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Lot 208
A Liberty Heritage candlestick. Impressed mark to base limited 7/250 9807, height 14.5cm together with a drilled pewter candlestick probably Archibald Knox for Liberty. (2)The Heritage stick is in good order.The larger stick has been drilled through the sconce and the base for wiring, with three further holes in the base, the sconce has been soldered inside, please see the additional images online.
Lot 1638
A late Victorian novelty stick pin in the form of a 'Reigate' and 'London' signpost with '1891-Magnet-1893' inscription to reverse, other jewellery items and a small mahogany box containing a 925 silver cased trench watch with black dial and an 800 grade cased lady's wristwatch - various condition
Lot 795
* Movable Silhouette Fans. A pair of etched fans with movable figures, Paris: Alphonse Giroux, circa 1820s, 2 cardboard handscreen fans, each of elongated octagonal form, with central recessed oval covered by cream gauze (foxed) revealing 2 movable black scissorcut silhouette figures, operated by a paper tab on reverse, one depicting a pair of male figures fencing, the other a woman holding a broom and parrying with a man brandishing fire tongs and shovel, the latter with tab renewed, each within a matching hand-coloured etched border, depicting a young lady and gentleman in evening dress on the left, the latter carrying a shawl over his arm, and on the right a woman carrying a reticule and a gentleman carrying an umbrella, both couples at the top of a flight of steps, with a pair of female Oriental figures in gold seated atop the oval, carrying a jester's stick and parasol respectively, and below, acting as caryatids, a pair of seated male Oriental figures in green highlighted in gilt, reverse of each with narrow green borders etched with scrolling trefoil pattern, second fan with Giroux's engraved label to upper edge 'Rue du Coq St. Honoré No. 7', both sides of each with narrow gold paper edging, turned wooden handles, both lacking upper rivet, each 37.5 x 24.5 cm (14.75 x 9.75 ins)QTY: (2)NOTE:A wonderful pair of articulated fans surviving in very good condition and in working order. Extremely rare; we have not seen another such movable fan, nor have we traced any at auction or in institutions.Alphonse Giroux, known as 'the merchant of the princes', was an important Parisian manufacturer of luxury furniture and objets d'art, whose products were intended for the upper echelons of society. He was operating from 7, Rue de Coq St. Honoré as early as 1799, before moving to Boulevard des Capucines in the middle of the 19th century, and he counted royalty among his clients, including King Louis XVIII and King Charles X. Specialising in paper and artistic supplies, and known for his offering of both modern and old fans, he sold a hugely diverse range of wares, including toys, boxes, souvenirs, lithographs, mirrors, clocks, sewing accessories, fabrics, and items of furniture. Giroux had studied painting under Jacques-Louis David, and he not only collected, exhibited and sold fine art, but he offered a conservation service also, becoming involved in such prestigious projects as the restoration of Notre Dame Cathedral. The firm of Giroux showcased its wares widely at world fairs and exhibitions, and won a number of medals.Alphonse Giroux was in the vanguard of the production of pre-cinema movable devices and photography in Europe at the beginning of the 19th century. In 1818 he filed the patent for the kaleidoscope, which he also called the 'transfigurator'. In June 1833 Alphonse Giroux & Cie. introduced the phénakistiscope in France, becoming one of the first companies to publish the animation device after it was more or less simultaneously invented in Belgium and Austria. His firm also constructed the Giroux Daguerreotype camera in 1839, the first commercially manufactured photographic camera in the world, which was designed by his brother-in-law Louis Daguerre.
Lot 161
Equestrian interest- a porcelain gold mounted stick pin painted to depict a horse, diameter approx 20mm, signed to reverse J.W Bailey 1892, possibly 15ct gold mount with 9ct gold pin, total gross weight approx along with a pearl and diamond set 9ct gold horseshoe/crop brooch (2 pearls missing) diameter approx 38mm, later base pin to reverse Further details: wear and tear commensurate with age missing two pearls, tarnish
Lot 5
A quantity of mixed silver plated wares to include; three cases for canteens of cutlery, one with Arthur price plated part set inside, another with part Christofle plated set and the other with removable tray full with various mixed plated flatwares including spoons, forks, knives of different sizes etc. Along with a small quantity of other plated wares including a candle holder, dishes, condiment set etc. Also included within the lot is a small quantity of silver to include; a Sterling silver swizzle stick, a Sheffield silver pair of sugar nips with claw detail, Viners of Sheffield silver teaspoon, a Birmingham silver knife, and a modern imported silver condiment spoon with twisted stem, hallmarked by Harrison Bros &Howson Ltd. Weighable silver: approx. 47g (1.5ozt)
Lot 326
A collection of various gents dress watches to include a 1970's steel cased Rotary watch, along with a later gold plated Rotary on leather strap, cased together with various vintage wristwatches including Ingersoll, Langendorf, Rotary etc, together with a ladies silver open faced pocket watch (key wind no key) silver stick pin, two gilt metal micro mosaic brooches, 1959 brooch, white metal expander bracelets, etc (1 bag) Further details: some losses, fixing to dial, scratches, chips etc commensurate with age Note: regarding watches/pocket watches please note movements untested, functionality untested, modifications and restorations may not be disclosed in the catalogue description, for more information on any detail related to this lot please request a condition report with specific questions or view the lot in person
Lot 76
A moonstone and gold pin, set with an off oval moonstone, probably in 9ct gold, along with a diamond and pearl set stick pin, probably 9ct gold, cased, combined total gross weight approx 3.3gms along with a silver book mark in the form of a butterfly Further details: some wear and tear commensurate with age
Lot 1331
A mixed collection of metal items to include: an early 20th century bronze cylindrical brush pot/vase with chinoiserie and pagoda relief design and foliage/floral banding, probably Japanese; a large copper twin-handled pot; fireside brass implements; an Indian silver-plated engraved footed comport; an unmarked Art Nouveau design early 20th century inkwell and stand in brass (WMF style); a pineapple design heavy brass doorstop; a Chinese silver-plated novelty shaped opium pipe; an Eastern mixed metal box; an Eastern elephant figure; a marble dump-shaped doorstop with loop handle and a 20th century horn and carved chinoiserie bamboo walking stick. (1 box)
Lot 165
A Victorian gilt metal and amethyst coloured paste brooch, the scrolling openwork frame set with three large oval cut stones, suspending a further drop stone, approx 6.5cm wide; an Edwardian yellow metal stick pin with changeable paste set heads, one set with ruby and diamond coloured paste stones, the other faceted clear paste stone imitating diamond, screw back fittings, approx 6cm long, in a fitted case; a set of three gilt metal dress studs set with green paste stones, in a fitted case; a continental silver and paste set floral spray brooch, in fitted case; a French silver bracelet formed with triangular links, inscribed 'JOYDART LANAVE', approx 19.5cm long; a silver curb link bracelet; a silver cameo ring; and a silver cuff stamped 'T&Co', etc, total gross silver weight 110g Generally good overall, wear commensurate with age
Lot 2
A fantastic second world war cased Distinguished Flying cross (DFC) gallantry medal and miniature medal awarded to flying officer William Walter Cave (86706) 502 squadron costal command for actions against German U-boat U-563 together with a large quantity of ephemera, photographs, personal snapshots, Ordinance survey and Air ministry maps of the British Isles and UK, Air ministry Top secret aerial photographs taken of German U-boats, French, Italian, Dutch, British merchant ships. AM gimble compass for aircraft (possibly for a Halifax bomber).Born in Leicester and orphaned at a relatively early age, he was educated at Slater Street school in the middle of Leicester. The school still exists and he is recorded in the school log book of the period (1941/2) as having come to speak to the pupils after he won his DFC. Slater Street was in an industrial Canalside area of Leicester in what at that time would have been a pretty deprived area.He left school at 13 or 14 and worked in the hosiery trade which was the dominant industry in Leicester at the time. However he was a talented footballer and joined Doncaster Rovers in 1935. However, he never got into the first team and appears to have come back to Leicester and returned to the hosiery industry working as a sales representative. Later, he appears to have set up his own small business supplying the hosiery industry locally.During this time, he encountered and was befriended by a couple called the Bazeleys. They were childless and he appears to have been unofficially adopted by them: but not formally. He refers to Mr Bazeley as “pop” in the correspondence that comes with the medal. Mr Bazeley was, amongst other things a motor agent and there is one of his bill heads in the paperwork.At some stage unknown, Bill got married and there are some pictures of his wife in the material with the medal. There were no children. After Bill was lost over the Atlantic in 1943, she eventually married a paratrooper, in early 1945 apparently.William Walter Cave was gazetted on the 6th January 1942 for his gallant actions – London gazette supplement reads:“Flying officer William Walter Cave (86706) Royal Airforce Volunteer reserve, No.502 squadron Costal command. This officer was captain of a Whitley bomber aircraft engaged on an anti-submarine patrol. He observed some 3 miles on his starboard bow, an outward-bound U boat on the surface of the sea. Flying Officer Cave skilfully manoeuvred to attack and released his complete load of explosives in a stick just Infront and alongside the approaching U-Boat. The vessel was completely engulfed in the ensuing explosions but remained long enough on the surface to allow for 6 front and rear machine gun attacks to be directed on the conning tower. During the second of these attacks an occupant of the enemy submarine (the commander of U563 -Kapitänleutnant knights cross recipient Klaus Heinrich Bargsten) tried to reach the rear gun near the conning tower but was driven to take refuge and wounded in the shoulder. Finally, the U-boat submerged, and a huge gush of oil rose to the surface and spread over an area 300 yards in about 30 seconds but then disappeared amidst the oil. In spite of temporary breakdown of inter-communication, Flying officer Cave had drilled his crew to such perfection that he was able to inflict the most effective damage on the enemy. The attack carried out with great skill by this officer, whose leadership and devotion to duty were of the highest order.”The U-boat in question was U-563 at the Bay of Biscay, outbound from Brest, France. U-563 reached Lorient on the 3rd December, but was so severely damaged she had to return to Germany to be rebuilt.William Cave then became squadron leader of No.59 squadron and on the 7th of May 1943 he flew his final mission, tasked with a convoy escort of the Queen Mary, took off at 11:20hrs RAF St. Eval, escorting convoy TA41B. his Liberator V Fl971 was ordered to divert to Aldergrove because of bad weather. The Liberator acknowledged the diversion at 17:13 hours but failed to arrive and supposedly crashed. No wreckage was found. All the crew are commemorated on the Runnymede memorial.
Lot 167
λ PAUL NASH (BRITISH 1889-1946) SEAGULL EYE WIND WAVES Wood Printed with artist's address to Bourlet & Sons Ltd., London label (to underside) 52 x 40cm (20¼ x 15½ in.) In the avant-garde English journal Axis no 8 for Early Winter 1937, Paul Nash's object Burnt Offering was reproduced - one of the few images we have of his objects, once quite numerous but now virtually all disappeared. Burnt Offering seems to be a composite object, with what appears to be a turned wooden finial (upside down) or door handle partially destroyed by fire fixed to a concrete or stone base with markings and encrustations that make it look as if it had long been submerged in the sea.Nash's objects were a major presence in the surrealist exhibitions in England in the 1930s. At the 1936 International Surrealist Exhibition at the New Burlington Galleries he showed two objects - untitled, but described as "Designed Object", and one "Found Object Interpreted" whose medium was given as "Vegetable Kingdom" (Marsh Personage). Burnt Offering was also shown at the London Gallery exhibition "Surrealist Objects and Poems" (1937). As Michel Remy says, "Hardly any exhibit has survived from the exhibition", (so far as we know). True to the complexity of the surrealist interest in the object, fifteen categories of object were listed in the catalogue; in "Surrealist objects" Nash exhibited Homes without Hands and Forest; in "Found Objects" Long-gom-pa ("a five-branch root named after a Tibetan runner famous at the time" (Remy); in "Found Objects Interpreted" Goodness How Sad, Encounter of Wild Stones, Not Cricket and Nest of Wild Stones; in "Objects Collages", Aquarium and Only Egg; in "Oneiric Objects" Tree Man; in "Objects for Everyday Use" (with Margaret Nash) Basket for Found Objects; Burnt Offering in "Perturbed Objects"; Moon Aviary in "Constructed Objects".For the Cambridge University Arts Society "Exhibition of Surrealism" (1937) he showed three: Only Egg, The Nest of Wild Stones and Long-gom-pa. In the same exhibition Eileen Agar showed Le père Ubu. In 1938, following the great success of the London International Surrealist Exhibition, Nash showed several works, including Objets aux champs and Objets balancés (probably photographs rather than actual objects, the latter possibly Poised objects [Causey 1973 pl. 27].)Of the twenty-five or so known and named objects, most were dismantled, scrapped, "not made" or have simply melted away. Forest from Roland Penrose's collection (trees made from glove stretchers) and Only Egg "seem to be the only two objects by Nash to have survived", according to the catalogue raisonné. As the Tate catalogue entry for Nash's important photomontage/drawing Swanage, c. 1936 says, "Almost none of these objects survives except as depicted in Nash's work, though he apparently continued to keep and collect objects until his death".It is therefore extraordinarily difficult to place the object in question with any certainty although there is plenty of leeway for the existence of a hitherto unknown "found object" - or possibly "found object interpreted". A typewritten label on the back of the object gives the title "Seagull Eye Wind Waves" and an address for Paul Nash: Whitecliffe Farm, near Swanage, which is where he lived from October 1934 until he moved to the centre of Swanage in 1935. In March 1936 the Nashes left Swanage. So the object (or its collection) would date from roughly the same period as Marsh personage, his first found object, which in some respects, especially visually, it resembles.Whereas Marsh Personage and Long-gom-pa are clearly found "natural" objects, (the latter furze-wood, the former driftwood, "salvaged from a stream", and the first of the found "vegetable" objects), Seagull Eye Wind Waves is "interpreted" and worked on. It is composed of three pieces of wood, each with a strong character: the thickly gnarled outer rim of a hollow tree, which embraces a curved form, perhaps once part of a piece of furniture. This has been carved to enhance its resemblance to outspread seagull wings, and the tip of the top wing becomes a bird head; through a hole in the top of this shape runs a thin, antler-like branch. Perhaps this worn forked stick that has pierced the wooden curve was encountered thus in a curious natural formation, and the curve was then interpreted as wings and the bird's head, crudely carved. Gashes and striations in the side of the wooden base, some circling knots in the wood, some indicating the lines of a torso, must belong to the same intervention. It might have been worked by Nash, or found by him as a piece of rough carving, a kind of primitive interpretation by an unknown hand, with a sense of the phallic and sexual suggestions in the lump of wood and its odd impaling. This would be wholly in line with surrealist taste and there are plenty of examples of such finds. For example the construction made by an aliéné, (a frame filled with broken scissors and other sharp implements) found and exhibited by André Breton. This rural find by Nash is in line with his profound love of the natural world and its innumerable forms. He wrote in Axis (January 1935) "...I find I still need partially organic features to make my fixed, conceptual image. I discern among natural phenomena a thousand forms which might, with advantage, be dissolved in the crucible of abstract transfiguration; but the hard cold stone, the rasping grass, the intricate architecture of trees and waves, or the brittle sculpture of a dead leaf - I cannot translate altogether beyond their own image, without suffering in spirit. My aim in symbolical representation and abstraction, although governed by a purpose with a formal ideal in view, seeks always to give life to a conception within the formal shell..." In my opinion Seagull Eye Wind Waves is a found interpreted object by Paul Nash. Professor Dawn AdesCausey, Andrew and Eates, Margot Paul Nash Paintings and Watercolours Tate 1975Causey, Andrew Paul Nash's Photographs, Document and Image Tate 1973Evans, Myfanwy "Paul Nash 1937" Axis no 8 Early Winter 1937Exposition internationale du surréalisme Exb. cat. Galerie Beaux-arts Paris 1938 Exposition surréaliste d'objets Exb. cat. Charles Ratton Paris 1936Jenkins, David Fraser Paul Nash, The Elements Dulwich Picture Gallery 2010Montagu, Jemima (ed.) Paul Nash, Modern Artist, Ancient Landscape Tate 2003Nash, Paul "For, but not with" Axis 1 January 1935Nash, Paul "Swanage or Seaside Surrealism" Architectural Review November 1936Nash, Paul "The Object", Architectural Review November 1936Nash, Paul Fertile Image Ed Margaret Nash [1951] 1975Nash, Paul Writings on Art ed. Andrew Causey Oxford 2000Paul Nash, Places Exb. cat. South Bank Centre 1989Read, Herbert (ed.) Surrealism 1936Remy, Michel Surrealism in Britain Ashgate 1999Surrealism Exb. Cat. Cambridge University Arts Society 1937Surrealist Objects and Poems London Gallery Ltd. 1937 The International Surrealist Exhibition New Burlington Galleries Exb Cat. 1936 The London Bulletin 1938-1940
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