conduct Medal (GVR) “547502 CPL N.V. SADLER R.E.”, 1914/15 Star, “1187 PTE 2-CO.OF. LOND Y”, British War Medal, Victory Medal, “1187 A.SJT 2-CO OF LOND Y”, 1939/45 Star, Africa Star, Defence Medal, War Medal, GVIR Coronation Medal, EIIR Coronation Medal, Territorial Decoration “1941”, Territorial Force Efficiency Medal (GVR) “547502 SPR -A.2.CPL N.V. SADLER RE”. Group mounted as originally worn. ... Accompanied by original warrant for the OBE, 1937 GVIR Coronation Medal certificate. Order of the British Empire London Gazette 10th December 1940Distinguished Conduct Medal. London Gazette 11th March 1920.“For gallant service in the field while employed on topographical duties, which have necessitated work under fire in exposed positions. His topographical work has been of the greatest value in producing accurate maps.”Brigadier Norman Vause Sadler OBE DCM was born in 1890 and in 1907 enlisted into the Westminster Dragoons and it was with this regiment he was mobilised in 1914 and landed in Egypt on the 5th November 1914. He saw service at Gallipoli and in 1916 was attached to the Royal Engineers Map department. Returning home he was commissioned in 1920 into the Royal Artillery serving with the 59th Field Brigade. At the outbreak of WW2 now with the rank of Major he commanded 75th Heavy Anti Aircraft (Cinque Ports) posted to defend Dover. His batteries were in constant operation for five moths, counting for the destruction of some 90 aircraft. He was awarded the OBE. Probably due to his knowledge in May 1941 he was posted to Malta and commanded the Royal Artillery on the Island being responsible for the Anti Aircraft guns. He held this post until July 1943 when he was posted back to Malta. Having been promoted to Brigadier he retained this rank on his retirement. In the post WW2 years he continued his links with the TA and was appointed Colonel of his old unit the Cinque Ports Royal Artillery. He died 1953.

Exhibition quality scale mode of the steam trawler 'St Nectan' registered in Hull, no: H.411, overall length 175cm approx. On wooden display stand. Note: vessel St Nectan 564 tonnes gross weight, built in 1937 by Cook, Welton & Gemmell, Beverley. Believed to be fitted with battery electric motor for radio control.(B.P. 21% + VAT) Rather dusty commensurate with storage. No obvious damage.Provenance: these models by Robert Gerald Iles (1940-2019), a former British Army Officer who had always been interested in model making but did not have enough spare time whilst serving, resident in Pembrokeshire and joined the Pembrokeshire Model Sailing Yacht club where he won numerous trophies at club and national level. He also started his own business 'The Top Rig' making sails for model yachts, he then started making model ships for his own enjoyment, primarily British war ships and he took his models to modelling exhibitions all around the UK. Particularly well known in Wales.

Exhibition quality scratch built scale model of the Royal Navy 'Dido' class light cruiser 'HMS Hermione' 1850 tonnes fully loaded with a length of 485ft, 512ft overall, 50.5ft beam drawing 114ft, powered by Parsons geared turbines to four shafts with four Admiralty three drum boilers producing 62000shp, built by Alexander Stephen & Sons of Glasgow, launched 1939, sunk June 1942 by German Submarine U205 in the Mediterranean with loss of life. Finely detailed model with figures on bridge, turrets and armament. Electric motor powering four propellers for radio control. On wooden display stand, overall length 1.6m approx.(B.P. 21% + VAT) A couple of items in the way of one mast and deck fittings have become loose in transit but basically good condition.Provenance: these models by Robert Gerald Iles (1940-2019), a former British Army Officer who had always been interested in model making but did not have enough spare time whilst serving, resident in Pembrokeshire and joined the Pembrokeshire Model Sailing Yacht club where he won numerous trophies at club and national level. He also started his own business 'The Top Rig' making sails for model yachts, he then started making model ships for his own enjoyment, primarily British war ships and he took his models to modelling exhibitions all around the UK. Particularly well known in Wales.

Laurence Stephen Lowry (1887-1976) British, 'His Family', a printers proof print, unsigned and unnumbered, 63.5 cm x 90 cm, unmounted and unframed.Footnote: Provenance: From the collection of Monty Bloom (See Dawsons website articles for more details)The original painting, also known as 'Family Group'/'The Onlookers'/'Father of Six Children' and 'Father of Six - his family' was formerly in the collection of Monty Bloom and more recently sold at Christie's in 2013 for £553,875.This unsigned printer's proof was probably given to Monty Bloom for approval as the original owner of the painting before the print was commercially produced.'The idea for this painting was based on a family which the artist saw waiting at a bus stop. He was struck by the fact that they all looked highly intelligent. The figure in the centre is the father, who is disappointed in his children." (Exhibition catalogue, L.S Lowry R.A. Retrospective Exhibition, Arts Council, 1966, p. 16).

A Chinese watercolour, Qing, 18th/19th century, painted with a recumbent Lu Dongbi watching over Guanyin who holds a blossoming sprig in a garden surrounding, with a gnarled blossoming tree a pine tree and a stream, a pavillion to the background with tea pot and bowls, 26 x 29cm; and a Japanese woodblock print, Taisho/Showa, 23.5 x 36cmCondition report: Chinese watercolour with paper worm trails/holes throughout, more noticeable to the corners and sides, centre rock and tree trunk. The image has been folded in half prior to being framed. Slightly discoloured the top left quarter.Woodblock print is in good condition.,

A large collection of stamps contained in well-presented albums, GB, Ireland, New Zealand, USA, Australia and others, all periods but mostly 20th century issues, (six boxes).Note that this collection is being sold to help raise funds for Cancer Research UK, who will receive 100% of the hammer price.Qty: Qty

A limited edition Glenlivet Royal Wedding Reserve, 25-year-old unblended, single malt Scotch Whisky to mark the occasion of the wedding of his Royal Highness the Prince of Wales & Lady Diana Spencer, No 29, in presentation case 75cl.Note that this item is being sold to help raise funds for the RNLI, who will receive 100% of the hammer price.Footnote: Provenance: Received by a member of the Adams Food Group, from Seagrams who were promoting the limited edtion release. Also included is an original Adams 1981 company newspaper, with details of the gift included.NB. This lot is being sold on behalf of the RNLI, to raise funds for their charity.

An extensive and interesting album of autographs, letters and other ephemera, to include a hand-written letter from Arthur Conan Doyle (1859-1930), written on headed notepaper from 'Undershaw, Hindhead, Haslemere', tipped in signatures of Prince Alfred, Duke of Saxe-Coburg (1844-1990), [the second son of Queen Victoria], Prince Louis Alexander Mountbatten (1854-1921), [grandfather to HRH Prince Philip], 2 x Charles Dickens (1812-1870), the Duke of Wellington (1807-1884), two hand-written letters from Henry John Temple 3rd Viscount Palmerston (1784-1865) [twice British Prime Minister], a signature of David Livingstone (1813-1873) and other items, many of a naval theme, all worthy of further inspection.Footnote: Provenance: The collection was started by a family of booksellers in Portsea Island, named Griffin, to who many of the letters are addressed, with additions made over the years, and then retained by descendants.

A 1982 Rolex Oyster Perpetual Date Explorer II ref. 1655 stainless steel wristwatch, the black dial with luminous indices and large triangle marker at 12 o'clock, with luminous hands and orange 24 hour hand, with date aperture, with fixed 24 hour bezel on a stainless steel Oyster bracelet. With cal. 1570 automatic movement, 26 jewels, adjusted to 5 positions and temperature. 38 mm case. Serial number 7351967. Complete with original box, outer box, paperwork, and Rolex booklets.Note: What makes this watch special is that it was purchased new by a relative of the vendor as an investment and was put away in a drawer and has never been worn. It is a superb example and in excellent condition.Footnote: The Rolex Explorer II ref. 1655 was first produced in 1971 and continued the tradition of the earlier Explorer models which were first introduced in 1953. The watch was originally designed for speleologists (cave explorers) who could lose all track of time and sense of day or night, and as such was designed with extreme durability in mind. It features a bright orange luminous 24-hour triangle tipped hand providing optimum legibility even in bad lighting situations. Due to its limited commercial success and short production period, the reference 1655 is today one of the more sought after Vintage Rolex models.Condition report: Excellent 'as new' condition throughout. The glass, case and dial and all perfect. Bracelet in excellent condition, couple of small marks on 3 links from handling, otherwise excellent. Fully working order, winds, runs and sets

Early 20th Century baroque pearl and diamond drop pendant brooch, the pink hued pearl is suspended within a rose cut diamond pear shaped halo, surmounted by three with a rose cut diamond set loops with central old cut diamond, estimated total diamond weight 0.77 carats, mount testing as silver and 9 ct, on a fancy trace chain, with two tube lock clasps to allow two lengths, testing as platinum, with a rub over set single stone old cut diamond, mounted at a chain cross section, in a fitted box, lid decorated with gilt star motif with cream silk lining signed Koch, Frankfurt A/M, B. Baden, with additional brooch attachment fitting and tool in box.The Koch Jewellers was opened in Frankfurt, Germany in 1879 by Robert Koch who was later joined by his brother Louis Koch. Business was extremely successful and in the 1880s a second branch was opened in Baden Baden. By 1883 the Koch House had gained the title of Jeweller to the Court and were best known for supplying jewels, particularly tiaras, to German Royalty, Courts and aristocrats along with Russian and European courts and nobility. Gross weight 16.2 grams including pendant and brooch attachmentLonger chain length 40.5cm, smaller chain length 33cm.Drop measuring approximately 6.5cm from single stone diamond set in cross-section of chain to base of the pendantPendant measures 4.5 x 2cm.Single stone diamond set in cross section of chain has a chip to girdle. Some rose cut diamonds are chipped.Pearl bale is set with rose cut diamonds, pearl has natural pits and growth lines pearl, measuring approximately 21 x 13 x 11mmlargest diamonds estimated weight 0.18 carats

Serge PoliakoffComposition abstraite Öl auf Leinwand 92 x 73 cm Gerahmt. Unten links weiß signiert 'SERGE POLIAKOFF'. - Oberflächlich minimal verschmutzt. Ansonsten in tadelloser Erhaltung.A. Poliakoff 48-43Mit einer Foto-Expertise von Alexis Poliakoff, Paris, vom 13.7.1997ProvenienzMax Welti, Zürich; Galerie Michael Haas, Berlin (rückseitiges Keilrahmenetikett); Lempertz Köln, Kunst des XX. Jahrhunderts, Auktion 634, 8.12.1988, lot 834; Galerie Sander, Darmstadt (1997); Privatbesitz HessenAusstellungenZürich 1967 (Kunsthaus), Spektrum der Farbe. Eine Zürcher Privatsammlung (Max Henri Welti), Kat. Nr. 182; Berlin 1983 (Galerie Michael Haas), Aus den Beständen der Galerie, Kat. Nr. 18 mit Farbabb.Ende der 1940er Jahre fand Serge Poliakoff seine eigene, unverwechselbare Bildsprache in der Abstraktion, nicht ausgehend von theoretischen Konzepten, sondern individuellen, emotionalen Erkenntnissen. „Es muss eine Ahnung unendlichen Formenreichtums gewesen sein, die den immerhin bereits 47jährigen Poliakoff dazu veranlasst hat, sich ohne jeden Kompromiss auf ein zugleich begrenztes wie unerschöpfliches Feld bildnerischer Möglichkeiten einzulassen. Nie sind Zweifel oder ein Streben nach neuen Ufern spürbar. Die stets sprudelnde Quelle seiner Bildfindungen belegt die hohe Tragfähigkeit seiner Konzeption. Weder erstarren seine Werke in geometrischer Strenge noch verharren sie in einem analytischen Konstruktivismus. […] Diese strukturellen Eigenschaften seiner Malerei stehen in unmittelbarer Beziehung zum großen musikalischen Talent Poliakoffs. Dem Gitarristen mit drei Jahrzehnten Berufserfahrung waren die Musiktheorie klassischer und moderner Musik selbstverständlich geläufig.“ (Nils Ohlsen, in: Serge Poliakoff. Retrospektive, Ausst. Kat. Kunsthalle Emden/Kunsthalle der Hypo-Kulturstiftung München, München 2007, S. 31f.). Die vorliegende „Composition abstraite“ ist in den erdigen Tönen gehalten, die die meisten seiner frühen abstrakten Werke prägen. Im Gegensatz zu der sehr flächenbetonten Bildsprache, die ab den 1950er Jahren sein Oeuvre beherrscht, bestimmen hier freie, gestisch gesetzte Konturen die Komposition, die sich tiefenräumlich auszudehnen scheint. Weiße, gelbe und dunkelbraune Linien sowie tonal ähnliche Flächen überlagern und durchkreuzen sich zu einem auf die Bildmitte konzentrierten Geflecht. Serge PoliakoffComposition abstraite Oil on canvas 92 x 73 cm Framed. Signed 'SERGE POLIAKOFF' in white lower left. - Superficially minimally soiled. Otherwise in perfect condition.A. Poliakoff 48-43With a photo-certificate by Axlexis Poliakoff, Paris, dated 13.7.1997ProvenanceMax Welti, Zurich; Galerie Michael Haas, Berlin (label verso on stretcher); Lempertz Cologne, 20th century art, auction 634, 8.12.1988, lot 834; Galerie Sander, Darmstadt (1997); Private possession, HesseExhibitionsZurich 1967 (Kunsthaus), Spektrum der Farbe. Eine Zürcher Privatsammlung (Max Henri Welti), cat. no. 182; Berlin 1983 (Galerie Michael Haas), Aus den Beständen der Galerie, cat. no. 18 with colour illus.In the late 1940s Serge Poliakoff found his own unmistakable visual idiom in abstraction - preceding not from theoretical concepts but individual, emotional insights. “It must have been a sense of the infinite wealth of forms which led Poliakoff - who was, after all, already 47 years old - to occupy himself entirely without compromise with a simultaneously limited and inexhaustible field of artistic possibilities. We never sense doubts or a search for new shores. The constantly bubbling wellspring of his pictorial inventions demonstrates the great capacity of his conception. His works neither become frozen in geometric rigour nor do they linger in an analytical constructivism. […] These structural qualities of his painting are directly connected with Poliakoff's great musical talent. The guitarist with three decades of professional experience was, of course, familiar with the musical theory of classical and modern music. […].” (Nils Ohlsen, in: Serge Poliakoff. Retrospektive, exhib. cat. Kunsthalle in Emden/Kunsthalle der Hypo-Kulturstiftung München, Munich 2007, p. 31f.). The “Composition abstraite” here is done in the earthy tones that characterise most of his early abstract works. In contrast to the emphatically two-dimensional visual idiom that dominated his oeuvre from the 1950s onwards, here free and gestural contours define the composition, which seems to extend in depth. White, yellow and dark brown lines as well as tonally similar planes overlap and intersect into a web concentrated towards the centre of the picture.

Günther FörgOhne Titel Acryl auf Holz auf beige gefasstem Holz 30 x 40 cm (57 x 67 cm). Signiert und datiert 'Förg 03'. - Mit Atelier- und leichten Altersspuren.Wir danken Michael Neff vom Estate Günther Förg für die freundliche Bestätigung der Authentizität dieser Arbeit.ProvenienzPrivatsammlung, Berlin„Günther Förg ist ein Maler, der mit Mitteln der Verknappung, Reduzierung und Konzentration einen Zustand anstrebt, in dem er das Bild durch die Farben, Formen und Strukturen wirken und durch den Hintergrund eines Reichtums an Bezügen und Bedeutungen erfahrbar werden lässt. Seine Bildsprache hat sich aus abstrakter Malerei und Minimalismus entwickelt, sie ist auf selektierte Formen und Farben beschränkt. Die Identität seiner Bilder wird nicht über ein Motiv erzeugt und definiert - Förg liefert uns keine Illusion der sichtbaren Welt, sein Sujet ist die Malerei. Der Umgang mit Farbe ist trotz eines lakonischen und raschen Gestus für sein Werk von zentraler Bedeutung.“ (Bernd Reiß, in: Ausst.Kat. Günther Förg 1987-2011, Galerie Max Hetzler, Berlin 2012, S. 7) Günther FörgUntitled Acrylic on wood on beige painted wood 30 x 40 cm (57 x 67 cm). Signed and dated 'Förg 03'. - Traces of studio and minor traces of age.ProvenancePrivate collection, Berlin“Günther Förg is a painter who, by means of stringency, reduction, and concentration, strives for a state in which he causes the picture to affect the viewer through colours, forms and structures and allows it to be experienced based on a wealth of references and meanings. His pictorial language has developed out of abstract painting and minimalism; it is limited to selected forms and colours. The identity of his paintings is not created and defined by a motif - Förg does not provide us with an illusion of the visible world, his subject is painting. Despite a laconic and swift gesture, the use of colour is central to his work.” (Bernd Reiß, in: exhib.cat. Günther Förg 1987-2011, Galerie Max Hetzler, Berlin 2012, p. 7)

Leonor FiniLes Adelphes Öl auf Leinwand 129,5 x 96,5 cm Gerahmt. Unten rechts grünblau signiert und datiert 'Leonor Fini'.Overstreet/Zuckerman Vol. II, 0749Von Richard Overstreetbund Arlette Souhami, Galerie Minsky, Paris, bestätigt. Mit einer Foto-Expertise von Richard Overstreet, Paris, vom 20. Oktober 2020ProvenienzGalerie Lambert Monet, Genf (rückseitig mit Keilrahmenaufkleber); vom Vorbesitzer dort erworben (1979), seitdem Privatbesitz RheinlandAusstellungenGstaad 1968/1969 (Galerie Saqqarah); Genf 1970 (Galerie Lambert Monet), Leonor Fini, Kat. Nr. 3, mit ganzseitiger Farbabb.; Paris 1971 (Galerie Verrière); Tokyo/Osaka/Fukuoka City/Hiroshima/Kanazawa (Seibu Museum/Hanshin Museum/Fukuoka Museum/Hiroshima Museum of Art/Kanazawa Prefectural Museum), Leonor Fini. Retrospective, Kat. Nr. 25Leonor Fini, in Buenos Aires geboren und in Triest in einem bildungsbürgerlichen Umfeld aufgewachsen, kam 1937 nach Paris und schloss sich den Surrealisten an. Ihre fundierte Kenntnis philosophischer Schriften, ihr ausgeprägtes Interesse an Psychologie, Mythologie und Magie sowie ihr Anspruch, als Frau als sinnlich-erotische, aber zugleich selbstbestimmte und machtvolle Person wahrgenommen zu werden, verschafften ihr eine Sonderrolle im Kreis der Künstlerkollegen. Finis Gemälde sind mit feinstem Pinselstrich ausgeführt und lassen auf ihren makellosen Oberflächen rätselhafte Bildwelten entstehen. Diese traumartigen Sequenzen voll erotischer und morbider Phantasien entfalten im Kontrast zu ihrer malerisch perfekten Ausführung eine besonders fesselnde und verstörende Wirkung.„Les Adelphes“, der Titel dieses Werkes, könnte sich auf die gleichnamige Komödie des römischen Dramatikers Terenz (dt. „Adelphoe/ Die Brüder“) beziehen oder auf den französischen Ausdruck der mariage adelphique, der die Ehe zwischen leiblichen Geschwistern bezeichnet. Zwischen dem schlafenden Frauenakt im Vordergrund und den beiden androgynen Personen, die über den hingegossenen Körper hinweg nachdenklich Zwiesprache halten, existiert eine intime, möglicherweise unrechtmäßige Verbindung. Ob die liegende Frau dabei die Rolle des Opfers oder die der Verführerin innehat, bleibt der Phantasie des Betrachters überlassen. Leonor FiniLes Adelphes Oil on canvas 129.5 x 96.5 cm Signed and dated 'Leonor Fini' in greenish blue lower right.Overstreet/Zuckerman vol. II, 0749Confirmed by Richard Overstreet and Arlette Souhami, Galerie Minsky, Paris. With a photo-certificate by Richard Overstreet, Paris, dated 20 October 2020ProvenanceGalerie Lambert Monet, Geneva (stetcher label verso); acquired there by the previous owner (1979), Private possession, Rhineland, sinceExhibitionsGstaad 1968/1969 (Galerie Saqqarah); Geneva 1970 (Galerie Lambert Monet), Leonor Fini, cat. no. 3, with full-page colour illus.; Paris 1971 (Galerie Verrière); Tokyo/Osaka/Fukuoka City/Hiroshima/Kanazawa (Seibu Museum/Hanshin Museum/Fukuoka Museum/Hiroshima Museum of Art/Kanazawa Prefectural Museum), Leonor Fini. Retrospective, cat. no. 25Leonor Fini, who was born in Buenos Aires and grew up in Trieste in a middle-class intellectual milieu, came to Paris in 1937 and joined the Surrealists. Her soundly based knowledge of philosophical writings, her keen interest in psychology, mythology and magic and her aspiration, as a woman, to be perceived as a sensually erotic but simultaneously self-determined and powerful person furnished her with a special role within the circle of her fellow artists. Fini's paintings are carried out with an extremely fine brushstroke and conjure up enigmatic visual worlds on their immaculate surfaces. These dream-like sequences full of erotic and morbid fantasies unfold a particularly captivating and unsettling effect in their contrast with the perfect painterly execution.“Les Adelphes”, the title of this work, could be an allusion to the comedy of that name by the Roman dramatist Terence (Engl.: “Adelphoe/The Brothers”) or to the French expression “mariage adelphique”, which refers to a marriage between siblings related by birth. There is an intimate and perhaps illicit connection between the sleeping female nude in the foreground and the two androgynous individuals engaged in a pensive dialogue above the body draped across the bed. Whether the reclining woman occupies the role of the victim or the seductress remains left to the viewer's fantasy.

Alfred KubinAschermittwoch Aquarell und Tuschfederzeichnung auf Bütten (Rückseite einer Katasterkarte) 39,5 x 31,6 cm Unter Glas gerahmt. Unten rechts mit Tusche signiert 'Kubin', unten links mit Bleistift betitelt 'Aschermittwoch'. - Im Rand gebräunt und mit vereinzelten Stockflecken.Hoberg Mappe V/II/2 und Raabe 168 (die nach dieser Zeichnung entstandene Lithographie)ProvenienzPrivatsammlung, WestfalenWie kaum einem Künstler der Moderne gelingt es Alfred Kubin die sozialen Realitäten des Alltags mit den unterschiedlichsten Fiktionen und Traumbildern organisch ineinander übergehen zu lassen. In einem Brief an seinen Künstlerfreund Fritz von Herzmanovsky-Orlando bezeichnet sich Kubin 1908 selbst als „Organisator des Ungewissen, Zwitterhaften, Dämmerigen, Traumartigen“ und tatsächlich offenbaren sich seine Werke dem Betrachter als abgründiges Amalgam von Gesehenem und Unsichtbarem (Brief vom 9. Januar 1908, in: Fritz von Herzmanovsky-Orlando, Sämtliche Werke Bd. VII. Der Briefwechsel mit Alfred Kubin. 1903 bis 1952, Salzburg/Wien 1983, S. 10). Zwischen Apokalypse und Karneval präsentiert sich der Aschermittwoch in unserer prachtvoll aquarellierten Tuschezeichnung als Limbus für Mensch und Kreatur. Auf der Schwelle von Rausch und Affekt, Buße und Erlösung ist der Karneval ein in vielfacher Hinsicht naheliegendes Thema für den Künstler, steht das Fest doch sinnbildlich für die Verwandlung und liefert als irdischer (Alb-)Traum par excellence eine ideale Folie für Kubins Inszenierung unterschiedlicher Wirklichkeitsebenen. Auffällig ist nicht nur der für Kubin so typische Detailreichtum, der die einzelnen Bildelemente und dargestellten Wesen in einer Fülle phantastischer Erzählungen aufgehen zu lassen vermag, sondern auch die zeichnerische Dichte. Meisterhaft setzt Kubin Hell- und Dunkeltöne und untereicht die obsessive Drastik des Sujets mit jedem einzelnen Strich auch auf formaler Ebene. In dieser Qualität und Größe präsentiert sich das vorliegende Blatt, nach der auch eine Lithographie für die Mappe „Traumland II“ (Hrsg. von Fritz Gurlitt, Berlin 1922) erschien, als bildgewaltiges Meisterwerk eines der bedeutenden Zeichner des 20. Jahrhunderts. Alfred KubinAschermittwoch Watercolour and pen and ink drawing on laid paper (reverse side of a cadastral map) 39.5 x 31.6 cm Framed under glass. Signed 'Kubin' in India ink lower right, titled 'Aschermittwoch' lower left. - Marginal browning and with few foxmarks.Hoberg Mappe V/II/2, and Raabe 168 (lithograph after this drawing)ProvenancePrivate collection, WestphaliaThere is scarcely another artist of the modernist period who succeeds like Alfred Kubin in organically merging the social realities of everyday life with the most varied fictions and dream images. In a 1908 letter to his friend and fellow artist Fritz von Herzmanovsky-Orlando, Kubin refers to himself as “organiser of the uncertain, ambiguous, shadowy, dream-like” (Letter of 9 January 1908, in: Fritz von Herzmanovsky-Orlando, Sämtliche Werke vol. VII. Der Briefwechsel mit Alfred Kubin. 1903 bis 1952, Salzburg/Vienna 1983, p. 10) and his works do in fact reveal themselves to their viewers as an enigmatic amalgamation of the seen and the invisible. In our ink drawing magnificently toned with watercolours, Ash Wednesday presents itself as something between the Apocalypse and Carnival, as a limbo for human beings and creatures. On the threshold between intoxication and passion, penance and salvation, Carnival is an obvious theme for the artist in many respects: after all, the festival serves as a symbol of transformation and, as the earthly dream (or nightmare) par excellence, it provides an ideal foil for Kubin to stage different levels of reality. What is striking is not just Kubin's very typical wealth of detail, which is able to make the individual elements of the picture and the depicted creatures culminate in an abundance of fantastic narratives, but also the graphic density. Kubin has masterfully placed his light and dark tones and used every single stroke to also underscore the obsessive explicitness of his subject on a formal level. In this quality and grandeur, this sheet - which also provided the source for a lithograph for the portfolio “Traumland II” (publ. by Fritz Gurlitt, Berlin 1922) - presents itself as a visually overpowering masterwork by one of the 20th century's most important draughtsmen.

Bruno GollerBallspielende Mädchen Öl auf Leinwand 50,5 x 100,8 cm Gerahmt (wohl Originalrahmung des Künstlers). Unten rechts hellbraun signiert 'Bruno Goller'. - Oberflächlich zum Teil minimalst verschmutzt.Wir danken Ricarda Dick, Literatur- und Kunstinstitut Hombroich/Sammlung Kahmen, für freundliche bestätigende Auskünfte.ProvenienzSammlung Matthias T. Engels, Linnich; seitdem in FamilienbesitzDas Oeuvre Bruno Gollers wird bestimmt von rätselhaften, scheinbar aus der Zeit gefallenen Sujets in zurückhaltender Farbigkeit, die dem Betrachter vielfältige Assoziationsmöglichkeiten bieten. Seine „Ballspielenden Mädchen“ lassen an einen Fries aus einer mittelalterlichen Buchmalerei oder ein antikes Fresko denken. Das extreme Querformat ist durch die angedeutete Darstellung farbiger Zeltplanen und hölzerner Rahmenkonstruktionen in vier Felder eingeteilt, vor denen vier Mädchen in altertümlichen Gewändern einen Ball werfen oder in den Händen halten. Hintereinander aufgereiht agieren die Spielerinnen nicht miteinander, sondern voneinander isoliert, jede in einem individuellen Bewegungsmoment eingefangen. Die Segmentierung des Bildraumes ist ebenso wie die Verwendung erdiger Farbtöne charakteristisch für Gollers Schaffen um 1950.Das Gemälde stammt aus dem persönlichen Besitz von Matthias T. Engels, der ab 1948 als Ministerialrat des noch jungen Bundeslandes Nordrhein-Westfalen begann, Werke von regionalen Künstlern anzukaufen, um sowohl junge Talente als auch unter dem NS-Regime verfemte Künstler zu unterstützen. Die durch sein Kultusministerium getätigten Ankäufe mündeten in der Sammlung „Kunst aus Nordrhein-Westfalen“, die seit Mitte der 1970er Jahre in der ehemaligen Reichsabtei Kornelimünster ihren Platz hat. Bruno GollerBallspielende Mädchen Oil on canvas 50.5 x 100.8 cm Framed (presumably original artist's frame). Signed 'Bruno Goller' in light brown lower right. - Partially with very minimal surface soiling.We would like to thank Ricarda Dick, Literatur- und Kunstinstitut Hombroich/Sammlung Kahmen, for kind confirmatory information.ProvenanceMatthias T. Engels, Linnich; in family possession sinceBruno Goller's oeuvre is defined by enigmatic subjects which seem like relics from another time, featuring muted colour schemes and offering viewers diverse possibilities for associations. His “Ballspielende Mädchen” call to mind a frieze from a medieval illuminated manuscript or an ancient fresco. The extreme horizontal format is divided into four fields through the suggested depiction of coloured tent coverings and their wooden framework: in front of them, four girls in archaic robes throw a ball or hold it in their hands. Lined up one after the other, the players do not interact with each other; instead, they are isolated from one another, each captured in an individual moment of movement. Like the use of earthy tones of colour, the pictorial space's segmentation is characteristic of Goller's work from around 1950.The painting is from the personal collection of Matthias T. Engels, a senior principal in what was then the new federal state of North Rhine-Westphalia who began purchasing works by regional artists in order to support young talents as well as artists persecuted under the Nazi regime. The purchases made by his Ministry of Culture culminated in the collection “Kunst aus Nordrhein-Westfalen”, which has been housed in the former imperial abbey of Kornelimünster since the mid-1970s.

William Nelson CopleyTrust Lust Acryl auf Leinwand 163 x 138 cm. Gerahmt. Signiert und datiert 'Cply '89'. - Mit Atelier- und geringfügigen Altersspuren.ProvenienzPhyllis Kind Gallery, New York; Privatsammlung, Nordrhein-WestfalenAusstellungenNew York 1991 (Phyllis Kind Gallery), Chicago (Phyllis Kind Gallery), Trust Lust cply Heed Greed, Ausst.Kat., o.S. mit Farbabb. (hier irrtümlich 1990 datiert)"Natürlich ist die Frage des Stils von größter Wichtigkeit für einen Künstler, wenn es darum geht, Gedanken und Gefühle in die Außenwelt zu transportieren. Copley ist es gelungen, den Stil seinen Bedürfnissen optimal anzupassen, wodurch es ihm möglich wird, Ideen in Malerei zu formen, für die es keine andere Ausdrucksform gibt. Lange Tradition machte den Maler zum professionellen Voyeur, und Copley behauptet diese Position mit Humor und Zynismus. 'Dieser boshafte und scharfsinnige Kobold', schreibt Patrick Waldberg, 'vereint in seiner Person die Doppelrolle des Schauspielers, der über sein eigenes Spiel lacht, und des Zuschauers, der als Komplize des Zauberers auf die Bühne gebeten wird.' Eben dieses doppelte Spiel ist es, mit dem Copley den Betrachter so aus der Fassung bringen kann. Er läßt uns lachen über die lächerlichen Absurditäten einer Welt, in der selbst Liebe zur Sünde wird und die Wunder menschlichen Erfindungsreichtums so gefährlich außer Kontrolle geraten, daß sie uns mit völliger Vernichtung bedrohen." (Roland Penrose, William Nelson Copley, in: Carl Haenlein (Hg.), William N. Copley, Bilder, Paintings 1951-1995, Ausst.Kat. Kestner-Gesellschaft Hannover, Hannover 1995, S.41) William Nelson CopleyTrust Lust Acrylic on canvas 163 x 138 cm. Framed. Signed and dated 'Cply '89'. - Traces of studio and minor traces of age.ProvenancePhyllis Kind Gallery, New York; private collection, North Rhine-WestphaliaExhibitionsNew York 1991 (Phyllis Kind Gallery), Chicago (Phyllis Kind Gallery), Trust Lust cply Heed Greed, exhib.cat. unpag. with colour illus.(here erroneously dated 1990)"Style however is most important to an artist when it is used as a vehicle capable of carrying thoughts and feelings into the outer world. In Copley´s hands it has become well suited to his needs, since it allows him to convey in painting ideas which are otherwise impossible to express. The painter, thanks to long tradition, is a licensed voyeur and, claiming this privilege, Copley has exploited it with humor and cynicism. 'This mischievous kobold, full of sagacity', writes Patrick Waldberg 'unites in his person the double role of the actor laughing at his own game and the spectator who comes up on the stage as the magician´s accomplice.' It is in this double role that he is most disconcerting. He leads us to laugh at the preposterous absurdities of a world in which even love becomes sinful and the wonders of human invention run wild so dangerously that they threaten us with complete destruction." (Roland Penrose, William Nelson Copley, in: Carl Haenlein (Hg.), William N. Copley, Bilder, Paintings 1951-1995, exhib.cat. Kestner-Gesellschaft Hannover, Hannover 1995, p..201)

Karel AppelOhne Titel (Badende) Öl auf Leinwand 162 x 130 cm. Gerahmt. Signiert 'appel'.ProvenienzGalerie Ulysses, Wien (mit rückseitigem Aufkleber); Privatsammlung, Nordrhein-WestfalenDiese Arbeit wird im Rahmen der Vorbesichtigung ausgewählter Werke am 20.Nov./21.Nov. von 10-17 Uhr in unserer Repräsentanz in Brüssel ausgestellt.Die frühen Werke der COBRA-Zeit von Karel Appel sind geprägt von einer aggressiv anmutenden bildnerischen Verarbeitung der erlebten Kriegszeit und dem unbändigen Wunsch nach Überwindung des Althergebrachten. Sein typischer atemlos-ungestümer Farbauftrag bestimmt auch die Bildsprache der 1960er und 1970er Jahre, doch motivisch wirkt sie oft beruhigter. Der Künstler wird von allem angeregt, was ihm tagtäglich widerfährt und begegnet, aus einem flüchtigen Eindruck lässt er Gemälde in einem nahezu unwillkürlichen Malprozess erwachsen. In dieser Arbeit greift er das Motiv von Badenden in einer Landschaft auf - ein klassisches Thema, das sich seit Jahrhunderten durch die Geschichte der Kunst zieht. Appel, der sich intensiv mit der Kunst der Moderne, aber auch niederländischen Künstlern wie Rembrandt und Hieronymus Bosch auseinandersetzt, sind sicherlich zahllose malerische Vorbilder dieses Sujets gegenwärtig. Die in hüfthohem Wasser stehenden unbekleideten Frauen und ein tiefhängender orangeroter Sonnenball sind gut lesbare Bestandteile des Bildes. Die sich neben den Badenden ausbreitende Schwärze und das im Vordergrund aufragende rot-schwarze Element bleiben hingegen rätselhaft und lassen, wie meist bei Appel, viel Raum für Interpretationen. Karel AppelUntitled (Badende) Oil on canvas 162 x 130 cm. Framed. Signed 'appel'.ProvenanceGalerie Ulysses, Vienna (label verso); private collection, North Rhine-WestphaliaThis artwork is on preview 20.Nov./21.Nov. from 10-17 hours in our office in Brussels.Karel Appel's early works from the COBRA period are characterised by a seemingly aggressive artistic processing of war time experiences and the unrestrained desire to overcome traditional principles. His typical breathless and impetuous application of paint also dominated the pictorial language of the 1960s and 1970s, however, with respect to its motifs, this language often appeared calmer. The artist was stimulated by everything that happened and anything he encountered in everyday life; a fleeting impression sufficed in order for to him to create a painting in an almost instinctive process. In this work, he captured the motif of bathers in a landscape - a classic theme that has prevailed in the history of art for centuries. Appel, who engaged himself intensively with modern art, but also with Dutch artists such as Rembrandt and Hieronymus Bosch, was certainly aware of countless artistic examples on this subject. The naked women standing in waist-high water and the low-hanging orange-red sphere of the sun are easily legible elements of the picture. The blackness spreading out next to the bathers and the red-black element rising in the foreground, on the other hand, remain puzzling and, as is usually the case with Appel, leave much room for interpretation.

A.R. PenckPabst in Polen 9-teilige Arbeit: Jeweils Tusche und Bleistift auf Papier Je 29,5 x 42 cm bzw. 42 x 29,5 cm. Einzeln unter Glas gerahmt. Alle Arbeiten signiert 'ar penck'. Betitelt bzw. beschriftet 'Pabst' [sic] (2 Arbeiten), 'Pabst in Polen' (2) bzw. 'der Pabst besucht Polen' (1). - Mit geringfügigen Altersspuren.ProvenienzGalerie Michael Werner, Köln (jeweils mit rückseitiger Inventarnummer); Galerie Lelong, Zürich (mit rückseitigen Aufklebern); Privatsammlung, Nordrhein-WestfalenAusstellungenBerlin 1986/1987 (daadgalerie), A.R. Penck, Penck-West in Berlin, Zeichnungen aus den Jahren 1980-82, Ausst.Kat., S.87-95 mit Abbn.Als der kurz zuvor gewählte Johannes Paul II., der erste nicht-italienischer Papst seit fast fünfhundert Jahren, im Juni 1979 seine polnische Heimat besucht, nimmt er mit dieser Reise großen Einfluss auf die Situation der Kirche und auf die Politik in Polen. Es handelt sich um die erste Reise eines Papstes in ein sozialistisches und damit formal atheistisches Land. Das Kirchenoberhaupt wird von der polnischen Bevölkerung begeistert empfangen, seine Predigten und Ansprachen vor riesigen Menschenmengen enthalten vielfach auch politische Botschaften, die die Religionsfreiheit und den Wert der Menschrechte zum Thema haben. Der Katholizismus und auch das Selbstbewusstsein der polnischen Bevölkerung erfahren durch seinen Einfluss einen maßgeblichen Aufschwung. So nimmt bei den Massenstreiks im Sommer 1980 die Arbeiterschaft auf den Papst Bezug, der ihre Forderungen offen unterstützt und bei der folgenden Staatskrise um die Gewerkschaft Solidarnosc und ihren Anführer Lech Walesa sich vermittelnd einsetzt. Vor diesem Hintergrund schafft A.R. Penck 1982 seine 9-teilige Folge „Papst in Polen“. Mit großer Erzählfreude greift er Stationen des Papstbesuchs und die thematischen Motive der politischen und gesellschaftlichen Situation in Polen auf und setzt sie in seiner charakteristischen Bildsprache mit eindringlichen Schwarz-Weiß-Kontrasten um. A.R. PenckPabst in Polen 9-part work: each India ink and pencil on paper Each 29.5 x 42 cm resp. 42 x 29.5 cm. Individually framed under glass. All works signed 'ar penck'. Titled resp. inscribed 'Pabst' [sic] (2 works), 'Pabst in Polen' (2) resp. 'der Pabst besucht Polen' (1). - Minor traces of age.ProvenanceGalerie Michael Werner, Cologne (each with inventory number verso); Galerie Lelong, Zurich (labels verso); private collection, North Rhine-WestphaliaExhibitionsBerlin 1986/1987 (daadgalerie), A.R. Penck, Penck-West in Berlin, Zeichnungen aus den Jahren 1980-82, exhib.cat., p.87-95 with illus.When the recently elected John Paul II, the first non-Italian pope in almost five hundred years, visited his Polish homeland in June 1979, he exerted great influence on the church and on politics in Poland with this trip. It was the first visit of a pope to a socialist and therefore formally atheist country. The head of the church was enthusiastically received by the Polish population, his sermons and speeches in front of huge crowds often contained political messages concerning religious freedom and the value of human rights. Catholicism as well as the self-awareness of the Polish population experienced a significant boost due to his influence. Thus, during the mass strikes in the summer of 1980, the workers referred to the Pope who openly supported their demands and mediated in the ensuing state crisis over the union Solidarnosc and its leader Lech Walesa. Against this background, A.R. Penck created his 9-part series “Pope in Poland” in 1982. With immense narrative pleasure, he refers to stations of the Pope's visit and the thematic motifs of the political and social situation in Poland, implementing them in his characteristic visual language with striking black and white contrasts.

Monogrammist H.S.Die heilige Katharina Öl auf Holz. 41 x 25 cm.ProvenienzAuktion Neumeister, München, Dezember (?) 1984. - Kunsthandel Volker Westphal, Februar 1995, Berlin.LiteraturA. Büttner in E. Mai (Hg.): Das Kabinett des Sammlers, Köln, 1993, S. 48-49, Nr. 19, mit Abb.Die uns vorliegende kleine Tafel des bislang noch nicht identifizierten Meisters, zeigt die heilige Katharina von Alexandria vor weiter Landschaft. Ihre höfische Kleidung, ihr kostbarer Schmuck sowie ihre Attribute, das gebrochene Rad und das Richtschwert in ihrer linken Hand, kennzeichnen die Dargestellte als Königstochter, welche aufgrund ihres Glaubens den Märtyrertod starb. Die Heilige steht hier vor einem dunklen Vorhang, der auf der linken Seite den Blick in eine Berglandschaft mit einem Gewässer bei Sonnenuntergang freigibt.Stilistisch und inhaltlich geht das Werk eindeutig auf die Darstellungen Lucas Cranachs d. Ä. (1472-1553) zurück, der einen großen Werkstattbetrieb führte, aus dem sich im Laufe der Zeit viele Maler lösten und beeinflusst von dessen Stil selbstständig arbeiteten. In diesen Kreis seiner Schüler oder ehemaligen Werkstattmitarbeiter lässt sich das uns vorliegende Gemälde einordnen. Monogrammist H.S.Saint Catherine Oil on panel. 41 x 25 cm.ProvenanceAnonymous sale, Neumeister, Munich, December (?) 1984;With Volker Westphal, Berlin, February 1995.LiteratureAndreas Büttner, in Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne, 1993, p. 48-49, no. 19, reproduced.The present small panel of the as yet unidentified master shows Saint Catherine of Alexandria in front of a broad landscape. Her courtly attire, precious jewellery and her attributes, the broken wheel and executioner's sword in her left hand, identify her as the daughter of a king, who died a martyr's death because of her faith. Here the saint stands in front of a dark curtain revealing on the left-hand side a view over a mountain landscape with a stretch of water at sunset. In terms of style and content, the work clearly references the images by Lucas Cranach the Elder (1472-1553), who ran a large workshop. Many painters parted from the workshop over time to work independently, influenced by his style, and the present painting can be assigned to this circle of students or former workshop assistants.

Ossias BeertStillleben mit einem Weinglas à la façon de Venise sowie einem Zinnteller mit kandie Öl auf Kupfer. 25 x 35,5 cm.Provenienz1968 bis 1969 Kunsthandel P. de Boer, Amsterdam. - 1983 Privatsammlung, Paris. - 1996 bis 1997 Galerie Sanct Lucas, Wien (ausgestellt auf der TEFAF, Maastricht, März 1996 und 1997). - 1997 bis 1998 Kunsthandel Derek Johns, London (ausgestellt im Salon des Beaux-Arts, Paris, September 1997, mit Abb. im Kat. S. 76. und ausgestellt auf der TEFAF, Maastricht, März 1998). - Auktion Sotheby's, New York, 28.1.1999, Lot 312. - Galerie Edel, Köln, 2002 (ausgestellt auf der TEFAF, Maastricht, März 2002, mit Abb. im Kat. S. 84).AusstellungenUn cabinet imaginaire. Natures mortes et vanités du XVIIème siècle, Vic-Sur-Seille, Musée départemental Georges de La Tour, 10.5.-4.9.2005.LiteraturEdith Greindl: Les peintres flamands de la nature morte au XVIIe siecle, 1983, S. 188, Nr. 28. - Gabriel Diss und Laurent Thurnherr (Hg.): Ausst.-Kat. "Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle", Vic-sur-Seille, Musée Départemental Georges de La Tour, Bremen 2005, S. 12-13."This is an excellent example of the work of Osias Beert I", schreibt Fred Meijer im Oktober 2020 in einer kurzen Stellungnahme zu dem uns vorliegenden Stillleben, welches er in die Zeit um 1610 datiert. Osias Beert ist neben Jan Brueghel d. Ä. (1568-1625) und Ambrosius Bosschaert d. Ä. (1573-1621) einer der bedeutendsten Stilllebenmaler des frühen 17. Jahrhunderts, der die Entwicklung dieses Genres maßgeblich geprägt hat. Nur wenige seiner Werke sind signiert, keines datiert.Das uns vorliegende Stillleben mit einem Weinglas à la façon de Venise sowie einem Zinnteller mit kandierten Früchten zeigt sich, wie so häufig bei diesem Genre, als Gelegenheit gesellschaftlicher Repräsentation, Zeichen kultivierter Lebensart, Wohlstand und sozialer Stellung seines Auftraggebers. Zu den frühen Süßwaren, die bereits im mittelalterlichen Europa verzehrt wurden, gehörten auch in Zucker kandierte Früchte, die üblicherweise am Ende einer Mahlzeit gereicht wurden. Dabei handelt es sich keineswegs um eine Alltagsspeise, sondern sie demonstrieren den damals betriebenen Delikatessenkult der Oberschicht. Auch das dazugehörige, den lukullischen Genüssen würdige Essgeschirr in Form eines Zinntellers und eines feinen venezianischen Weinglases sind ein Zeichen von Opulenz und Prunk. Süßigkeiten, hier in Form von kandierten Früchten, symbolisieren die Hingabe an die Begierden und die Wollust und mahnen den Betrachter somit zur Bescheidenheit. Auch das Weinglas nimmt Bezug auf die irdischen Freuden.Die Stillleben Osias Beerts d. Ä. sind trotz ihrer teils inhaltlichen Fülle immer von einer ausgesprochenen Klarheit und Ausgewogenheit ihrer Komposition gekennzeichnet. Auch das warme Kolorit und die Inszenierung der Objekte vor dunklem Hintergrund auf einer Tischplatte sind typische Charakteristika seiner Werke.Gemälde von Osias Beert befinden sich in privaten und öffentlichen Sammlungen, unter anderem im Rijksmuseum in Amsterdam, in der Gemäldegalerie in Berlin, im Koninklijk Museum voor Schone Kunsten in Brüssel, im Wallraf-Richartz-Museum in Köln, im Museo Nacional del Prado in Madrid, im Musée du Louvre in Paris sowie in der National Gallery of Art in Washington.Unser Gemälde ist im RKD, Den Haag, als ein eigenhändiges Werk Osias Beerts unter der Nr. 59323 archiviert.Wir danken Dr. Fred G. Meijer für die Bestätigung der Authentizität anhand hochauflösender Fotografien. Ossias BeertStill Life of Sweets on a Pewter Plate and a Façon de Venise Wineglass, on a Wooden Oil on panel. 25 x 35.5 cm.ProvenanceWith P. de Boer, Amsterdam, 1968 -1969;Private collection, Paris, 1983;With Galerie Sanct Lucas, Vienna, 1996 -1997 (exhibited at TEFAF, Maastricht, March 1996 and 1997);With Derek Johns, London, 1997-1998 (exhibited at Salon des Beaux-Arts, Paris, September 1997, with illustr. in cat. p. 76. and exhibited at TEFAF, Maastricht, March 1998);Anonymous sale, Sotheby's, New York, 28 January 1999, lot 312;With Galerie Edel, Cologne, 2002 (exhibited at TEFAF, Maastricht, March 2002, with illustr. in cat. p. 84).ExhibitionsUn cabinet imaginaire. Natures mortes et vanités du XVIIème siècle, Vic-sur-Seille, Musée départemental Georges de La Tour, 10 May - 4 September 2005.LiteratureEdith Greindl: Les peintres flamands de la nature morte au XVIIe siecle, 1983, p. 188, fig. 28;Gabriel Diss and Laurent Turnherr (eds.): Un cabinet imaginaire. Natures mortes et vanités du XVIIème siècle: biographie des peintres de l'exposition, Musée départemental Georges de La Tour, Vic-sur-Seille, exh. cat., Bremen 2005, p. 12-13.“This is an excellent example of the work of Osias Beert I”, wrote Fred G. Meijer in October 2020 in a short statement about the present still life, dating it around 1610. Alongside Jan Brueghel the Elder (1568-1625) and Ambrosius Bosschaert the Elder (1573-1621), Osias Beert is one of the leading still life painters of the early 17th century, who decisively influenced the development of this genre. Only a few of his works are signed and none are known to be dated.As so often with this genre, the present still life with a wine glass à la façon de venise and a pewter plate with candied fruit can be seen as an opportunity for social representation, a symbol of the commissioning party's cultivated way of life, affluence and their social status. Among the early sweet goods that were consumed in medieval Europe were fruits candied in sugar, usually served at the end of a meal. They were in no means an everyday dish, but rather served as demonstration of refinement practiced at the time by the upper class. The accompanying dinnerware in the form of a pewter plate and a fine Venetian wine glass, suitably matched to the delights offered here, are also a sign of opulence and splendour. Sweet goods, in the form of candied fruits here, symbolise abandonment to desire and lust and thus admonish the viewer to remain modest. Even the wine glass refers to earthly pleasures. Despite their sometimes rich content, Osias Beert's still lifes are always characterised by a pronounced clarity and balance in their composition. The warm colouring and the staging of the objects in front of a dark background on a tabletop are also characteristics of his works. Paintings by Osias Beert can be found in private and public collections including the Rijksmuseum in Amsterdam, in the Gemäldegalerie in Berlin, in the Koninklijk Museum voor Schone Kunsten in Brussels, the Wallraf-Richartz-Museum in Cologne, Museo Nacional del Prado in Madrid, the Musée du Louvre in Paris and the National Gallery of Art in Washington.The present painting is registered with the RKD, The Hague, as an authentic piece by Osias Beerts as no. 59323.We are grateful to Dr Fred G. Meijer for his confirmation of the authenticity on the basis of high resolution photographies.

Meister der Lille Anbetung, zugeschriebenAnna Selbdritt Öl auf Eichenholz. 20,5 x 17,5 cm.LiteraturPetra Müller, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 34-36, Kat.-Nr. 14 mit Abb. (als Meister von 1518 i.e. Jan van Dornicke). - Zu dem Meister von 1518 (i. e. Jan Dornicke) siehe Georges Marlier: La Renaissance flamande. Pierre Coeck d´Alost, Brüssel 1966, S. 112-115. - Zu dem Meister der Lille Anbetung siehe Ellen Konowitz: Dirk Vellert and the Master of the Lille Adoration. Some Antwerp mannerist paintings reconsidered, in: Oud Holland 109, 1995, S. 177-188.Das kleinformatige und reizvolle, für die private Andacht geschaffene Gemälde zeigt in Halbfiguren die Muttergottes mit dem Christuskind sowie mit der matronenhaft gekleideten Heiligen Anna die Mutter Mariens, die sich ebenfalls mit einer auf den zukünftigen Erlöser weisenden Geste ihrer rechten Hand dem Kind zuwendet und mit ihrer linken Hand ein Buch hält. Darüber schwebt die Taube des Heiligen Geistes. Die Gruppe, hinter einem in den Bildraum hineinführenden Tisch positioniert, wird von einem häuslichen Innenraum mit einem zur Seite geöffneten Fenster umgeben, wobei Maria von einem Brokatvorhang hinterfangen wird.Das Gemälde ist bei seiner erstmaligen Publikation 1993 (Müller 1993, op. cit.) dem sogenannten "Meister von 1518" zugeschrieben worden, der durch Georges Marlier (Marlier 1966, op. cit.) als Jan van Dornicke - tätig in Antwerpen im ersten Viertel des 16. Jahrhunderts - identifiziert worden ist. Zuletzt ist jedoch mit dem "Meister der Lille Anbetung" ein anderer Künstler als Urheber unseres Gemäldes vorgeschlagen worden, der wie Jan van Dornicke ebenfalls zu den Antwerpener Manieristen zu zählen ist und um 1510-1530 in derselben Stadt tätig war. Benannt ist er nach einem 1512 datierten Gemälde mit der Darstellung der "Anbetung der Hirten" in Lille (Palais des Beaux-Arts de Lille, Inv.-Nr. P 739), das wie die weiteren ihm zugeschriebenen ca. zwanzig Werke offenbar unter dem direkten Einfluss des Antwerpener Meisters Dirk Jakobsz Vellert steht.Wir danken Peter van den Brink, Aachen, für seine Hinweise und Unterstützung bei der Katalogisierung dieses Gemäldes. Master of the Lille Adoration, attributed toThe Virgin and Child with Saint Anne Oil on oak panel. 20.5 x 17.5 cm.LiteraturePetra Müller, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 34-36, no. 14, reproduced (as Master of 1518 i.e. Jan van Dornicke);Concerning the Master of 1518 (i. e. Jan van Dornicke) cf. Georges Marlier: La Renaissance flamande. Pierre Coeck d´Alost, Brussels 1966, pp. 112-115;Concerning the Master of the Lille Adoration cf. Ellen Konowitz: Dirk Vellert and the Master of the Lille Adoration. Some Antwerp Mannerist Paintings Reconsidered, in: Oud Holland CIX (1995), pp. 177-188.The small-format charming painting, made for private devotion, shows the half-length figures of the Madonna and the Christ Child as well as the matronly clad St. Anna, who also gestures towards the future redeemer with her right hand whilst holding a book in her left. The dove of the Holy Ghost soars above. Positioned behind a table which pushes into the pictorial space, the group is surrounded by a domestic interior with an open window to one side with Mary framed by a brocade curtain. When first published in 1993 (Müller 1993, op. cit.), the painting was attributed to the so-called Master of 1518, identified by Georges Marlier (Marlier 1966, op. cit.) as Jan van Dornicke, active in Antwerp in the first quarter of the 16th century. Most recently, the Master of the Lille Adoration has been suggested as the author of our painting, who, like Jan van Dornicke, belonged to the Antwerp mannerists and was active in the city around 1510-1530. He was named after a painting from 1512 depicting the Adoration of the Shepherds in Lille (Palais des Beaux-Arts de Lille, inv. no. P 739), which, like the other circa twenty works attributed to him, is obviously directly influenced by the Antwerp master Dirk Jakobsz Vellert.We would like to thank Peter van den Brink, Aachen, for his advice and support with the cataloguing of this painting.

Sebastiaan VrancxDie Speisung der Hungrigen Öl auf Holz, auf Holz aufgezogen (parkettiert). 64,5 x 48,5 cm.GutachtenDer Auktionskatalog von Sotheby-Maak van Way, Amsterdam 1977, erwähnt die Kopie eines Gutachtens von Dr. Eduard Plietzsch von 1947 sowie ein Gutachten von Dr. Walther Bernt von 1963.ProvenienzGalerie Julius Böhler, München. – Sammlung Dr. Lutz, Berlin. – Dr. Hans Wetzlar, Amsterdam. – Auktion seines Nachlasses, Sotheby-Mak van Waay, Amsterdam, 9.6.1977, Lot 69. – Dort erworben.AusstellungenKeuze uit de verzameling Dr. H. A. Wetzlar, Laren, Singer Museum, 14.12.1968-2.1.1969, Nr. 32 (Abb. Kat. Tafel 7).LiteraturFriedrich Winkler: Der unbekannte Sebastian Vrancx, in: Pantheon 22, 1964, S. 322- 334, Abb. S. 322. – Suyin Scheid, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 264 -266, Nr. 104, mit Abb.Das vorliegende Gemälde illustriert mit der „Speisung der Hungrigen“ das erste der sieben christlichen Werke der Barmherzigkeit. Sechs dieser Werke beruhen auf einem im Matthäusevangelium überlieferten Jesuswort (Mt 25,34-46), während das siebte eine Ergänzung aus dem apokryphen Buch Tobit darstellt (Tob. 1,17). Bühnenartig sind im Vordergrund unserer Holztafel mehrere Bettler wiedergegeben, links beginnend mit einem zerlumpten Jungen zwischen den hohen Postamenten zweier Säulen. Daneben führt eine junge Frau ihren blinden Vater und schließlich erhalten eine Mutter und ihre Kinder von einem reich gekleideten Paar vor dem Eingang eines prächtigen Palasts Brote überreicht.Eingefügt ist diese Darstellung in eine prachtvolle, makellose Renaissancearchitektur, die in scharfem Kontrast zu den ärmlichen Figuren des Vordergrunds steht. Zwischen der in starker perspektivischer Verkürzung dargestellten Palastfassade am rechten Bildrand und den von einem klassischen Gebälk zusammengefassten Säulen auf der linken Seite geht der Blick zunächst auf eine weiträumige Platzanlage. Dort springt vor allem ein dreigeschossiger Palast mit offenen Arkadengängen im Erdgeschoss ins Auge. Leicht versetzt zur Mittelachse wird der Blick auf der rechten Seite weiter in den Hintergrund gezogen und trifft schließlich auf die Fassade einer Kuppelkirche und einen Glockenturm als „point de vue“.Unsere Tafel gehört zu einem Zyklus von Einzeldarstellungen aller Werke der Barmherzigkeit, die Vrancx und seine Werkstatt mehrfach ausgeführt haben dürften und stets mit einem klassischen Architekturhintergrund verbunden waren. Weitere, gleich große Tafeln befinden sich u.a. im Museum in Springfield, Massachusetts, und in der Stichting Nederlands Kunstbezit. Ein 1608 datiertes Gemälde von Vrancx in der Sammlung des Niedersächsischen Landesmuseums Hannover zeigt hingegen alle sieben Werke der Barmherzigkeit auf einer Tafel.Sebastiaan Vrancx war in seiner Geburtsstadt Antwerpen Schüler von Adam van Noordt, bei dem auch Rubens und Jacob Jordaens in die Lehre gingen. Nach einem Rom-Aufenthalt von 1596 bis 1600/01 ließ sich Vrancx wieder in Antwerpen nieder, wo er in die Lukasgilde aufgenommen und 1612 zu deren Dekan gewählt wurde. Darüber hinaus bekleidete er zahlreiche weitere Ämter in Schützengilden, Rhetorikgesellschaften etc., die ihn zu einer wichtigen Figur im künstlerischen und sozialen Umfeld Antwerpens machten.Als einer der ersten Künstler spezialisierte sich Vrancx auf die Wiedergabe von Überfällen, Schlachten und Reitergefechten, als deren Wegbereiter in der Malerei der südlichen Niederlanden er gilt. Darüber hinaus schuf er Ansichten von Gartenfesten und galanten Gesellschaften sowie reine Landschaftsgemälde. Zugleich war der äußerst vielseitige Künstler als Figurenmaler geschätzt und fügte u.a. in Werke von Jan Brueghel d. Ä. und Joos de Momper Staffagefiguren ein. Karel van Mander rühmte den damals erst 31-jährigen Vrancx in seinem 1604 erschienenen „Het schilder-boeck“ insbesondere für seine Darstellung von Landschaften, Pferden und Figuren („eer aerdigh in Landtschap, Peerdekens, en beeldekens“). Sebastiaan VrancxThe Feeding of the Hungry Oil on panel, mounted on another panel and parquetted. 64.5 x 48.5 cm.CertificateThe auction catalogue of Sotheby-Maak van Way, Amsterdam 1977, mentions a now lost copy of an expertise by Dr Eduard Plietzsch from 1947 and an expertise by Dr Walther Bernt from 1963.ProvenanceWith Julius Böhler, Munich;Dr Lutz, Berlin;Dr Hans Wetzlar, Amsterdam;His deceased sale, Sotheby-Mak van Waay, Amsterdam, 9 June 1977, lot 69.ExhibitionsKeuze uit de verzameling Dr. H. A. Wetzlar, Laren, Singer Museum, 14 December 1968-26 January 1969, no. 32 (reproduced in the catalogue plate 7).LiteratureFriedrich Winkler: Der unbekannte Sebastian Vrancx, in: Pantheon, XXII (1964), pp. 322-34, reproduced;Suyin Scheid, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 264 -266, no. 104, reproduced.The present painting illustrates the Feeding of the Hungry, the first of Seven Christian Works of Mercy. Six of these works are based on the teachings of Jesus handed down in the Gospel of St. Matthew (Mt 25:34-46), while the seventh is a supplement from the apocryphal book of Tobit (Tob. 1:17). In the foreground of this panel, several beggars are depicted as if on a stage, beginning on the left with a raggedly dressed boy between the high bases of two columns. Next to him, we see a young woman leading her blind father and finally a mother with her children being presented loaves of bread by a richly dressed couple in front of the entrance to a magnificent palace.The scene is placed in a setting of magnificent, immaculate Renaissance architecture, which contrasts sharply with the poor figures in the foreground. Between the strongly foreshortened palace facade on the right-hand side of the picture and columns on the left, joined by a classical entablature, the view looks onto a spacious square. There, the eye is drawn to a three-storey palace with open arcades on the first floor. To one side of this central axis, our view is guided towards the background on the right, upon the facade of a domed church and a bell tower as a point de vue.This panel belongs to a cycle of individual depictions of all the works of mercy, which Vrancx and his workshop may have executed several times and which always included a classical architectural background. Other panels of the same size can be found in the museum in Springfield, Massachusetts, and in the Stichting Nederlands Kunstbezit, among others. In contrast, a painting by Vrancx dated 1608 in the collection of the Niedersächsisches Landesmuseum in Hanover shows all seven works of mercy on one panel.In his home town of Antwerp Sebastiaan Vrancx was a student of Adam van Noordt, who also taught Peter Paul Rubens and Jacob Jordaens. After a stay in Rome from 1596 to 1600/1, Vrancx settled again in Antwerp, where he was accepted into the Guild of St. Luke and elected Dean of the Guild in 1612. In addition, he held numerous other offices with the rifle guilds, rhetoric societies, etc., which made him an important figure in Antwerp's artistic and social life.Vrancx was one of the first artists to specialise in depicting raids, battles and cavalry fights, and he is regarded as one of the pioneers of these genres in the southern Netherlands. He also painted views of garden parties and eleFull description on lot-tissimo.com

Südniederländischer Meister des späten 15. JahrhundertsDarbringung im Tempel Öl auf Holz. 33,5 x 19,5 cm.ProvenienzHenry Wagner. – Auktion Christie’s, London, 16.1.1925, Lot 59 (als Schule von Gerard David). – Sir Thomas Barlow. – Auktion Sotheby’s, London, 20.7.1955, Lot 57. – H. J. Hellema, Laren.AusstellungenManchester, Whitworth Art Gallery, Juni 1947, Nr. 3. – Flemish Art 1300-1700, London, Royal Academy, 5.12.1952-6.3.1953, Nr. 49 (zusammen mit der "Verkündigung", als Jan Provost). – Schaffhausen, Museum zu Allerheiligen, 1955, Nr. 76. – Laren, Singer Museum, Juli 1961, Nr. 104. – Kassel, Staatliche Museen, Gemäldegalerie Alte Meister, Inv.-Nr. 1101 (Leihgabe).LiteraturMax J. Friedländer: Die Altniederländische Malerei, Bd. IX, Berlin 1931, S. 145, Nr. 127 (nur die anderen drei Tafeln). – Max J. Friedländer: Early Netherlandish Painting. Bd. IXb, Leiden 1972, S. 111, Nr. 127, Abb. Tafel 149. – Grete Ring: Additions to the Work of Jan Provost and Quentin Massys, in: The Burlington Magazine 79, 1941, S. 156-160. – Monika Brieskorn, in: Ekkehard Mai (Hg.): Das Kabinett des Sammlers, Köln 1993, S. 63-5, Nr. 25, mit Abb. (als Jan Provoost). – Ron Spronk, in: Friso Lammertse (Hg.): Van Eyck to Bruegel 1400 to 1550. Dutch and Flemish Painting in the Collection of the Museum Boymans-van Beuningen, Rotterdam 1994, S. 217-219, unter Nr. 45, S. 218, Abb. b.Diese feine kleine Tafel illustriert die biblische Darstellung der sogenannten Darbringung im Tempel. Die Szene aus dem Evangelium des Heiligen Lukas enthält theologisch zwei ineinander verwobenen Riten des christlich-jüdischen Glaubens, die Beschneidung Christi und gleichzeitig die Reinigung Mariens.Im Vordergrund sind die Protagonisten zu erkennen, Maria und Christus, und rechts daneben der Priester Simeon mit bischöflicher Pluviale und Mitra. Auf der linken Seite ist der Heilige Joseph zu identifizieren. Hinter ihm stehen eine weibliche Gestalt mit zeitgenössischer burgundischer Haube und ein Mann mit Turban-artiger Kopfbedeckung. Im Hintergrund sind an der Kirchenwand Fragmente eines Polyptychons angebracht: ein Bild von Moses mit den Gesetzestafeln, der als Sinnbild für den Alten Bund zu verstehen ist. Ihm wird typologisch Christus als Begründer des Neuen Bundes zugeordnet. In mariologischer Ausdeutung verweist die Moses-Darstellung auf das jüdische Gesetz der mütterlichen Reinigung, dem sich Maria unterworfen hat.Der Maler platziert die biblische Szene in das Seitenschiff einer gotischen Kirche und fasst die Darstellung in eine gemalte architektonische Goldrahmung ein. Anhand dieses gemalten Rahmens wurde die Verbindung unseres Gemäldes mit drei weiteren Tafeln erkannt, die Max Friedländer 1931 publiziert hat (op. cit.). Diese drei Bilder zeigen weitere Szenen aus dem Leben Mariens: Die “Verkündigung” (heute Museum Boijmans Van Beuningen, Rotterdam), die “Geburt Christi” und “Christus erscheint seiner Mutter” - die beiden letzteren befinden sich heute in nicht bekannten Privatsammlungen. Als viertes konnte schließlich das hier vorliegende Bild hinzugefügt und als Bestandteil eines mehrteiligen Marienaltars identifiziert werden. Friedländer schrieb die Bilder dem jungen Jan Provost zu. Auch Grete Ring schloss sich dieser Zuschreibung an (op. cit.). Zur Zeit von Friedländers erster Publikation befand sich die “Verkündigung” noch in einer Berliner Privatsammlung. Nachdem sie vom Rotterdamer Museum erworben wurde, ist die Zuschreibung an Provost überprüft und verworfen worden. Heute wird das Werk einem namentlich nicht bekannten südniederländischen Meister des späten 15. Jahrhunderts zugeordnet, der dementsprechend auch der Maler der vorliegenden Tafel ist. South Netherlandish School late 15th CenturyThe Presentation of Christ in the Temple Oil on panel. 33.5 x 19.5 cm.ProvenanceHenry Wagner;Anonymous sale, Christie’s, London, 16 January 1925, lot 59 (as School of Gerard David);Sir Thomas Barlow;Anonymous sale, Sotheby’s, London, 20 July 1955, lot 57;H. J. Hellema, Laren.ExhibitionsManchester, Whitworth Art Gallery, June 1947, no. 3;Flemish Art 1300-1700, London, Royal Academy, 5 December 1952 - 6 March 1953, no. 49 (with the Annunciation, as Jan Provost);Schaffhausen, Museum zu Allerheiligen, 1955, no. 76;Laren, Singer Museum, July 1961, no. 104;Kassel, Staatliche Museen, Gemäldegalerie Alte Meister, inv. no. 1101 (on loan).LiteratureMax J. Friedländer: Die Altniederländische Malerei, vol. IX, Berlin 1931, p. 145, no. 127 (only the other three panels);Max J. Friedländer: Early Netherlandish Painting, vol. IXb, Leiden 1972, p. 111, no. 127, reproduced plate 149;Grete Ring: Additions to the Work of Jan Provost and Quentin Massys, in: The Burlington Magazine, LXXIX (1941), pp. 156-160;Monika Brieskorn, in: Ekkehard Mai (ed.): Das Kabinett des Sammlers, Cologne 1993, pp. 63-5, no. 25, reproduced (as Jan Provost);Ron Spronk, in: Friso Lammertse (ed.): Van Eyck to Bruegel 1400 to 1550. Dutch and Flemish Painting in the Collection of the Museum Boijmans van Beuningen, Rotterdam 1994, pp. 217-9, no. 45, pl. 218, fig. b.This small and finely painted panel depicts the Biblical scene known as the Presentation of Jesus at the Temple. The ritual, which is described in the Gospel of Luke, combines two theologically linked rites in Christian and Jewish faith, namely the circumcision of Christ and the purification of the Virgin Mary.The main protagonists of the scene, Mary and Christ, are depicted in the foreground and beside them we see the priest Simeon in a bishop's cope and mitre. Saint Joseph is depicted on the left. Behind him is a figure dressed in a contemporary Burgundian bonnet and a man in a turban-like head covering. In the background we see fragments of a polyptych on the wall of the church, of which one panel depicts Moses with the tablets of the law, which can be regarded as a symbol of the old covenant. Thus, the figure of Christ as the founder of the new covenant forms a typological parallel to this. In the mariological interpretation, the scene signifies the Jewish law of the purification of new mothers that the Virgin complied with.The painter has depicted the Biblical scene taking place in the side aisle of a Gothic church, and surrounds it with a gold architectural motif. This painted surround is what allowed this panel to be linked to three other paintings published by Max Friedländer in 1931 (op. Cit.). The three works also depict scenes from the life of the Virgin Mary: The Annunciation - today in the Museum Boijmans Van Beuningen, Rotterdam -, the Nativity, and Christ appearing to his mother, the latter two are housed in private collections. The present work was identified as a fourth panel from this series and would originally have formed part of a multi-panel altarpiece dedicated to the Virgin Mary.Friedländer attributed this work to the young Jan Provost, and Grete Ring also later agreed with this ascription (op. cit.). At the time of Friedländer's publication, the Annunciation was still housed in a private collection in Berlin. However, following its acquisition by the museum in Rotterdam, the attribution to Provost was re-examined and abandoned. The piece is now attributed to an anonymous southern Dutch master of the late 15th century, who is thus also considered to be the author of the present work.

A CULTURED PEARL AND DIAMOND NECKLACE Composed of two rows of cultured pearls of cream tint, the frontispiece embellished by a scalloped bombé pendant pavé-set with brilliant-cut diamonds throughout, with two spacers and clasp of similar style, mounted in 18K gold, diamonds approximately 5.50cts total, maker's mark 'SB' for Serge Bouder, French assay marks, length approximately 39.5cm Maker's mark for 'SB' for workshop Serge Bouder located in Paris, who has worked for many jewellery houses including Fred Paris, Cartier amongst others.

A SILVER 'AMOEBA' NECKLACE, BY HENNING KOPPEL FOR GEORG JENSEN, CIRCA 1947 Composed of a series of openwork amoebic-shaped links, with maker's mark for Georg Jensen since 1945, stamped 'Sterling Denmark', numbered '89', length 43.5cm The bracelet of same design is illustrated page 98 from 'Simply Danish, Silver Jewellery 20th Century' by Jorg Schwandt For similar example of this necklace, see page 154 from 'Georg Jensen, A Tradition Of Splendid Silver' by Janet Drucker Henning Koppel (1918-1981) was a Danish designer and artist well-known as an early pioneer of 20th century functionalism. He studied sculpture at the Royal Danish Academy and then later at the Academie Ranson in Paris. As a result of his Jewish background Koppel sought refuge in Sweden during the Second World War. Koppel was one of the more prominent designers to feature with Jensen. His stint began in 1945, prior to this he was mentored by Harald Nielsen On returning to Denmark after the war, he secured a contract working with Georg Jensen, a collaboration that launched his career as a jewellery designer. Amongst his early creations - a series of necklaces and bracelets resembling whale vertebrae and microscopic organisms - were miniature masterpieces of highly original modelling. These designs were unlike anything that had been produced in the Jensen workshop in the previous 40 years and he became one of the most iconic designers for the company. Koppel specialised in abstract forms that were both startling and beautiful. His work, similar to Jensen's has a sculptural element to it. Koppel was mindful of the jewellery he was creating and how it would interact with natural light - Jensen also considered this. Koppel created tactile works, that evoke a wanting to touch them. In the place of jewels, he would use enamels. Koppel created an astonishing range of work throughout his career from one off signature designs to everyday objects. Both were defined by their elegant but functional qualities, in flowing organic forms. Koppel was a master draughtsman who executed precise drawings for his works which allowed him to understand the design's three dimensionality. He won many awards including three Gold Medals at the Milan Triennial, the International Design Award of the American Institute of Designers and the Lunning Prize. Koppel's works are represented in numerous museums worldwide.

A RARE AND MAGNIFICENT SAPPHIRE-SET CUFF, BY MARIO BUCCELLATI, CIRCA 1955 The wide cuff bangle with side hinge, composed of textured gold leaves accented by circular-cut sapphires set in silver, the central flowerhead set with a circular-cut sapphire pistil and petals, mounted in silver and 18K gold, signed M. Buccellati, with maker's case, inner circumference approximately 17cm, inner diameter 5.6cm, width 3.4cm The world-renowned Italian house of Buccellati is famous for its textural gold jewellery and exquisite silver objects. The pieces are bold and instantly recognisable, with a style that references the great goldsmiths of the Renaissance. The family firm was founded by Mario Buccellati (1891-1965). The young jeweller was inspired by the forgotten antique techniques of ancient Greece, the Middle Ages and the Renaissance and he sought to revive them using traditional tools and methods. In 1919 he opened his first jewellery store in Milan, practising these ancient traditions. Buccellati pieces are noted for their rich textural qualities which are achieved through painstaking techniques. The signature rigato engraving effect is completed by a process using tiny hand-applied stripes to give gold surfaces the appearance of silk fabric. Other methods used include telato, obtained by fine cross-hatched lines, and modellato, the most delicate engraving technique, which consists of reproducing several designs chiselled in three dimensions on a minuscule scale, mainly used for the decoration of the borders. Furthermore, segrinato combines engraving in all directions to create a palimpsest of texture and ornato draws on the influence of nature, forming shapes inspired by animals, leaves and flowers. These techniques are used to create pieces which look and feel like silk, damask, tulle, lace, or linen. The juxtaposition of precious stones with texturized metals is distinctly unique and synonymous with the Buccellati house. Mario Buccellati's unique abilities for drawing and his creative mind led him to become one of Italy's most celebrated jewellers. The royal families of Europe, great cardinals of Rome and the Pope were amongst his clientele. Gabriele D'Annunzio, one of Italy's most famous poets and a personal friend of Buccellati, once referred to him as the 'Prince of Goldsmiths'. If the endorsement of his clients was not enough, Buccellati received international recognition when he exhibited at the 1920 Exposition in Madrid, selling his entire collection. The expansion of business internationally began in 1951 with New York. After the passing of Mario Buccellati in 1965, he was succeeded by his sons, among them Gianmaria, who took over the business. Gianmaria had apprenticed under his father at a young age, embracing the antique techniques treasured by him, designing every piece produced in the ateliers. In 1970, under Gianmaria and his brother Luca, Buccellati further expanded the business to Asia, establishing the first Italian Jewellers in Hong Kong. This was swiftly followed by subsequent stores in Tokyo, Osaka and Nagoya in the following years. Buccellati became the first Italian jewellers to launch a boutique in the renowned Place Vendôme of Paris in 1979. In accordance with tradition, Gianmaria, after his passing in 2015, was also succeeded by one of his children, his daughter Andrea, the current present and creative director of the Buccellati group. Over the century, the Buccellati group have widened their creations to silver objects, predominately unique, one-off pieces, marked with the typical characteristics of the house. Recently the group have expanded further, creating a line of luxury watches, both men and women's pieces, and a line of engagement rings.

A SILVER NECKLACE, BY HENNING KOPPEL FOR GEORG JENSEN, CIRCA 1950 Composed of a series of fancy-shaped links with a round-shaped cabochon lapis lazuli clasp, with maker's mark for Georg Jensen since 1945, stamped '925 Sterling Denmark', numbered '130B', length 43cm Henning Koppel (1918-1981) was a Danish designer and artist well-known as an early pioneer of 20th century functionalism. He studied sculpture at the Royal Danish Academy and then later at the Academie Ranson in Paris. As a result of his Jewish background Koppel sought refuge in Sweden during the Second World War. Koppel was one of the more prominent designers to feature with Jensen. His stint began in 1945, prior to this he was mentored by Harald Nielsen On returning to Denmark after the war, he secured a contract working with Georg Jensen, a collaboration that launched his career as a jewellery designer. Amongst his early creations - a series of necklaces and bracelets resembling whale vertebrae and microscopic organisms - were miniature masterpieces of highly original modelling. These designs were unlike anything that had been produced in the Jensen workshop in the previous 40 years and he became one of the most iconic designers for the company. Koppel specialised in abstract forms that were both startling and beautiful. His work, similar to Jensen's has a sculptural element to it. Koppel was mindful of the jewellery he was creating and how it would interact with natural light - Jensen also considered this. Koppel created tactile works, that evoke a wanting to touch them. In the place of jewels, he would use enamels. Koppel created an astonishing range of work throughout his career from one off signature designs to everyday objects. Both were defined by their elegant but functional qualities, in flowing organic forms. Koppel was a master draughtsman who executed precise drawings for his works which allowed him to understand the design's three dimensionality. He won many awards including three Gold Medals at the Milan Triennial, the International Design Award of the American Institute of Designers and the Lunning Prize. Koppel's works are represented in numerous museums worldwide.

A RARE SAPPHIRE AND GOLD COMPACT, BY CHARLES HOLL, CIRCA 1945 The rectangular case composed of a geometric abstract pattern of tri-coloured gold stripes inspired by the ancient Japanese metalworking technique of mokume-gane, decorated with fancy-cut sapphires within gold zig-zag borders to each end, the thumbpiece set with a step-cut sapphire opening to reveal a mirror lid and glazed powder well compartment, in 18K gold, French assay marks, maker's mark for Charles Holl, numbered, width 7.4cm, length 4.9cm, depth 1.1cm, total gross weight: approx. 156.45g Mokume Gane is a 17th century term, originating in Japan, referring to the metalwork process which uses a mixed-metal laminate to create a design of layered patterns. Initially used in the decoration of samurai swords, the word Mokume Gane translates from Japanese as 'Wood Grain Metal' or 'Wood Eye Metal'. The aim of this process is to present the illusion of natural wood grain, referencing eyes, burls, swirls and layers. This distinctive pattern is created by fusing various metals into a 'billet', or stack of metals. The billets are then folded, forged and carved to create the natural grain-like appearance. Mokume Gane uses precious metals that are long lasting and incredibly durable. Traditionally, copper was used to achieve this look, being of particular importance to knifemakers and metalsmiths who work on a larger scale. On account of its more delicate nature, jewellers tend to place a greater emphasis on silver and gold when incorporating the method into their pieces.

A SAPPHIRE BRACELET, BY ILLARIO, CIRCA 1955 The supple and articulated bracelet composed of two rows of baguette-cut synthetic sapphires between borders of gold beading detail, mounted in 18K gold, maker's mark for Illario, French import mark, length 18cm Brothers Carlo, Vincenzo and Luigi Illario were a family of goldsmiths/jewellers from Valenza. They established a jewellery firm in 1920, with each brother taking on their own position. Carlo, who was trained in Paris, headed the production, Vincenzo was a stone setter who also selected the precious gems and Luigi was head of administration. The brothers worked under their own name, as well as for bigger firms, and were involved with several different jewellery companies. Some of the most renowned goldsmiths in Valenza practised in their workshop, guaranteeing that each product was crafted with exceptional quality. The company brand from 1935 had been 26AL and the business name was under Carlo Illario e Filli. Traditionally, ownership was handed down from father to son and, in 1953, even Luigi's sons, Giovanni and Vittorio, became a part of the family business. From the end of the 1900s, Vittorio and his sons, Pier Luigi and Edoardo, carried on as owners of the company with the 'Illario 1920' logo. In 1996, Giovanni Illario, along with his sons Carlo and Gian Luca, agreed with Vittorio and his sons to set up a new company that would allow them to be more active in the foreign market. This led to a split in Societa Carlo Illario and to the creation of the new Societa Carlo Luca della Quercia which pursues the traditions and spirit of the original company. Their skilled craftsmanship, reputation of excellence and use of innovative goldsmith techniques caught the attention of well-established retailers. Throughout the 20th century, Casa Illario created unique pieces of haute joaillerie for the most famous Italian maisons: Bvlgari, Cusi, Faraone, Fasano, Fecarotta, Settepassi, Ventrella and others. The company's partnership with Bvlgari was particularly long standing, running from the 1950s through until the 1970s. In this time, Illario made many pieces for Bvlgari, including the now iconic Serpenti watch bracelet. Elizabeth Taylor was a consistent patron, whose personal style and love of dramatic jewels found its home in Illario's creations. Alongside manufacturing for other brands, Illario produced a vibrant assortment of jewellery under their own name. They were known for their fine gemstones and unusual materials, such as polychrome enamel, tortoiseshell and mother of pearl. Striving to stand out, Illario used new techniques in its pieces, such as black rhodium plating to create a contrasted look. The quality of the craftsmanship is clear in all jewels that bear the Illario name, making them highly desirable.

A SILVER BROOCH, DESIGNED BY HENNING KOPPEL FOR GEORG JENSEN, CIRCA 1950 Designed as an abstract sail boat, with maker's mark for 'Georg Jensen' since 1945, numbered '375', stamped '925 S Denmark', width 7cm Henning Koppel (1918-1981) was a Danish designer and artist well-known as an early pioneer of 20th century functionalism. He studied sculpture at the Royal Danish Academy and then later at the Academie Ranson in Paris. As a result of his Jewish background Koppel sought refuge in Sweden during the Second World War. Koppel was one of the more prominent designers to feature with Jensen. His stint began in 1945, prior to this he was mentored by Harald Nielsen On returning to Denmark after the war, he secured a contract working with Georg Jensen, a collaboration that launched his career as a jewellery designer. Amongst his early creations - a series of necklaces and bracelets resembling whale vertebrae and microscopic organisms - were miniature masterpieces of highly original modelling. These designs were unlike anything that had been produced in the Jensen workshop in the previous 40 years and he became one of the most iconic designers for the company. Koppel specialised in abstract forms that were both startling and beautiful. His work, similar to Jensen's has a sculptural element to it. Koppel was mindful of the jewellery he was creating and how it would interact with natural light - Jensen also considered this. Koppel created tactile works, that evoke a wanting to touch them. In the place of jewels, he would use enamels. Koppel created an astonishing range of work throughout his career from one off signature designs to everyday objects. Both were defined by their elegant but functional qualities, in flowing organic forms. Koppel was a master draughtsman who executed precise drawings for his works which allowed him to understand the design's three dimensionality. He won many awards including three Gold Medals at the Milan Triennial, the International Design Award of the American Institute of Designers and the Lunning Prize. Koppel's works are represented in numerous museums worldwide.

ALBUM - A substantial folio album (450 x 300mm) containing c. 600 autograph letters, envelopes, clipped signatures, clippings, mostly 18th- and 19th-centuries, including letters by Harriet Martineau (3-pages, undated, to an unknown recipient, concluding, "... Pray ask me as many questions as you please, either in person, or through the post. My mother and I shall always be happy to assist you in any way, Yours very truly, H. Martineau"), Humphry Davy (one-page, undated, sense largely irrecoverable, but including, "... I think been instrumental to what may be called a National triumph ...") and many other items including autograph letters by Lord Brougham, Lord Palmerston and Julia Pardoe, and others; clipped signatures of Robert Browning, Lord Byron, Gladstone, Robert Peel, Samuel Rogers, and others. Provenance: The album was compiled by Joseph Mazzinghi (1765-1844), an English composer of Corsican origin. He was the eldest son of Tommaso Mazzinghi, a London wine merchant and violinist who led the orchestra at Marylebone Gardens, published Six Solos for the Violin in 1763 and died in November 1771. John Mazzinghi, probably an uncle, made a number of English translations of librettos for the King's Theatre in the Haymarket, including several by Da Ponte. Felice Mazzinghi (possibly another uncle) published a keyboard sonata in 1765, and five other manuscript sonatas by him are in the British Library. Joseph Mazzinghi himself was very prolific, composing many operas, between seventy and eighty pianoforte sonatas, upwards of two hundred airs for pianoforte, and as many for harp and other instruments; thirty-five or more vocal trios, of which 'The Wreath' is still remembered; and a number of songs. Many of the letters and envelopes in the album are addressed to him, or to his wife.

PANORAMA OF LONDON - [Frederick BIRNIE (fl. 1787-92) after Robert BARKER (1739-1806) & Henry Aston BARKER (1774-1856). Panorama of the Thames from the Albion Mills near Blackfriars Bridge. London: 1792-3]. Very large hand-coloured aquatint panorama engraved by Frederick Birnie after Robert and Henry Aston Barker, on Whatman-type wove paper, on six sheets, joined, overall dimensions 430 x 3,310mm., the border with a hand-painted grey Greek key-pattern motif, framed and glazed. VERY LARGE AQUATINT VIEW BASED ON THE WORLD'S FIRST PUBLIC PANORAMA. It was the British painter Robert Barker who first coined, and patented, the term "Panorama" from the Greek "Pan" ("All") and "horama" ("View"). The original panorama for public display, on which this series of aquatints was based, formed a near-360-degree view of London, and was enlarged from Robert Barker's son's original drawings made in 1790 and 1791 on the roof of the Albion Mills (shortly before they burnt down) onto a canvas measuring 1,479 square feet. Having initially been on view in a temporary structure, it was later installed in the world's first purpose-built viewing rotunda, designed by George Mitchell, in Cranbourne Street, Leicester Square, in 1793, where it caused a sensation. Viewers flocked to pay 3 shillings to stand on a central platform under a skylight to get the full immersive experience, perhaps analogous nowadays to that of the first IMAX cinema. The panorama later toured Europe. Seizing an opportunity, Frederick Birnie published his set of six aquatints while the panorama was still on show, for which a prospectus had been issued titled: "Proposals for publishing six elegant aquatinta prints, which, if joined, will represent the City of London and the entire surrounding country." When the six sheets are joined, as here, they form a magisterial view across London, some 11 feet across, with St. Paul's rising above the wharves and rooftops at its centre, and the skyline of towers and spires which Canaletto would have recognised. The architectural details are fascinating enough; but much is added to the scene by the teeming activity of the street in the foreground and Blackfriars Bridge, where elegant carriages, tradespeople and stray dogs share the street; the scene is further enlivened by the many and varied boats and barges on the Thames. Included with the lot is a sturdy wooden custom-made protective case for transportation. Abbey Life 460.

PAOLOZZI, Eduardo (1924-2005). General Dynamic F.U.N. Volume II of Moonstrips Empire News. [Volume B.] London: Alecto Editions, 1970. Folio (381 x 254mm). Title, introduction by J. G. Ballard, 47 screenprints and photolithographs printed by Richard Davis after Eduardo Paolozzi only (of 50), each stamped on the verso with the number, title and a facsimile of the artist's signature, unbound as issued in original acrylic resin box. TITLE AND 5 PLATES (only) SIGNED IN PENCIL AND NUMBERED 116/350 BY THE ARTIST. The signed and numbered "plates" are as follows: "708. Why children commit suicide ... read next month's issue"; "709. An Empire of Silly Statistics ... A Fake War for Public Relations"; "714. Inside Down Under ... What are the building blocks of structuralism?"; "718. Totems and Taboos of the Nine-to-Five Day"; and "727. Jesus colour by numbers." Despite being numbered, the plates are not intended to be placed in any particular order. "Early in 1965, Eduardo Paolozzi began work on a massive project to create from his eclectic and unique collection of twentieth century ephemera a definitive statement of modern man and his dilemma, in the form of a 500 page book. The first volume of this project, 'Moonstrips Empire News', comprising 100 pages of images and text, was screenprinted at Kelpra Studios, London, and published by Editions Alecto in 1967. In the second volume, 'General Dynamic F.U.N.', Eduardo Paolozzi has broken still further away from accepted fine art printing techniques by brilliantly exploiting the potential of photolithography as well as screenprinting" (from the general introduction). "... Here the familiar materials of our everyday lives, the jostling iconographies of mass advertising and consumer goods, are manipulated to reveal their true identities. For those who can read its pages, 'General Dynamic F.U.N.' is a unique guidebook to the electric garden of our minds" (from J. G. Ballard's introduction).

ROSS, Horatio (1801-86). "Journal of Sporting Adventures in India from 1858 to 1862." Oblong 4to (263 x 355mm.). Original manuscript journal on c. 60 leaves (first text leaf repaired at upper edge with some loss, a few leaves torn or repaired with occasional insignificant loss). Contemporary black half morocco gilt (rubbed, some old repairs). Provenance: Horatio Ross (signature on front pastedown). A FINE MANUSCRIPT JOURNAL, BY A RENOWNED SPORTSMAN AND PHOTOGRAPHER, of a hunting trip in the Bengal region of India, incorporating original watercolours and drawings throughout illustrating bear, wild boar and tiger hunting (sometimes on elephant-back). Perhaps more appealing to the modern sensibility, however, are the watercolours of extensive Indian landscapes, rich with wildlife, and the detailed depictions of life in camp which do little to belie certain stereotypes of an idealised "Raj". The Journal also includes a full-page original map of "Singowlee" [i.e. Singrauli] and a "Bird's Eye View of the District of Mirzapore". The Journal opens: "In February 1858, I was staying in Calcutta reading for my examination in Hindee. [I had an] invitation from Lane, who was then at Burdwar, to join him & some others in an expedition. Having passed the examination, I started with Peacock by train from Howrah for our destination, the rest of the party having started before us. After proceeding about eighty miles, we reached the station where we were to get out of the train & found two very smart palanquins & bearers waiting for us, & were informed that we would have to go about fourteen miles. This was the first time I had ever travelled in one of these contrivances; I, however, after a short time rather approved of it ..." Born at Rossie Castle, near Montrose in Angus, Horatio Ross, in addition to being a renowned sportsman and marksman, was a pioneer of amateur photography, being an early exponent of the processes of the Daguerrotype and Calotype, and was a founding member of the Photographic Society of Scotland.

FADEN, William (1749-1836). A Map of the Peninsula of India from the 19th Degree North Latitude to Cape Comorin. London: 1792. Hand-coloured engraved map on 2 sheets (lightly but evenly browned), each sheet 490 x 805mm., unframed. The map is colour-coded by hand to delineate the territorial holdings as explained in a key at the foot of the southern sheet. Red regions represented areas held by the British, largely under the control of the British East India Company. Purple regions were those under the influence of the Raja of Mysore, a kingdom ruled in the late-18th century by Haider Ali and Tipu Sultan, who were known for inciting various rebellions against the British. The holdings of the Marhatta are coloured in green and the Nizam in orange. The territories in yellow were under the rule of the Nawabs of the Carnatic who succeeded in resisting British colonization until the early-19th century. Territories in blue were under the control of the Kingdom of Travancore, which came under the rule of the British East India Company after a treaty in 1795. (2)

JUSTER, Norton (b. 1929). The Phantom Tollbooth. London: Collins, 1962. 8vo (221 x 150mm). Half title, illustrations by Jules Feiffer, some full-page. Original blue cloth, spine lettered in silver, dust-jacket with price of 15s. unclipped, map endpapers printed in blue (some chipping, mainly to head and foot of backstrip). FIRST ENGLISH EDITION of this "beguiling contemporary fantasy about a little boy named Milo who didn't know what to do with himself" (from the turn-in) which was first published in New York in 1961.

GEGENBAUR, Carl (1826-1903). Beiträge zur näheren Kenntniss der Schwimmpolypen (Siphonophoren) ... Mit drei lithographirten Tafeln. Lepizig: Verlag von Wilhelm Engelmann, 1854. Folio (303 x 225mm). 3 folding lithographed plates [as called for] numbered XVI, XVII (bound upside-down) and XVIII (occasional mainly marginal light spotting and staining, a few darker spots). Later library buckram (a few ink spots). Provenance: Zoolog. Institut, Leipzig (library label at foot of spine and stamp on title and at a few margins); 1409 Jubilaumsgabe 1909 Leipziger Verleger [followed by a list of publishers] (elaborate etched bookplate). FIRST EDITION. The author was a German anatomist and academic who demonstrated that the field of comparative anatomy offered important evidence supporting the theory of evolution.

A FRENCH JADE AND CULTURED PEARL NECKLACE AND BRACELET SUITE BY DINH VAN, each designed as a paper-link chain, spaced by alternate jadeite beads and cultured pearls in square settings, signed Dinh Van, with French lozenge-shaped maker's marks and eagle's head gold marks, the necklace stamped '© 1972', the bracelet stamped '© 1971', (jade untested for treatments), lengths 74cm and 18cm respectively (2) Jean Dinh Van (born 1927) is a French jewellery designer and craftsman who established his own workshop and eponymous jewellery brand, Dinh Van, in 1965, producing pieces in a minimalist, Bauhaus-influenced style. Dinh Van had previously studied drawing, before joining Cartier Paris in 1946, where he learnt the craft of fine jewellery design under Jeanne Toussaint, Cartier's celebrated Artistic Director of Jewellery, who retired in 1970. Condition report: Light surface wear and occasional nicks, chips and scuffs throughout the mounts, cultured pearls and jadeite beads. Some surface pitting and surface-reaching fractures to the cultured pearls and beads. The clasps are functioning and the marks are clearly struck. The jadeite beads are opaque with light whiteish-green hues, measuring approx. 9mm to 9.3mm in diameter. The cultured pearls are well matched, of creamy-white hues, measuring approx. 7 to 7.5mm in diameter. Metal standard is untested. Combined gross weight approx. 36.4gm.

A SILVER SMALL ARMADA DISH OF MEDICAL INTEREST, with presentation inscription to Norman G Heatley 1936-1978 from the Sir William-Dunn School of Pathology, Oxford, by William Comyns & Sons Ltd, London 1976, 10.7cm diameter, 2.5oz Norman George Heatley (1911-2004) was a member of the team of Oxford University Scientists who developed Penicillin. Condition report: in good condition overall, tarnished.

Collection of Signed Photographs of Luftwaffe and one Kriegsmarine Knights Cross of Iron Cross Winners, including Konrad Knabe (photograph on dustcover front of his autobiography, Hellmuth Hauser & Karl-Heinz Marbach U-Boat Kapitan who as well as signing the front of the photograph has listed the U-Boats on which he served on the reverse and signed that also, together with three others ( 5 in all)

Royal Air Force Medal and Log Book Set of Navigator R White, Who Was Attacked by Japanese Fighter on Just His 3rd Operational Mission, the Observer and Air Gunners flying log book begins in 1941 with various training entries. In 1942 he moved out to the Middle East via the Belgium Congo where he was flying on Liberators. On his 3rd operational mission on 16th February 1943 he was flying on a Liberator to Magwe Aerodrome when his plane was “Attacked by Jap Fighter”. The log ends in 1944 when he was serving in 355 Squadron. Accompanying the log book is his WW2 service medals which consist of 1939-45 star, Africa star, Burma star, Defence medal and 1939-45 War medal. Also some original photographs and a Air Ministry Liberator Aircraft identification poster.

Various Naval Books and Manuals, including Manual of Instruction for the Royal Naval Sick Berth Staff 1915; Stokers Manual 1912; Admiralty Navigation Manual 1938 Vol II; Handbook of Naval Cookery 1914; Torpedo Drill Book 1908; The Naval Who’s Who 1917; Manual of Seamship for Boys Training Ships of the Royal Navy 1883; plus others. Various conditions. (16 items) We are not able to offer in house post and packing on this lot

Photograph Album of German Concession in Tsingtau China Circa 1900, large and ornate lacquered album with finely detailed cover in oriental form produced in bone and mother of pearl. The album holds fine quality black and white images taken by a German subject whilst stationed with the German East Asia force in China circa 1900. Many images of German military in colonial uniform, images of German’s with Chinese leaders / officials in traditional clothing, various Chinese street scenes, villages, monuments, Tsingtao train station, Chinese temples, rural country scenes, executions and capital punishment etc. An interesting image of Imperial Russian? Sailors who have had legs amputated on board ship. Some very interesting images with all remaining clear. Some with inked details of the place or subject underneath. The album exterior shows some wear but generally still a very good example. 86 images in total, most images measure 14 ¾ x 11 ¼ cms, some larger.