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Lot 477
Indian Mutiny 1857-59, no clasp (Lieut. W. B. Shawe, Gr. Mily. Pol.) very fine £400-£500 --- Provenance: George McIlroy Collection. William Butler Shawe was the son of Lieutenant-Colonel Shawe, Madras Light Cavalry, and was nominated for the Honourable East India Company’s Army by General Sir James Lushington. Commissioned Ensign on 8 June 1949, he was posted to the 60th Bengal Native Infantry on 1 February 1850, and was promoted Lieutenant on 15 January 1855. During the Great Sepoy Mutiny he served on General duty at Allahabad from November 1857, and was District Superintendent of Supplies at Cawnpore from 13 May 1858. He was appointed Commandant of the Gorruckpore Military Police Levy on 6 September 1858, and saw action during the latter stages of the Great Sepoy Mutiny with this unit against the rebels in the jungles near Gorruckpore, October to December 1858. Whilst with the Gorruckpore Military Police Levy, Shawe was mentioned in the report by Lieutenant-Colonel G. King, 13th Light Infantry, Commanding at Gorruckpore, dated 21 November 1858: ‘I left Gorruckpore on 19 November for the purpose of dispersing a body of rebels under the command of Budhoo Sing, whose numbers were variously estimated from 500 to 800 strong, and who were reported to have taken up a strong position in a dense jungle, about 16 miles east of Gorruckpore. After a march of about 17 miles we came upon their position, which had evidently been abandoned with the utmost precipitancy, as I found the camp fires burning, and the food of a large number of men in a state of preparation. A few bullocks and ponies, a quantity of native powder and cartridges, and a number of entrenching tools, had all been abandoned in the haste of departure. On examination I found a wide ditch and embankment had been laid out, and, given the density of the jungle, there can be no doubt that had time been allowed to complete the defences, it would have been a formidable one. Finding that pursuit in such ground was useless, I withdrew the party, after burning the camp and destroying the powder, and returned to Gorruckpore, leaving 35 Europeans, 150 Native Levies, and half the troop Madras Native Cavalry, all under Lieutenant Shawe, to level the works thrown up by the rebels.’ Promoted Captain on 8 June 1861, Shawe was posted to the 3rd Bengal Native Infantry on 30 July 1862, before transferring as a Wing Officer to the 2nd Native Infantry. Promoted Major on 8 October 1867, he took command of the 2nd Native Infantry on 15 April 1869, and was promoted Lieutenant-Colonel on 29 October of that year. Promoted Colonel on 29 October 1874, he served in Afghanistan 1878-79 (entitled to a no clasp medal), before retiring to the U.K. in 1882 as Colonel Commandant of the 2nd Native Infantry. He was promoted Major-General on 23 August 1884 and Lieutenant-General on 20 September 1887, and having been placed on the supernumerary unemployed list in October 1888, was promoted to full General on 22 June 1894. He died at Southsea in 1905. A regimental historian, Shawe compiled and published The History of the 2nd Bengal Infantry in 1871. In 1881 he changed his surname by Deed Poll to Butler-Shawe.
Lot 163
A post-War Military Division B.E.M. group of five awarded to Sergeant T. C. Billingsley, Royal Electrical and Mechanical Engineers British Empire Medal, (Military) E.II.R. (21019132 Sgt. Trevor C. Billingsley. R.E.M.E.) officially renamed; 1939-45 Star; France and Germany Star; Defence and War Medals 1939-45, mounted for wear, generally very fine or better (5) £140-£180 --- B.E.M. London Gazette 9 January 1958. The original recommendation states: ‘Sgt Billingsley was appointed 2iC of an experimental unit formed in May 1956 as part of 1 Divisional trial of centralised servicing of vehicles. This experimental unit was composed of personnel seconded from several regiments and units and as it was the first of its kind, Sgt Billingsley had the task of training all the personnel in the special techniques required and adapting the organisation to meet its tasks. During the absence of the Officer in Charge, Billingsley took command. He displayed remarkable qualities of initiative and command far beyond those normally expected from an artisan Sergeant. His energy, drive and adaptability were largely responsible for moulding the unit into an effective organisation which met all its commitments with a high degree of success. His strong sense of duty and his character were reflected in the high morale and keenness of all the men serving under him, and he was untiring in his efforts to ensure that all duties were satisfactorily completed in all respects. As a result of analysing certain maintenance tasks he devised a number of special tools and modifications to existing equipment which enabled those tasks to be carried out much more quickly and satisfactorily. The high standard of efficiency of his unit is a direct result of his outstanding keeness and thoroughness of his work. His work has been a major factor in proving the value to the Army of formation servicing and is worthy of high praise.’
Lot 385
A Polaroid Pathfinder Model 120 Instant Camera Outfit, grey, body G, some light internal corrosion, bellows G-VG but edges fragile, with Yashica-Yashinon 127mm f/4.7 lens, optics G-VG, some slight dust present, together with a Polaroid Wink Light 250, a Polaroid Meter 625, a Polaroid Wink Light Flasher 256, print finishing tools, instructions in original Japanese & English, in a Polaroid branded hard carry case,
Lot 68
A Collection of Silver and White Metal Items, including a piar of small George IV silver sauce spoons by William Chawner, a William IV teaspoon by Soloman Hougham, three silver handled manicure tools, a MOP handled silver cake fork, a white metal vesta case, and a floral decorated nielo cigarette case, the cigarette case 10 cm x 7.5 cm (8)
Lot 41
the well centred by a green and white armorial, enlcosed by a raised boss with an inner gadrooned border and an outer gadrooned border in white in opposing directions of rotation, against a cobalt ground highlighted with gilt oak leaves, stars and acanthus, the reverse in cobalt blue enamel with gilt stars 28cm diameterProvenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L.Footnote: Note:Venice in 1500 was enjoying a golden age as one of the richest and most powerful trade and cultural centres in Europe, trading extensively with the Byzantine Empire, the Muslim world, and beyond. Its strategic position as the nexus of the lucrative trade routes to the East and Africa enabled it to secure a monopoly on rare and exotic goods and materials, and the city grew rich. Its overseas empire spanned across the Mediterranean, to include territories from Friuli all the way to Cyprus. The production of luxury goods flourished, as producers could source the best materials, and wealthy merchant and aristocratic clients fuelled demand.The Venetian enamel wares represent a beautiful amalgamation of different influences and illustrate how well-connected Venice was in the Renaissance. They are generally of exceptional quality and have a very unique, easily distinguishable style. Many of the surviving examples were clearly for use in a religious context, however the present example with its central silver and green armorial indicates it must have been commissioned by an aristocratic family.Italian nobility in the Renaissance used a variety of elaborate and precious vessels for formal dining, but the most splendid tableware was displayed on sideboards or credenze around the sides of the room as a show of wealth. The shapes with their raised gadrooning are inspired by silver and other metal wares, which also inspired glass produced in the same region. Another source of inspiration may be the famous deep blue Lajvardina ceramics produced in Persia. This would not be unlikely, as Venice had been a crossroads for trade between Africa, Asia and Europe since medieval times.The technique is related to early Netherlandish examples. The objects were hammered from copper sheets, then fused with a thin layer of powdered glass using high heat with the main colours being cobalt blue, dark green, white and more rarely turquoise, red and black. The first layer of opaque white is the key to making the colours applied over it look luminous. Pieces were decorated with further enamels of different colours fixed with subsequent firings. Finally, patterns of gold foil were applied and fused to the enamel surface using lower, but still elevated, temperatures. These were applied to the surface of the enamel to create repeating patterns and were likely stamped with small tools used to apply fine metallic foil, called paillon, yielding a textured surface. Although the gold foil is very rubbed in most examples due to not having been fired, a few areas still show these original textures. Some of the stars on the present chargers still have their raised centres.The uniform style and the relatively short period in which all of the known Venetian enamel wares were produced date them almost exclusively from the late 15th century to the mid-16th century. Although Venice was well renowned as a centre of glass it remains largely unrecognised as a major centre for the production of enamels. Surviving pieces like the present two lots are rare, with only a few hundred known in private collections and museums.
Lot 42
the well centred by a raised boss with white gadrooned border and green band enclosed by an outer gadrooned border in cobalt blue in opposing directions of rotation, on a white ground highlighted with gilt oak leaves, stars and acanthus, the reverse in cobalt blue enamel with gilt stars29.5cm diameterProvenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L.Footnote: Note:Venice in 1500 was enjoying a golden age as one of the richest and most powerful trade and cultural centres in Europe, trading extensively with the Byzantine Empire, the Muslim world, and beyond. Its strategic position as the nexus of the lucrative trade routes to the East and Africa enabled it to secure a monopoly on rare and exotic goods and materials, and the city grew rich. Its overseas empire spanned across the Mediterranean, to include territories from Friuli all the way to Cyprus. The production of luxury goods flourished, as producers could source the best materials, and wealthy merchant and aristocratic clients fuelled demand.The Venetian enamel wares represent a beautiful amalgamation of different influences and illustrate how well-connected Venice was in the Renaissance. They are generally of exceptional quality and have a very unique, easily distinguishable style. Many of the surviving examples were clearly for use in a religious context, however the present example with its central silver and green armorial indicates it must have been commissioned by an aristocratic family.Italian nobility in the Renaissance used a variety of elaborate and precious vessels for formal dining, but the most splendid tableware was displayed on sideboards or credenze around the sides of the room as a show of wealth. The shapes with their raised gadrooning are inspired by silver and other metal wares, which also inspired glass produced in the same region. Another source of inspiration may be the famous deep blue Lajvardina ceramics produced in Persia. This would not be unlikely, as Venice had been a crossroads for trade between Africa, Asia and Europe since medieval times.The technique is related to early Netherlandish examples. The objects were hammered from copper sheets, then fused with a thin layer of powdered glass using high heat with the main colours being cobalt blue, dark green, white and more rarely turquoise, red and black. The first layer of opaque white is the key to making the colours applied over it look luminous. Pieces were decorated with further enamels of different colours fixed with subsequent firings. Finally, patterns of gold foil were applied and fused to the enamel surface using lower, but still elevated, temperatures. These were applied to the surface of the enamel to create repeating patterns and were likely stamped with small tools used to apply fine metallic foil, called paillon, yielding a textured surface. Although the gold foil is very rubbed in most examples due to not having been fired, a few areas still show these original textures. Some of the stars on the present chargers still have their raised centres.The uniform style and the relatively short period in which all of the known Venetian enamel wares were produced date them almost exclusively from the late 15th century to the mid-16th century. Although Venice was well renowned as a centre of glass it remains largely unrecognised as a major centre for the production of enamels. Surviving pieces like the present two lots are rare, with only a few hundred known in private collections and museums.
Lot 605
Six drawer wooden chest containing an assortment of watch and clock parts, accessories and tools to include rivets; hairsprings; precision wrenches; wheels; balances; quartz watches for repair; watch bracelets including Seiko, Citizen, Tissot clasp, two Rolex part bracelets (both at fault); blue steel, crystal lift tool, clock glasses, screws, lock mechanisms, padlocks etc
Lot 117
1st-3rd century AD. A bronze handled surgeon's knife comprising a leaf-shaped blade, handle with grid decoration to one face, narrowing at one corner, coiling around to the reverse, forming a snake with scale detailing and a head with recessed circular eyes. See Milne, J.S., Surgical Instruments in Greek and Roman Times, Oxford, 1907, pls. XI, no,2,4, for medical tools with identical snakes. 59.4 grams, 19.5cm long (7 3/4"). North American collection, 1990s-2000s. Property of a Surrey gentleman. The snake, symbol of Asklepios, god of health and medicine, was often embossed and represented on medical instruments and tools. In the Mainz Museum there is a medicine box on the lid of which is inlaid a snake coiled round a tree, the tree and the snake’s body being outlined in copper and the snake’s head in silver. The serpent is sometimes represented on medical implements. A uterine dilator from Pompeii is also decorated with it. A probe surmounted by a double serpent (caduceus form) was found in the Roman Hospital at Baden. Fine condition.
Lot 427
A Wilesco Stationary Steam Engine and Workshop Tools, the engine mounted on metallic grey base measuring 12" x 9½", with chromed boiler and metallic copper 'firebox' and chimney, double-acting cylinder with lubricator pot, F, whistle/lever safety valve unit with loose boiler mount (needs re-soldering), generally grubby with slight rusting to base, but complete with burner tray, regulator, dummy governor and drive belt, together with a Wilesco vertical drilling machine, SEL circular saw, a small metal drip tray and Mamod plastic funnel, all F-G (7 inc chimney etc)
Lot 86
Large collection of 00 Gauge Trees Hedges Bushes and other scenic items by various makers, various trees from 2'' to 18'' in height (90+ factory made), various Hedges (8), WWS Plants, bags of Lichen, K&M Gorse Bushes, wall and wood fencing, Farm Animals, Merit Lamps together with a box of paints , modelling material and tools, F-VG (qty)
Lot 88
Large qty of 00 Gauge scenic items including Lighting Kits and Signals Hamlings paper sides electrical components Turntable and many other items, Hornby R449 Coach Lighting kits (2, boxed) and Coloured light Signals (6, one boxed), Marklin electric Semaphore signal, various other signals including Crescent Gantry, DCC Coach Lighting kit, two sets self flashing Belisha Beacons, Ancorton Road Signs, Street Lamps, various Buffers, Gaugemaster Valley Scenes (3 in roll), Peco Turntable, Metcalfe Kits, Noch Road, Hamblings Bilteezi sheets (9), Hamblings and Merco wagons sheets, various Tunnel Mouths, various couplings, tools including chisel bits, oil and many other items, generally G, (qty in two boxes)
Lot 288
signed and numbered 11/30 in pencil in the margin etching and aquatint in colours on Arches paper122 by 80cm; 153,5 by 113 by 6cm including framingLITERATURER. Krauss et al, A Universal Archive: William Kentridge as Printmaker, (Hayward Publishing, 2012), p.13Kentridge is as confident in his use of an etching needle as he is with a stick of charcoal, and the same characteristic kinetic lines which are unapologetic and confident, are simultaneously delicate in both his drawings and prints. Dutch Iris II (lot 288) demonstrates Kentridge?s mastery of printmaking techniques. The subtle development of dark and light areas within the curling petals of the flower, enhanced by the vibrant application of greens and violets, sits against a deep purple background. The artist?s use of colour and line allows him to create a moody atmosphere and ?at some stage the copper and acid or the acrylic sheet and the engraving tools impose their own scenario, much as characters in a play or film?, David Krut explains. In this way, the flower transcends being a simple object, and instead becomes a character in a dramatic composition. R. Krauss et al, A Universal Archive: William Kentridge as Printmaker, (Hayward Publishing, 2012), p.13
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82038 item(s)/page