Dorian Levine (British 20th Century) An abstract oil on board portrait painting study of a lady by the artist Dorian Levine and taken from a London gallery sale, circa early 2000's. The painting measures 60cm x 51cm Framed. Provenance; all works originally from the 'Dorian Levine Exhibition - 80 Years Accumulation Of Watercolours & Drawings' held at Lauderdale House, London, N6 in the early 2000s. Image of the event poster features in all lots for illustration purposes and is not included with any artwork.
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Ferdinand Hodler (1853-1918), Portrait Marie Elise Hodler , (soeur de l'artiste), vers 1879, huile sur toile, signée, datée, 23x24 cmBibliographie : Carl Albert Loosli, Ferdinand Hodler, G. Grès, Paris, 1936 , no. 2547 (Marie Elise Hodler [Frau Bernhard], 1879) Jura Brüschweiler et al., Ferdinand Hodler : Ausstellung 1983, Kunsthaus, Zürich, 1983, S. 58, 490, ill. Oscar Bätschmann, Monika Brunner, Bernadette Walter, Ferdinand Hodler, Catalogue raisonné der Gemälde, SIKART, Zürich, 2008, vol. II, p. 117, no. 684, [SIK 81103]Provenance: Ernst Würtenberger, [1917]-1936 Fridolin Störi, Zürich, 12.5.1936 Collection privée suisse depuis la fin des années 1930, puis resté dans la famille jusqu'à ce jour Exposition: prob. Zürich, 1913 (juin), no. 313, (S'ur de l'artiste, 1875) Zürich Kunsthaus, 1917 (Hodler), no. 40 (Mädchenkopf, 1879)
Jean Étienne Liotard (1702-1789), Portrait de Madame d'Epinay, 1751-1752, pastel sur papier, 48,5x38 cm Bibliographie: Ruth Plaut-Weinreb, Eagle in a gauze cage: Louise d'Epinay femme de lettres, ed. AMS Press, New York, 1993, fig. 1, ill.; Ruth Plaut-Weinreb, Double vision : Jean-Etienne Liotard’s portraits of Louise d’Epinay, in The Past as Prologue, Essays to celebrate the twenty-fifth anniversary of ASECS, ed. by Carla H. Hay with Syndy M. Conger, publ. for the American society for eighteenth-century studies, 1995, p. 391, ill.; Neil Jeffares, Dictionary of pastellists before 1800, Unicorn Press, Londres, 2006, p. 345Provenance: Comte de Ségur (Collection Château de Méry-sur-Oise); Vente Palais Galliera, Paris, 11 mars 1975, no. 4; Famille d'Epinay, puis resté dans la famille jusqu'à ce jourExposition: Madame d’Épinay: 1726–1783, une femme au siècle des Lumières, Épinay-sur-Seine, hôtel de Ville, 1983, 19.xi.–4.xii.1983, cat. Pierre-Marie Tyl, no. 68Nous remercions Madame Renée Loche pour son aide dans la rédaction de cette notice Note: Ce pastel doit avoir été exécuté lors du séjour de l’artiste à Paris entre 1751-1752 et non pas à Genève comme le suggère Ruth Plaut-WeinrebCette œuvre du célèbre pastelliste genevois Jean Etienne Liotard est le portrait de Madame Louise La Live d’Epinay (1726-1783). Resté dans la famille depuis sa création au XVIIIe s. et connu uniquement d’une médiocre photographie dans les archives, ce dessin a pu être attribué grâce à nos recherches et au concours de l’experte référente. Nous aurons le plaisir de proposer cette œuvre inédite aux enchères le 15 mars prochain.Madame Louise La Live d’Epinay, née Pétronille de Tardieu d’Esclavelles en 1726 à Valenciennes, est une femme de lettres du XVIIIe siècle. Ecrivaine prolifique, qui laisse de surcroît derrière elle une abondante correspondance privée, elle fut en avance sur son temps et à l’origine de plusieurs salons littéraires.Après un mariage peu heureux, 2 enfants et une vie au château de la Chevrette près d’Epinay-sur-Seine, elle obtient la séparation des biens pour cause d’adultère avec son époux et rejoint Paris en 1749. Elle y fréquente les salons littéraires et y rencontre Jean-Jacques Rousseau avec lequel elle entretient des échanges intellectuels dynamiques qui mènent à une estime réciproque. Rousseau écrira d’elle dans ses confessions : « Elle était aimable, avait de l’esprit, des talents ; c'était assurément une bonne connaissance à faire. […] madame d'Épinay, à qui la nature avait donné, avec un tempérament très exigeant, des qualités excellentes […]»1. Devenue bienfaitrice de Rousseau, elle fait construire pour lui l’Ermitage dans la vallée de Montmorency où l’écrivain commence la rédaction de La Nouvelle Héloïse. En 1757, Mme d’Epinay et Rousseau se brouillent et ce dernier quitte définitivement l’Ermitage. Au cours de la même année, elle part à Genève pour se faire soigner par le célèbre docteur Théodore Tronchin. C’est ainsi que Mme d’Epinay commande son portrait à Liotard pour le remercier de ses soins, portrait qui se trouve actuellement au Musée d’Art et d’Histoire de Genève : il s’agit d’un pastel célèbre, sur lequel on voit Madame d’Epinay, l’air espiègle, un doigt sur le menton, tenir négligemment un livre de l’autre main. Les ressemblances physiques entre notre portrait et celui du MAH ont permis de confirmer l’identité du personnage représenté.Durant son séjour à Genève, Madame d’Epinay côtoie la haute société culturelle et sociale de la ville et fait apparaître notamment François Pierre Pictet (1728-1798) sous les traits de Moulineaux dans son conte en vers Le Cadran de l’amour 2 … A l’instar de Madame d’Epinay, Jean-Etienne Liotard évolue à la même période dans les mêmes cercles. Ainsi, on pourrait supposer que notre pastel a été exécuté durant cette période, à savoir entre 1757 et 1759. Toutefois, quelques années auparavant, l’artiste effectue également de nombreux séjours à Paris. Il est donc fort probable, au vu du jeune visage représenté, que le célèbre portraitiste genevois ait rencontré Madame d’Epinay à cette période et l’ait dessiné à Paris vers 1751-1752.1Jean Jacques Rousseau, Confessions, Charpentier, Paris, 1862, p. 3362 Archives de la famille Pictet en ligne, https://www.archivesfamillepictet.ch, consulté le 13 février 2023
PALLADIO, Andrew (1518-1580). The Architecture of A. Palladio. London: John Darby for the author, 1721.2 volumes in one, folio (465 x 284 mm). Engraved frontispiece, engraved portrait of Palladio, 230 copper-engraved plates by Bernard Picart, Michael Vandergucht, John Harris and others (most full-page, 5 double-page and a few in text). (Some toning and spotting, a few marginal repairs.) Contemporary calf (rebacked and repaired, some wear).Second edition in English of Palladio's influential architectural treatise, translated by Giacomo Leoni. The two editions form ''a turning point in the history of British Palladianism,'' marking not only the first complete English translation of I Quattro Libri but the first use of ''worthwhile engraved copies of the original woodcuts'' (RIBA). While portions of the original Italian text had been translated into English during the 17th century, the first edition in English in 1715 sparked a Palladian architectural revival in Great Britain and its American colonies. Fowler 224; Berlin Kat. 2598; ESTC T22366; RIBA 2392.This lot is located in Chicago.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Joseph Nash (British, 1808-1878)Views of the Interior and Exterior of Windsor Castle (twenty-four works)lithographsFrame (each): 21 1/8 x 26 1/2 inches or 26 1/2 x 21 1/8 inches; largest image: 19 x 13 1/8 inches.Provenance:Collection of the Earl of Iveagh, Elveden HousePartridge Fine Arts Ltd., London, 6 August 1984 (with image of invoice)The original sheets have apparently been cut down and adhered to new sheet.Comprising: Quadrangle Looking East (Moonlight): 13 x 19 inches (image).Private Chapel: 13 x 18 3/8 inches (image).Rubens's Room: 12 5/8 x 18 1/2 inches (image).The Library: 13 x 17 1/2 inches (image).The Guard Chamber: 13 x 18 3/8 inches (image).Private Dining Room: 12 7/8 x 18 1/2 inches (image).Angle of the Corridor: 12 7/8 x 16 inches (image).S.E. View of the Castle: 12 7/8 x 19 inches (image).Quadrangle Looking West: 12 5/8 x 18 3/4 inches (image).St. George's Chapel: 19 x 13 1/8 inches (image).White Drawing Room: 12 7/8 x 18 1/2 inches (image)Eastern View of the Castle Gardens: 13 x 19 inches (image).South Corridor: 12 3/4 x 16 5/8 inches (image).Green Drawing Room: 12 5/8 x 18 1/2 inches (image).Grand Reception Room: 12 7/8 x 18 5/8 inches (image).East Corridor: 12 3/4 x 16 1/4 inches (image).St. George's Hall (landscape orientation): 13 x 18 1/2 inches (image).St. Goerge's Hall (portrait orientation): 16 5/8 x 12 1/2 inches (image).Queens Private Sitting Room: 12 3/4 x 18 1/8 inches (image).Grand Staircase: 16 3/8 x 12 3/4 inches (image).Waterloo Gallery: 13 1/2 x 17 7/8 inches (image).Lower Ward: 13 1/8 x 18 3/4 inches (image).Vandyke Room: 12 5/8 x18 3/8 inches (image).Throne Room: 12 3/4 x 18 1/2 inches (image).Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
* JAMES MCINTOSH PATRICK OBE RSA ROI (SCOTTISH 1907 - 1998) COUNTRY LANE, CARSE OF GOWRIE COUNTRY LANE, CARSE OF GOWRIEwatercolour on paper, signed and dated '85, titled label versomounted, framed and under glass.image size 53cm x 73cm, overall size 86cm x 105cm Label verso: Eduardo Alessandro Studios, DundeeExhibition label verso: 1986 Christmas Exhibition, A Portrait of Scotland, Eduardo Alessandro Gallery, Dundee
SIR JOHN LAVERY RA RSA RHA (IRISH 1856 - 1941) SELF-PORTRAIT: IN MY STUDIOoil on board, signed, titled and dated 1886framedimage size 29.5cm x 24.5cm, overall size 46cm x 41cmHandwritten label versoProvenance: Messrs J & R Edmiston, Glasgow, lot 55, 25th May 1972, from the collection of Mr James Meldrum; McTear's lot 100 24th April 2007
ROBERT GEMMELL HUTCHISON RSA RBA ROI RSW (SCOTTISH 1855 - 1936) THE RABBIT HUTCH THE RABBIT HUTCHoil on board, signed, titled label versoframed and under glassimage size 34cm x 42cm, overall size 51cm x 60cm Label verso: The Fine Art Society London Ltd., London dated February 1975Note: The child depicted is almost certainly Jean, the daughter of Bertie (Roberta), the artist's daughter, and his only granddaughter. Jean was deaf and dumb and as a child featured in many of her grandfather's paintings. Gemmell Hutchison was devoted to his granddaughter and they spent much time together, especially on painting trips to nearby St Abbs. Bertie and Jean's home was in the beautiful coastal village of Coldingham (Berwickshire, Scottish Borders) where Gemmell Hutchison visited frequently. He eventually died there on 23rd August 1936. He was buried at the Dean Cemetery (Edinburgh) on one of the long curving paths to the southwest. His portrait is sculpted on the memorial by John Stevenson Rhind. Robert Gemmell Hutchison achieved wide acclaim and commercial success throughout his life and the collector enthusiasm for his paintings has never dimmed. In recent years, the very finest larger examples of his work have sold at auction for figures exceeding £100,000.
JOHN KEPPIE RSA FRIBA JP (SCOTTISH 1862 - 1945) CAIROwatercolour on paper, signed and dated 1910mounted, framed and under glassimage size 50cm x 32cm, overall size 68cm x 50cmNote: Born in Glasgow, studied at Glasgow University and the Ecole des Beaux-Arts, Paris; partner of the firm of Honeyman and Keppie. A design by one of his junior staff, Charles Rennie Mackintosh, famously won the contract to build the Glasgow School of Art. Among the many buildings designed by him (Keppie) are those of the Glasgow Herald Mitchell Street buildings and those of the Daily Record. His watercolours are particularly effective and show the influence of Arthur Melville and Keppie was a prolific exhibitor at the Royal Scottish Academy. Maurice Greiffenhagen's celebrated portrait of John Keppie was lost in the fire in The Mackintosh Building of Glasgow School of Art on 23rd May 2014. Keppie's watercolours rarely appear at auction but in The Scottish Pictures auction of 24th September 2021 lot 2029 "Mosque, Kait Bey, Cairo" (a 50 x 33cm watercolour by Keppie) sold for £2200 (hammer).
EDWARD ARTHUR WALTON RSA PRSW (SCOTTISH 1860 - 1922) RURAL PATH WITH SHEEPoil on canvas, signed and dated '79framedimage size 26cm x 31cm, overall size 45cm x 50cmNote: Edward was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Kunstakademie Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall - Walton's brother Richard having married Judith Crawhall in 1878 - George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath. He also produced a remarkable set of watercolours in Helensburgh in 1883, showing the affluent suburb and its decorous people. These images are regarded as some of the finest of the Glasgow School and praised for their clarity, colour and strong decorative sense. Carrying out portrait commissions became Walton's main source of income. In the 1880s and 1890s he painted murals in the main building of the Glasgow International Exhibition of 1888 and other buildings in the city. Walton also attended painting classes at the Glasgow studio of W. Y. Macgregor, one of the central figures of the Glasgow School. Walton exhibited from 1880 in both Glasgow, at the Royal Glasgow Institute of Fine Arts, and Edinburgh, at the Royal Scottish Academy, being elected an associate of the Academy in 1889 and a full member in 1905. He was in London from 1894 until 1904, living in Cheyne Walk in Chelsea, and a neighbour of Whistler and John Lavery. While in London, Walton often painted in Suffolk, spending summers at the Old Vicarage in Wenhaston. Here he painted pastoral scenes in oil and watercolour, the latter often on buff paper with creative interplay between paper and paint. He used extensive underpainting in his oils, thereby creating subtle effects. In 1907 he accompanied Guthrie on a painting trip to Algiers and Spain and in 1913 worked in Belgium. The World War I years led to his discovering Galloway and he became a frequent visitor to the area. From 1915 he served as President of the Royal Scottish Water Colour Society. Walton's use of oil was reserved largely for important portraits in the Whistlerian manner. Walton married the artist Helen Law (née Henderson) after becoming engaged on 29 November 1889. Helen gave up her painting career in order to tend to their family. Their son John (1895-1971), became Regius Professor of Botany at the University of Glasgow. Their daughter Cecile (1891-1956), was a successful painter, sculptor and illustrator in Edinburgh. Their youngest daughter Margery married William Oliphant Hutchison in 1918. Sixty-eight of his paintings are held in UK public collections including at Glasgow Museums & Galleries.
* WILLIAM MACDONALD (SCOTTISH 1883 - 1960) HOUSES AT RONDAoil on canvas, signedframedimage size 55cm x 45cm, overall size 79cm x 69cmProvenance: exhibited Royal Scottish Academy 1928 no 168.Note: William Macdonald was an Edinburgh painter who had trained in Paris and Madrid. He was a close friend of Cadell and Peploe and was a well established figure on the Edinburgh art scene by the early years of the 20th century. In 1925 he married fellow artist Beatrice Huntington and the couple settled in Edinburgh in 1928. Their gracious New Town flat in Hanover Street remaining their home for the rest of their lives. It housed a collection of paintings by both artists as well as works by their friends and contemporaries. Cadell painted a now well-known portrait of Macdonald (Portrait of a Man in Black) in the early to mid-twenties. He depicted his sitter as a smart and debonair character and by all accounts Macdonald was a stylish and handsome individual, at complete ease in any company. Macdonald's particular affinity for the arid landscapes of southern Spain had earned him the nickname William 'Spanish' Macdonald. Beatrice shared his love of travel and together they explored the Continent, returning frequently to the French Riviera and to southern Spain, choosing as their base the picturesque Mediterranean fishing village of Cassis in the South of France where they sometimes stayed with Samuel Peploe and his family. Kirkcudbright was another favoured location and they visited regularly staying with Jessie M King and EA Taylor. Macdonald often focussed on the juxtaposition of human architecture with monumental nature and "Houses at Ronda" reflects this with large trees in the foreground and imposing buildings behind. Like several Scottish artists before and after him, he appears to have had what we might nowadays describe as "environmental concerns". His broad brush strokes and strong compositional structure show colourist influences and yet Macdonald had a style which was distinctly his own. The Macdonalds spent much of the World War II years in Canada allowing them to continue to paint. Both William and Beatrice exhibited widely both at home and abroad throughout their lives.
CHARLES HODGE MACKIE RSA RSW PSSA (SCOTTISH 1862 - 1920) PORTRAIT OF A WOMANoil on board, signedframedimage size 43cm x 32cm, overall size 60cm x 50cmNote: Charles Hodge Mackie was well-connected in artistic circles. In France, he met Gauguin, Vuillard and the Nabis; he was a close friend of E.A. Hornel; and he taught Laura Knight how to lay out her palette: some of the people by whom he was influenced and whom he, in turn, helped. In terms of places, his art and life are associated with a variety of locations, including Kirkcudbright, Staithes, Paris, Normandy, Italy, and Venice and its piazzas. In Edinburgh, where his studio was located, he made a significant contribution to the city's artistic and social life, as a founder member and Chairman of the Society of Scottish Artists, as well as carrying out mural commissions for Patrick Geddes. He also worked in an impressive range of media: oils, watercolours, murals, woodblock prints, tooled leather and sculpture.
Northern India, Ca. 18th-19th century AD. Portrait of a haloed Mughal ruler adorned with jewels and carrying a lance. Horse on hind legs almost emerging from the page. Possible artist’s signature below the near border.Size: L:368mm / W:304mm ; 910gProvenance: Private UK collection, formed since the 1990s on the UK and International Art market.
19th Century AD. An unusual and interesting Qalamdan or pen box with european style portraits wearing dress typical from around the mid 19th century. Increasing contacts between Europe in the 19th century especially amongst the upper classes were increasingly common in areas such as education, the military and fashion. A fascinating example possibly made in Europe for the export market or locally made with foreign style portrait inspiration. Three portraits surrounded by floral decoration and finished in lacquer. With a sliding compartment.Size: L:170mm / W:30mm ; 55gProvenance: Private London family collection; formed between 1970-2008.
RJTK - portrait of a woman- charcoal and coloured crayon on paper, artist monogram to lower right, dated 1986, 65 x 50, glazed frame, along with Alice in court with the Queen of Hearts, Knave of hearts and the stolen tarts, white rabbit and other characters, unsigned gouache, in circular mount, 38cm diameter, glazed frame
Angus Rands 1922- 1985 - village scene with horse and rider and bystander, watercolour signed lower left, 36 x 50, mounted in a glazed frame, along with K Burtonshaw, a landscape painting after Gainsborough depicting horses and a cart with figures on a country road, oil on board, signed 37 x 48, framed and an unframed oil on canvas portrait of a gentleman, 36 x 28.5cm
A group of oil paintings to include an Italian style still life of a vase of flowers, M N Lay- still life vase of flowers on a table with two books, oil on board, signed lower left, a Dutch style winter landscape with farm buildings, a river with figures to the foreground and a distant church, framed, a 19th century oil of a farmer herding sheep towards a barn with hens to the foreground, a portrait of a greyhound in a landscape with a hare being chased by a hound and an impressionist landscape of farm buildings with two figures in a field, unsigned and a gilt picture frame(7). Condition: long term damp from storage, to a couple of pictures, holes and splits to another, Location:
EVELYN GRACE INCE (BRITISH 1886-1941)PORTRAIT OF DOROTHEA 'BAY' MACGLAGANTemperaSigned (lower right); titled and inscribed (verso)36 x 36cm (14 x 14 in.)Provenance:Liss Llewellyn Fine Art, LondonPrivate Collection, GloucestershireCondition Report: Executed on white paper, not laid down, hinged at the upper edge. The edges of the board, which are glue stained and dirty in places, possibly as a result of a previous mount, are visible in the current frame. There is some light foxing in lower half of the sky and some further spots of foxing to the blouse and cardigan of the sitter. The verso of the sheet is also foxed and stained at the edges. Would benefit from remounting and framing.Condition Report Disclaimer
GLYN WARREN PHILPOT (BRITISH 1884-1937)ROBERT ALLERTON, AS A FAUN Oil on canvas 39.5 x 31.5cm (15½ x 12¼ in.)Provenance:Sale, Phillips, London, Modern British Paintings - Watercolours & Drawings, 8 March 1988, lot 35, Private Collection, London Purchased from the above by the present owner c. 1988Literature:Simon Martin, Glyn Philpot, Flesh and Spirit, with an Introduction by Alan Hollinghurst, (Pallant House Gallery, 2022), illustrated, fig. 111, p. 104 In the late 1980s, a chance encounter with Glyn Philpot's niece, Gabrielle, would inspire a fascination with Philpot's work and result in the purchase of the present lot. They recall visiting Gabrielle, who lived in the basement apartment of their friend's property. They would visit for cups of tea as she sat surrounded by exquisite works produced by her uncle. They wanted to acquire a work by Glyn Philpot to add to their own collection and Gabrielle knew of a friend selling a work privately. This sensitive and intimate portrait by Glyn Philpot depicts the American philanthropist and art collector Robert Allerton. He was the son of Samuel Walters Allerton who made his fortune through the livestock trade in Chicago and was co-founder of the First National Bank of Chicago. Determined not to follow in his father's footsteps Robert Allerton decided to follow his passion for the arts and study at the Royal Academy of Fine Arts in Munich followed by further study in Paris. However, after just five years Allerton returned to Illinois to run the family farms. Allerton owned and managed a 12,000 acre estate in Monticello, Illinois which became known as 'The Farms'. Here he built a beautiful Georgian mansion in the style of Ham House in Richmond, inspired by his travels in London. The mansion served as a place to hold lavish parties where he invited artists, friends and notable people from high society. In 1906 the Chicago Tribune released an article surrounding Allerton and his wealth, titled the 'Richest Batchelor in Chicago'. Robert Allerton was a patron of the arts and travelled widely across Europe and Asia. In 1920 he started donating works to the Art Institute of Chicago including pieces by Vincent Van Gogh, Pablo Picasso and Auguste Rodin. By the time of his death in 1964 he had donated 6600 pieces, making him one of the most important benefactors in its history. Allerton also gifted his house, grounds and farmland to the University of Illinois to be used as an education and research centre. This mischievous portrait of Allerton depicted as a mythological faun was not the first time Philpot had explored the subject. In 1912, Philpot sculpted 'The Dead Faun' cast in bronze, believed to be a mask depicting Napier Sturt, Lord Allington. Furthermore, in the spring of 1913 Nijinsky was performing 'L'Apres-midi d'un faune' with the Ballet Russes at the Royal Opera House. Philpot produced a dramatic portrayal of Nijinsky stood against the sumptuous red velvet theatre curtain. This work is now held in a private collection. It was during one of these visits to the opera that Philpot and Allerton first met. Allerton invited the aspiring young artist to visit him in Monticello to which Philpot gladly agreed. In September 1913, Philpot boarded the R.M.S Carmania and set sail on his adventure to the USA. Philpot's arrival caught the attention of 'Madame X' who wrote for the Chicago Sunday Times. The paper published an article on 21st September 1913 which dubbed the artist 'the art sensation of the moment,' and highlighted his highly regarded reputation back in England. Allerton arranged a studio space for Philpot to work from during his stay at 'The Farms' and invited close friends and members of the Chicago elite, including Miss Isabelle McBirney, to have their portrait painted. Enamoured by the people and experience Philpot stayed for four months. Philpot is known to have produced two portraits of Allerton during his stay, The Faun, presented here and a beautifully simple and captivating portrait titled The Man in Black, now held in the Tate collection in London. The present head and shoulder study presents a strikingly different depiction of Allerton compared to all other known portraits and photographs in which he was presented dressed in a smart suit, suitably posed and professional. The admiration felt for Allerton and connection between the painter and sitter exudes from the surface of the canvas. He paints strong muscular shoulders , a chiselled face with a pair of small horns atop his head, glinting in the light. Philpot and Allerton are not believed to have engaged in a sexual relationship but in letters written to Philpot's sister he reveals his infatuation with Allerton and described him as 'the most beautiful wise mature character'. Letter to Daisy Philpot, 22 October 1913.The work is believed to have been a study for a later painting produced by Philpot during his second visit to Allerton in 1921, when he visited with his partner Vivian Forbes. The pair stayed for three months and Philpot painted society portraiture just as Allerton had arranged back in 1913. During their visit Philpot produced Faun and Satyr which was hung above the over-mantel. Unfortunately, this work was moved to Allerton's estate in Kauai, Hawaii and later destroyed in a hurricane. Allerton is known to have had a couple of garden statues which depicted the mythological faun and a bass relief of pan on the carriage house on the estate, which may have further influenced Philpot's decision to depict Allerton as a faun.We are grateful to the staff at Allerton Park Retreat Center, University of Illinois, Nick Syrett and Maureen Holtz for their assistance in cataloguing this lot. Please note: This work is Oil on Canvas Condition Report: Oil on canvas. This work has recently been sensitively re-stretched and very lightly cleaned. This process has revealed a study of The Veil of Veronica on the reverse. Some patches of craquelure scattered across the surface, mostly to the green background pigment. The very extreme upper and lower edges with some evidence of framing tape which has been painted, visible in current frame. This does not detract from the images. Inspection under UV reveals very light scattered retouching to the chest and lower edge. There is one small patch of retouching the left of the nose. Condition Report Disclaimer
WALTER RICHARD SICKERT (BRITISH 1860-1942)EPPING, AFTER HARRISON WILLIAM WEIR, 1848 Oil on canvas Signed (lower right), inscribed Weir (lower left) further inscribed and dated 1848 to stretcher overlap (verso)76.5 x 118cm (30 x 46¼ in.)Painted circa 1928-30.Provenance:Private Collection, Dr Robert Emmons, by 1930Anonymous sale, Christie's, London, 22 February 1980, lot 44, as 'Picnic at a Country House'Sale, Sotheby's, London, 24 March 1994, lot 107Sale, Sotheby's, London, Modern British and Irish Paintings, Drawings and Sculpture, 8 March 1995, lot 12 The Rowse Collection Exhibition: London, Savile Gallery, Paintings by R. Sickert, A.R.A., 1930, no. 16London, Leicester Galleries, Retrospective Collection of Drawings and Recent Paintings by Walter Richard Sickert, June 1942, no. 119, as 'A Country House'Literature:T.W. Earp, The work of Richard Sickert, A.R.A. (1930) p.297Wendy Baron, Sickert, Paintings & Drawings, The Paul Mellon Centre for Studies in British Art (New Haven & London: Yale University Press, 2006), p. 504, no. 599The present lot comes from a series of works Sickert produced known as 'Echoes'. The series was first inspired by an encounter with Victorian artist Sir John Gilbert (1817-1897). Sickert visited Gilbert in 1893 to draw a portrait study of the artist. Following the sitting Sickert boasted that Gilbert had in fact retouched the drawing and that the work had become a collaboration. It was this work that inspired Sickert to start creating works influenced by artists from the past to produce 'Echoes'. Sickert would select an engraving or black and white illustration from a journal by a well known artist and reproduce the image in his own vibrant, modernist colour palette. The works sought to 'echo' the past which supported Sickert's campaign that modernism paved the way for contemporary artists but did not eliminate practices of the past. This work was most likely painted from the engraving by T. Bolton after Harrison William Weir. Condition Report: Not relined. Light surface dirt. Yellowing varnish causing some discolouration. A couple of light scuffs and scratches to the upper corners, with some associated loss. Inspection under UV reveals very light scattered retouching. Amendment: There are two areas of visible retouching in natural light to the upper corners. Retouching flares under UV. Please contact pictures@dreweatts.com for additional images. Condition Report Disclaimer
λ AUGUSTUS JOHN (BRITISH 1878-1961)PORTRAIT HEAD OF MRS. ORPENPencilInscribed "From John to Miss Emily with his unhesitating devotion" 20 x 21.5cm (7¾ x 8¼ in.)Provenance:Collection of Edgar and Emily Hesslein, New YorkP.& D. Colnaghi & Co., Ltd., LondonExhibited:New York, Brooklyn Museum, 15 April 1922London, Thomas Agnew & Sons Ltd., no. 64London, P.& D. Colnaghi & Co., Ltd., Augustus John: Early Drawings and Etchings, September-October 1974, no. 46 (illustrated)London, Olympia, Augustus John, February 1999, no. 292Portrait Head of Mrs Orpen was drawn at Vattetot, Normandy in 1899 while Augustus was on holiday with a group of friends celebrating the marriage of Alice Knewstub to William Rothenstein. Both John and Orpen were captivated by the sight of Alice's (unmarried) sister Grace in her straw hat and chiffon scarf, which she wears in Orpen's oil painting 'Grace by Candlelight', and in the present work. In his biography of Augustus John, Michael Holroyd quotes from John's letter to Grace: 'Seeing [the scarf] round your neck and tinted with your blood, it was unto me even Beauty's embellishment'.The drawing and inscription were made two years before Grace's marriage to William Orpen in 1901. Orpen had been briefly engaged to Emily Scobel, who in 1900 had modelled for three of his paintings, 'The Mirror', 'The English Nude', and 'The Bedroom', but Emily called off the engagement, thinking him 'too ambitious' (p.77, Bruce Arnold, Orpen: Mirror to an Age, Cape 1981, p. 66). The delicate pencil work and hatching in 'Portrait of Mrs Orpen' is typical of the drawings John made after leaving the Slade in 1898. We are grateful to Rebecca John for her kind assistance with the cataloguing of this lot. Condition Report: The sheet has been stuck down to the backboard of the mount around the edges. There is time staining throughout the sheet, visible in the catalogue illustration and also slight horizontal rucking to the sheet. Condition Report Disclaimer
MORTIMER MENPES (BRITISH 1855 - 1938) PORTRAIT STUDY OF JAMES ABBOTT MCNEILL WHISTLER Charcoal and chalk on blue paper Signed (to lower edge) 48.5 x 35.5cm (19 x 13¾ in.) Unframed Provenance: Sale, Christie's, London, Victorian, Pre-Raphaelite & British Impressionist Art, 13 December 2017, lot 51 (part-lot)
Worldwide, Czechoslovakia and France. Four volumes of stamps incl. Czechoslovakia album with range of 'Posta Ceskoslovenska' ovpts to high values and other better issues, the rest mainly France incl. 1867 4cts grey unused, 'peace and commerce' to 5fr, through to 1950s portrait issues, etc. Mixed condition.
Pair: Company Sergeant-Major E. Gardner, Royal Garrison Artillery Queen’s South Africa 1899-1902, 1 clasp, South Africa 1902 (61817 Co: Q.M. Sjt: E. Gardner, 63rd Coy. R.G.A.); Army L.S. & G.C., E.VII.R. (61817 Co: Sjt: Maj: E. Gardner. R.G.A.) very fine (2) £100-£140 --- Ernest Gardner was born in the Parish of Romsey, Hampshire, and attested at Gosport for the Royal Artillery on 14 July 1887. He was discharged at Cardiff on 13 July 1908, having completed his second period of engagement. Sold with original parchment certificates of discharge and character, and an original portrait photograph of recipient wearing medals together with four other copied photographs.
Three: Captain G. St. J. Richardson, 7th Duke of Connaught’s Own Rajputs, Indian Army, who died of wounds on the first day of the Battle of Kut al Amara on 7 December 1915 1914-15 Star; British War and Victory Medals (Capt. G. St. J. Richardson); Memorial Plaque (Garnet St. John Richardson); Memorial Scroll ‘Lieut. Garnet St. John Richardson, 7th Rajputs’, with a portrait newspaper cutting photograph of the recipient and a small silver life-saving medal, all mounted in a glazed display frame, the scroll ‘corrected’ to read ‘Captain Garnet St.-John Richardson, D.C.O. 7th Rajputs. 1915’, otherwise nearly extremely fine (4) £280-£320 --- Garnet St. John Richardson, the son of Lieutenant-Colonel W. St. J. Richardson, was commissioned second lieutenant, Unattached List for Indian Army, from the Royal Military College, Sandhurst, on 8 September 1909 and was posted to the 7th Duke of Connaught’s Own Rajputs on 27 December 1910. He was promoted lieutenant on 8 December 1911, and captain on 1 September 1915 (although his promotion to captain was not formally gazetted until after his death). He died of wounds on 7 December 1915, on the first day of the battle of Kut al Amara, and is buried in Amara War Cemetery, Iraq. Note: Owing to the fact that the medals are held in a glazed display frame the reverse of the 1914-15 Star has not been seen. Consequently this lot is sold as viewed and not subject to return.
Pair: Captain D. P. Mills, Royal Artillery Coronation 1911, unnamed as issued; Army L.S. & G.C., V.R., 3rd issue, small letter reverse (14057. 3/Cl. Mr. Gunr. D. P. Mills. R.A.) engraved naming, good very fine (2) £240-£280 --- Daniel Peter Mills was born at Leith, Midlothian on 25 May 1859, and attested for the 19 Brigade, Royal Artillery on 23 September 1874 at Fyzabad, Oude, India, joining ‘D’ Battery as a trumpeter two days later. He was appointed 1st class trumpeter on 28 February 1878 and was promoted to bombardier on 1 August 1879. He was promoted to corporal on 1 September 1879 and transferred to the 1st Brigade on 10 March 1881. On 7 March 1882 he was promoted to sergeant followed by promotion to battery sergeant major on 22 July 1885. Mills was promoted to 3rd class master gunner and was transferred to the 10th Division Coast Brigade on 1 April 1890. He was awarded the Army Long Service and Good Conduct Medal per Army Order 7 of January 1893 and was promoted to 2nd class master gunner on 10 April 1896. He was commissioned lieutenant on 18 July 1900, was awarded the Coronation Medal in 1911, and was promoted captain on 4 July 1913. He retired on 25 May 1914 but was re-employed for service during the Great War as a district officer on 22 September 1914 and served at home with No. 3 Depot, Royal Garrison Artillery at the Citadel in Plymouth. Sold with the recipient’s parchment Commission Document, dated 18 July 1900; two portrait photographs of the recipient; and copied research.
Three: Second Lieutenant O. J. Butler, Norfok Regiment, late Cambridgeshire Regiment, who was killed in action on the Western Front on 16 October 1918 1914-15 Star; British War and Victory Medals (2. Lieut. O. J. Butler.); Memorial Plaque (Owen James Butler); Memorial Scroll ‘2/Lieut. Owen James Butler, Norfolk Regiment’, with a portrait photograph of the recipient, all mounted in a glazed display frame, about extremely fine (4) £300-£400 --- Owen James Butler, of Swaffham Bulbeck, Cambridgeshire, attested for the Cambridgeshire Regiment and served with the 1st Battalion during the Great War on the Western Front from 28 September 1915. Commissioned second lieutenant in the Norfolk Regiment on 30 July 1918, he served with the 7th Battalion, and was killed in action on 16 October 1918. He is buried in Auby Communal Cemetery, France. Note: Owing to the fact that the medals are held in a glazed display frame the reverse of the 1914-15 Star has not been seen. Consequently this lot is sold as viewed and not subject to return. Please note that this lot is not suitable for shipping, but can be hand delivered within mainland Britain by prior arrangement.
Afghanistan 1878-80, 1 clasp, Kandahar (1469, Pte. C. Connibeer, 2/7th. Foot) mounted for display alongside a portrait photograph of the recipient and two regimental badges in a glazed display frame, minor official correction to latter part of surname, polished, very fine £200-£240 --- Charles Connibeer was born in Bradford, near Taunton, Somerset, in 1859 and attested for the 49th Brigade at Taunton on 23 November 1877. Posted to the 2nd Battalion, 7th Royal Fusiliers, he served with them in India and Afghanistan from 9 March 1879 to 26 January 1888, and was present at the Siege and Battle of Kandahar during the Second Afghan War. He was discharged on 22 November 1889, after 12 years’ service. Sold with copied service papers.
Pair: Mr N. Prowse, Master of the Oxenholme, whose extraordinary life varied from rescuing stricken sailors, meeting Prince Albert and Isambard Brunel, declaring bankruptcy on at least two occasions, and being arrested by the French authorities in Dunkirk under the suspicion of being a Prussian Spy! Egypt and Sudan 1882-89, dated reverse, no clasp (Mr. N. Prowse. “Oxenholme.”) edge bruise; Khedive’s Star, dated 1882, unnamed as issued, both with contemporary silver top-riband buckles, and housed in a custom made Elkington & Co., Liverpool leather case, nearly extremely fine (2) £500-£700 --- Provenance: Spink 1991. Only Masters of Transports received the 1882 medal, making them unique to each of the 105 vessels employed. Nicholas Prowse was the second son of Captain N. Prowse, and was born in Torquay, Devon in June 1825. During his lifetime, Prowse was involved in a number of adventures which featured frequently in the newspapers of Belfast, Bolton, Bristol, Cardiff, Derby, Exeter, Jersey, Liverpool, Sheffield, Swindon and Torquay between 1843-1884. In 1843 he was part of a boat’s crew in Torquay which saved a number of French seaman, as a result of which they were awarded medals by King Louis Philippe I. In 1857, Prowse was appointed chief officer of the Great Eastern steamship - designed by Isambard Brunel. The latter was present with Prowse when she was launched the following year. Prowse was living in Deptford in October 1858, when he was declared bankrupt and placed in debtors prison for London and Middlesex. Remarkably he maintained his position with the Great Eastern, and in September 1859 was present aboard her when an explosion blew open the furnace doors. Prowse was recorded as ‘foremost in rendering assistance to rescue all who were injured below.’ A month later he found himself putting down a mutiny from 30 of the ships’ crew, who had been wilfully disobeying orders. On 19 October 1859, Prince Albert visited the ship and was ‘received on board by Captain Harrison and Mr Prowse, the chief officer.’ Prowse went on to command a number of merchant ships, one of which being the Sheldrake which was involved in a collision with a schooner in July 1870. Three months later, whilst in company with a photographic artist from Liverpool, he was arrested by the French authorities in Dunkirk on the suspicious of both men being Prussian spies. Prowse was declared bankrupt for a second time in 1871, before finding himself as master of the Oxenholme. On 8 August 1882: ‘The Pontoon Troop, Telegraph Troop, and Field Park, numbering 300 Royal Engineers, with an immense number of boats, and a large quantity of telegraph stores and other war material, were embarking yesterday at South West India Docks on board the Oxenholme.’ Prowse died, 22 May 1884: ‘Captain Nicholas Prowse, a lieutenant in the Royal Naval Reserve, died yesterday at his residence in Carisbrooke Road, Walton, at the age of 59. He was well known as the commander of steamships belonging to leading Liverpool companies, and obtained considerable prominence in connection with his successful tow of the disabled Allen liner Sardinian while he was in charge of the Dominion steamer Texas. Mrs Prowse is the artist who painted the portrait of Mr Edward Whitely, M.P., which now hangs in the Liverpool Home for Aged Mariners.’ (Liverpool Mercury, 23 May 1884 refers) Prowse’s wife also painted a portrait of him, an image of which is included in the lot with other copied research.
An unusual Second World War O.B.E. group of six awarded to Wing Commander G. W. Houghton, Royal Air Force Volunteer Reserve, who was an official R.A.F. war correspondent in the Middle East and afterwards the Officer in Charge of the Public Relations Section of the Allied Expeditionary Air Force in North-West Europe 1944-45: his earlier experiences in the Western Desert are recorded in his book They Flew Through Sand The Most Excellent Order of the British Empire, O.B.E. (Military) Officer’s 2nd type breast badge, silver-gilt; 1939-45 Star; Africa Star, 1 clasp, North Africa 1942-43; Italy Star; France and Germany Star; War Medal 1939-45, with M.I.D. oak leaf, with named card box of issue, addressed to ‘G/Cpt. G. W. Houghton, Spinney Nook, Broadway, Letchworth, Herts.’, mounted court-style as worn, good very fine and better (6) £500-£700 --- Provenance: Dix Noonan Webb, March 2010. O.B.E. London Gazette 1 January 1945. The original Recommendation states: ‘Group Captain G. W. Houghton has been in charge of the Public Relations Section of the Allied Expeditionary Air Force for almost the entire period since the landings in Normandy on ‘D’ Day and has been the greatest assistance in the building up of the Inter-Allied Public Relations Organisation. He has, more recently, been the main link with the Air Ministry on this work, and has personally established an extremely efficient organisation with the units in the field. His tireless work and loyal support, especially during the landings in Normandy, have aided the maintenance of the very standards attained by his section.’ M.I.D. London Gazettes 1 January 1943 (Squadron Leader); 17 September 1943 (Acting Wing Commander). George William Houghton was born in Perth, Scotland in September 1905 and was commissioned as a Pilot Officer in the Administrative and Special Duties Branch of the Royal Air Force Volunteer Reserve in April 1940, where his pre-war qualifications as a journalist were quickly put to use. Posted to the Middle East as an official R.A.F. war correspondent, he visited many units and locations in the Western Desert, and came into contact with numerous personalities of the Desert Air Force, “Imshi” Mason among them. He also regularly came under fire during enemy raids. In addition to his powers of observation and gifts as a writer, Houghton was also a competent artist, and a number of his drawings and sketches were reproduced in his popular wartime title They Flew Through Sand - soon after the war he dramatised one of the incidents described in the book for the B.B.C., and the lead actor, Kenneth More (fresh from active service in the Royal Navy) was praised for his performance by the Royal Princesses Elizabeth and Margaret. Houghton was twice Mentioned in Despatches for his services in North Africa and had attained the acting rank of Wing Commander by the time he returned home from the Mediterranean theatre. Next employed as Officer in Charge of the Public Relations Section of the Allied Expeditionary Air Force in North-West Europe 1944-45, a role that included him witnessing the Normandy landings, Houghton ended the War in the rank of Acting Group Captain and was appointed an Officer of the Order of the British Empire. He finally relinquished his commission in the R.A.F.V.R. in February 1954, retaining the rank of Group Captain. In later life he was an avid golfer and cartoonist, who drew over 300 cartoons a year, and also wrote over 38 humours books as well as numerous short stories. Sold with the recipient’s two Mentioned in Despatches Certificates in envelope addressed to ‘Wing Commander G. W. Houghton, O.B.E., National Liberal Club, Whitehall Place, S.W.1’; the recipient’s passport; a framed and glazed portrait photograph of recipient in uniform; a copied photograph of the recipient in North Africa, 1942; two copies of They Flew Through Sand, The Notes and Sketches of an R.A.F. Officer in the Western Desert, by George W. Houghton, the first the 1942 original; the second a 1991 reprint; a copy of ‘The Adventures of a Gadabout’, by George Houghton; a copy of ‘How to be a Golf Addict’, by George Houghton; and copied research.
Family Group: Three: Second Lieutenant N. S. Scott, King’s Own Scottish Borderers, who was killed in action at Ypres on 23 April 1915 1914-15 Star (2.Lieut. N. S. Scott. K.O. Sco. Bord.); British War and Victory Medals (2. Lieut. N. S. Scott); Memorial Plaque (Norman Sawers Scott); Memorial Scroll ‘2nd. Lt. Norman Sawers Scott, K.O.S.Bs.’; together with a silver K.O.S.B. cap badge and a miniature coloured portrait of the recipient, extremely fine Pair: Second Lieutenant I. A. S. Scott, King’s Own Scottish Borderers, who was killed in action on the first day of the Battle of the Somme on 1 July 1916, on which date his battalion suffered over 550 casualties British War and Victory Medals (2. Lieut. I. A. S. Scott); Memorial Plaque (Ian Archibald Sawers Scott); Memorial Scroll ‘2/Lieut. Ian Archibald Sawers Scott, K.O. Scottish Borderers’; together with a miniature coloured portrait of the recipient, extremely fine Three: Captain W. E. S. Scott, Royal Army Medical Corps British War and Victory Medals (Capt. W. E. Sawers Scott); British Red Cross Society Medal for War Service, unnamed as issued, with integral top riband bar; together with two bronze R.A.M.C. cap badges, extremely fine The entire lot all mounted and housed in an impressive and heavy tooled leather-bound and initialled triptych-style display frame, this in extremely good condition (lot) £1,800-£2,200 --- Norman Sawers Scott was commissioned second lieutenant in the King’s Own Scottish Borderers on 31 October 1914, and served with the 2nd Battalion during the Great War on the Western Front from 27 November 1914. He was killed in action at Ypres on 23 April 1915, aged 19, and is buried in Bedford House Cemetery, France. Ian Archibald Sawers Scott, brother of the above, was commissioned second lieutenant in the King’s Own Scottish Borderers on 1 June 1915, and served with the 2nd Battalion during the Great War on the Western Front from 1916. He was killed in action on the first day of the Battle of the Somme on 1 July 1916, aged 19, whilst attached to the 1st Battalion, on which dated the battalion was involved in the attack in front of Beaumont-Hamel - swept by intense enemy machine gun fire the battalion suffered total casualties that day of 552. He is buried in Knightsbridge Cemetery, Mesnil-Martinsaet, France. William Edward Sawers Scott, M.D., father of the above, served with the Royal Army Medical Corps during the Great War on the Western Front from March 1918, and survived the war, being discharged on 23 March 1919. He died on 31 January 1923, aged 62.
The rare ‘Ashanti 1900’ C.M.G. group of four awarded to H. B. W. Russell, Private Secretary to Colonel Sir James Willcocks, Commanding Ashanti Field Force, whose actions during the course of the campaign to relieve Kumassi went above and beyond the conventional duties of a private secretary - often acting as a guide, and being involved in the fighting, despite being present in a civilian capacity The Most Distinguished Order of St. Michael and St. George, C.M.G., Companion’s breast badge, silver-gilt and enamels, complete with ribbon buckle; Coronation 1902, bronze; Ashanti 1900, 1 clasp, Kumassi, high relief bust (H. B. W. Russell, C.M.G., A.F. Fce:); Colonial Auxiliary Forces L.S. & G.C., G.V.R. (Capt. H. B. W. Russell, C.M.G.) mounted as worn but lacking pin; together with original Warrant and Statutes for C.M.G. and contemporary portrait photograph of recipient in uniform, rank partially officially corrected on last, generally good very fine (4) £2,600-£3,000 --- Provenance: Dix Noonan Webb, September 2014. Henry Blythe Westrap Russell was born in Toronto, Canada, on 3 August 1868. He was educated at the Liverpool Institute and at Freiburg in the German State of Baden. He travelled extensively in West Africa and in the 1880s founded the firm of H. B. W. Russell and Co., merchants on the Gold Coast, Southern Nigeria. The company later had offices at Kumassi, Accra, Lagos and Liverpool. Whilst at Cape Coast in June 1900, Russell volunteered his services as private secretary to Colonel J. Willcocks, then assembling his staff for the Ashanti Field Force that he was to lead to the relief of Kumassi. Russell receives several mentions in From Kabul to Kumassi by Brigadier General Sir James Willcocks: ‘On this same day a gentleman at Cape Castle, Mr H. Russell, a trader of whom I had heard a good deal, and who had considerable experience of the Gold Coast, came and offered his service to me in any capacity. I was only too glad to accept them, and offered him the post of Private Secretary, an appointment which was at once approved by the Secretary of State; he proved most valuable. His knowledge of the country and language and his untiring energy were godsends in those days, and he accompanied me to Kumassi. For his services he received the C.M.G. at the close of the campaign, and it was well deserved.’ Further into the campaign, Russell was to prove considerably more hands on than a normal private secretary acting as a guide and indeed taking part in the fighting (despite being there in a civilian capacity): ‘Mr Russell, my Private Secretary, whom I had sent with this column, owing to his knowledge of the people, rendered very useful service, not only in a political sense, but by more than once accompanying the scouts and joining in the fighting.’ (Ibid) Some ‘spoils of war’ brought back to the UK by Russell have appeared on the market in recent years, but not his gift from Willcocks: ‘Among the souvenirs given to me by the officers was a fine donkey from Berekum. I took it down to the coast when I left, and gave it as a Christmas present to my Private Secretary, Mr Russell.’ (Ibid) Russell’s all action approach is further recorded by the Morning Post, 4 October 1900: ‘Operations from Kumassi - Punitive Measures. Hardships of the Campaign: On the following day a fighting column of 900 men with three guns and five Maxims under the command of Colonel Brake, who had with him as staff officers Captains Bryan and Reeve, and as political officer [sic] Mr Russell, a merchant on the West Coast left Bekwai with orders to attack Ejesu, where Queen Ashantuah was supposed to have concentrated a large force, and to have massed a quantity of loot. Advance on Ejesu: Our scouts, who were under the command of Lieutenant McKinnon, and with whom were the guides in charge of Mr Russell, were suddenly fired on by the enemy, who were lying snugly hidden behind a stockade on the bank of a river bed which crossed the road obliquely. Mr Russell went back and reported the situation personally to Colonel Brake, who hurried to the front with two 75 millimetre guns under the Hon. Lieutenant Halfpenny, of the 3rd West African Frontier Force.’ Russell was mentioned in the despatch of Colonel J. Willcocks, Commanding Ashanti Field Force, London Gazette 4 December, 1900: ‘Mr H. B. W. Russell, Private Secretary. - This gentleman volunteered his services at Cape Coast, and I was most fortunate in getting him; he has worked incessantly ever since I landed, and I strongly recommend him, especially as his chief object in coming was in order to have an opportunity of doing some service to the State.’ Russell was created a Companion of the Order of St Michael and St George, London Gazette 9 November 1901 ‘in recognition of his services while employed with the Ashanti Field Force.’ This is believed to be 1 of only 2 such awards for the Ashanti campaign. In 1906 Russell was appointed Consul of the Netherlands at Cape Coast Castle, for the Gold Coast, Lagos and Nigeria, Togoland and Dahomey. In the same year he was appointed a captain in the Gold Coast Volunteers. Russell was honourably discharged in 1912, at his own request, upon his departure from the Gold Coast for England. He died in a motoring accident, when his car collided with a pony trap driven by man under the influence of alcohol. The accident occurred outside of Chester, 24 July 1912, and the other driver was put on trial for manslaughter. Russell resided at Brock House, Tattenhall at the time. Sold with copied research.
A United States of America Second World War Distinguished Flying Cross and Air Medal group of five awarded to Captain J. A. Paduana, 445th Bombing Squadron, United States Air Force United States of America, Distinguished Flying Cross, unnamed as issued, in case of issue; Air Medal, with one silver and four bronze oak leaf clusters on riband, unnamed as issued, in case of issue; American Campaign Medal, in card box of issue; European African Middle Eastern Campaign Medal, in card box of issue; Victory Medal 1941-45, good very fine and better (5) £200-£240 --- D.F.C. Awarded 14 December 1944. The official citation states: ‘For extraordinary achievement while participating in aerial flight as navigator of a B-25 type aircraft. On 10 March 1944, Captain Paduana flew as flight navigator in a formation attacking the Littorio marshalling yards near Rome, Italy. Upon the approach to the target a heavy overcast enveloped the bombers and Captain Paduana’s flight became separated from the formation and the fighter escort. Displaying superior professional skill and determination when his pilot elected to continue the mission unescorted, Captain Paduana guided him directly to the initial point. Then, aiding his bombardier in setting course for a perfect run over the objective, Captain Paduana enabled his bombers to release their bombs with devastating effect upon this vital enemy communications center. On more than fifty combat missions, his outstanding proficiency and steadfast devotion to duty have reflected great credit upon himself and the Armed Forces of the United States.’ Joseph Anthony Paduana was born in Utica, New York, and enlisted in the United States Air Force on 20 January 1942. He served with 445th Bombing Squadron, and completed 50 missions at medium altitude with the 12th Air Force in Italy and Corsica. As Squadron Navigator, he lead the Group on 20 occasions, and the Squadron on the rest of the missions. Sold with the recipient’s Pilot’s Navigation Kit and Classification Folder; silver identity bracelet; official metal identity tag; cap badge; a portrait photograph of the recipient; and various other ephemera.
A Great War ‘Western Front’ M.C. group of six awarded to Second Lieutenant H. Parsons, Royal Garrison Artillery, for his gallantry at Barleux on 29-30 August 1918; for his services he was also Mentioned in Despatches Military Cross, G.V.R., unnamed as issued; 1914-15 Star (49969. Gnr. R. Parsons. R.G.A.) in named card box of issue; British War and Victory Medals, with M.I.D. oak leaves (2. Lieut. R. Parsons.) both in named card boxes of issue; Defence and War Medals 1939-45, with Defence Council enclosure, in named card box of issue, addressed to ‘Lt. R. Parsons, M.C., Greencroft, Kirkleavington, Yarm, Yorks’; together with the recipient’s card identity discs, good very fine (6) £800-£1,000 --- M.C. London Gazette 1 February 1919: ‘At Barleux on 29-30 August 1918, his courage under heavy tire and his devotion to duty were very largely instrumental in keeping the battery in action during a trying period. He rendered particularly valuable service in rallying the men and clearing the road, where heavy shelling had put one or his guns out of action on the way to a forward position, and a block at that spot would have been the cause of severe casualties.’ Roy Parsons was born in Thornaby-on-Tees, Yorkshire, on 9 October 1895 and attested for the Royal Garrison Artillery on 5 November 1914, serving with them during the Great War on the Western Front from 1 September 1915. He was commissioned second lieutenant on 3 August 1917, and was awarded his Military Cross whilst serving with 160th Siege Battery. For his services during the Great War he was also Mentioned in Despatches (London Gazette 7 July 1919). He saw further service during the Second World War, and died in Stockton-on-Tees, Durham, on 2 October 1975. Sold with the recipient’s original Mentioned in Despatches Certificate, this mounted in a glazed frame; the recipient’s Soldiers Small Book; Great War riband bar, a portrait photograph of the recipient, this mounted in a glazed display frame; and copied research.
Pair: Second Lieutenant J. N. Wissett, Loyal North Lancashire Regiment, who was killed in action on the Western Front on 4 June 1918 British War and Victory Medals (2. Lieut. J. N. Wissett.) with a portrait photograph of the recipient, all mounted in a glazed display frame, about extremely fine (2) £60-£80 --- John Noel Wissett, of Liverpool, was commissioned second lieutenant in the Loyal North Lancashire Regiment on 1 August 1917 and served with the 4th Battalion during the Great War on the Western Front from 23 September 1917. He was killed in action on 4 June 1918 and is buried in Couin New British Cemetery, France.
An early-20th century scrap/photograph album, containing pasted-in postcards largely of Scottish views, portrait photography, pressed flowers, sketches, cuttings etc. Included is material pertaining to a voyage aboard R.M.S. Mantua in 1912 to Norway and Denmark Condition Report:Available upon request

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