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Lot 127
The 'South Persia 1918' M.M. awarded to Lance Corporal P. Batson, 21st Lancers, attached South Persia RiflesMilitary Medal, G.V.R. (1940 L.Cpl. P. Batson. 21/Lrs:), heavy polishing and contact wear overall, nearly very fineM.M. London Gazette 10 September 1918.Percy Batson entered the war at Hafiz on 5 September 1915 with the 21st (Empress of India's) Lancers, he would doubtless have taken part in the Regiment's famous V.C. winning action at Shabqadar. However he is unlikely to have remained there for long being attached to the South Persia Rifles. This unit was formed in response to the chaos which infected Persia in the wake of the outbreak of the Great War. The local tribes were restive at the best of times, especially with the Government becoming increasingly unpopular and worse they were being incited to revolt by German agents.In order to combat this threat, the British persuaded the Persian Government to allow them to raise a force of 11,000 men with the goal of stabilising the situation around the vital oil fields. Commanded by Sir Percy Sykes the unit consisted of local Persians trained and commanded by British officers and N.C.O.s, they were supported by Indian troops and later by Dunsterforce and Norperforce in North Persia.It appears that Batson- who is listed as attached to the formation on his M.M. medal card- was serving with them likely as a British N.C.O. training and leading part of the cavalry detachment. His service here further entitled him to a General Service Medal with a South Persia Clasp. Notably Batson is further entitled to an India General Service Medal with a clasp for Afghanistan 1919 where he is listed as attached to the 'Persian Gendarmerie'. This unit- set up by Swedish Officers in 1910- had been largely superseded by the South Persia Rifles however when the latter unit was disbanded it again became the primary tool for keeping order in the Persian hinterlands.Batson was discharged in 1919 but re-joined almost at once on 26 July 1919, listing his address as Chiswick where he was working as a machinist. Joining the Royal Tank Corps he served until 7 December 1928 when he was finally discharged; sold together with copied research.Further entitled to a 1914-15 trio, a G.S.M. with South Persia Clasp and I.G.S.M. with Afghanistan 1919 clasp.…
Lot 29
A Victorian lava cameo specimen bracelet, with a line of oval vari coloured lava cameos, 25mm x 30mm, each depicting a classical female head in profile, all mounted in gilt metal to a box clasp, button deficient, 190mm long, 40.86g Condition ReportClasp button deficient. Requires repair or a new clasp. Evidence of soft solder repair to clasp tongue. Clasp tongue does secure, however button is deficient to tongue so the bracelet cannot be opened without some form of tool to compress the tongue. End of bracelet with housing for tongue showing cracks to metal and a little fragile. Small cracks and losses to a few bezels. One lava cameo loose in setting, however secure. Marks and scratches to surfaces. Tarnish.
Lot 306
31.75inch sighted two-stage browned damascus barrel engraved I. PURDEY NO. 315 OXFORD STREET LONDON, platinum lined colour hardened breech with platinum vent, serial no. 1100 to the underside, border and scroll engraved lock signed PURDEY, half stocked with chequered wrist, border and scroll engraved steel mounts, the trigger guard tang engraved with the serial no. 1100, brass topped wooden ramrod, contained in its green baize lined mahogany case, the lid with maker's trade label, two lidded compartments, one with bone lifter the other ivory, complete with cap dispenser, leather tool roll, spring clamp, cleaning accessories, planished tin powder flask, leather shoulder shot flask, three shot chargers, turn screw, cleaning rod and key to the case. Please comply with all relevant CITES laws. Ivory Declaration Submission Reference 8FNSWMPP.
Lot 70
A painted pine tool chest and contents of tools, once the property of Jack Goodchild of Naphill, High Wycombe, aka "The Naphill Bodger" renowned chair maker of the 1940s and 50s including many with labels dating the tools circa 1948-54 (some possibly earlier), including five various stock and bit (brace), eight various spoke shaves, sharpening tool, two axe heads, two draw knives, etc. (more recently the property of John (aka Robert) Plant chair maker Cirencester)
Lot 8070
A German Kriegsmarine Other Ranks Deck Cap with Scharnhorst cap tally, often referred to as a ‘Donald Duck’ cap. This example with metal eagle and cockade roundel insignia to the top and cap tally for ‘Schlachtschiff Scharnhorst’. The interior has the original brown sweatband and ivory lining. Together with two further cap tallies for ZERSTORER ROMMEL and Das Reich (3). The German battleship Scharnhorst was one of the most famous ships of the Kriegsmarine. She was involved in many of the major naval engagements of the war and was often used as a propaganda tool for the Third Reich. She was eventually sunk during the Battle of the North Cape on 26th December 1943. Of her crew of 1,968 officers and men, only 36 men survived the sinking. Ex museum item. Swastika censored on photo.
Lot 15
SWORD OF THE ORDER | USA, AMERICAN | Country: USA | Date: 1st half of the 20th century | Marking: Knights Golden Eagle (blade) Jared Ludwig (blade), Thae m.c.lilley Columbus (rikaso blade) | Condition: Excellent | Lot information | Sword of the Knights of the Golden Eagle (Knights of the Golden Eagle) made in the first half of the 20th century. The blade is decorated with etched ornaments and marked "Knights Golden Eagle" and "Jared Ludwig", while the ricasso bears the maker's mark "Thae M.C. Lilley Columbus". The scabbard is brass, richly decorated with relief ornaments and heraldic motifs. The sword is an example of a ceremonial weapon that served as a symbol of belonging to an order, not as a combat tool. A very nice decorative gun with the original owner's name. | Dimensions | Length: 850 mm | Blade: 662 x 16 mm | Weight: 930 g***IMPORTANT NOTICE*** | SHIPPING ONLY WITHIN THE EUROPEAN UNION | Bidders are obliged to inform themselves about the condition of the lots before the auction, subsequent complaints will not be taken into account.
Lot 278
▲ William Scott RA (1913-1989) 'Orange Still Life', 1956 (William Scott Archive No.1893);verso, pencil sketch of Mary Scott, the artist’s wife, late 1930ssigned 'W. Scott' l.r., gouache50.5 x 68cmProvenance: Private collection, USA;Offer Waterman & Co., London;the property of a private collector.The drawing of Mary Scott is similar to the oil painting ‘Seated Nude’, 1939, Tate, London.We are grateful to the William Scott Archive for their kind assistance with the cataloguing of the present work.In the 1950s, William Scott's use of vibrant colours, like orange and ochre, played a crucial role in his still-life compositions, marking a key period in his artistic development. As a member of the post-war British painting group, including artists such as Patrick Heron, Terry Frost and Peter Lanyon, Scott was influenced by the boldness of abstract expressionism. In 1953, his exposure to the New York School, where he met leading figures like Rothko, de Kooning and Pollock, made a significant impact on his approach to abstraction. Despite this, Scott remained deeply attached to the still-life genre, finding ways to modernise it while infusing it with abstraction. His works from the late 1950s often featured everyday objects like jugs, bowls and pans, painted against bold backgrounds in colours like orange. These hues, especially the warm tones of orange, went beyond mere decoration - they emphasised the physical presence of the objects and imbued the scenes with energy.Scott's choice of orange can be seen as a deliberate effort to elevate these everyday items, drawing attention to their form and giving them a unique vibrancy. This use of colour was particularly striking in works, as seen here in lot 278, where the colour envelops the composition, making items seem dynamic and essential. For Scott, orange was not only a visual tool but also a way to convey a sense of warmth and vitality. It helped balance the austerity of his minimalist approach with the sensuality he sought to evoke. By combining the figurative and abstract elements of his work, Scott's use of orange served as a bridge between his engagement with American abstraction and his European roots in more tactile, representational art.Condition ReportFramed: 67 x 84.5cmThe work is executed on paper. Rippling to the sheet visible when viewed from the side under raking light. Pinholes to top corners. A tiny tear to the extreme upper right corner. Lower edge torn slightly unevenly. Presents well overall when viewed on the wall.
Lot 400
An early 20th century figured walnut table-top cabinetmaker's tool Box and Tools, retailed by Asprey, the hinged top and two doors enclosing a fitted brown suede interior housing an assortment of tools to include; wire snips, pliers, Smallwood Level, hand Drill by Leytool, circular leather cased Tape Measure by Chesterman Sheffield, Asprey Chisels and Bottle Opener, leather Mallet by Bulldog, etc, above a fitted frieze drawer and raised on stepped feat, W 33.5 cm x H 37 cm x D 24 cm.
Lot 731
Two antique desk / workshop boxes - comprising an early 19th century mahogany deed box, with gilt brass swing handle, the interior with slots for dividers. (LWH 32.5 x 20.5 x 10.5cm); and a long rectangular beech wood tool case, the interior with metal plaque for 'Wm. Marples & Sons Ltd., Hibernia Works, Sheffield, England' (LWH 43.5 x 14.5 x 8.5cm), both with key.
Lot 20
A boxed 'Hammerite Metal Master' electrostatic paint gun, a boxed plumbers kit to include pipe benders, pipe cutters and tube flaring kit, a boxed Duotool hollow wall fixing kit, a Tool Master TM4413 240v 800w belt sander, a boxed Tool Master Pro DT2223/110 110v 850w rotary hammer drill, a portable Berlan BSTE 100i petrol generating set 220v A/C and 12v D/C serial No. YK070124LQZ 220 and a Tool Master TM9002 240v `1650w router.
Lot 17
A boxed Tool Master TM4413 240v 800w belt sander, a boxed Tool Master TM3323 240v 2050w angle grinder, a boxed Duotool DXP85/110 110v 850w rotary hammer drill with five drill bits, a JCBD-CD 12v cordless battery drill with battery and charger, a Defender 230v 500w portable light rig, a Nutool 240v 850 w router and a five step aluminium folding stepladder 166cm high.
Lot 27
A Black and Decker FPCS1800A 240v 1800w chain saw, two Carver heavy duty clamps, boxed Clarke punch and flange tool, a boxed Roebuck ballpoint Allen key set, a Britool socket set, masonry drill bit and a collection of engineering tools to include cold chisels, adjustable grips, adjustable spanners, hacksaws and hammers.
Lot 36
Attributed to Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"The Inmaculate Conception and The Holy Trinity"Oil on panel.51 x 35 cm.This small panel reflects one of the painter's continuing and significant interests in Marian subjects, a theme that brought him a great reputation for the quality of his work. His work is related to the technique and stylistic treatment usually found in artists such as Manuel Samaniego. This would have been one of the many commissions Rodriguez received from various religious institutions. And it was that ecclesiastical protection which meant that he was privileged enough to have the advantage of being able to paint canvases that we can currently admire in the Cathedral of Quito and in the Museum of Colonial Art an the Casa de la Cultura Ecuatoriana.In this Immaculate Conception, the artist has staged a perfect two in one by conjoining two devotions in a single painting. Two of the most typical pictorial representations in the viceroyal Hispanic American iconography are concentrated in a single painting: the Immaculate Conception, on the one hand, and the Holy Trinity, on the other. And, together, they form this painting of a Trinitarian Immaculate Conception. Mary is richly attired with the characteristics of viceregal painting, holdng an image her Son, made Eucharist and symbolised by a monstrance, with which she offers to bless those who approach to contemplate her. The scene is watched from heaven by the Holy Trinity: the Son, carrying the Cross (salvation of the world); in the center, the Holy Spirit, who carries his identity, (what he is, Love or the flame of Living Love); and the Father, on the right, as Pantocrator who blesses all.The painting we present, when compared with other works attributed to the artist, such as the “Coronation of the Virgin with heraldry of a Spanish family” found in the Franciscan Museum of Quito, shares similarities in the treatment of colors and decorative details. When analyzing the painting together with the comparative images, a stylistic continuity can be observed in the use of blue and gold, as well as in the idealized and delicate depiction of the faces, showing serene spirituality in the Virgin and solemn hieratism in the figures of the Trinity.Bernardo Rodríguez demonstrates remarkable control of light and color, using a palette that emphasizes deep blues in the cloaks and bright golds in the decorative details. The use of gold in the garments, particularly in the brocades, highlights the artist's technical virtuosity and his ability to integrate European and local influences.Although the panel format limits the scale and detail of the composition, it maintains the symbolic and devotional richness characteristic of the Quito school. The difference in media and dimensions reveals Rodríguez's adaptability to different formats and commissions.By employing an accessible and emotional visual language, Rodríguez reinforces the role of art as a tool for evangelization and devotion, consolidating the religious and cultural identity of the time.This painting comes from a period of intense artistic production in Quito, driven by the religious orders that promoted Marian iconography within the framework of the Counter-Reformation. The Virgin Mary, as a symbol of purity and divine mediation, acquired great relevance in viceregal art, especially in territories where the indigenous population could identify with her maternal figure.Reference bibliography:- Kennedy Troya, Alexandra. (2007). "Arte de la Real Audiencia de Quito, siglos XVII-XIX". Nerea.- Handelsman, Michael. (2000). "Culture and Customs of Ecuador". Greenwood Press.- Escudero Albornoz, Ximena y Vargas Arévalo, José María. (2000). "Historia y crítica del Arte Hispanoamericano, Real Audiencia de Quito: (siglos XVI, XVII y XVIII)". Editorial Abya Yala.
Lot 2
Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"Saint Raymond of Penyafort"Oil on copper.21 x 16,5 cm.Attributed to the renowned painter Bernardo Rodríguez, an emblematic figure of the 18th-century Quito School, this work reflects his technical and artistic mastery and is executed in oil on copper. The precision of details and delicacy of brushwork suggest the piece probably dates to the mid-18th century.The artist’s draftsmanship is exceptional, evident in the composition’s impeccable organization and meticulous treatment of details.We compare this copper painting to other depictions of saints like Jerome and Augustine, also attributed to Rodríguez, which, alongside works of Saints Ambrose and Gregory the Great, form the series of the Four Fathers of the Church at the Museo de San Agustín in Quito (Ecuador). Such comparisons highlight Rodríguez’s skill in gilding and his ability to infuse artistic grandeur into even small-format compositions, as seen here. The portrayal of Saint Raymond of Peñafort adds unique dynamism through its maritime narrative and subtle landscape details.Similarly, the painting “Saint Anthony of Padua and the Miracle of the Resurrection” at Quito’s Museo Convento de San Francisco enriches this comparative analysis due to stylistic and compositional parallels with the depiction of Saint Raymond we have here. Though Saint Anthony is painted on canvas and lacks gilding, both works share remarkable precision in rendering the saint’s figure and a focus on spiritual depth. The treatment of facial features, posture, and drapery reveals evident similarities, pointing to stylistic coherence within the Quito artistic context.This context was deeply shaped by the expansion of Christian faith in Latin America and the use of art as an evangelizing tool. Such narratives were especially relevant in viceregal territories, where missionaries faced similar challenges. The Quito School, in this regard, adeptly adapted European influences into a visual language that responded to local spiritual and cultural needs.As noted by the Cervantes Virtual Center, “Bernardo Rodríguez, a muralist and painter, was a highly distinguished master among religious motif practitioners in viceregal Quito.” Supported by the Church throughout his career, he “enjoyed privileged opportunities to create canvases now admired in Quito Cathedral, the Museo de Arte Colonial, and the Casa de la Cultura Ecuatoriana.” His impeccable craftsmanship was inherited by disciples like Quito’s Antonio Salas (1795–1860).Saint Raymond, clad in a Dominican habit brought to life through dynamic fabric folds, dominates the center of the composition. The marine backdrop, rendered in subtle blue and white brushstrokes, evokes serenity and depth. Distant ships reinforce the narrative of the miracle, while the gilded halo and reflections on the saint’s cloak showcase the painter’s flawless mastery of materials, achieving a luminosity that elevates the painting’s spirituality—a radiant “small window to heaven” brimming with vibrant color and light.The artwork depicts Saint Raymond of Penyafort (Vilafranca del Penedès, 1176–Barcelona, 1275), a 12th-century Dominican friar and canon lawyer, experiencing the miraculous event that occured in his life. King James I, who sought his counsel, once took him on a journey to Majorca, secretly accompanied by a woman with whom the king had an illicit relationship. Upon learning this, Raymond urged the king to dismiss her, threatening to leave otherwise. The king failed to comply, and responded by ordering that no ship carry Raymond home. Undeterred, the saint spread his cloak upon the water, transforming it into an improvised vessel to cross the Mediterranean to Barcelona—a testament to how true faith can calm even the stormiest waters.A Doctor of Canon and Civil Law, Raymond was acclaimed and chosen to teach at the University of Bologna, where his students were primarily nobles and scholars. After experiencing a vision of the Virgin Mary, he co-founded the Mercedarian Order with Saint Peter Nolasco to redeem captives from Muslim rule. Summoned to Rome by Pope Gregory IX, he served as confessor, chaplain, and penitentiary. He played a role in establishing the Inquisition in Aragon and compiled five volumes that became the most organized collection of church law until the 1917 Code of Canon Law. After a decade of writing, he was elected head of the Dominican Order, succeeding Saint Dominic, and retired at nearly 100 years old. He is the patron saint of canon lawyers, jurists, and legal institutions. He died on the 6th January 1275 and was canonized in 1601 by Pope Clement VIII. Iconographically, the elements in the painting hold profound symbolism. The outstretched black cloak alludes to the miracle, while the maritime landscape, with its expansive horizon and traversing ships, adds narrative depth, situating the saint within a context of triumph and hope.Though rare, other depictions of Saint Raymond in Latin America include the portrait at Tlacochahuaya’s San Jerónimo Church in Mexico and the Convent of Santa Rosa de Lima in Santiago de Chile. In essence, this small copper painting brims with life, movement, and perspective, its lapis lazuli blues and mastery of gilding and pointillism perfecting the saint’s figure. An 18th-century scalloped and gilded frame rounds off the composition, Bibliographic References:- Centro Virtual Cervantes. (s.f.). “Bernardo Rodríguez”. https://cvc.cervantes.es/artes/ciudades_patrimonio/quito/personalidades/brodriguez.htm- Herrera, Lizardo. (2010). “La canonización de Raimundo de Peñafort en Quito. Un ritual barroco entre la exhibición y el ocultamiento (1603)”. Procesos, 32, II semestre 2010, pp. 5-32. - Stratton-Pruitt, Suzanne. (2011). “El arte de la pintura en Quito colonial”. Saint Joseph’s University Press, Filadelfia.
Lot 47
A men's Rolex 18k yellow gold and stainless steel automatic bracelet watch. Datejust Turn-O-Graph Thunderbird.Brand: Rolex Model: Datejust Turn O Graph Thunderbird Case reference: 16253 Year: Circa 1975 Movement: Automatic, Cal. 3035 Dial: Blue, gilt applied Roman numerals with luminous applied dots, gilt outer minute division, guilt sword hands with luminous inserts, gilt centre seconds hand, date aperture at the three o'clock position with a champagne calendar disk and black Arabic numerals Material: 18k yellow gold and stainless steel Bracelet/Strap: Stainless steel Jubilee bracelet, deployment clasp Signed: Dial, movement, case, bracelet Dimension: 37mmThe Rolex Turn-O-Graph, often called the “Thunderbird”, was introduced in the early 1950s and is recognised as one of Rolex’s first sports watches. Originally designed as a tool for pilots and navigators, it featured a rotating bezel that allowed for easy tracking of elapsed time—paving the way for other iconic Rolex sports models like the Submariner and GMT-Master. The Turn-O-Graph earned its “Thunderbird” nickname after being used by the U.S. Air Force Thunderbirds, further solidifying its aviation connection.While similar in design to the Datejust, the Turn-O-Graph’s bezel allowed it to stand out, making it a practical tool as well as a luxurious accessory. The Ref. 16253, produced in the mid-1970s, combined the classic elegance of the two-tone design with the practicality of a rotating bezel, making it both versatile and iconic. Though production of the Turn-O-Graph has ceased, it remains a collectible model due to its pioneering role in the sports watch category. 37mm.
Lot 15
Omega - Seamaster Cosmic Gold Tone Vintage Automatic Dress Watch. Omega signed automatic swiss movement. Rolled gold case and aftermarket leather strap. Acrylic crystal. Off white dial with gold hour markers. Dial signed 'Omega Seamaster Cosmic' in black with logo. Caseback signed 'Seamaster Waterproof 166022-TOOL 105'. Comes with owners manual and international guarantee.Sizing Information:Case Diameter (Incl. Crown) - 36mmLug To Lug Distance - 36mmLug Width - 19mmStrap Length - 180mm
Lot 2049
A group of five Chinese jade objects, 19th to 20th century, comprising two white and pale celadon jade reticulated plaques, one jadeite circular disc, one celadon jade apple, and one jade massage tool. Disk 5.3cm diameterx1cm thickness, apple diameter 5.2cm, square plaque 4.5x6cm 19至20世紀 玉雕擺件五件Provenance: from a collection inherited from the family來源：家族繼承 All in good condition. 品相良好。
Lot 246
An 'Oyster Perpetual' wristwatch by Rolex, circa 1955, the circular textured dial with gilt faceted baton markers, tapered luminous insert hands and centre seconds hand, to a calibre 1030 automatic movement numbered 550856, the case stamped '9K 0.375' with Swiss gold mark, case ref. 6567, the shoulder indistinctly numbered 10326?, on a later unassociated leather strap, case width 3.3cmScuffs, nicks and scratches to dial, with patchy staining surrounding baton markers and logo and light losses to dial finish in places. Discolouration to luminous elements on hands. Some deep scuffs and scratches to glass. The case has general surface wear, scuffs, scratches and chips/nicks, with patchy wear and tool marks to the milled edge of the case back. The winder operates the hands but seems to be slipping when winding the movement and is stiff to operate. The movement ticks intermittently but is not tested for time keeping or working order, which cannot be guaranteed, and it may require repair. Wear to later unassociated strap.
Lot 223
A MAHOGANY FOUR POSTER BED 20TH CENTURY, THE HANGINGS BY CHARLOTTE YORKE-LONG With a moulded canopy and turned front posts, hung with green and cream silk hangings 257cm high, 200cm wide, 212cm long Condition Report: Marks, knocks, scratches, abrasions consistent with age and use The headboard with marks and stains - would probably benefit from a re-cover The hangings and drapes appear in presentable order, some light marks consistent with age and use, The frame is solid and stable at time of report, it would need to be constructed properly for installation and all joints secured before use There is no tool to do up the hexagonal bolts, these can be tighten and loosened with a 'socket set' Visible timber elements polished in appearance, hidden rails are unpolished and designed to be hidden beneath aprons and skirtsThe mattress is included in the lot Please see additional images for visual reference to condition Condition Report Disclaimer
Lot 758
An unusual roll turnover tool, for Pinfire cartridges, with wooden body the brass top stamped 12 and marked Sutton, together with a first edition copy of "British Cartridge Tools" by D J Baker with letter from the author noting that the device is similar to the James Dixon & Sons device pictured on page 97 of the book.
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