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DE TAILLES-DOUCES, Enrichi "Amusemens des Eaux d'Aix-la-Chapelle""Ouvrage utile. A ceux qui vont y prendre les Bains, ou qui sont dans l'usage de ses Eaux".Chez Pierre Mortier. Amsterdam. 1736. 16,5 x 10,5 cm. 2. Teil. 443 Seiten sowie 5 meist ganzseitige Illustrationen, sowie 4 Tafeln. Im Ledereinband mit Goldprägung, Rotschnitt. DE TAILLES-DOUCES, Enrichi"Amusemens des Eaux d'Aix-la-Chapelle""Useful work. To those who go there to take the Baths, or who are in the use of its Waters".Chez Pierre Mortier. Amsterdam. 1736. 16.5 x 10.5 cm. 2. Teil. 443 Seiten sowie 5 meist ganzseitige Illustrationen, sowie 4 Tafeln. Im Ledereinband mit Goldprägung, Rotschnitt. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

IWAN, Friedrich(1889 Landshut - 1967 Wangen) Zwei LandschaftenMischtechnik/Papier. Je links unten signiert. Darstellung 16 x 13 cm; 13 x 17 cm. Gerahmt & hinter Glas : 28 x 22 cm; 22 x 28 cm. Altstadt mit Brunnen im Schnee bzw. Weite Herbstlandschaft mit Stadtsilhouette. Genannt "Schnee-Iwan", deutscher Maler und Grafiker, der besonders durch seine Darstellungen des Riesengebirges Bekanntheit erlangte. "Die meisten seiner Werke zeigen verschneite Landschaften oder tauenden Schnee. Und das schätzen die Menschen wohl am meisten: Wie es ihm gelungen ist zu malen, als würde der Schnee unter den Füßen knirschen. Er hat es geschafft, das Weiß so hinzubekommen, dass es nicht einfach nur weiß ist, sondern eben schneeweiß. Und damit hat er diesen Bildern diese besondere Atmosphäre gegeben. Man sieht das Riesengebirge so, wie es die Menschen kennen." (Kurator und Sammler Peter Bergmann über FI, 2020). IWAN, Friedrich(1889 Landshut - 1967 Wangen) Two landscapesMixed media / paper. Each signed lower left. Display 16 x 13 cm; 13 x 17 cm. Framed & behind glass : 28 x 22 cm; 22 x 28 cm. Old Town with Fountain in the Snow or Wide Autumn Landscape with City Silhouette. Named "Snow Ivan", German painter and graphic artist who became known especially for his depictions of the Krkonoše Mountains. "Most of his works show snowy landscapes or thawing snow. And that's probably what people appreciate most: how he managed to paint as if the snow were crunching underfoot. He has managed to get the white so that it is not just white, but snow-white. And that's how he gave these pictures this special atmosphere. You see the Giant Mountains as people know them." (Curator and collector Peter Bergmann on FI, 2020). *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Studie mit Bacchantin und LeopardÖl/Malkarton. Unsigniert. 2. H. 19. Jh. 16 x 21 cm. Gerahmt : 30 x 37 cm. Übungsskizze mit lagernder nackter Frau, die Weinblätter im Haar hat sowie den Thyrsosstab in der Hand hält. Gleichzeitig hält sie eine Schale, aus der ein Leopard trinkt. Minimale Altersspuren. Study with Bacchante and LeopardOil/painted cardboard. Unsigned. 2nd h. 19th c. 16 x 21 cm. Framed : 30 x 37 cm. Exercise sketch with reclining naked woman, who has vine leaves in her hair as well as holds the thyrsos staff in her hand. At the same time she holds a bowl from which a leopard drinks. Minimal signs of age. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

MEYER-EBERHARDT, Kurt(1895 Leipzig - 1977 München) RehbockRadierung auf Büttenpapier montiert. Bleistiftsignatur. 18,3 x 25 cm. Gerahmt & hinter Glas : 36,5 x 42,5 cm. Deutscher Maler, Grafiker und Illustrator, der besonders durch seine Tierdarstellungen Bekanntheit erlangte, 1912 - 1917 Meisterschüler von Walther Klemm an der Hochschule für Bildende Kunst Weimar. Ab 1916 als Kurt Meyer-Eberhardt unter Beifügung des Mädchennamens der Mutter. MEYER-EBERHARDT, Kurt(1895 Leipzig - 1977 Munich) RehbockEtching mounted on laid paper. Pencil signature. 18.3 x 25 cm. Framed & behind glass : 36.5 x 42.5 cm. German painter, graphic artist and illustrator, who became known especially for his depictions of animals, 1912 - 1917 master student of Walther Klemm at the Weimar Academy of Fine Arts. From 1916 as Kurt Meyer-Eberhardt, adding the maiden name of the mother. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

STEINLEN, Théophile-Alexandre(1859 Lausanne - 1923 Paris) Plakat: "En Belgique les Belges ont Faim"Farblithografie. Im Druck signiert. [1915]. Alliance Franco-Belge, Druck: Lapina, Paris. 126,5 x 90 cm. Plakat anlässlich einer Tombola zugunsten der belgischen Bevölkerung während des 1. Weltkrieges, bezeichnet "En Belgique les Belges ont faim - Tombola Artistique - au profit de l'Alimentation populaire de Belgique". Knickspurig, auf Leinwand aufgezogen, kleine Retuschen und hinterklebte Risse; gerollt verschickbar. Französischer Maler, Zeichner, Grafiker und Illustrator, der besonders für seine Plakat-Entwürfe Bekanntheit erlangte. STEINLEN, Théophile-Alexandre(1859 Lausanne - 1923 Paris) Poster: "En Belgique les Belges ont Faim"Color lithograph. Signed in print. [1915]. Alliance Franco-Belge, printed by Lapina, Paris. 126.5 x 90 cm. Poster on the occasion of a raffle for the benefit of the Belgian population during the 1st World War, inscribed "En Belgique les Belges ont faim - Tombola Artistique - au profit de l'Alimentation populaire de Belgique". Kink-marked, mounted on canvas, small retouches and back-taped tears; can be sent rolled. French painter, draftsman, graphic artist and illustrator who gained fame especially for his poster designs. *This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Madrid or Flemish school, 18th century."Bust of Christ".Oil on canvas. It retains its original canvas.It has repainting, restorations on the pictorial layer and damage to the frame.It has a 20th century frame with inscription on the frame.Measurements: 40,5 x 30,5 cm; 46,5 x 37 cm (frame).Devotional image which was probably part of a private collection due to its small size. The scene depicts the bust of Christ in profile, with his gaze fixed on the viewer, and a serious and serene face. The piece has no iconographic element beyond the Nimbus of Holiness that can be seen in the scene, which stands out against the darkness of the canvas, which has a neutral, black background that manages to highlight the luminosity of Christ's face. In terms of technique, the elongation of the facial features is noteworthy, which is close to the aesthetics of the Flemish school, which had a great influence on the development of the Madrid school, due to the connections of the court, who were the main patrons, and therefore had a certain power over the aesthetic taste of the time.The Madrid school emerged around the court of first Philip IV and then Charles II, and developed throughout the 17th century and even into the 18th century, continued by the disciples of the painters of the previous century. Analysts of this school have insisted on considering its development as a result of the binding power of the court; what is truly decisive is not the place of birth of the different artists, but the fact that they were educated and worked around and for a nobiliary and religious clientele based close to royalty. This allowed and encouraged a stylistic unity, even though there were the logical divergences due to the personalities of the members. The origins of the Madrid school are linked to the accession to the throne of Philip IV, a monarch who made Madrid an artistic centre for the first time. This led to an awakening of nationalist awareness by allowing a liberation from the previous Italianate moulds and a leap from the last echoes of Mannerism to Tenebrism.

Spanish school of the 17th century."Saint Barbara".Oil on canvas.The canvas has faults and is detached from the stretcher.Measurements: 61 x 50 cm.Painting on canvas representing Saint Barbara, accompanied by her main iconographic symbol, the tower. Compiled late in the 10th century and popularised in the West in the 13th century by the Golden Legend, the legend of Saint Barbara narrates that she was the daughter of the satrap Dióscuro who, in order to keep her away from Christian proselytism, locked her in an open tower with only two windows, piercing a third one herself in allusion to the Holy Trinity. However, Barbara was taught by a priest who pretended to be a doctor, and to express her faith in the Trinity she pierced a third window in the wall. She managed to flee but was captured by her father, and when she refused to abjure Christianity and marry a pagan she was handed over to the judge Marcian, who tortured her in various ways. She was stretched on a rack and flogged, torn with iron combs, rolled on pottery shards and burned with red-hot irons, and finally the executioners tore out her breasts with pincers. Finally, her father beheaded her. Saint Barbara's patron saints are widespread; she was considered to be a protector against lightning because her father, after killing her, was struck by lightning. Her name was also often inscribed on church bells, which were rung during storms. Her attributes are the palm of martyrdom and the crown, due to her royal origin, and the tower with three windows (four here, as another one is added on the lower floor).

Follower of VICENTE MARIANI I TODOLÍ (Valencia, 1765 - Madrid, 1819)."Ponte Veccio, Florence.Oil on copper.Size: 29,5 x 46 cm; 134 x 71 cm (frame).Vicente Mariani y Todolí (Valencia, 1765 - Madrid, 1819) was a Spanish intaglio engraver.Descended from an Italian family who settled in Spain, it seems likely that he began his studies at the Royal Academy of San Carlos in Valencia, although he soon moved on to the Academy of San Fernando in Madrid, where he was already enrolled in 1784. Under the protection of the Count of Fernán Núñez, Spain's ambassador in Paris, who made him his draughtsman and amanuensis, he was able to travel to the French capital in 1787, where he continued his studies with Jean Pillement. Some of the original landscape drawings in the Biblioteca Nacional de España and the Museo del Prado bear witness to this influence.On returning to Spain with the appointment of academician of merit he was involved in some of the projects promoted by the Royal Printing Works and the National Chalcography, such as the collection of Portraits of Illustrious Spaniards, in which he painted the portrait of Andrés Laguna, based on a drawing by José Maea, and the unfinished Views of Spanish Ports, for which he signed the views of the ports of Seville and Luarca (1795-1796). In December 1797 he joined the large group of engravers responsible for translating into print the drawings and observations of the flora of Peru and Chile obtained by the botanical expedition led by Hipólito Ruiz and José Pavón, a costly publishing project of which three volumes were published between 1798 and 1802 under the title Flora Peruviana et Chilensis, sive descriptiones et icones plantarum Peruvianarum, et Chilensium.... although his contribution to the project was reduced to one plate.He engraved a complete Apostolate on a drawing by Raphael Sanzio consisting of fourteen plates (the twelve apostles, the Saviour of the World and Saint Paul) for which he received 2,800 reals from the Royal Chalcography, which acquired the plates in 1799, and on behalf of the Company for the Engraving of the Paintings of the Royal Collections set up in 1789, he engraved a Virgin and Child by Murillo on a drawing by José Beratón. In 1818 the Royal Chalcography also bought two plates of Saint Michael and the Holy Cross from him for 1500 reales each.A member of the Academy of San Carlos in 1806 and chamber engraver, from July 1818 until his death the following year he held the post of caretaker of the Royal Gallery of Paintings, the origin of what would later become the Museo Nacional del Prado.

Spanish school; modelled on FRANCESCO BASSANO (Bassano del Grappa, Veneto, 1549 - Venice, 1592)."October (Scorpion)".Oil on canvas. Double relined.It presents damages.Size: 136 x 229,5 cm.This work reproduces through its theme and composition, the painting made by Francesco Bassano, titled "October (Scorpion)", which belongs to the collection of the Prado Museum in Madrid. It is currently on deposit at the Royal Academy of Jurisprudence and Legislation. On its website, the museum points out the bibliographical evidence of the inventory of the paintings of the seasons by Francesco Bassano, which arrived in Spain in 1591 as a gift from the dignitary Ferdinand I de Medici. The cycles dedicated to the seasons began with Jacopo Bassano, who conceived the series around 1574-1575. This was a novel subject, as for the first time the seasons were depicted from a genre rather than allegorical point of view. This characteristic was a departure from Italian painting and established contact with Nordic precedents such as Brueghel and Hans Bol. This particular scene shows the same composition as the one in the Prado collection. However, the scorpion in the upper part of the painting, which links a specific month to a zodiacal sign, is not visible.Francesco Bassano, son of the master Jacopo Bassano, was the most prolific of his brothers, who were also painters. He began his training with his father and, together with his brothers, worked in the family workshop. However, his painting achieved great personal recognition as he managed to move away to some extent from his father's style and introduced his ideas into the Bassano workshop. In 1579 he moved to Venice and in 1587 visited Florence, where he worked for a period. His work achieved great success in Rome, Florence, Venice and Spain, where his paintings were particularly appreciated by the Spanish court.

LOUIS DE CAULLERY (Caullery, circa 1580 - Antwerp, 1621)."At the Gates of the Church.Oil on canvas. Re-tinted.It presents slight restorations.Measurements: 45 x 62 cm; 56 x 73 cm (frame).Louis de Caullery was a painter with a special mastery for the representation of crowds gathered in front of official events, congregations of all kinds, court festivities and popular meetings. This is splendidly demonstrated in this painting of a Flemish subject, in which the arrival of the kings has brought the whole city together in front of the church. Lively groups of people are seen with gestures and gestures, rich attire and humble clothes, as all social classes attend the event. We see a horse drinking from a stone fountain, royal banners announcing their arrival, courtiers at the gates of the Baroque church, boats docking in the harbour with the flag of the Netherlands unfurled.Louis de Caullery was a French painter who began his artistic training in Caullery in 1594 as an apprentice to Joos de Momper in the guild of Saint Luke, where he was enrolled as a master in 1602/1603. Despite his training alongside Momper, Caulery's work is closer to Mannerist sophistication than to Baroque naturalism. He was clearly influenced by some of the engravings of Hans Vredeman de Vries in particular, from whom he borrowed the whimsical architectural backgrounds. His work also displays similar characteristics to the painting of the artist Frans Francken II, which can be seen especially in the anatomical treatment of the figures, although in Caullery they are always represented as a volumetric aesthetic, both in the courtly and allegorical scenes, which form the most interesting part of his output. Caullery favoured genre painting and painted a wide variety of scenes: carnivals on ice, fireworks, bullfights, open-air collections, allegories of the five senses and encounters painted in the spirit of the Fontainebleau school. The height of his figures, their exquisite postures, soft faces and bare foreheads characterise his style. His colours are very sophisticated. Influenced by the Italian masters, his palette proved to be an innovation in Flanders: half-tones, yellow ochre, Veronese green and burgundy red. His depiction of buildings shows that he is concerned with great precision, while he is very skilful at presenting perspective.

Circle of ANTON RAPHAEL MENGS (Aussig, Ústi nad Labem, Czech Republic, 1728-Rome, 1779)"Immaculate Conception.Oil on canvas.Presents the original frame. Re-framed.Size: 135 x 96 cm; 158 x 117 cm (frame).This work closely follows the aesthetic precepts developed by Mengs, Charles III's first chamber painter, whose art was very popular at court. Thus, we find ourselves in front of an Immaculate Conception, the Virgin shows a moving and agitated attitude, especially through the control that undulates in space, corresponding to one of the concepts most promoted in the painting of Anton Raphael Mengs. The chromaticism of the painting shows the usual contrast between the white of the tunic, symbol of purity, and the blue of the cloak (symbol of truth and eternity), colours given to the Immaculate Conception on the basis of the vision that Blessed Beatriz de Silva had of her in the 16th century, who wrote about these tones.We see Mary with the classical iconography, surrounded by angels and cherubs, and with the crescent moon on her feet, treading on the serpent which is an allegory of the devil, thus showing the artist's interest in sticking to a specific space and adapting the figures to it as much as possible.A painter and theorist of Neoclassicism, Anton Raphael Mengs trained in both the practical aspects of painting and the theory of art under the influence of Winckelmann, whose friend and outstanding pupil he was. He trained in Dresden under his father, Ismael Mengs, a court painter. Later, between 7141 and 1744, he travelled to Rome to further his training with Marco Benefial, studying in particular ancient sculpture and the paintings of Raphael and the 17th-century classicists. In 1744 he returned to Dresden and was appointed court painter, where he devoted himself chiefly to portraiture. In 1746 he was appointed painter to King Augustus III of Poland and subsequently undertook a tour of Italy, ending in Rome, where he settled permanently. In the Italian capital he executed important religious and mythological works in fresco, displaying a mature, clearly neoclassical style influenced by the Renaissance and, more specifically, by the work of Raphael. In 1761 he was recalled to Spain, where he remained until 1769 as the first painter to King Charles III. For him he painted works to decorate the Royal Palace and the Aranjuez Palace, as well as important portraits. His presence in Madrid definitively pushed Tiepolo into a corner, as Mengs represented a new taste that was widely accepted at court. Although he later returned to Rome, he visited the Spanish court again between 1774 and 1776, shortly before contracting the illness that led to his death in Italy in 1779. Works by Mengs are now in the Museo del Prado, the Louvre in Paris, the Hermitage in Saint Petersburg, the Metropolitan in New York, the National Gallery and the Royal Collection in London, the Art Institute of Chicago, the Albertina in Vienna and other leading art galleries in Europe and the United States.

Attributed to PIETER DE NEEFS (Antwerp, ca.1578 - between 1656 and 1661)."Interior of a Church.Oil on panel.It has a label on the back from the Sala Pares (Barcelona).Size: 13 x 15.5 cm; 23 x 27 cm (frame).The main contribution of Pieter Neefs the Elder to the pictorial genre consisted in the representation of nocturnal sacred interiors illuminated by two spotlights, torches or candles. He also produced numerous works such as the one presented here: magnificent Gothic church interiors with soft tonalities and sophisticated transitions between the spaces of light and shadow, in which the artist places particular emphasis on spatial geometry - note the chequered pavements on the floor, which help to effectively construct the space in perspective. His detailed works fill the space with numerous small figures, typical of Flemish church interiors of the Baroque period, a genre in its own right. The figures are finely detailed, perfectly identifiable by their clothes and physiognomies. Most of them are gentlemen, although we also see some ladies and children, all dressed in 18th-century Flemish fashion, and even dogs frolicking in such magnificent scenery.A Flemish Baroque painter specialising in sacred architecture, principally church interiors, Pieter Neefs was the head of a lineage of painters of the same name that included his sons Lodewijk and Pieter the Younger. Although we know little corroborated information about his biography, we can confirm that Pieter Neefs the Elder joined the Guild of Painters of Saint Luke around 1610, at which point he first expressed an interest in depicting Gothic church interiors, using stereotypical models for their execution. Although some of these churches have not been identified because they are imaginary, in many other cases they are the interiors of important Flanders churches, such as the interior of the church of Saint Paul in Antwerp (now in the Rijksmuseum, Amsterdam). Peter Neefs the Elder frequently collaborated with other painters, principally with Frans Francken the Younger, with whom he signed in 1636 "Viaticum inside a Church" in the Museo del Prado and "Evening Mass in a Gothic Church" in the Kunsthistorisches Museum, but also with his son, Frans Francken III, with Gonzales Coques and with Pieter Brueghel the Younger, who painted the figures that populate some of his compositions. The exact date of his death is not known, but it must be between 1656, the last year for which there are records, and 1661 when Cornelis de Bie speaks of him in the past tense in his Het gulden cabinet (Antwerp, 1661). His work is now in the Museo del Prado in Madrid and the Rijksbureau voor Kunsthistorische Documentatie in The Hague, among other important institutions.

Dutch school; early 18th century."Landscape with Figures.Oil on panel.Measurements: 18,5 x 24,5 cm.The canvas shows a rural scene in which some peasants celebrate a meal and different games in front of several houses. Thus recreating a stylistic pattern typical of the genre scenes made by David Teniers (Antwerp, 1610 - Brussels, 1690). The scene features some of the pictorial devices popularised by the young David Teniers, who succeeded in revitalising the genre. In depicting these popular festivals, Teniers departed from the aesthetic and compositional schemes of Jan Brueghel "the Elder", repeating the same idyllic vision of the peasant world that was also widely used in Flemish literature of the time. It was embodied in the representation of the kermesse, the name given to neighbourhood festivals with food and drink stalls, where games of skill, children's games, raffles and artistic performances were held.It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light.

Italian school, Circle of GIOVANNI BELLINI (Venice, 1431/ 1436-1516); circa 1516."The Holy Family.Gouache on vellum.Dated in the lower central area.Size: 17 x 13,5 cm; 29 x 24 cm (frame).In this canvas we see a devotional work of great beauty and emotion, classical in its conception, although enriched by a warm illumination, which drinks from the aesthetic influence of the artist Giovanni Bellini. The artist presents us with a well-established and balanced composition, clearly classical, based on a pyramidal scheme with Mary's head at the top. The figures stand out against a neutral background that seems to open up to the blue sky at the sides, which to a certain extent emphasises the corporeality of all the figures in the scene. All the figures are also vividly illuminated by a direct, uniform light. Mary is depicted half-length, wearing a pink tunic and a blue cloak, a colour alluding to the concepts of truth and eternity that would be common in Marian representations. With one of her arms, the Virgin is holding her son, who is standing and offering her a small bouquet of flowers, but with her other hand she is holding tightly that of Saint John Child, which shows the Virgin as the protector of children. Next to them in the background are two men, one of whom, holding a staff, seems to represent Saint Joseph, while the other, wearing a turban, is probably Saint Joachim, the Virgin's father.From its aesthetic characteristics the work can be related to the artistic circle of Giovanni Bellini, an Italian Renaissance painter, probably the best known of the Bellini family. He grew up in the house of Jacopo Bellini, who was previously thought to be his father, although this generational family relationship is now questioned. Giovanni Bellini was considered to have revolutionised Venetian painting, moving it towards a more sensual and colourful style. Using light, slow-drying oil paints, Giovanni created rich, deep tints and detailed shadows. His sumptuous colouring and fluid, atmospheric landscapes had a great effect on the Venetian school of painting, especially on his pupils Giorgione and Titian.

Italian school of the first half of the 19th century. After RAFAEL SANZIO (Italy, 1483 - 1520)."The Holy Family of Francis I/The Large Holy Family".Oil on canvas.Size: 104 x 137 cm; 122 x 150 cm. (frame).This work is a faithful continuation of the one painted by Raphael Sanzio in 1518, an oil on panel transferred to canvas now in the Louvre Museum in Paris. In this canvas Raphael depicted the Holy Family accompanied by the infant John the Baptist and his mother, Saint Elizabeth. The placement of the various figures reflects the hierarchy of the figures in this iconography. Thus we see Saint Joseph in the background, almost hidden in the shadows, while the two women and the two children remain in the foreground, directly illuminated. These four figures form a typically Raphaelesque pyramidal scheme, much imitated by his followers, which is clearly classical, and which anchors and balances the composition. Furthermore, this scheme serves to focus attention on the two main figures: Jesus and Mary.With regard to the subject matter, the iconography that introduces the figure of Saint John into scenes of the Holy Family or Mary with the Child is not only due to the saint's status as a relative of Jesus, but also has a theological significance. These images present St John the Baptist as a prophet who announces Christ's redemptive mission, which is why, despite the fact that he is depicted as a child, before his retreat into the desert, he appears in the skin of a lamb or camel and generally accompanied by the iconographic attributes common in his images, which allude to the Passion of Christ. However, unlike in other paintings by Raphael and others, the children here appear to be oblivious to Jesus' dramatic fate. Only the two women show a certain restrained sorrow in their expressions that allows us to guess the sorrow with which they contemplate the children's games.

Madrid School of the 17th century."Christ of Medinaceli".Oil on canvas.Frame ca. 1800.Measurements: 67 x 95 cm; 94 x 124 cm (frame).The iconography of the Christ of Medinaceli (also known as Jesús Nazareno Rescatado or El Señor de Madrid) evokes the moment of the Passion when Pontius Pilate presents him to the people. This canvas, like the great majority of works of this iconography, is taken from the sculpture of the Christ of Medinaceli located in the Basilica of Our Father Jesus of Medinaceli in Madrid. Although the author of this carving is unknown, it is thought that it may belong to the Sevillian school of the Cordovan Juan de Mesa.The Madrid school emerged around the court of first Philip IV and then Charles II, and developed throughout the 17th century. Analysts of this school have insisted on considering its development as a result of the binding power of the court; what is truly decisive is not the place of birth of the different artists, but the fact that they were educated and worked around and for a nobiliary and religious clientele based next to the royals. This allowed and favoured a stylistic unity, even though there were the logical divergences due to the personalities of the members. The origins of the Madrid school are linked to the accession to the throne of Philip IV, a monarch who made Madrid an artistic centre for the first time. This was an awakening of the nationalist conscience as it allowed a liberation from the previous Italianate moulds and a leap from the last echoes of Mannerism to Tenebrism. This was the first step taken by the school, which gradually progressed towards a more autochthonous Baroque language linked to the political, religious and cultural conceptions of the Habsburg monarchy, before dying out with the first outbreaks of Rococo in the work of the last of its representatives, A. Palomino. The techniques most commonly used by these painters were oil and fresco. Stylistically, the starting point was naturalism with a notable capacity for synthesis, leading in due course to the allegorical and formal complexity characteristic of the decorative Baroque. These artists showed a great concern for the study of light and colour, as we can see here, initially emphasising the interplay between extreme tones characteristic of tenebrism, which were later replaced by a more exalted and luminous colouring. They received and assimilated Italian, Flemish and Velázquez influences. The clientele determined the fact that the subject matter was reduced almost exclusively to portraits and religious paintings.

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Records : THE WHO - 2 vinyl album new 180 gram/sealed

Rare Heuer Skipper 'Skipperera' stainless steel gentleman's wristwatch, reference no. 7753, serial no. 105xxx, circa 1970,  sunburst blue dial with applied polished faceted baton hour markers, black outer 1/5th second divisions on a raised surround, twin subsidiary dials at 3 and 9 for constant seconds and green, mint and orange 15 minute recording, pointed baton hands with luminous inserts and orange centre second chronograph hand, Valjoux cal. 7730 17 jewel manual wind movement, the case with twin-pushers and Heuer crown, black racing style strap, 36mm-The Skipper Carrera nicknamed the 'Skipperera' was designed and inspired by the 1967 America's Cup winner, 'The Intrepid' for which Heuer were the official timekeepers. The brand provided a full range of equipment for team 'Intrepid', including stopwatches, Navia waterproof clocks, and Aquastar chronographs.-To commemorate the win, Jack Heuer commissioned the 7754 (based on the 7753), which today remains one of the brand's rarest and most coveted watches with potentially fewer than 30 examples known to exist. The most notable characteristic of the watch being the dial colouring which is directly taken from the 'The Intrepid'-Consigned by the original owner who acquired the piece from new in the late 1960’s, who at the time was a director the UK based Heuer distributor, Chronosport Special Watches based in Bath. - The owner used the Skipper when sailing his Fireball racing dinghy from the Highcliffe Sailing Club near Bournemouth during the 1970s-The Skipper was last serviced by TAG Heuer on 27 November 2008 where the crown, and pushers were replaced but retained and included in the sale.-The owner visited the Heuer factory in the late 1960’s where he met with Jack Heuer, the fourth member of the Heuer family to head the company, and with whom he liaised to design the dial for a timer which provided average speeds for competitors in the Indianapolis 500, based on the Heuer model 503 220 stopwatch.-Movement - currently functioning and appearing in very clean condition, last serviced in November 2011 by Tag Heuer.Dial - a very nice original dial with a nice vibrant blue ground, there is oxidised wear around the rim to the blue with some loss mostly to the marker areas - please view all images for personal guidance.Glass - several light marks are visible.Hands - light marks present with some wear to the surface on the hour hand.Case - typical light marks but generally good for the period, the pushers were replaced during the service with the originals retained and included in the sale.Crown - replacement Heuer crown which was changed during the service, the original was retained and included in the sale.Strap - replacement strap.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained

Rare Military Commissioned Rolex Oyster Perpetual Date Explorer II stainless steel gentleman's wristwatch, made for the 22 Special Air Service 'SAS', "Who Dares Wins", ref. 216570,  serial no. G77xxxx, ZAP no. CA8xxxxx, issued in 2012, calibrated 24 hour bezel, white dial with dot and baton markers, sweep centre seconds and 24 hour orange dual time sign indicator, cal. 3187 movement, sapphire crystal, screw down crown, Oyster case with the SAS motto '"Who Dares Wins'" engraved to the band, the back with the engraved SAS logo and ZAP reference number to match the original owner's initials, Oyster bracelet with flip lock clasp, bezel 42mm diameter-** Property of the original owner-** In 2012 Rolex issued a limited series special order of Explorer II ref. 216570, exclusively retailed to SAS members.-**The present lot is in excellent condition with the original box, guarantee and related accessories. The SAS motto “Who Dares Wins” is engraved on the case band while the back displays the SAS logo.-Movement - currently functioning, serviced by Rolex in September 2019.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained

Fine Heuer Carrera Dato 45 chronograph stainless steel gentleman's wristwatch, reference no. 3147 S, serial no. 101xxx, circa 1968, silvered dial with raised bevelled markers and outer raised outer minute divisions, date aperture to the 9 o'clock position, subsidiary 45 minute recording dial and black chronograph centre seconds, baton hands, Landeron cal. 189 movement, with the original bracelet dated to the clasp '2.68', 36mm-** 2nd Execution model with the date at 9-** Consigned by the original owner who acquired the piece from new in the late 1960’s, who at the time was a director the UK based Heuer distributor, Chronosport Special Watches-Movement - clean condition and currently functioning.Dial - original dial considered good for the period - see images for personal guidance.Glass - light surface marks present.Hands - light marks, nice patina consistent to the period - see image.Case - typical light marks but generally considered good for the period - see images for guidance.Crown - lacking Heuer logo so a possible service replacement, adjusting correctly.Bracelet - original Heuer bracelet with clasp, light marks to the clasp but generally good, one spare link, wrist size 7.5" approx.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained

Two Small Boxes Containing Approx. 645 Images of Trams Around Great Britain Organized From A – Z. The majority are Photographic Prints commonly collected in the 1960s and 70s from various dealers who reproduced from original watercolours but there is a small quantity of postcards amongst them. These include printed and Real Photographic scenes of towns showing trams in Street Scenes, predominantly in Northern England

Two Modern Red and Turquoise Albums. The red album contains 36 silk postcards, 27 of which are embroidered including the East Yorkshire Regiment. There are 9 woven silks including portraits of Lord Kitchener, Joffre – French General, Captain Charles Fryatt, British seaman who bravely rammed a German U Boat and was captured in Belgium and ended up before a German firing squad, Hands across the Sea – S. S. Arabic and also S. S. Ivernia. Furthermore, a woven view of the R. M. S. Saxonia, Ypres war damage and a further war damage card which is horizontally creased. Some of the lesser cards have small surface scuffs on the reverse side and even some of the better cards have small issues so careful viewing is thorough recommended. The second album is of no consequence

Group of 29 nineteenth century covers to various destinations, with interesting postmarks incl. 1832 ’Night’ red octagonal datestamp on mailed cheque with embossed 1/- receipt; '7' in cross only very slightly tying 1841 2d blue (three margins, in at top) cat. £3,250; nice Liverpool spoon cancel tying 1d red stars; 2d blue single and pair plate 14 on 1872 cover to Palermo; 1d red plate 93 pair and strip of four on 1866 mourning cover from Rawtenstall to Australia with two forms of red ‘Unclaimed’ and red ‘Not Known By Letter Carriers’ handstamps plus cds marks incl. Melbourne August ’66 and Colinwood, Victoria March ’67. Then attractive surface-printed frankings to India, USA, Prince Edward Island (6d violet plate 5, 1866 pmk), 1880 cover with 5d rate (2x 2½d blue) to Bangalore with Sea Post Office cancel on reverse, 3d on 3d lilac with 1½d Venetian red on registered cover to Marseilles; 1881 14 dots 1d lilac with severe printing flaws; and a highly unsusual registered envelope uprated with jubilee issues from Jersey to Paris opened to show perfect strike of eagle and shield handstamp of the Colombian consulate in Jersey - who knew?! An altogether fascinating group of postal history.

An Unusual Great War Pair of Medals to a Jewish Russian Immigrant Who Served in the 38th (Jewish) Battalion Royal Fusiliers, British War and Victory medals, “J-68 PTE. P. SHIOVITZ. R. FUS.”Peter Shiovitz was born in 1894 in Russian Poland and by 1911 was working as a Ladies Tailor and living with his parents and 5 siblings in Convent Gardens, Notting Hill. During the Great War he served with the 38th Battalion Royal Fusiliers and is entitled to a pair of medals only, his name is recorded in the British Jewry Roll of Honour 1914-1918

Rare Japanese Naval Landing Forces Type 35 Bayonet, with wooden grips and the special release catch to the side of the tang, same design as on the Japanese NCO’s Katana’s. Housed in the blued steel scabbard. Straight blade with fuller to the back edge.These bayonets were only made from between 1902-1905. At this time they were for use by the Naval land forces who were using the type 22 rifle, but by 1905, these rifles were replaced by the type 38 rifle. Many of this pattern of bayonet were classed as surplus and were sold to Siam and Finland.Ex John Ingham CollectionPLEASE SEE AUCTION INFORMATION IN RELATION TO THE SHIPPING OF SWORDS AND BAYONETS BEFORE BIDDING.

Great War Memorial Scroll to a Captain in the Yorkshire Regiment Who Died in India 1919, awarded to commemorate “CAPT. GERALD WILLIAM EDWARD MAUDE, YORKSHIRE REGT”. In glazed frame with a condolence slip inset into the reverse.Born on 20th November 1888 he studied at Oriel College, Oxford University and was appointed 2nd Lieutenant in the Yorkshire Regiment on 27th May 1911. Promoted Lieutenant on 12th February 1914 he was Temporary Captain from 1st September 1915 being confirmed in the rank on 2nd August 1916. He served for 8 years in India and was badly wounded by a bullet penetrating one of his lungs. He spent 3 months recovering in Kashmir and having been granted 12 months leave he planned to return to the UK but contracted a cold which in his weakened condition developed into pneumonia and he died on 5th November 1919, 2 days before his planned embarkation back to Britain.Gerald William Edward Maude is commemorated on the Delhi Memorial (India Gate).

WW2 1941 Withdrawal from Greece Distinguished Service Cross Medal Group of Six to a Lieutenant Commander Who Survived the Loss of the Destroyer HMS Hereward off the Coast of Crete and was Taken Prisoner of War by the Italian Forces, Distinguished Service Cross GVI, reverse officially dated 1941, Naval General Service medal 1915-62, GVI, with 2 clasps Palestine 1936-1939 and Minesweeping 1945-51, “LT CDR J.E. MAMMATT R.N.”, 1939-45 Star, Atlantic star, Africa star and War medal 1939-45. Medals mounted for wear. Also included with the lot is a copy photo of the recipient in Navy uniform and a leather case with the recipients initials in gilt on the top.Distinguished Service Cross – London Gazette 11th November 1941, For gallantry and distinguished services in operations in Greek waters.John Edward Mammatt, was born in March 1913. He was appointed a Midshipman in January 1931 and was serving as a Lieutenant in the destroyer HMS Hostile on the outbreak of hostilities in 1939. It was whilst serving with HMS Hostile that he saw extensive action off Norway and in the Mediterranean, right up until her mining and loss off Cape Bon on 23 August 1940. HMS Hostile arrived off Norway in March 1940, fresh from patrolling the South Atlantic, and was heavily engaged in the First Battle of Narvik in the following month, initially in a duel with the Roeder, which with HMS Hotspur she left ablaze, and latterly, alongside the HMS Havock, with the HMS Ravenfels, which was destroyed. That done, HMS Hostile escorted the battered HMS Hotspur to safety. The ship was then ordered to the Mediterranean, Serving in Mountbatten’s 5th Destroyer Flotilla, and was present when HMS Kelly was badly damaged by a torpedo on 9th May. Finally, in July, shortly before her demise off Cape Bon, she was present in the action fought off Calabria, known as the battle of Punta Stilo. Mammatt next joined the destroyer H.M.S. Hereward, and was subsequently present in her during the withdrawal from Greece, for which he was awarded his Distinguished Service Cross. HMS Hereward would finally fall victim to Stukas of 111/St.G.2 north of Plaka on 29 May 1941, during the evacuation of the island of Crete. David A. Thomas’ Crete 1941, The Battle at Sea, describes the event,“At 0625 when the force was in the middle of the [Kaso] Strait the Hereward on the port side of the screen came in for the next attack. The first few Stukas were evaded, but another, diving low, let go a stick of bombs, one of which exploded near her foremost funnel. She swung out of line, her speed crippled and she had 450 troops aboard. Admiral Rawlings was now faced with another grim choice, the second only in a few hours: whether to send another destroyer to assist Hereward or whether to abandon her to her fate. To detach another destroyer would invite almost certain destruction, for the main hope of salvation against these aircraft attacks lay in concentration. The fact that the coast of Crete lay only five miles away helped persuade Rawlings to leave the Hereward to her own devices. As the force continued on its way the Hereward was last seen heading slowly for the coast, her guns still engaging enemy aircraft. She was commanded by Lieutenant-Commander W. J. Minn, Cunningham’s Flag Lieutenant in the Hood.’’Hereward was abandoned two miles north of Plaka and all those on board who survived were taken prisoner - but for the intervention of an Italian Red Cross seaplane, which circled over the survivors as they came ashore, two Stukas intent on attacking them may well have increased her casualties. As it transpired, these were already of a dramatic nature, for having departed Heraklion earlier that day with 450 troops, and of course her own complement of around 150 officers and ratings, the Italian naval authorities could only muster a total 229 survivors by the time they issued an official statement. John Edward Mammatt, who was among those taken prisoner, was duly incarcerated in assorted Italian P.O.W. camps at Sulmona, Padula and Gavi, prior to being moved to a Stalag at Spittal in Austria in September 1943. From there he was transported to Stalag IV B at Muhlberg in Germany and thence to Marlag Und Milag Nord, at which latter camp he was liberated at the War’s end. Mammatt, who was advanced to Lieutenant-Commander with seniority from October 1944, received his Distinguished Service Cross at an investiture held on 11 December 1945. He continued to serve in the Royal Navy after the war and was involved in minesweeping operations.

A Single WW2 British War Medal for a Royal Air Force Casualty, War medal 1939-45, unnamed as issued, in Royal Air Force cardboard box of issue (address label partially removed) with Air Ministry condolence slip named to “SERGEANT I. R. S. PARIS.” Lot includes a portrait photograph in flying gear and a set of metal Royal Air Force wings.Sergeant Ivor Ray Stanley Paris served with 27 Squadron and died aged 20 on 26th July 1944. He rests in an identified grave in Le Petit Lac Cemetery in Algeria. He is 1 of 5 members of the squadron who lie in the cemetery all having died on the same date.

Second World War ‘Friendly Fire’, Killed in Action Medal Group of Five to a Submariner Who Was Mentioned in Despatches for his Part of the Sinking of a Vichy French Submarine, 1939-45 star, Atlantic star, Africa star, War Medal 1939-45 (all unnamed as issued), Royal Navy Long Service and Good Conduct medal GVI, “J109813 E.J. BLEWETT A.L. TEL. H.M.S. MEDWAY”, with loose mentioned in despatches oakleaf (no prongs on reverse, 1 hole for fixing). With named admiralty condolence slip for Second World War campaign medals, “EDWARD JOSEPH BLEWETT”, indicating the issue of 4 awards. Lot also includes Royal Navy cloth cap badge, ‘H.M.S. Parthian.’ cap tally, empty envelope to Mrs I. M. Blewett in Thornhill, Southampton, dated 3rd May 1943 and 2 sports medallions, 1 hall marked silver football award with the reverse engraved RUNNERS UP/SHEERNESS CUP/1935, the other in white metal the obverse showing the HMS Dolphin crest engraved E. BLEWITT (sic), the reverse engraved FOOTBALL/INTER SUBMARINE/ LEAGUE/1937-8.Mention in Despatches – London Gazette 7th October 1941, ’For courage, enterprise and devotion to duty in successful submarine patrols, Leading Telegrapher Edward Joseph Blewett, P/J109813, HMS Parthian.’Edward Joseph Blewett born on 8th May 1908 in Gosport Hampshire joined the Royal Navy as a Boy 2nd Class on 5th March 1924. Rated as a Boy Telegrapher on 16th October 1925 he transferred to the submarine service in October 1931 serving on HMS Dolphin. He served on submarines Oswald, Snapper, Seawolf, Parthian and UnbeatenHe qualified for his Long Service medal on 17th July 1941 and it was presented to him on 9th December 1941. He served on Parthian from 1st April 1939 through to 21st July 1941, his mention was for 7 patrols in the Mediterranean during which time the Vichy French submarine Souffleur was sunk by Parthian. He later transferred to HMS Unbeaten and was on board when she was lost with all hands in the Bay of Biscay on 11th November 1942 at the age of 34. It is believed that she was attacked and sunk in error by an RAF Wellington of 172 Squadron Coastal Command.Edward Joseph Blewett is commemorated on the Portsmouth Naval Memorial.

A Scarce 24th Foot Indian Mutiny Medal to an NCO Who Was Wounded in Action at the Battle of Jhelum, Where Three Companies of the Regiment Suffered Heavy Casualties Whilst Attempting to Disarm Mutineers of the 14th Native Infantry, medal without clasp, “CORPL. J. RYAN. 1ST BN, 24TH REGT.”James Ryan, a 17 year old labourer from Castleton, County Tipperary, joined the 1st Foot at Aberdeen on 27th March 1848 with Regimental number 2483. On 2nd April 1849 he transferred to the 24th Foot with the new number 3505. He was wounded in action (gunshot to the thigh) at Jhelum on 7th July 1857. This was the main battle that the Regiment participated in with just 3 Companies (285 men) being involved, during the fighting they suffered casualties of 23 killed and 51 wounded. He was promoted to Corporal the day following the battle and was discharged at Chatham on 19th October 1858 due to ‘wounds received in action against the mutineers of the 14th N.I. at Jhelum on 7th July 1857. He is noted as having served for 8 years in the East Indies and his conduct was recorded as ‘His character is good, in possession of one Good Conduct Badge with pay since 27th May 1853, in action at Jhelum against the mutineers of the 14th Regiment N.I. on 7th July 1857 and wounded severely by gun shot through left thigh. Obtained second Good Conduct Badge 27th May 1858.’A nice medal to a scarce 24th Foot casualty.

Historically Important Indian Mutiny Medal Awarded to a Captain in the Bengal Engineers who Served Under General Havelock During the First Relief and Second Defence of Lucknow, Was Wounded on the Day the Residency was Finally Relieved by Sir Colin Campbell and was Twice Mentioned in Despatches for his Services and was One of the Personalities of the Defence of Lucknow, medal with clasp Defence of Lucknow, “2ND CAPT. L. RUSSELL, EXEC. ENGR.”, remains in generally good condition. Lindsay Russell entered the Bengal Engineers in December 1847 and served as Brigade Major of Engineers during the Great Sepoy Mutiny. He is listed on the Roll of Officers and Staff of the Shahjehanpore Brigade as having been present at ‘all the actions leading to the reoccupation of Cawnpore and in the advance to Lucknow with General Havelock. Present at the Defence of Lucknow. Disabled by wound.’ The Siege of Lucknow, by Rutz Rees, gives the following account: ‘The Chief Engineer, Crommelin, meanwhile superintended the defensive works of the new palaces. With the miners placed at his disposal, he soon foiled most of the enemy’s mining operations, and sank shafts and began galleries in every direction. In carrying out these labours he owed much to the energy and courage of Lieutenant RusseII, his Major of Brigade. The enemy however could not be driven out of a portion of the palaces, which they had maintained possession of, after having exploded a mine. Colonel Napier, accompanied by Colonel Purnell and Moorsome, however reconnoitred the enemy’s position one dark night with perfect success, and Lieutenant Russell of the Engineers, was then directed to attempt to blow up the Mosque which the enemy had maintained. He was perfectly successful; a great number of the insurgents were blown into the air and we maintained a capital point from which to command the Khaz Bazaar.’ Wounded in action, Kaye and Malleson, in their History of the Indian Mutiny, state: ‘An open space, nearly half a mile in width, still intervened between the assailants and the advanced positions of Outram and Havelock. This space was exposed to a heavy musketry fire from the Kaisarbagh and could not be crossed without imminent risk. But the risk did not prevent the two gallant generals and their staff from crossing the space to meet the Commander-in-Chief. They started eight officers and one civilian. They were Outram, Havelock, Napier (now Lord Napier of Magdala), Vincent Eyre, young Havelock (now Sir Henry Havelock), Dodgson, the deputy Adjutant General, the aide-de-camp Sitwell, the engineer Russell, and the gallant Kavanagh. They had not gone many paces before they were seen by the enemy, and the musketry fire from the Kaiserbagh redoubled. Napier was struck down, young Havelock was struck down, Sitwell and Russell were struck down. Outram, Havelock, Eyre, Dodgson and Kavanagh alone reached the Moti Mahal uninjured. Then to borrow the appropriate language of Sir Colin Campbell, “The Relief of the Lucknow Garrison has been accomplished”.’ For his gallantry, Russell was twice Mentioned in Despatches by Sir Henry Havelock, firstly for his actions at the Battle of Futtehpore: ‘My orders were conveyed in the field boldly, actively and intelligently by my aide-de camp, Lieutenant Havelock, 10th Foot, and the following officers: Lieutenant Moreland, 1st Fusiliers; Lieutenant Moorsome, H.M.’s 52nd Light Infantry; Captain Sheehy, H.M.’s 81st Regiment; Captain Russell, Engineers; and Captain McBean’; and secondly for his gallantry during the Relief of Lucknow, in the last despatch written by Havelock prior to his death: ‘I must commend all the officers in charge of detachments, but most prominently Colonel Purnell, 90th Light Infantry, whose conduct throughout the affair evinced the most distinguished gallantry, united to imperturbable coolness and the soundest of judgement; as well as Lieutenants Russell, Hutchinson and Limond of the Engineers, and Captain Oakes (attached), who showed the way to several points of attack.’ Russell became one of the personalities of the second Defence of Lucknow and was wounded on the day that the Residency was finally relieved by Sir Colin Campbell. He features in the famous painting The Relief of Lucknow by Thomas Barker. Advanced to Colonel in March 1878, he retired on 11 May 1881, and was granted the honorary rank of Major-General. He died at his home in Folkestone, Kent, on 9 May 1904, aged 74.

Indian Mutiny Medal Awarded to a Corporal of the 8th (Kings) Regiment Who Was Killed in Action During the Assault on the Delhi Breaches on 14th September 1857, medal with clasp Dehli, “CORPL PATK. LEE, 1ST BN. 8TH REGT.”1956 Corporal Patrick Lee attested for the 8th Regiment on 10th April 1842 in Cork at the age of 18. In July 1846 he embarked for India on the ‘Anne Armstrong’. He was promoted to Corporal on 21st March 1857 and in April and May he is shown as being in hospital. Patrick Lee was killed in action on 14th September 1857 when the British forces attacked the breaches in the walls. The attack was launched at 3am and 250 men of 8th Regiment formed part of the 2nd column under Brigadier Jones that attacked the breach at the Water Bastion by the Juma Gate. After a week of street fighting the city finally fell on 21st September 1857.Medal and clasp confirmed on the roll, his prize money for the Delhi siege was paid to his brother Andrew and sister Harriett.

An Unusual Indian Mutiny Medal Awarded to a Gunner of the Artillery Recruit Depot Who Was Killed in Action in June 1857, medal with clasp Delhi, “GUNNER BENJN. HOWFIELD, ARTY RECRUIT DEPOT”. Some minor edge bruises. Benjamin Howfield was born in London and attested at Westminster on 16 February 1856, sailing to India on the Cambodia. A Gunner in the Artillery Recruit Depot, he was killed in action at Badli-ke-Serai on 8 June 1857, the only man of the Artillery Recruit Depot killed that day. Ex. Dalrymple White Collection, Glendining’s, July 1946.

Indian Mutiny Medal Awarded to an Officer in the 27th Native Infantry, Who Later Committed Suicide Whilst Depressed in 1873, medal with clasps Central India and Lucknow, “LT R.D. THORPE, 27TH MADRAS N.I.”Robert Doveton Thorpe was born on 25th August 1843 in Fort St. George. He entered the service of the Honourable East India Company on 26th November 1856 as a Cadet in the Madras Infantry having been recommended by his father, Colonel Thorpe of the Madras Infantry. He saw service during the Mutiny with the 27th Madras Native Infantry and his medal with 2 clasps in confirmed on the Regimental roll. He married on 18th December 1861 but sadly his wife died on 1st May 1862.Captain Thorpe committed suicide whilst under great mental depression on 17th September 1873 just 2 days after he had written his will.

An Interesting Zulu War Medal to the Royal Navy, Awarded to a Sailor Who Was Court Martialled and Jailed During his Time on HMS Boadicea, The Ship on Which he Qualified for his Medal, South Africa medal 1877-79, engraved naming, “G.C. BATEMAN, ORD H.M.S. BOADICEA”, medal with ornate pin back ribbon bar.George Charles Bateman was born in Pimlico on 6th November 1858. He entered the Royal Navy as a Boy 2nd class on 13th November 1873. He served on Boadicea from 18th April 1878 to 1st June 1879 and then from the 2nd December 1879 to 20th January 1880. His service record indicates he was sent for Court Martial and spent 6 months in jail. His medal was 1 of 249 no clasp medals issued to H.M.S. Boadicea and was sent to him on 14th January 1882 on board H.M.S. Forester.George Bateman was discharged dead due to typho-malarial fever on 19th August 1889 at Port Blain.

Victorian Medal Group of Three Awarded to an Officer in the Leicestershire Regiment Who Was Twice Mentioned in Despatches for his Service in the Boer War, India General Service medal 1854 with clasp Burma 1887-89, engraved naming in running script, “LIEUT F.H. GLOSSOP 2ND BN LEIC. R.”, Queens South Africa medal with 4 clasps, Talana, Defence of Ladysmith, Laing’s Nek and Belfast, engraved naming, “MAJOR F.E. GLOSSOP LEIC: REGT.”, Kings South Africa medal, engraved naming, “MAJOR F. E. GLOSSOP LEIC RGT.” Note different initial on I.G.S. Group mounted as worn on pin with matching set of period mounted miniature medals. Francis Edward Glossop was born in Twickenham on 25th April 1866. He gained his certificates in law and riding from the Royal Military College and commenced his military career in January 1886. Promoted to Captain in 1894 he was promoted to Major on 29th November 1901. IGS and clasp are confirmed on the roll as is the QSA and clasps Talana, Defence of Ladysmith and Laing’s Nek but unfortunately the section of the roll showing the Belfast clasp entitlement is not legible but medal appears to be as issued, KSA and both clasps is also confirmed on the roll. He was mentioned in despatches twice for the Boer War, 2nd February 1901 in General Buller’s despatch and 10th September in Earl Roberts despatch.He married in Richmond on 1st October 1902 and finally retired from the Regiment in December 1909. He and his wife moved to Canada and Francis Edward Glossop died on 11th December 1932 on Vancouver Island British Columbia, Canada.

An Interesting Three Monarch Territorial Long Service Medal Group of Five to a Soldier Who Served in the Volunteer Artillery, Royal Field Artillery, Royal Flying Corps and Finally the Royal Air Force, Queens South Africa medal with clasps Cape Colony, Orange Free State, Transvaal and South Africa 1901, “7139 DR. R.W. MCKAY, 1ST NTHLD:VOL:ART:”, 1914-15 Star medal, “1212 DVR. R.W. MACKAY, R.F.A.”, British War and Victory medals, “403209 2 A.M. R.W. MACKAY R.A.F.”, Territorial Force Efficiency medal EVII, “77 CPL. R.W. MCKAY 1/NTH’BN B. R.F.A.” Ghost dates present on Q.S.A., all clasps confirmed on the relevant rolls. Note differences in spelling of surname.Territorial Force Efficiency medal – Army Order 255, 1st October 1910.Robert William McKay was born in Newcastle upon Tyne in 1873. Served in Boer War in the Elswick Battery, 1st Northumberland Volunteer Artillery. During the Great War he served in France with the Royal Field Artillery from 17th April 1915 before transferring to the Royal Flying Corps on 28th June 1917 and the Royal Air Force on 1st April 1918. Discharged from service on 30th April 1920.

French Foreign Service Sun Helmet for Gendarmerie Probably in French Indo-China, cloth covered cork foreign service helmet with brass flaming grenade badge with RF to the centre. Green cloth lining to the inside and leather sweatband. Complete with the leather chinstrap. Some slight damage to the cork on the font peak but otherwise good condition. During the German occupation of France in WW2, many of these helmets were used by the Germans, especially the Kriegsmarine who were based in French ports for their tropical uniform. You find many that are badged to the Kreigsmarine.

Portuguese Steel Combat Helmet, interesting mild steel ribbed brodie style helmet which was produced during the first world war period but mostly used in the post war years. Green painted shell with Portuguese cross insignia to the front. Helmet is complete with its original leather sweatband and cloth lining. Complete with the original leather chinstrap. Heavily worn and some paint loss. The mild steel helmets were often favoured by high ranking British officers during WW1 who were mostly stationed behind the front line. At the late stage of WW1 and into early post war years, these helmets were exported and used by the Portuguese army and civil defence.

Historically Important Royal Navy Peaked Cap of Admiral of the Fleet The Right Honourable Louis Mountbatten, 1st Earl Mountbatten of Burma, the cap is a ribbed white top WW2 period peaked cap with fine quality bullion embroidered kings crown cap badge to the black mohair cap band. Bullion embroidered double row of oakleaves to the peak. Patent chinstrap and plain side buttons. Interior of the cap has brown leather sweatband and blue cloth lining with a Gieves tailors label which has an embroidered name tape, “MOUNTBATTEN OF BURMA”. The cap shows service wear but is generally still a good example. Accompanying the peaked cap is the original submission slip for entry into Wallis & Wallis auctioneers on 28th April 1987 and a typed document detailing the entry from a Mr Philip Baker. The document states that this said cap had been purchased some 10 years earlier from the same auction house. Louis Francis Albert Victor Nicholas Mountbatten, 1st Earl Mountbatten of Burma (25 June 1900 – 27 August 1979) was a British naval officer, colonial administrator and close relative of the British royal family. Mountbatten, who was of German descent, was born in England to the prominent Battenberg family and was a maternal uncle of Prince Philip, Duke of Edinburgh, and a second cousin of King George VI. He joined the Royal Navy during the WW1 and was appointed Supreme Allied Commander, South East Asia Command, in WW2. He later served as the last imperial Viceroy of India and briefly as the first Governor-General of the Dominion of India.Mountbatten attended the Royal Naval College, Osborne, before entering the Royal Navy in 1916. He saw action during the closing phase of WW1 and after the war briefly attended Christ's College, Cambridge. During the interwar period, Mountbatten continued to pursue his naval career, specialising in naval communications.Following the outbreak of the Second World War, Mountbatten commanded the destroyer HMS Kelly and the 5th Destroyer Flotilla. He saw considerable action in Norway, in the English Channel, and in the Mediterranean. In August 1941, he received command of the aircraft carrier HMS Illustrious. He was appointed chief of Combined Operations and a member of the Chiefs of Staff Committee in early 1942, and organised the raids on St Nazaire and Dieppe. In August 1943, Mountbatten became Supreme Allied Commander South East Asia Command and oversaw the recapture of Burma and Singapore from the Japanese by the end of 1945. For his service during the war, Mountbatten was created viscount in 1946 and earl the following year.In March 1947, Mountbatten was appointed Viceroy of India and oversaw the Partition of India into India and Pakistan. He then served as the first Governor-General of India until June 1948. In 1952, Mountbatten was appointed commander-in-chief of the British Mediterranean Fleet and NATO Commander Allied Forces Mediterranean. From 1955 to 1959, he was First Sea Lord, a position that had been held by his father, Prince Louis of Battenberg, some forty years earlier. Thereafter he served as chief of the Defence Staff until 1965, making him the longest-serving professional head of the British Armed Forces to date. During this period Mountbatten also served as chairman of the NATO Military Committee for a year.In August 1979, Mountbatten was assassinated by a bomb planted aboard his fishing boat in Mullaghmore, County Sligo, Ireland, by members of the Provisional Irish Republican Army. He received a ceremonial funeral at Westminster Abbey and was buried in Romsey Abbey in Hampshire.

Nationally Important Full Uniform of Maharaja His Highness Mohan Shamsher Jang Bahadur Rana of Nepal GCB, GCIE, GBE, Prime Minister and Supreme Commander in Chief of Nepal 1885-1967, superb quality double breasted scarlet full dress uniform with dark blue facings. The collar and cuffs are heavily embroidered with gold wire decoration. Officers gilt linked and silver (not hallmarked) undress shoulder scales and twist cord dress aiguillettes still accompany the tunic. Fine quality gilt metal officers tunic buttons to the uniform. The breast has a variety of medal / award loops for breast orders awarded. Fine quality quilted padded lining to the interior of the tunic. Accompanied by the matching full dress trousers in green cloth with thick red stripe to the leg. Superb pair of officers full dress epaulettes also accompany the uniform set, with silver and gilt insignias applied. Waist sash with brass clip mount and knot tassels. Rare solar topee helmet of cork construction with green cloth covering. Impressive large central rayed helmet plate with central face and applied wreath enclosing crossed silver Kukris with crescent moon and sun above. Crimson silk pagri to the helmet. Interior retains the original leather sweatband with gilt tooled tailors / retailers details of “Messrs Ranken & Co Ltd Calcutta & Simla”. Leather backed linked brass chin chain. With the helmet is the original full dress plume of yellow feathers over red and housed in the japanned tin of issue. Overall a superb grouping that is unique and of historical and national importance to Nepal. Maharaja His Highness Mohan Shamsher Jang Bahadur Rana of Nepal GCB, GCIE, GBE, was born in 1885 to the Rana family who were the rulers of Nepal at this time. He was the last of the Rana family to be Prime Minister and ruler of the country. His family had ruled Nepal for over a century and had reduced the monarchy to just a figurehead, but at the time of his rule, the current monarch King Tribhuvan was attempting to assert himself. There was civil unrest during his time in charge and the king was forced to exile himself in India until a treaty was signed some years later. By the end of 1951, Rana had lost power in Nepal and he put himself into self-imposed exile in India, where he died in Bangalore in 1967. This uniform set was originally sold in Wallis and Wallis auctioneers in the late 1980’s, a letter of provenance from the then owner is included in the lot.

Inert WW1 British No1 Hand Grenade, the example retains much of the original finish to the metal head, wooden haft and hessian cloth ties. This lot is inert (Empty and Safe) and legal to own in the UK. We are not able to offer in house post and packing on this lot. Please make sure that you are able to make collection of this lot if you bid. Please note only available to bidders in the UK or those who can arrange for collection.

Inert WW1 British Mills Grenade No.5 Mk I, body with striker and spring inside, base plug is stuck and filling screw has been drilled to show that there is no filling. This lot is inert (Empty and Safe) and legal to own in the UK. We are not able to offer in house post and packing on this lot. Please make sure that you are able to make collection of this lot if you bid. Please note only available to bidders in the UK or those who can arrange for collection.

Inert WW1 British Mills Grenade No.5 Mk I, complete example with aluminium filling screw and base plug which is nicely marked and dated 1916. This lot is inert (Empty and Safe) and legal to own in the UK. We are not able to offer in house post and packing on this lot. Please make sure that you are able to make collection of this lot if you bid. Please note only available to bidders in the UK or those who can arrange for collection

Inert WW1 British Mills Grenade No.5 Mk I, complete example with brass filling screw and base plug dated 3/1916. Some rusting to the exterior but generally good. This lot is inert (Empty and Safe) and legal to own in the UK. We are not able to offer in house post and packing on this lot. Please make sure that you are able to make collection of this lot if you bid. Please note only available to bidders in the UK or those who can arrange for collection.

WW1 1916 Dated British Pistol Holster, being a Pattern 1914 pistol holster introduced for other ranks who carried pistols on 21 January 1915 (Lists of Changes 17177 1915) Made by Jabez Cliff & Co Walsall in 1916. With leather straps and brass buckle fittings. Complete with cleaning rod to the rear. Nice clear makers mark and date.

An Interesting Naval Good Shooting Medal Group of Four to a Seaman who Served in Somaliland and During the Great War, Africa General Service medal EVII, with clasp Somailand 1902-04, “R. BECK A.B. H.M.S. POMONE”, 1914-14 Star medal, “198864 R. BECK A.B. R.N.”, British War medal, “198864 R. BECK ACT. L.S. R.N.”, Naval Good Shooting medal, EVII, “198865 R. BECK, A.B. H.M.S. KENT, 1907 3 PR. Q.F.” Medals individually mounted on later pin back bars, note the Victory medal is missing from the group. Lot also includes a mounted trio of miniature medals comprising 1914-15 Star medal, British War and Victory medals.

Inert WW1 French Model 1914 Ball Grenade, blackened steel body complete with a wooden top plug. Generally good condition. Accompanied by a similar example which is earlier and probably for the Franco-Prussian war period. (2 items) This lot is inert (Empty and Safe) and legal to own in the UK. We are not able to offer in house post and packing on this lot. Please make sure that you are able to make collection of this lot if you bid. Please note only available to bidders in the UK or those who can arrange for collection.

A Poignant WW2 Isle of Wight Air Raid Precautions M.B.E. and Great War Military Medal Group of Seven, The Most Excellent Order of the British Empire M.B.E. (civil) Members 2nd type breast badge, unnamed as issued, Military medal GV, “21302 PTE. A SJT:- S.F. BURCHILL 1/D OF CORN: L.I.”, 1914-15 Star medal, “21302 PTE. S.F. BURCHELL D OF CORN: L.I.”, British War and Victory medals, “21302 A. SJT. S.F. BURCHELL D OF CORN. L.I.”, Defence medal 1939-45, Coronation medal 1953 (last 2 unnamed as issued). Also includes an 11th Division Military Medal Gallantry Card dated 28th June 1918, issued to 21302 L.Cpl (A/Sgt) S. Burchall D.C.L.I. for conspicuous gallantry and devotion to duty in action. (note different spellings of surname). Group mounted as worn on pin.Member of the Civil Division of the Most Excellent order of the British Empire, London Gazette 4th January 1943 – Sidney Frank Burchell, Esq., M.M. Air Raid Precautions Officer, Cowes.Military medal, London Gazette 24th January 1919 – Duke of Cornwall’s Light Infantry, 21302 Pte. (A./Sjt) Burchill, S.F. 1st Bn. (Westgate-on-Sea). Sidney Frank Burchell was born in Ham, Kent in 1895. In 1911, 16 year old Sidney was working as a Shop Assistant in Wandsworth. During the Great War he enlisted into the Duke of Cornwall’s Light Infantry serving with the 1st Battalion and later the 6th Battalion. He was awarded the Military Medal for gallantry and devotion to duty, on the 28th June when the Battalion launched an attack on the German positions at L’Epinette where they captured 1 Officer and 30 Other Ranks along with other equipment. He was discharged on 12th August 1919 with a Silver War Badge due to the effects of wounds (not with lot).During the Second World War he was living in Cowes on the Isle of Wight and in 1938 he enrolled in the Air Raid Precautions Organisation in the Civil Defence Service. Appointed as ARP Officer for Cowes in October 1939 he was on duty on the night of the 4th /5th May 1942 when the Luftwaffe attacked Cowes. The recommendation for his award gives more detail on the sad events of that fateful night.Very early in the first raid at Cowes, Mr Burchell, who was on duty as District A.R.P. Officer in charge of his Report Centre ant Northwood House, Cowes, was informed rather abruptly that the house in the neighbour hood of the Report Centre in which were his wife, his son aged 3 years and his father-in-law and mother-in-law had been struck and that all the occupants of the house had been buried and were feared dead. Actually his infant son, injured though he was in the head, was the only survivor. Mr. Burchell did not leave his post but continued on duty throughout the night, the following day and the night after.This event was well known on the Island at the time and Captain Peter MacDonald, Member of Parliament for the Isle of Wight, suggested that he should be awarded the George Medal, this was not approved as it was not considered a gallantry matter and he was recommended for the award of the British Empire medal but this was upgraded to an M.B.E.Sidney Frank Burchell continued living on the Isle of Wight after the war and died in Cowes on 1st November 1963.

Inert WW2 British Mills Grenade No.36M Mk I, complete example with white painted body, being a practice version with holes drilled in the body. Complete with base plug plate. This lot is inert (Empty and Safe) and legal to own in the UK. We are not able to offer in house post and packing on this lot. Please make sure that you are able to make collection of this lot if you bid. Please note only available to bidders in the UK or those who can arrange for collection.

Inert WW2 British Mills Grenade No.36M Mk I, white painted and drilled practice version body accompanied with two levers. Some wear. This lot is inert (Empty and Safe) and legal to own in the UK. We are not able to offer in house post and packing on this lot. Please make sure that you are able to make collection of this lot if you bid. Please note only available to bidders in the UK or those who can arrange for collection.

WW2 British Gas Mask Variation, having black rubber face piece is dated 6/39, the head harness is dated 5/39, the red cannister is dated 14/6/40. This respirator has the extra-long hose for issue to Artillery and RN personnel who cannot wear it in the alert position. The haversack has a waistbelt which engages on the loops on the seams and holds the haversack against the side of the wearer. In the bottom of the haversack is an Outfit Anti-Dim, and in the pocket a metal tin containing Ointment AG. Generally a good example.

Book Removed from Adolf Hitler’s Personal Library, the hardback book with gilt tooled leather binding, being a 1837 edition of “Die Wunder des Himmels” by J J von Littrow. To the inside front cover is the original Ex Libris plate for Adolf Hitler with NSDAP eagle to the centre. Clipped to the front is an original typed letter on the headed paper of Diana Edition International Press Service in Amsterdam, dated 5th May 1946 stating, “Will / Enc. the two books ‘liberated’ from Hitler’s former apartment. They contain the gold bookplates for the article. Dispose after use. J.M.B”. The current vendor states this book and another (which they can not locate) were kept by a relative who was a journalist at this time.

Great War 1914 Medal Trio to the 2nd Battalion Durham Light Infantry Who Was Taken Prisoner of War, 1914 Star medal, “9551 PTE. A. SMITH 2/DURH: L.I.”, British War and Victory medals, “9551 PTE. A. SMITH DURH. L.I.”Private Anthony Smith landed in France with the 2nd Battalion Durham Light Infantry on 8th September 1914. The medal roll for the 1914 star has him listed as Prisoner of War. He was not entitled to or did not claim the clasp to the 1914 star

An Interesting Great War 1914-15 Star Medal Trio to a Member of the Durham Light Infantry Who Later Served as a Batman in the Royal Flying Corps and Royal Air Force, 1914-15 Star medal, British War and Victory medals, awarded to “3241 PTE. G. CHICKEN DURH. L.I.”. Generally good condition. 19 year old George Edward Chicken from Framwellgate Durham, enlisted into the 1/8 Battalion Durham Light Infantry on 29th October 1914. Serving in France from 30th October 1915 he transferred to the Royal Flying Corps on 25th December 1917 with service number 406546. His record indicates he served as a Batman with 5 Squadron. Discharged on 14th January 1919 his application for a pension due to Chronic Bronchitis was refused.

An Interesting Crimea Medal Awarded to an Artillery Driver Who Had Two Spells in a Civilian Jail During his Four and a Half Years of Service, medal with clasps Balaklava, Inkerman and Sebastopol, officially impressed naming, “F. LLOYD. GR & DR. 12TH BTN RL ARTY”.18 year old Francis Lloyd enlisted in the Royal Artillery at Pembroke Docks on 1st September 1852. He was discharged on 22nd April 1858 having served for 4 years and 291 days. His name appears 3 times in the Regimental Defaulters book (absences) and in 1857 he was imprisoned in a civil jail for 9 months followed by another period of imprisonment in 1858 at Maidstone jail for assault.His discharge document states medal and 2 clasps but all 3 clasps are confirmed on the relevant medals rolls.

Scarce Luftwaffe Flak Award Pennant for Shooting Down Allied Aircraft, un-issued example of the triangular award pennant for Luftgau XI for shooting down allied aircraft. One side of the pennant has grey embroidered “Luftgau XI” Iron Cross in wreath and Luftwaffe eagle. The reverse side of the pennant shows a RAF Spitfire crashing into the ground in flames. These pennants are classed as an award and were awarded to flak gun crews who successfully shot down a certain number of allied aircraft.