Three: Private T. A. Crew, Northamptonshire Regiment, who was killed in action on the Western Front on 9 May 1915 1914 Star, with clasp (8183 Pte. T. A. Crew. 1/North’n R.); British War and Victory Medals (8183 Pte. T. A. Crew. North’n. R.) with outer OHMS transmission envelopes addressed to ‘Mrs. A. Crew, 10 Bearwood Street, Northampton’; Memorial Plaque (Thomas Albert Crew) in card envelope, with Buckingham Palace enclosure; Memorial Scroll, ‘Pte. Thomas Albert Crew, Northamptonshire Regt.’, in OHMS transmission tube, similarly addressed, minor edge bruise to BWM, otherwise extremely fine (5) £300-£400 --- Thomas Albert Crew was born in Saltley, Warwickshire, in 1881 and prior to the Great War served with the 4th Battalion, Royal Warwickshire Regiment. He served with the 1st Battalion, Northamptonshire Regiment during the Great War on the Western Front from 13 August 1914, and was killed in action on 9 May 1915. He has no known grave and is commemorated on Le Touret Memorial, France. Sold together with named Record Office enclosures for the three medals; the recipient’s Third Class and Second Class Certificates of Education; a portrait photograph of the recipient and other postcard photographs; and a silver-plated presentation cup, inscribed ‘Bayonet Fighting Competition 14th Infantry Brigade Curragh, May 1906 won by The 4th Battalion, Royal Warwickshire Regt., Lance Corporal T. Crew’, with plater’s marks to base.
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JAMES BOND INTEREST: Fleming (I), ON HER MAJESTY?S SECRET SERVICE, first edition, black cloth boards with silver title to spine and silver ski track ?swish? to front cover, unclipped DJ with 16 shilling price, monochrome Fleming portrait and Bond titles to ?The Spy Who Loved Me? to rear flap, reviews of ?Dr No?, ?From Russia With Love?, ?Thunderball? and ?The Spy Who Loved Me? to rear panel, white endpapers, Jonathan Cape, London 1963 Provenance: Ruyton Hall, Shropshire CONDITION REPORT:DJ: Minor wear and discolouration to front edges including corners. Small stain to lower right corner of front panel. Very small tear and minor chips to top of spine. Minor wear to corners of bottom spine. Some darkening to spine including to interior. Darkening and foxing to back panel. Small stain and foxing to interior. Minor shelf wear.Book: Very minor bumps to front corners. Small bump to lower right corner of spine. Darkening and some minor foxing to top of block. Minor foxing to bottom of block. Slight darkening to pages. Block leans back slightly in binding.
Attributed to Alfred Edward Chalon,A pair of drawings, brown wash over pencil,Each 38cm x 30cm,Unframed,together with a collection of unframed watercolours to include a portrait of a lady in the manner of Richard Cosway and a view of the Amalfi coast attributed to William Henry Bartlett (28) Provenance: Albany Gallery Collection
Circle of Sir Godfrey Kneller (1646-1723),Portrait of a young lady, half length, wearing a green dress and a scarlet cloak,Oil on canvas,Oval,76cm x 62cmGilt framed Provenance: Ruyton Hall, Shropshire CONDITION REPORT:The picture has been re-lined at some point in the past. The paint surface shows visible evidence of restoration to the nose, neck, upper chest and sleeve. Examination under UV light shows evidence of further light restoration to the lower part of the picture. The canvas is currently sitting low in the frame, revealing the top edge. The frame shows losses to the gesso beading around the edge, visible joints throughout, and losses to the gold painted finish.
Circle of Sir Godfrey Kneller (1646-1723),Portrait of a young lady, half length, wearing a pink dress and a blue cloak,Oil on canvas,Oval,74cm x 62cmGilt framed Provenance: Ruyton Hall, Shropshire CONDITION REPORTThe picture has been re-lined at some point in the past. The paint surface shows expected fine surface cracking. There is visible evidence of restoration throughout, including to the nose, neck, upper chest and dress. Examination under UV light shows evidence of further restoration to the lower part of the picture. The canvas is currently sitting low in the frame, revealing the top edge. The frame shows losses to the gesso beading around the edge, a visible joint to the top left, and losses to the gold painted finish.
After Sir Godfrey Kneller (Lubeck 1646/9? London 1723),Portrait of Louise Renee de Penencoet de Keroualle, Duchess of Portsmouth (1649-1734),Three quarter length, wearing a green dress and red cloak with a Grecian urn to her left and an Italianate landscape to her right,Oil on canvas,127cm x 100cmNote: The original painting is in the National Trust Collection at Sudbury Hall, Derbyshire Provenance: Ruyton Hall, Shropshire CONDITION REPORT:The picture has been relined at some point in the past. The paint surface shows expected surface cracking and visual evidence of restoration, particularly to the chest and lower areas, confirmed by UV inspection. The frame shows some small losses to the gesso, an open joint between the back and front sections and an open joint to the top left corner, together with crazing and small losses to the gilt painted finish throughout.Framed dimensions: 144.5cm x 120cm
Follower of Daniel Mytens (Delft 1590-1648 The Hague),Portrait of Charles I,Head and shoulders wearing a lace collar and badges of office,Oil on canvas,70cm x 58cm,Gilt framedNotes: Gallery label verso with address heading '1 Duke Street, St James's', inscribed in ink, 'portrait of Charles I by Mytens from the collection of the Duc de Richelieu' Provenance: Ruyton Hall, Shropshire CONDITION REPORT:Under UV examination the paint surface shows evidence of extensive restoration throughout. Some small areas of restoration on the forehead and right cheek are visible to the naked eye. The frame shows areas of cracking to the gesso and rubbing to the gilt finish throughout. There is a small area of old white paint under the right hand edge of the frame. Frame: 85cm x 73cm
Follower of Sir Henry Raeburn FRSE RA RSA (1756-1823),Portrait of a lady with powdered hair,Half length, seated with her head on her hand,Oil on canvas,74cm x 62cm Provenance: Ruyton Hall, ShropshireCONDITION REPORT:The picture appears to have been relined at some point in the past. The paint surface shows expected fine surface cracking throughout, with some larger star cracks to the paler areas of the chest and shoulders. There is visible evidence of restoration in small areas around the hair. Small areas of the hand fluoresce under UV, suggesting further restoration. Additional minor restoration to other areas may also have taken place, however the picture is dirty, potentially hiding evidence of this. The picture also appears to have been heavily varnished.
William Holman Hunt, O.M., R.W.S., A.R.S.A. (1827-1910),'Portrait of William Pink',Oil on canvas laid on panel,Unsigned,Applied label verso inscribed 'Portrait of Willm Pink Painted by W. Holman Hunt about 1842/ his cousin', 47cm x 58cm, Framed PROVENANCE: By descent in the family of the sitter to Simon Webb, Macclesfield; Chester, Phillips, 21 June 2001, lot 399; Private collection LITERATURE: Bronkhurst (J), William Holman Hunt, A Catalogue Raisonné, 2006, vol I (paintings), p. 91, cat. no. 8 Notes: Bronkhurst believes this to be Hunt's earliest existing portrait commission (the portraits of Old Hannah and of Henry Pollard now being lost). She suggests that the sitter was William Pink listed in the London Post Office Directory in the 1840s as a moulder and figure maker at 31 Mary Street, Hampstead Road. A family Bible in the possession of the sitter's descendants states that William was born on 22 January 1809 the son of James and Elizabeth Pink and christened at the New Broad Street Independent Chapel in London on 16 February. This portrait resembles the self-portrait painted c.1842 (whereabouts unknown but known from a copy within the artist's family) and may date from the same year, or more likely the following year.
RARE CHINESE EXPORT PORCELAIN JACOBITE PUNCH BOWL QIANLONG PERIOD finely painted to both sides with a polychrome portrait of Bonnie Prince Charlie wearing a tartan jacket, blue bonnet and white cockade, flanked with white roses, in flower and bud, on vibrant green leafy stems, the interior with a further white rose spray, the internal rim with a rui sceptre gilt border(28.8cm diameter, 12.1cm high)Footnote: Note: This punch bowl forms an important part of a small group of Jacobite Chinese export porcelain wares. So far recorded are a small number of punch bowls, with either Prince Charles or Highland figures depicted, beer jugs and a small amount of armorial porcelain with Scottish Royal arms showing Jacobite standards. A closely comparable example to this punch bowl is held in the Drambuie Collection of Jacobite Works of Art and was previously in the staunchly Jacobite family collection of the Earl & Countess of Perth (see The Jacobite’s and their Adversaries, Christie's Glasgow 12th June 1996, Lot 88 and previously on loan to National Museums Scotland, Bonnie Prince Charlie and the Jacobite’s, 2018). As with the example under discussion, it is a particularly fine example showing the highest quality of decoration in the floral sprays and borders, with the detail much finer than more often seen. The portrait also shows far more attention to detail than normal, and, while it is copying the recognisable portrait used in many forms of Jacobite art, the use of such a wide palette of colours is unusual. The portrait is a direct copy of one of the most prolifically produced and recognisable engravings of Prince Charles completed by Sir Robert Strange, an engraver from Edinburgh and member of Prince Charles’s Lifeguards regiment, during the ‘45. Sir Robert’s connection to the cause was close and he is known to have had at least two personal meetings with the Prince in Inverness just before Culloden to create the engraved printing plate for the proposed Jacobite Banknotes (now in the collection of the West Highland Museum Fort William). The print was immediately popular and can be seen in varying scales from miniatures to large-scale prints (see Lyon & Turnbull, Scottish Silver & Applied Arts, 14th August 2019 lot 468). This piece is unusual and differs from the Drambuie example in that the sprays of white roses are of undoubted Jacobite significance, rather than the more generic red/ pink sprays seen in the Drambuie work. These white or Stuart roses were a constant symbol of the Jacobite cause and their use in sprays of three with open and closed buds closely mirror the iconic use in Jacobite glasses. It has been much discussed that the large open rose head represents King James and the buds, Prince Charles and Prince Henry. The commissioning of punch bowls in support of the Jacobite cause is interesting and the connection between them and the associated and more prolific glassware is important. Whether used in private homes or in Jacobite clubs or societies, the use of punch to toast support of the cause is well recorded. The symbolic drowning of Hanoverian Kings on coins set into punch ladles or the passing of glasses over the punch bowl to symbolise the ‘King over the water’ would all have been well-understood in 18th-century society. To carry out these acts using such a fine and bold Jacobite punch bowl would have made what was already a significant act even more important to those involved. Indeed the kudos of owning such an exotic, fashionable and fine piece of porcelain suggests that a high-status Jacobite supporter would have owned this bowl. Moreover, they were comfortable demonstrating their support in an overtly public way so soon after the ’45. In 1863 a large inventory of the contents of Taymouth Castle was prepared by Christie Manson & Woods for the Marquess of Breadalbane. The punch bowl is listed in the inventory as No. 966 'A punch bowl with two medallion portraits of the Pretender'. [National Records of Scotland GD112/22/54-58]
FINE GEORGE I SEAL BOX Francis Garthorne, London circa 1726, of conventional circular outline, with reeded foot, the cover finely engraved with the arms of George I, within housed the great seal of George I (broken), attached by red silk and bullion corded tassels, to a vellum commission to John Lord Glenorchy granting him plenipotentiary power to act as ambassador, Kensington, 27 July 1726, signed at head, vellum document, 56 x 31cm.(Diameter: 17cm, weight: 20oz)Footnote: Note: For a similar example (lacking document) see Christie's, Centuries of Style: Silver, European Ceramics, Portrait Miniatures and Gold Boxes on the 10th Jun 2010, lot 320
Y PORTRAIT MINIATURE MISS BAILLIE HAMILTON oval, watercolour and bodycolour on ivory, the subject with light brown hair parted in the centre and gathered at the nape of the neck, wearing a white chemise and black Honington lace shawl, a black silk ribbon tied around her neck, in a pinchbeck frame, the reverse with a lock of hair and seed pearl intials MPB., in a red leather case with blue velvet lining(7cm x 5.7cm )Footnote: Note: A handwritten note accompanying the miniature identifies the artist as 'Miss Saloman'.
Y SIR WILLIAM CHARLES ROSS, R.A., (1794-1860) THE MARCHIONESS OF BREADALBANE, MARY GAVIN CAMPBELL large miniature portrait, oil and bodycolour on ivory, the subject depicted seated in a red upholstered open armchair, her dark hair arranged loosely in ringlets falling across her decolletage, wearing a brown velvet dress edged in lace and blue satin, and adorned with turquoise and pearl mounted jewellery, in a fitted Moroccan leather case(22.9 x 15.9cm sight size)Note: The stylish and striking sitter for this portrait is Mary Gavin Campbell, wife of John Campbell, the 1st Marquess of Breadalbane, whom she married in 1793. After her marriage she was styled Countess of Breadalbane and Holland, and from 1831, Marchioness of Breadalbane. She died in 1845. The miniature portrait is recorded in the Christie, Manson & Woods 1863 Inventory of Taymouth Castle as hanging in the Tapestry Sitting Room, item 446. William Charles Ross artistic talent was recognised and encouraged from an early age by his parents, both of whom were accomplished portrait painters. Ross' glossy style was influenced by Andrew Robertson, to whom he was apprenticed in 1814. In 1817 he established his own studio in London and quickly made a name for himself with prominent commissions. His growing list of important sitters included the prime minister and the queen’s uncle, and in 1837 Queen Victoria herself commissioned a portrait. She declared it ‘very like and very well painted’ and appointed Ross as Miniature Painter to the Queen, a position providing the opportunity to portray sitters from royal families throughout Europe. Ross was knighted in 1842.
Silver Jubilee limited edition jug; Portrait medallion of the King and Queen uncrowned in relief.Surrounded by flags and trumpeters. Above the medallion is marked, HAPPY AND GLORIOUS. The reverse shows St. George before Windsor Castle. Doulton backstamp. Issued: 1935Dimensions: 10"HEdition Number: 826 of 1000 Manufacturer: Royal DoultonCountry of Origin: England
Photographic portrait of the Queen with the Union Jack and Royal Standard. Reverse has Windsor Castle.Royal Doulton backstamp. Commemoration note on bottom base with date. Commemorating the Coronation of Queen Elizabeth II at Westminster Abbey, June 2nd 1953. Artist: Noke and FentonIssued: 1953Dimensions: 6.25"HManufacturer: Royal DoultonCountry of Origin: England
The cup illustrates one of the best known poets William Wordsworth, in this rare presentation cup.The designer was C. J. Noke.Noke shared Sir Henry Doulton's regard for Wordsworth and produced this loving-cup to commemorate his being made Poet Laureate in 1843. One one side is a portrait of Wordsworth below Grasmere Church where he lies buried, on the other side is his sister Dorothy among a mass of daffodils below Dove Cottage. Chip to edge of� interior lip. Issued: 1933Dimensions: 6.5" HManufacturer: Royal DoultonCountry of Origin: EnglandProvenance: David Bearman Collection
A deep emerald band lines the rim above a stoneware body. A portrait of Lord Nelson sits flanked by flags and naval weaponry.Royal Doulton stamp. Made in celebration of the victory at the Battle of Trafalgar. Issued: 20th c.Dimensions: 6"HManufacturer: Royal DoultonCountry of Origin: EnglandProvenance: David Bearman Collection
Commemorative jug ; depicts 2 portrait medallions in relief. Two toned salt glazed stoneware.Encircling band reads, She wrought her people lasting good. Bulbous body; foliate designs in relief; ribbed detail to handle. Age related wear. Issued: 20th c.Dimensions: 5.5"HManufacturer: Royal DoultonCountry of Origin: England
Dark brown glaze with portrait in front and inscription reading OYEZ OYEZ.Royal Doulton backstamp on bottom. Dewar's whisky label on back, faded and torn. Age related crazing across figure and chip on bottom rim. Issued: 1909Dimensions: 8"HManufacturer: Royal DoultonCountry of Origin: England
Esquivillon et De Choudens. A continental triple colour gold, enamel and simulated tortoiseshell triple case key wind repeating open face pocket watchDate: Circa 1780Movement: Gilt full plate fusee verge, pierced and engraved balance cock, silvered regulationDial: White, black Roman numerals, black outer minute track with Arabic numeral 5 minute markers, fancy stone set handsCase: Polished and pierced gold inner with winding hole to back, tri-colour gold second case with polychrome enamel female portrait within green enamel border, simulated tortoiseshell covered gilt third caseSigned: Movement and dust cap, dust cap numbered 10946Size: 53mmFor further information on this lot please visit Bonhams.com
Pictures:â–² Billy Childish,Portrait of a woman, Signed Bill 91 on frame, Oil on wood, 49cm by 37cmWith exhibition label on back from Bromhill Art Hotel, 2000Part of the Late Dr Gerald Moore Collection of Paintings and SculptureThis lot is subject to Droit de Suite (Artist's Resale) as denoted by â–²
Pictures:â–² Billy Childish b.1959,Portrait of a man, Signed Bill 91 on frame, Oil on wood, 51cm by 35cmWith exhibition label on back from Bromhill Art Hotel, 2000Part of the Late Dr Gerald Moore Collection of Paintings and SculptureThis lot is subject to Droit de Suite (Artist's Resale) as denoted by â–²
Attributed to Charles Jervas (1675 - 1739)"Portrait of a Lady - by tradition, Lady Margaretta FitzGerald, Countess of Hillsborough, daughter of Robert FitzGerald, 19th Earl of Kildare, and his wife, 1st Marquess of Downshire, of Wills Hill," O.O.C., 50cms x 40cms (127cms x 102cms). (1)Provenance: The FitzGerald Family, Carton House, Kildare, by direct family descent.
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283325 Los(e)/Seite