155745 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

An original Crimea War letter from Lieutenant Clement Heneage, 8th Hussars, who survived the Charge of the Light Brigade and went on to be awarded the Victoria Cross during the Indian Mutiny The letter in ink, four sides on a single folded sheet of blue paper, dated ‘Balaclava, Aug. 13th’, and reading: My dearest Mimsy I was very much surprised to hear of Clutterbuck's approaching marriage, which was about the least probable event in his life, according to what we knew of him - no one in the regiment has heard from him lately, so he is most likely shy about announcing the event. I don’t think he will stay in the corps one day after the ceremony has been performed - The detachments of the Lt. Brigade which have been out at Baidar for the last 3 weeks, all came in this morning, as they are not much use in that direction, the Russians being almost totally invisible - in fact all the soldiers they have in the Crimea, are close to Sebastopol & the Belbek. This morning a general action was confidently expected, & the whole Cavalry Division was out in the plain before 3 o'clock, but nothing came off, so I suppose the Russians will try some other day. The English cavalry are now an immense force - this morning we were between three & four thousand strong, a most imposing mass of men & horses - & if we had had a go at the Russians, I think they would have been sorry for it. Michael is very well & flourishing, he was here two days ago, & we meet constantly in some part of the camps. There seems to be a great row about the merits of G. Paget, & his good service pension - he certainly does not deserve it near so much as heaps of other Colonels do, particularly as he is such a noted bad soldier - If he writes any answer to those letters in the Times, which he most likely has done by this time, it will be great sport - as that facetious paper will probably favour him with an article written in their best & most severe style - Love to all at Compton. Believe me dearest Mimsy Yr. most affecte. Clement’ With related envelope addressed to his ‘Mrs. Heneage, Compton Basset, Calne, Wiltshire’, this with notation ‘England via Marseilles’ and three official stamps to reverse, including British Army Post Office ‘AU 18 1855’, good overall condition £240-£280 --- Provenance: Dix Noonan Webb, September 2014. Clement Walker Heneage was born at Compton Basset, Wiltshire, in March 1831, the son of George Walker Heneage, the M.P. for Devizes. Appointed a Cornet in the 8th Hussars in August 1851, he was advanced to Lieutenant in September 1854, and rode in the Charge of the Light Brigade at Balaklava, in addition to being present at Alma, Inkermann and the operations before Sebastopol (Medal and 4 clasps; Turkish Medal). Having then returned to England, the 8th Hussars were embarked for India in October 1857, and it was June of the following year that Heneage, now a Captain, won the V.C. for his part in an action at Gwalior, three other members of the regiment sharing the same distinction on the same occasion: ‘Selected for the Victoria Cross by their companions. In the gallant charge made by a squadron of the regiment at Gwalior on 17 June 1858, when, supported by a division of the Bombay Horse Artillery, and H.M’s 95th Regiment, they routed the enemy, who were advancing against Brigadier Smith’s position, charged through the rebel camp into two batteries, capturing and brining into their camp two of the enemy’s guns, under a heavy and converging fire from the fort of the town’ (London Gazette 26 January 1859). Also given the Brevet of Major, and awarded the Indian Mutiny Medal with ‘Central India’ clasp, Heneage attained the substantive rank of Major in November 1860, and retired in 1868. A High Sheriff for Wiltshire, he died at Compton House, Compton Basset, in December 1901.

The British Red Cross Society and Order of St. John of Jerusalem War Service Certificate awarded to the Rt. Hon. The Viscount Dawson of Penn, Physician-in-Ordinary to H.M. King George V. Joint Committee of the British Red Cross Society and Order of St. John of Jerusalem in England Certificate in recognition of valuable services rendered during the War 1914-19, named to ‘Bertram [sic] Dawson Esq., K.C.V.O., C.B., F.R.C.P.’, good condition £80-£100 --- Bertrand Edward Dawson, 1st Viscount Dawson of Penn, G.C.V.O., K.C.M.G., was sometime President of the Royal College of Physicians and served as Physician-in-Ordinary to H.M. King George V. As a prominent member of the House of Lords he strongly opposed measures to legalise euthanasia on the grounds that ‘it belongs to the wisdom and conscience of the medical profession and not to the realm of law’. It was Dawson himself who gave King George V the lethal injection of cocaine and morphine as he lay dying, so as to hasten his demise and ensure that the news of the king’s death should first be announced in The Times.

Three: attributed to Private R. Rayner, The Buffs, who was killed in action at El Alamein on 24/25 October 1942 1939-45 Star; Africa Star, 1 clasp, 8th Army; War Medal 1939-45, all unnamed as issued, extremely fine Four: attributed to Private L. W. H. Smith, The Buffs, who died of wounds at Jebel Aboid, Tunisia, on 30 March 1943 1939-45 Star; Africa Star, 1 clasp, 1st Army; Defence and War Medals, all unnamed as issued, extremely fine (7) £50-£70 --- 6294351 Private Robert Rayner, 1st Battalion, The Buffs, was killed in action at El Alamein on 24/25 October 1942. Son of Henry and Mary Rayner, of Morden, Surrey, he is buried in El Alamein War Cemetery. 6287727 Private Lancelot William Henry Smith, 5th Battalion, The Buffs, died of wounds at Jebel Aboid, Tunisia, on 30 March 1943, aged 23. Son of Sarah A. Smith, of Wealdstone, Middlesex, he is buried in Medjez-el-Bab War Cemetery. Sold with some copied research but no original documentation.

The mounted group of twelve miniature dress medals worn by Colonel Allan ‘Jiggy’ Spowers, C.M.G., D.S.O., M.C., Commanding 2/24th Australian Infantry Battalion, who was taken prisoner at El Alamein in July 1942 Distinguished Service Order, G.V.R., with Second Award Bar, silver-gilt and enamel, with integral top riband bar; Military Cross, G.V.R.; 1914-15 Star; British War and Victory Medals; 1939-45 Star; Africa Star, these last two by K. C. Luke, Melbourne; Defence and War Medals 1939-45; Australia Service Medal; Jubilee 1935; Coronation 1953, mounted court-style by Ince Bros., Tailors, Melbourne, very fine (12) £300-£400 --- Sold with a Great War period portrait miniature of the recipient as a second lieutenant, in hinged standing display case; and a small silver tea caddy, hallmarked Birmingham 1913, maker’s mark ‘C.E.T.’, the front face inscribed, ‘Presented to Mrs Allan Spowers, from The Argus and The Australasian Staffs, 4th Imperial Press Conference. London. 1930.’ For the recipient’s full-sized awards, see Lot 103.

A Second War Belgian group of five attributed to Mr. J. P. Vanderauwera, who served as an Intelligence Agent with the Belgian Resistance, and died in Esterwegen Concentration Camp on 23 April 1944 Belgium, Kingdom, Order of Leopold II, Chevalier’s breast badge, silver and enamel, with silver palm on riband; Croix de Guerre, L.III.R., bronze, with bronze palm on riband; Political Prisoner’s Cross, silver and enamel, with riband bar with 4 Stars and black ‘next of kin’ riband bar; Resistance Medal 1940-45, with bronze lightening bolt device on riband; War Medal 1940-45, bronze, good very fine and better (5) £100-£140 --- Jean P. Vanderauwera was born in Liege, on 3 May 1893 and served as an Intelligence Agent in the Belgian Resistance with the rank of Adjutant from 1 August 1942, as a member of the Boule and Luc-Marc intelligence networks. An engine driver for the Belgian railway company on her international trains, his job allowed him to gather information and to act as courier bringing back information gathered by the labourers in Germany. He headed a section of the Boule resistance-network and took part in sabotage actions and theft of arms and ammunitions; Boule was the only Belgian network that could operate within Germany, and among other things it provided information on the Peenemünde rocket base, the V1 and V2 rockets, and about the nature and importance of the Möhne and Eder dams. Vanderauwera was arrested on 23 February 1943 and was held as a political prisoner for the next year. He died in Esterwegen Concentration Camp on 23 April 1944. Sold with the recipient’s original ‘Carte des états de services de guerre du combattant 1940-45’ (1940-45 War Services Card) which contains a portrait photograph of the recipient.

The Peninsula War Medal awarded to Lieutenant R. Blake, 3rd Foot, who was severely wounded and lost a leg at St Pierre in December 1813 when in command of the Light Company of the 57th; he later assumed the additional name of Humfrey and left a hand-written journal ‘A brief Chronological History of my Life’, R. Blake-Humfrey, 1872 Military General Service 1793-1814, 2 clasps, Nivelle, Nive (R. Blake Humfrey, Lieut. 3rd Foot) toned, extremely fine £3,000-£4,000 --- Provenance: Charles Lusted (List No. 78) June/July 1970. Robert Blake (afterwards Blake-Humfrey) was born on 23 November 1795, at Horstead, Norfolk, second son of Thomas Blake, Barrister at Law, J.P., and Theodora Colombine. He was gazetted Ensign, by purchase, into the 3rd Foot (Buffs) on 30 April 1812, with the influence of General Leigh, the Colonel. Promoted to Lieutenant on 23 September 1813, he served in the Peninsula from September 1813 to March 1814, being present at Nivelle and Nive, being severely wounded at St Pierre on 13 December 1813, where his left leg was amputated. He was placed on Half-pay in December 1816, having been ‘Rendered incapable of Duty by my wounds, and removed to the 9th Royal Veterans Battalion in January 1820, ‘Incapable of service by the loss of my leg and other severe wounds.’ He was awarded £100 pension per annum for the loss of his leg, commencing from 14 December 1813. Robert Blake married Charlotte, daughter of Colonel Harvey, of Thorpe, at Thorpe St Andrew, Norfolk, on 4 August 1838, with whom he had seven children. He assumed the name Blake-Humfrey by Royal Licence on 10 August 1847. He later became Deputy Lieutenant of Norfolk and Justice of the Peace, and lived at Wroxham Hall, Norfolk, where he died, aged 90, on 15 October 1886. There is a memorial tablet to him in the church of St Mary the Virgin at Wroxham, Norfolk. The following narrative, including extracts from Blake’s hand-written journal “A brief Chronological History of my Life” (R. Blake-Humfrey, 1872), was published in Charles Lusted’s List No. 78 in June/July 1970; Lusted clearly had access to the original journal which was then in possession of the family but made it very clear that the journal was not for sale. The present whereabouts of the journal are not known. ‘Departed for the Peninsula, July 1813 to join the lst Bn in Spain. During some very rough weather between Portsmouth & Plymouth, a mutiny among a large part of both soldiers and sailors broke out aboard ship (on account of some regulations relative to the issue, and drinking, of the grog served out to the men), the men refused to serve the ship, and some soldiers set their officers at defiance, and a party of American seamen, engaged at Liverpool, proposed "to take the ship into Boston!". Lieutenant Blake Humfrey was sent, with a small party, to the escort Frigate of the convoy, through a heavy sea, and an armed crew from the Frigate arrested the chief sailor mutineers. Landed in Spain Aug 28th, 1813, near St. Sebastian (which was then under siege), and the detachment was ordered to march to join the Regiment. They were attacked en route, and several of the men were wounded. “Lord Wellington and his Staff passed by and stopped to enquire who we were? I saw him thus, for the first time, by flashes of lighting, in heavy rain - enveloped in his large cloak, and cocked hat covered with oil-silk - as represented in the pictures.” Aug 30th 1813 - Joined the Ist Bn The Buffs encamped in the mountains near the Pass of St. Jean Pier de Porte, under command Colonel Bunbury (Sir John Byng’s Bde), 2nd Division (Lord Hill). Appointed Lieutenant (London Gazette 28th Sept, 1813), and attached to Light Company (Capt. Cameron). At that time the Light Co’s of every Regt in the Bde were formed into one Company of which Capt. Cameron has sole command. Nov 10th - took part in the attack and capture of the heavily fortified French positions on the Heights of Ainhoue (beyond the River Nivelle); November - crossed the River Nive, and “the Buffs, wading up to their chests, the stream running strong, succeeded in crossing the river, with the loss of a few men by enemy fire, and a young officer and a private or two, carried away by the current, which they were too feeble to stem.” December, 13th - “Cameron directed me to take command of a company of the 57th, attached to the Light Companies, all the officers of which had been wounded. About four o’clock in the afternoon, while doing duty with this Company, and exposed to a severe fire of artillery, I fell to the ground, badly wounded in both legs above the knee, either by grape-shot, or part of a shell.” “Lord Wellington having, early in the morning, received intelligence, from Sir Rowland Hill, of the strong attack made on his, the right wing of the Army, came from St. Jean de Luz some 20 miles, to learn the result. He galloped up close by my party, and seeing me severely wounded, supposed I was an officer of high rank, for he sent his A.D.C. to enquire who I was. Upon being informed, he remarked that my wounds seemed to require immediate attention, and ordered his A.D.C. to send a surgeon to the farm house close by. I had the satisfaction of meeting the Assistant Surgeon of my own Regt coming out to meet me, by Lord W’s orders!” His left leg was amputated (at the age of 18 years). “Sir Rowland Hill and Sir John Byng called upon me, and sent English roast beef, in tin cases, then a novelty.” Lieutenant Blake was then returned to England, and in due course was discharged on medical grounds: “my wounds entitled me to a year’s pay for each leg, and a pension for the loss of my left leg - which was made £100 - that of a Captain, in consideration of my being in command of a company when wounded.” May 1815 - “I went to Bradford in. Yorkshire to have an artificial leg made by Mr. Mann, then of great fame as a mechanician in that way.” July 1815 - “On returning to Bradford, I found a Russian officer, Colonel Christzoffs, who had lost his leg at Leipzig, and hearing of the fame of Mr. Mann, had come from Paris to have a leg made.” August 1815 - “Though so soon after the loss of his leg at Waterloo, the Marquis of Anglesea also arrived, for a like purpose. He invited Colonel Christzoffs, myself, and several other officers, to dinner at his hotel - all at table being one-legged-men, except his son Lord Uxbridge!” The last entry in the Journal reads: “Dec 1882, returned home - by train.”

A United States of America Second War Army Good Conduct medal awarded to Private First Class Arthur F. Perry, 103rd Infantry Regiment, who was killed in action 15 January 1945, during the battle for Luzon Island United States of America, Army Good Conduct Medal, slot brooch ‘Arthur F. Perry’; together with a later Philippines Liberation Medal, slot brooch, very fine (2) £40-£50 --- 36170413 Private First Class Arthur F. Perry, from White Cloud, Newaygo County, Michigan, served with the 103rd Infantry Regiment, 43rd Infantry Division. He died on 15 January 1945 and is buried at Manila American Cemetery. ‘The 103rd Infantry Regiment landed on the island of Luzon (Philippines) on 9 January 1945 and was one of the leading elements during the Battle of Luzon. As the left wing of the invasion force, they pushed inland, encountering stiff opposition from fanatical Japanese enemies. The 103d Infantry went ashore at 0700, with the 152nd following at 1300 to set up firing positions on the beach. The landing was unopposed and the regiment moved inland by column of battalions, with 3rd in the lead, followed by 2nd, and 1st in support. As the day went on, Japanese resistance began to increase. Using 75mm guns, the Japanese would initiate long-range ambushes on the 103rd, retreating when approached by riflemen. This delaying tactic did not inflict many casualties, but it did slow the regiment’s advance. The next day saw the 103rd making good time but it was still slowed by harassing enemy attacks. Riflemen, acting in conjunction with artillery fire, steadily advanced and destroyed several of the Japanese guns. Everything changed on the morning of 11 January, when 2-103 Infantry began the assault on Hill 200. It was a heavily fortified position, with caves, tunnels, and trenches dug into the hillside for both infantry and artillery. It took five days of brutal fighting to take the hill, characterised by heavy supporting fire from the 152nd FAB, the 105mm howitzers in the 103rd’s Cannon Company, and the 103rd’s organic mortars. The rest of the battalion worked on securing the perimeters around the hill with aggressive patrolling, which sparked intense fighting. By 16 January, Hill 200 and its environs were in U.S. hands. An enemy armoured counterattack in the vicinity of barrio Potpot resulted in a long night for the men of 3-103rd Infantry, as they fought off the attack and destroyed eleven Japanese tanks.’

Crimea 1854-56, 1 clasp, Sebastopol (H. Cross. 3rd Regt.) officially impressed naming, edge bruising and lightly polished, otherwise very fine £200-£240 --- Henry Cross (No. 3059) is confirmed on the roll of those men of the 3rd Foot who landed in the Crimea in the 1st and 3rd May 1855, entitled to the Medal (roll marked ‘WO’ indicating that it would be officially impressed and that he had likely died on service in the Crimea). None of the rolls for the 3rd Foot show any clasp entitlement so the Sebastopol clasp remains unconfirmed. Sold with copied medal roll extract.

A scarce Massachusetts Minuteman casualty medal awarded to Corporal Henry M. Fales, 57th Massachusetts Infantry Regiment, late 3rd Rifles, who was killed in action during the Battle of the Wilderness 6 May 1864, his regiment suffering almost 50% casualties during one of the most fearful battles of the Civil War Massachusetts Minuteman Medal (Henry M. Fales, Prvt. B. 3d Btn. Rfn.) extremely fine £400-£500 --- Henry M. Fales, a 20 year old butcher from Holden, Massachusetts, enlisted in Co. B, Massachusetts 3rd Rifles Battalion on 19 May 1861. Mustering out of this regiment on 3 August, on the 30 September that year, he mustered into Co B of the newly formed 51st Massachusetts Infantry. On 25 November 1862, the regiment proceeded by rail to Boston, where it immediately embarked on the transport Merrimac bound for North Carolina and was assigned to Amory’s Brigade. On 11 December, the 51st was assigned to the Goldsboro expedition. On 17 January 1863, seven companies took part in an expedition to Pollocksville, five of them proceeding as far as Young’s Cross Roads, and having a skirmish with the enemy at White Oak Creek. In late June, the regiment was assigned to emergency duty until the Confederate army under General Lee should be driven back from Pennsylvania, and it was immediately transferred to Baltimore, Maryland, where it remained from July 1 to July 6, searching houses for concealed arms, guarding prisoners from Gettysburg, etc. Later joining 1st Corps, Army of the Potomac, the regiment was sent back to Massachusetts in mid July and were mustered out of the service 27 July 1863. Having mustered out of service with the 51st, on 10 March 1864, Fales mustered into Co G, of the newly formed 57th Massachusetts Infantry, a regiment formed from veteran soldiers with at least 9 months service in other units. Fales was promoted Corporal 20 days later and, on 18 April 1864, the regiment started for the seat of war, forming part of Carruth’s (1st) Brigade, Stevenson’s (1st) Division, Burnside’s (9th) Corps. On the 27 April, the corps started for the Rappahannock River and remained in bivouac until the morning of the 6 May, the ears of the men being deafened with the continuous roar of the battle which was already in progress. This battle, known as the Wilderness, was fought on 5-6 May 1864, about 15 miles west of Fredericksburg, Virginia and would be one of the bloodiest battles of the war, fought in the most confusing of countryside for troops to fight over. On the morning of the 6th, Stevenson’s Division was sent to the support of Hancock’s (2d) Corps on the Plank road, and in the bloodbath which followed, of the 550 officers and men the 57th took into battle, they lost near half their number; 47 killed, 161 wounded, and 43 missing. This was 5th highest number of casualties of any Union regiment present during the battle. Corporal Fales was one of those killed, dying of a gunshot wound. The Massachusetts Minuteman Medal In 1902 the State of Massachusetts authorised the production of the Minuteman medal to be awarded to all ‘3 month’ Militiamen who answered Lincoln’s ‘first call’ for troops in April of 1861. The medals themselves were issued with officially impressed naming, giving the name rank and unit of the soldier, in a similar style to British Campaign medals. Approximately 3,800 veterans were eligible to claim this medal; however, as they were only awarded on application, many remained unissued. Overall, approximately 159,000 men from this State fought for the Union, thus only a fraction actually received a medal. Of the men that were in these original Militia units, the majority went on to serve in other units during the War. Of the States that fought for the Union, only West Virginia, Ohio, Massachusetts, New Jersey and Connecticut issued officially named or numbered medals to its servicemen in significant numbers. Even then, bar to soldiers in West Virginian service, this was to a small number of men that actually served in each State during the War and a fraction of the over two million servicemen who fought for the Union. Connecticut, Pennsylvania and others issued medals to their ‘first call’ militia but numbers were lower than 800.

An interesting Massachusetts Minuteman casualty medal awarded to Private William H. O’Neil, 19th Massachusetts Infantry Regiment, late 3rd Rifles, who was severely wounded during a raid by J. E. B. Stuart’s cavalry in June 1862 Massachusetts Minuteman Medal (William H. O’Neil, Prvt. D. 3d Btn. Rfn.) extremely fine £300-£400 --- William Henry O’Neil, a 19 year old butcher from Boston, enlisted in Co. D, Massachusetts 3rd Rifles Battalion on 19 May 1861. Mustering out of this regiment on 3 August that year, on the 28th of that month, he mustered into Co. K, 19th Massachusetts Infantry. Assigned to Gen. Lander’s Brigade, Gen. Stone’s Corps of Observation, the Regiment picketed the Potomac during the fall of 1861, advancing to Harrison’s Island October 21 and covering the retreat of the troops from Ball’s Bluff. The winter of 1861-62 was spent at Muddy Branch guarding the Potomac in front of Darnestown and Rockville. In March, 1862, the regiment, now in Dana’s Brigade, Sedgwick’s Division, was sent to the Shenandoah, but shortly afterward the entire division was ordered to the Peninsula where it arrived 30 March, and was attached to Sumner’s (2d) Corps. It took part in the siege of Yorktown in April, however Private O’Neil was wounded at Whitehouse on 13 June 1862, where he suffered a severe wound in right arm, which was subsequently amputated, the Musters stating: ‘Loss of arm from gunshot wound received June 13/62 during an attack of cavalry made upon a detachment which was being conveyed by cars from Fair Oaks station to White House Landing, VA.’ A further note on his discharge states: ‘Was wounded in the raid made by Stuart’s Cavalry June 13th ’62 on the railroad from Fair Oaks Station to White House Landing. Ball entered the upper third of right arm – the limb was amputated near the shoulder on board the hospital transport [undecipherable] City lying at White House Va, on the evening of the day that his injury was received.’ Early in June 1862, Confederate General J. E. B. Stuart had sent John Singleton Mosby on a mission to scout along the rear of the Union Armies supply line from White House Landing onto the Pamunkey River. Mosby identified a gap in the Union line that made the supply base at White House Landing a potential target. It was during a raid on this place by Stuart, that O’Neil was wounded. Much can be found in books and online regarding this raid. After spending the next 8 months recovering at Lexington General Hospital, New York, O’Neil was discharged from service due to disability on 14 March, 1863.

A scarce Massachusetts Minuteman casualty medal awarded to Private Nicholas H. F. Richardson, 18th Massachusetts Infantry Regiment, late 4th Regiment, who took part in the 2nd Battle of Bull Run where his Regiment sustained heavy casualties and lost its Colours; he was later severely wounded at the assault on Marye’s Heights during the battle of Fredericksburg on 13 December 1862, the 18th loosing a further 134 officers and men Massachusetts Minuteman Medal (Nicholas H. F. Richardson, Prvt. F. 4th. Reg.) extremely fine £340-£400 --- Nicholas H. F. Richardson, aged 20, a Hostler from Walpole, Massachusetts, mustered into Company ‘F’ of the 4th Massachusetts (Militia) Infantry on 22 April 1861. He mustered out on 22 July 1861 after their 3 months’ service was over. On 24 August 1861 he further mustered into Company ‘F’ 18th Massachusetts Infantry and was severely wounded in the thigh at the battle of Fredericksburg on 13 December 1862. Richardson finally mustered out on 2 September 1864. A member of GAR Post # 47 (Major Howe) in Haverhill Massachusetts, he died on 24 January 1920. The 4th Massachusetts Volunteer Militia “Minute Men” had the honour of being the first regiment to leave the State and formed a part of the Garrison of Fort Monroe. It took part in the battle of Big Bethel, the first battle of the Civil War. The 18th Massachusetts Infantry was present at the siege of Yorktown, and the 2nd Battle of Bull Run, when it participated in the attack of Porter’s Corps on Jackson’s position at the railroad embankment, where it lost 169 officers and men and its States Colours. It was in reserve at Antietam but after the battle it crossed the Potomac in pursuit of the retreating Confederates and was driven back with loss. At Fredericksburg on 13 December 1862, the 18th took part in the assault on Marye’s Heights, losing another 134 officers and men. Every member of the Colour Guard was wounded during the battle, so severe was the fire upon the Colours; but it is worthy of note that not a member of the regiment was missing from his place save the killed and wounded. Although Richardson is noted as still in the regiment until mustering out in September 1864, his wounds kept him in hospital the entire time. Interestingly, despite his musters showing him as a Private his rank on his casualty papers is given as Colour Corporal or Colour Sergeant.

An Ohio Civil War medal awarded to Private Patrick Newton, a Veteran soldier of the 61st Ohio Infantry Regiment who served between February 1862 and July 1865, during which period the regiment saw service at the battles of 2nd Bull Run, Chancellorsville, and Gettysburg State of Ohio Veteran Civil War Medal (P. Newton Co G 61st Regt Inft) good very fine £300-£400 --- Patrick Newton, aged 30, mustered into service as a Private in Company ‘G’, 61st Ohio Infantry Regiment on 2 February 1862. At the end of his term of service in 1864, he reenlisted as a veteran soldier and was transferred to Company ‘G’, 82nd Ohio Infantry Regiment when the 61st was consolidated with the 82nd on 31 March 1865. Newton was finally mustered out of service on 5 July 1865 at Camp Dennison, Ohio. The 61st Ohio Infantry Regiment was organised in the State at large in March, April and May, 1862, to serve for three years. It left for the field in Western Virginia on May 27, and at Freeman’s ford had its first fight with the enemy, a part of Longstreet’s corps. It took part in the second battle of Bull Run and covered the retreat of the Federal forces on the Centerville turnpike toward Washington. In the battle it lost 25 men killed and wounded. At Stafford Court House it established winter quarters and remained there until April, 1863. It was engaged throughout the entire battle of Chancellorsville and lost 4 officers wounded, besides a large number of men wounded and 5 killed. At Gettysburg it opened the battle, being thrown out as skirmishers, and was so roughly handled that it was compelled to fall back to Cemetery Hill. In this action the regiment lost heavily in killed, wounded and prisoners. In September it was transported to the Army of the Cumberland and was engaged in a fierce fight at Wauhatchie, Tennessee, defeating and driving the Confederates across Lookout Creek. In this fight 3 were killed and a number wounded. It was in the assault on Missionary Ridge moving round to the extreme left of the Federal lines to prevent a flanking movement on the part of the enemy. In March, 1864, it re-enlisted, was furloughed home, and then returned for the Atlanta campaign. It participated in the bloody action at Resaca, losing several men, and performed its part nobly during all of the succeeding campaign. The regiment lay at Atlanta until it started with General Sherman’s army on its ‘march to the sea’. It then marched up through the Carolinas and at Goldsboro, North Carolina, on 31 March 1865, was consolidated with the 82nd Ohio, the combined regiment taking the name of the latter organisation. The State of Ohio Civil War Medal The State of Ohio authorised Tiffany & Company of New York to provide 20,000 medals to recognise those soldiers from Ohio who re-enlisted from the State under War Department General Orders, No. 191, which called for “Veteran Volunteers”. These were soldiers who completed their three-year tour of duty and then signed up for further duty as a Veteran Volunteer. The medals were distributed in the summer of 1866 and are officially engraved with the name and unit to the reverse field of the medal. Based on the British Crimea medal, the suspension was attractively but poorly designed, resulting more often than not in only the disc surviving. Approximately 319,000 men from this State fought for the Union, with less 6.5% being awarded this medal. Of the States that fought for the Union, only West Virginia, Ohio, Massachusetts, New Jersey and Connecticut, issued officially named or numbered medals to its servicemen in significant numbers. Even then, bar to soldiers in West Virginian service, this was to a small number of men that actually served in each State during the War and a fraction of the over two million servicemen who fought for the Union.

A West Virginia Civil War medal awarded to Second Lieutenant William H. Murphy of the famed 1st West Virginia Cavalry, who was injured at the Battle of Port Republic June 1862. Previous to enlistment he was a printer and established a newspaper ‘The American Citizen’ in 1855 West Virginia Civil War Medal, ‘Honorably Discharged’ type (Wilm H. Murphy. Co H 1st Cav Vols. Sergt) nearly extremely fine £300-£400 --- Medal named with rank of Sergeant as this was his later rank. William H Murphy, aged 32, a printer from Uniontown, Pennsylvania, who had established a newspaper ‘The American Citizen’ in 1855, enlisted as Second Lieutenant into Company ‘E’ 1st Virginia Cavalry on 16 June 1861. On 4 July 1862 resigned his commission due to health - his service papers noting he had contracted disease of the lungs during the winter of 1861-2 and that he had been severely injured falling from his horse while in action during the Battle of Port Republic on 8 June 1862, suffering internal injuries. They also contain a letter from his Colonel regretting his loss to the regiment. Murphy further reenlisted as a 1st Sergeant, Company “H” 1st West Virginia Cavalry on 27 February 1864. The 1st Virginia Cavalry was his old regiment that had been officially renamed West Virginia Cavalry when the Unionist State of West Virginia was officially admitted to the Union in 1863. Musters show that Murphy spent much of the time between mid September and December 1864 in hospital and from January 1865, variously on duty, detached service and hospital. He was finally discharged on 30 May 1865 and died on 30 October 1866. 1st West Virginia Cavalry Service The regiment was recruited from the western counties of Pennsylvania, eastern Ohio, and western Virginia, at a time when the Government was not organising cavalry regiments. It was composed of superior material, mostly young men from the farms, experienced horsemen and marksmen, who could break and tame the wildest colt, or pierce the head of a squirrel in the top of the tallest hickory with a rife bullet. When the regiment entered the field mounted and equipped, with its complement of field, staff and line officers, and led by Prof. Carl Colby’s famous silver cornet band, all mounted on milk white horses, the regiment well caparisoned, with jingling and flapping trappings, the riders all young and handsome, it was a beautiful and inspiring an organisation as ever graced the armies of the United States. This the citizens of Clarksburg, Cumberland, Martinsburg and Winchester will no doubt cordially admit, though the uniforms may not have been their favourite colour. Its first active service was in the mountains of West Virginia, by detachments, scouting and doing picket and outpost duty to the various infantry commands holding the mountain passes and guarding the Baltimore and Ohio Railroad. These duties in the wild, mountainous region, infested with Confederate scouts, guerrillas and bushwhackers, soon developed in the officers and men that individuality, courage and daring which distinguished them throughout the period of their service. In the spring of 1862, it was brigaded with other cavalry regiments, under the command of General Hatch, and participated in the operations in the valley of the Shenandoah and its neighbourhood under General Shields, Banks, McDowell, Schenck and Fremont, though some of the companies were separated. Capt. C. C. Krepps, with a company of the regiment, put the enemy’s cavalry, panic stricken, to flight, and gained possession of the bridge at Port Republic, and but for orders to the contrary, would have destroyed it, thereby cutting off the retreat of Stonewall Jackson. In the darkness of night preceding the battle of Cedar Mountain, Captains Steele and C. C. Krepps, with two companies, rode through General Jackson’s camps, creating great apprehension and confusion, at the same time capturing a number of prisoners. The State of West Virginia Civil War Medal In 1866, the state of West Virginia authorised the minting of 26,000 medals to honour its Union Civil War soldiers. Unlike other Union States, medals were issued to every soldier who served in a West Virginian unit. Three different dies were produced for the medals, each with a different suspension clasp: 1) “Honourably Discharged” for the officers and soldiers of the volunteer army who have been or may be honourably discharged from the service. This is the most common variant. 2) “Killed in Battle” for the officers and soldiers who have been killed in battle. Not more than 800 of this variant were produced. 3) “For Liberty” for the officers and soldiers who have died from wounds received in battle and for those who died from diseases contracted in the service. 3,200 of this variant were produced. Each medal was officially impressed with the soldier’s name, rank and unit on the rim, in a similar style to British Campaign medals. To this day, over 4,000 medals remain unclaimed. Of the States that fought for the Union, only West Virginia, Ohio, Massachusetts, New Jersey and Connecticut, issued officially named or numbered medals to its servicemen in significant numbers. Even then, bar to soldiers in West Virginian service, this was to a small number of men that actually served in each State during the War and a fraction of the over two million servicemen who fought for the Union. Connecticut, Pennsylvania and others issued medals to their ‘first call’ militia but numbers were lower than 800. Sold with copy detailed pensions file and musters.

A fascinating West Virginia Civil War medal awarded to Private Samuel S. Hague, Captain Gilmore’s Company, Pennsylvania Dragoons, attached to the 1st Loyal Virginia Cavalry, then the 2nd West Virginia Cavalry, who served as mounted orderly to a 98th Ohio Infantry Colonel and then at HQ of the ex-French Cavalry Officer Brigadier-General Duffie West Virginia Civil War Medal, ‘Honorably Discharged’ type (Saml S. Hague. Co L 2nd Reg Cav Vols) good very fine £300-£400 --- Samuel S. Hague, aged 19, a farmer from Virginia, originally enlisted into Captain Gilmore’s Company Pennsylvania Dragoons on 23 July 1861. Being attached to the 1st Regt Virginia Mounted Volunteers, the company later became Company ‘L’ of the 2nd West Virginia Cavalry. Captain Gilmore’s Company was formed as the Pennsylvania Dragoons became a company in the First (West) Virginia Cavalry. In November 1861, Captain Gilmore’s Company were again transferred, becoming Company “L” 2nd West Virginia Cavalry – though possibly only for muster/pay purposes. The ‘History of the Second Regiment, West Virginia Cavalry Volunteers’ states: ‘George Washington Gilmore formed a company of cavalry independently at the request of General George B. McClellan and Gilmore was its captain. Gilmore’s company was originally called the Pennsylvania Dragoons and was formed July 1861 with men from Fayette County Pennsylvania. An example of it fighting detached is the Wytheville Raid, where it fought with an additional company from the 1st West Virginia Cavalry, an infantry regiment, and another cavalry regiment. Beginning 14 July 1863, Gilmore’s Company served with the 2nd West Virginia Cavalry, and finished its service as Company L of that regiment.’ However, Hague’s musters for the 2nd WV are a little confusing regarding the actually designation of Captain Gilmore’s Company from November 1861. Whilst his muster sheet is for ‘L’, 2nd WV Cavalry, the actual details say the company was still designated 1st V Cavalry in 1863 (as above). This is probably due to the independent nature of Gilmore’s company and the fact that West Virginia itself didn’t officially join the Union until 1863 – after this there were various name changes. Several pages of Captain Gilmore’s musters confirm this. In his Jan/Feb Muster, Gilmore puts in an official protest to being officially transferred to the 2nd West Virginia Cavalry: From January 1863 Hague was detached from his regiment and serving as orderly to Colonel Van Vorhes of the 92nd Ohio Infantry. Colonel Van Vorhes resigned his commission on 22 March; however, Hague is noted as orderly service, brigade headquarters from July 1863 until February 1864 when he returned to Gilmore’s company. During this time, the brigade was under the command of Brigadier General Alfred Napoléon Alexander Duffié, an ex-French cavalry officer who had fought in the Crimean and Austrian Wars. He was mustered out of service in November 1864.

A West Virginia Civil War medal awarded to Private Sandford B. Turner, 10th West Virginia Infantry Regiment, who after reenlisting as a Veteran, was wounded in action at the battle of Opequan (Winchester) on 19 September 1864 West Virginia Civil War Medal, ‘Honorably Discharged’ type (Sandford B. Turner Co B 10th Reg Inf Vols) in original named card box of issue, mint state £300-£400 --- Sandford B. Turner enlisted into ‘D’ Company, 10th West Virginia Infantry Regiment on 10 June 1861. Discharged on 28 February 1864, he immediately re-enlisted as a Veteran Volunteer, and was given Veteran furlough during March and April 1864, returning to his Regiment in May that year. Turner was wounded in action at the battle of Opequan (Winchester) on 19 September 1864 but returned to duty in November and was finally was discharged from service on 9 August 1865. After the Civil War he lived in Lewis County, West Virginia. The 10th Regiment was recruited in the latter part of 1861, the first companies being assigned to duty under General Rosecrans, then in command of the Frontier Department. Its organisation was not completed until May 1862, when it was attached to the command of General Milroy, and took part in the operations of that army during the remainder of the year. In May, 1863, it was ordered back to West Virginia and attached to the brigade commanded by General Averell. The first action of the regiment as a body was at Beverly, in July 1863, where it was attacked by the enemy under Colonel W. L. Jackson, and notwithstanding the regiment was greatly outnumbered it held Jackson at bay for two days, when reinforcements arrived and the Confederates were routed. It fought at Cloyd's Mountain, where it was highly complimented by General Averell for its gallantry, and afterward was with that officer in several raids and expeditions. In the campaign against General Early in the Shenandoah Valley in 1864, it was in action at Snicker's ferry, Winchester, Berryville, the Opequan, Fisher's Hill, and Cedar creek. After Sheridan's victories in the Valley it joined the Army of the James and continued in the operations about Petersburg and Richmond until the close of the war. It was mustered out 9 August 1865.

An outstanding Second War ‘Anzio Beach-head’ Immediate M.C. group of six awarded to Major J. E. Rolo, 1st Battalion, The Buffs Military Cross, G.VI.R. reverse officially dated 1944; 1939-45 Star; Africa Star, 1 clasp, 8th Army; Italy Star; France and Germany Star; War Medal 1939-45, with M.I.D. oak leaf, together with original M.I.D. Certificate, dated 13 January 1944 (Captain (T/Major) J. E. Rolo, The Buffs (Royal East Kent Regiment)) extremely fine (6) £1,200-£1,600 --- Provenance: The Robert F. Brett Collection of Medals to the Buffs, Dix Noonan Webb, September 1999. M.C. London Gazette 20 July 1944: ‘In recognition of gallant and distinguished services in Italy.’ The original recommendation for an Immediate M.C. states: ‘For outstanding leadership and bravery in the Anzio Beach-head on 3rd March 1944. Major J. E. Rolo’s gallant conduct is strongly recommended for an award. The Buffs were holding 2,000 yards front East of the Flyover Bridge when it became known that the enemy was occupying a house with infantry, supported by tanks 500 yards in front of and threatening the left forward company. At 19.35 hours Major Rolo led his raiding-party of 40 men (2 weak Platoons of “A” Company) through our own wire on a dark and very wet night after being heavily shelled in his assembly area. Supported by an Artillery programme fired by 180 guns he saw the house after going 1,200 yards by compass. The party approached the house from the rear or north at 20.15 hours over deep shell holes full of mud in which his men floundered with their weapons. When at 20 yards from the house the enemy opened up with two machine guns from ground level and with automatics from the upper windows. As a result of the mud it was found that only one Bren out of six, and one Tommy Gun, could return fire, and the attacking party was at a loss how to act. Without hesitation Major Rolo used his voice and led his men straight for the house and surrounded it, himself receiving a bullet in the leg at ten yards range. It was on his orders that the one Bren silenced the machine gun at the door enabling several men to get into the house and force the enemy to the upper storey, and it was his calm orders which directed the throwing of grenades through the upper windows. After 20 minutes on the objective, when only one automatic was still being fired from the house, enemy machine-guns opened from across the road to the NW and the expected counter attack seemed probable. Major Rolo rallied his men and after going 200 yards was rewarded by the surrender of twelve prisoners from slit trenches. He made the prisoners carry our own wounded, and ignoring his own wound brought the whole raiding party back to our lines. The raid identified a new enemy unit on the front [146th Grenadier Regiment of 65 Division], and on reports from subsequent prisoners killed 30 Germans including the only two officers who were in the house. Two of our officers and seven men (one since died) were wounded. The success of this action was due largely to the personal inspiration of its leader, whose conduct in action was of the same high order in both the Libyan and Tunisian campaigns.’ M.I.D. London Gazette 13 January 1944: ‘In recognition of gallant and distinguished services in the Middle East.’

The Zulu War Medal awarded to Private D. Flannery, 2/3rd Foot, who was killed in action at the battle of Gingindhlovu on 2 April 1879, an extremely rare casualty and unique to the Regiment South Africa 1877-79, 1 clasp, 1879 (1101. Pte. D. Flannery. 2/3rd Foot.) minor small edge bruises and nicks, otherwise nearly extremely fine £3,000-£4,000 --- Private D. Flannery was killed in action at the battle of Gingindhlovu on 2 April 1879, the only casualty in the regiment at this action in which the 2/3rd Foot and the 99th Foot held the west face of the square formed around Chelmsford’s laager. Tavender’s Casualty Roll for the Zulu and Basuto Wars, South Africa 1877-79 lists just one British officer and two men killed [Flannery and a private in the 91st Foot], and 3 British officers and 14 men wounded in this action.

A scarce Second War ‘Leros 1943’ M.M. group of six awarded to Corporal C. J. White, The Buffs, for gallantry in a counter attack against the German landing at Della Palma Bay; he was subsequently taken prisoner after the Buffs were surrounded by German paratroopers and remained in German hands until May 1945 Military Medal, G.VI.R. (6459504 Cpl. C. J. White. The Buffs.); 1939-45 Star; Africa Star, 1 clasp, 8th Army; Italy Star; Defence and War Medals 1939-45, together with a Royal Fusiliers cap badge, good very fine (6) £1,000-£1,400 --- M.M. London Gazette 13 September 1945: ‘In recognition of gallant and distinguished services in the field.’ The original recommendation submitted by Lieutenant-Colonel Sir Douglas Iggulden states: ‘At Leros on 12 November 1943 this N.C.O. was leading his section in a counter attack upon the enemy who had landed at Della Palma Bay. Quite undaunted by previous failures Cpl White tried again and again to close with the enemy. Finally his fearless and determined leadership enabled him to get in on the enemy flank. His initiative in in making this advance under heavy fire made possible the defeat of the enemy landing party and the capture of many prisoners.’ C. J. White enlisted into the Royal Fusiliers (T.A.) on 23 February 1937, and was embodied on 2 September 1939. He transferred to The Buffs on 11 October 1943. Following the Italian surrender on 3 September 1943, the islands of Kos, Leros and Samos in the Greek Isles were occupied by the British. The 4th Buffs, after losing 7 officers and 128 men when the destroyer Eclipse was mined and sank in 3 minutes, landed on Leros, with 2nd Royal Irish Fusiliers, B Coy 2nd R.W. Kents, together with L.R.D.G. and S.B.S. detachments. On 12 November 1943, the Germans retaliated, invading the island in considerable strength. Despite initial determined and successful opposition the Germans eventually swamped the defences with paratroops and, on 14 November, over 500 daylight sorties were flown by the Luftwaffe, destroying the A.A. defences. British attempts to both reinforce and later to evacuate failed, and Colonel Iggulden, Corporal White and most of the Buffs survivors were taken prisoner. White remained in German hands until 13 May 1945. He was transferred to Class Z Army Reserve in June 1946 and finally discharged in June 1959. He is also entitled to the Efficiency Medal, Territorial.

Cotman (John Sell). A Series of Etchings Illustrative of the Architectural Antiquities of Norfolk; with references to the authors who have described or figured them, London: Longman and Co & others, 1818, 60 engraved plates, bookplate of Robert Henry Inglis Palgrave to front pastedown, lightly spotted & dust-soiled, number 38 toned & browned, a few loose engraved prints loosely inserted into volume, near-contemporary blue half morocco gilt, spine faded & worn, marked, folio QTY: (1)

[Dissolution of Parliament]. By the King, a Proclamation, for Dissolving this present Parliament, and Declaring the Speedy Calling another ... Given at Our Court at Hampton-Court the Eleventh Day of November, 1701. In the Thirteenth Year of Our Reign, London: printed by Charles Bill, and the Executrix of Thomas Newcomb, deceas'd, Printers to the Kings most Excellent Majesty, 1701, printed broadside issued by King William III (1694-1702), woodcut royal coat of arms and 12-line woodcut initial 'W', main text in black letter, printed on laid paper, a little spotting and light browning and creasing, 380 x 310 mmQTY: (1)NOTE:ESTC T149510 locates five copies, one at the National Archives, London, and two copies in North America, both at Harvard University.The year 1701 saw the Act of Settlement which was designed to secure the Protestant succession to the throne, and to strengthen the guarantees for ensuring the parliamentary system of government. At this time in parliament there was a strong Tory majority and they had strong disagreement with the Whigs who were campaigning enthusiastically for War with France. Parliament was prorogued in June and by September the King was being pressed with a case for an election - the second in one year. William relented to the pressure but refused to contemplate reconstruction of his ministry until after a new Parliament had been elected. The issue of the royal prerogative had featured prominently in the session. Ministerial action against the Junto lords had demonstrated that foreign policy could no longer be regarded as a purely monarchical concern outside parliamentary supervision.

Fleming (Ian). The Spy Who Loved Me, 1st edition, London: Jonathan Cape, 1962, original cloth in dust jacket, spine slightly rubbed with minor loss to head & foot, 8vo, together with:Murdoch (Iris), The Flight from the Enchanter, 1st edition, London: Chatto & Windus, 1956, original cloth in dust jacket covers slightly rubbed with some minor loss to head & foot, 8voA Severed Head, 1st edition, 1961, original cloth in dust jacket, covers lightly rubbed with some minor loss to head & foot, 8vo, plus 6 further works by Iris Murdoch, plus other modern fiction & poetry, including works by Graham Greene, W. H. Auden, Angus Wilson, Michael Dibdin, P. D. James, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo QTY: (6 shelves )

Schiffer Military History, publisher. Chronicle of the 7 Panzer-Komapnie 1 SS-Panzer Division "Leibstandarte", by Ralf Tiemann, 1st edition, Atglen, 1998The Field Men, The SS officers who led the Einsatzkommandos - the Nazi Mobile Killing Units, 1st edition, 1999The Ghetto Men, The SS destruction of the Jewish Warsaw ghetto April-May 1943,1st edition, 2001, both by by French MacLean, all with numerous monochrome illustrations, all original cloth in dust jackets, 8vo, together with:J. J. Fedorowicz, publisher, The Struggle for Pomerania..., by Erich Murawski, 1st English language edition, Winnipeg, 2016Siege! Six epic Eastern Front assaults of World War II, by Patrick McTaggart, 1st editin, 2005The History of Panzerragiment "Grosdeutschland", The German Amry's elite panzer formation, by Hans-Joachim Jung, 1st English language edition, 2000, all with numerous monochrome illustrations, all in original boards, 8vo, plusHelion & Company, publisher, Tank Battles in East Prussian and Poland, 1944-1945, by Igor Nebolsin, 1st English language edition, Warwick, 2019The End of the Gallop, The Battle for Kharkov February-March 1943by Alexei Isaev, 1st English language edition, 2017Konev's Golgotha, Operation Typhoon strike the Soviet Western Front, October 1941, by Mikhail Filippenkov, 1st English language edition, 2015, front cover marked & torn to the head, all with numerous monochrome illustrations, all original cloth in dust jackets, and other modern military & WW2 reference, many original cloth in dust jackets, some paperbacks including publications by Osprey, G/VG, 8vo/4toQTY: (6 shelves)

HILL, cinema, inc. complete (2), Famous Film Stars (Arabic), Scenes from the Films; Who's Who, large (20) & small (49), g TO ex, 149

Collection of trade cards to include Doctor Who, Vauxhall 90th Anniversary, Passenger Liners and many others. P&P Group 2 (£18+VAT for the first lot and £3+VAT for subsequent lots)

Vinyl Record LP's and Picture Discs including The Mission - BBC Radio 1 Live In Concert ("No Snow, No Show" For The Eskimo) - WINLP 035; Carved In Sand - S42 251-1; The Mission Children - WISH 2; Montrose - Montrose - K 46276; Hawk Wind - Quark Strangeness and Charm - CDS 4008; AC/DC - If You Want Blood - PLP 7567-81553-2; Al Kooper - You Never Know Who Your Friends Are - 63651; Steppenwolf - Live - DSD 50075 (8)

Vinyl Records – 45rpm Singles – a large collection of various genres and artists and eras, including Pink Floyd, On The Turning Away, in pink vinyl – EMO label – EM 34; Pink Floyd, High Hopes, in clear vinyl – EMI United Kingdom – EM342; Pink Floyd, Take It Back, in maroon vinyl - EMI United Kingdom – EM309; Terry Dene, Terry Dene No.1, signed sleeve – Decca label – DFE.6507; The Damned, Neat Neat Neat – Stiff Records – BUY 10; The McCrarys, Love On A Summer Night – Capitol Records – CL 251; Slaughter and The Dogs, Where Have All The Boot Boys Gone – Decca – F 13723; The Saddle Tramps, The Saddle Tramps – Westwood Recordings – WRS113; Billy Cotton And His Band, Everybody Sing – Decca – DFE 6338; Eagles, Lyin' Eyes – Asylum Records – K 13025; Isley Brothers, Tell Me It's Just A Rumour Baby – Tamla Motown label – TMG 877; Kim Melvin, Doin' The Popcorn / Keep The Faith – Hi Records – 45-2160; Various, Nixa Hit Parade 4 – Pye Nixa - NEP.24078; Freddie Bell And The Bellboys, Rock With The Bell Boys – Mercury label – MEP.9508; The Beatles – Sgt. Pepper's Lonely Hearts Club Band / With A Little Help From My Friends – Capitol Records – 4612; Tullio De Piscopo, Stop Bajon – Greyhound Records – GRY 9; Linda Cassady, Dusty Raven, signed sleeve – Amigo Records – amgo.001; Fun Boy Three, Summertime, 7" picture disc – Chrysalis label – CHSP 2629; Anckorn & Dolovich, McArthur Park / Memory, signed sleeve – A&D Records – No.0001; Big Bad Bo, I Was An "Urban Cowboy", signed sleeve – Rainbow Sound – RSL 144; Kajagoogoo, Hang On Now, picture disc – EMI – EMIP 5394; others, various, including The Beatles, T.C. Curtis, Party Down, Paul McCartney and Michael Jackson, Elton John, Ultravox, The Crickets, U2, John & Yoko, Wham, Jerry Lee Lewis, Jean Michael Jarre, The Who, Was (Not Was), Stevie Wonder, Jon and Vangelis, Duran Duran, Jive Bunny and The Mastermixers, John Lennon, The Jam, Ivor Biggun & the Red Nosed Burglars, Michael Jackson, INXS, The Housemartins, Human League, Heaven 17, Imagination, Howard Jones, Hall & Oates, Haircut One Hundred, George Harrison, Genesis, Gerry Rafferty, Elvis Presley, Eddy Grant, ELO, Eric Clapton, Frankie Goes To Hollywood, Echo and the Bunnymen, Frank Sinatra, Feargal Sharkey, Frank Sinatra, The Sex Pistols, Soft Cell, Mutme, Mike Oldfield, KC & The Sunshine Band, Kate Bush, Maxi Priest, Manfred Mann's Earth Band, Level 42, Lambrettas, Led Zeppelin, Deborah Harry, Style Council, Sammy Davis Jr., Sham 69, Supertramp, The Stranglers, Saxon, Tears for Fears, Todd Rundgren, Thomas Dolby, T-Rex, Thin Lizzy, Thompson Twins, Rod Stewart, Rainbow, Nik Kershaw, Prince, Vicious Pink, Rainbow, Abba, Depeche Mode, Dead or Alive, David Bowie, Chicago, Big Bad Bo, Ritchie Valens, Cameo, Ronnie Hill, Minnie Riperton, Eddie & The Hot Rods, Divine, Eddie Hickey, The Saints, The Clash, The Specials, Wavelength, Fun Boy Three, The Specials, Tears for Fears, The Undertones, etc (large quantity in 3 boxes)

Vinyl Records – 7" Singles – various artists and genres including Ice Cube – AmeriKKKa's Most Wanted – 4th & Broadway – BRW 192 (a/f); Naughty By Nature – O.P.P. / Wickedest Man Alive – Big Life – BLR62; Black Abbots – She Looked My Way, demo disc – Chapter 1 – CH123; Elvis Presley – Le Cavalier Du Crépusculte (Love Me Tender) – RCA – 75 364; Jimmy Radcliffe – Long After Tonight Is All Over – DJM Records – DJS 10772; The Pogues – Fairytale Of New York - Pogue Mahone Records – NY 7; Dennis Clancy – The Road Bridge To Bonnie Dundee – Thistle Records – TM 88; Various – Les Vieilles Chansons De France N°1 – Pathé – A 10 701; Todd Rundgren – Hello It's Me – Bearsville – K 15513; Max Romeo – Wet Dream – Unity - UN-503; Todd Rundgren – A Dream Goes On Forever – Bearsville – K 15515; Steely Dan – My Old School – Probe – PRO 606; The Kinks – You Really Got Me, picture disc – PRT – KPD 1; Μ. Χριστόπουλος, Θ. Σοφός – Αναγκάστηκα / Δεν Γιατρεύεται Ο Πόνος – Columbia – SCDG 4107; Rolling Stones – Honky Tonk Women / Sympathy For The Devil – Decca – F 13635; Iron Maiden – Can I Play With Madness, white labels – EMI – EM 49; Billy Bragg – Greetings To The New Brunette – Go! Discs – GOD 15; Lonnie Donegan – World Cup Willie – Pye Records – 7N 15993; Tony Clarke – Landslide / The Entertainer – Chess – 6145 030; The Realistics – Someone Oughta Write A Song About You, promo – Epic – S EPC 5156; The Tubes – Prime Time, white vinyl – A&M Records – AMS 7423; Ten Years After – Portable People – Deram – DM 176; Squeeze – Slap & Tickle, in red vinyl – A&M Records - AMS 7466; Genesis – Twilight Alehouse, flexidisc – Charisma; LL Cool J – Change Your Ways flexi disc, HHC Magazine; others artists including Madonna, Diana Ross, The Four Seasons, The Eurythmics, Soft Cell, Kate Bush, Rod Stewart, The Tourists, David Bowie, Big Country, Eric Clapton, Todd Rundgren, Roxy Music, U2, China Crisis, Hall & Oates, Judge Dread, Whitesnake, Nazareth, Marillion, Europe, Status Quo, T'Pau, Orchestral Manoeuvres In The Dark, Bananarama, Spandau Ballet, A-Ha, Simple Minds, Alison Moyet, Terence Trent D'Arby, The Police, ELO, Duran Duran, Depeche Mode, Atomic Rooster, Queen, Bread, Abba, Robert Palmer, Blondie, The Communards, XTC, Nik Kershaw, Eddi Reader, Ian Dury and The Blockheads, The Steve Miller Band, The Beatles, Elvis Costello & The Attractions, Glen Campbell, Twisted Sister, Elvis Presley, The Shadows, The Police, Cream, Jefferson Starship, Genesis, Lindisfarne, Swing Out Sister, The Who, Mungo Jerry, Roger Daltrey, The Beat, Pink Floyd, Alan Parsons, Kate Bush, Jellyfish, etc (large quantity in two boxes)

Vinyl Records - LP's - various artists, including Bach / Glenn Gould – The Well-Tempered Clavier, Book I, Preludes And Fugues 1-8 – CBS – BRG 72211; Handel, Mainz Chamber Orchestra, Günter Kehr – Concerti Grossi Op. 3 – Turnabout – TV 4103; Bizet, R.Strauss, Wagner, J.Strauss, Rossini, Verdi, Puccini, Mozart, Cilea, Leoncavallo, Tchaikovsky, Godard, Delibes, Schubert, Kachaturian, Gounod – Opera And Ballet Gold, 4lp compilation – Effects label – EGS/4/5010; John Gowans And John Larsson – The Blood Of The Lamb - Salvationist Publishing & Supplies Ltd. – SPS 017; Max Steiner, Charles Gerhardt, National Philharmonic Orchestra – Max Steiner's Classic Film Score "Gone With The Wind" – RCA Gold Seal – GL 43440; West, Bruce & Laing – Live 'N' Kickin' – RSO – 2394 128; George Harrison – The Best Of George Harrison – Music For Pleasure label – MFP50523; James Pegler – With You In Mind, signed sleeve – Polydor – 2907 011; Jimmy Smith – The Party Side Of Jimmy Smith – Grosvenor – GRS.1084; Various – Song Of The Dutch Street Organ – Gemini – GM 2007; Ella Fitzgerald – Sings Christmas – Music For Pleasure – MFP 5587; Mary Kelley – Greetings Five – Mareriali Sonori – MASO 70005; Jimmy Smith – So Real ... So Beautiful – Sounds Ultimate - SU 105; Sullivan - Charles Mackerras, Royal Philharmonic Orchestra – Pineapple Poll – His Masters Voice – CSD 1399; Jim Reeves – The Country Side Of Jim Reeves – RCA Camden – CDS1000; Paul McCartney – Tug Of War – Parlophone – 14C 064-64750; Harry Stoneham Trio – Three Of A Kind, signed sleeve – HJS Records – HJS001; others, Elvis Presley, Beach Boys, The Shadows, Carpenters, etc, and various genres, classical, musicals and shows, television and wide screen, opera, jazz, country, etc; a collection of laser discs, including The Nine Lives of Fritz The Cat, 10 to Midnight, The Sword and the Sorcerer, Star Wars, Death Wish, Star Trek, Road Games, Who Dares Wins, My Fair Lady, Tom & Jerry, etc. (2 boxes)

A Royal Crown Derby paperweight, War Dog, Lest We Forget, commissioned in recognition of all dogs who have served alongside the British military, limited edition 37/500, gold stopper, 16cm, printed mark in gold, certificate, boxed

Henri-Pierre Danloux - Louis Antoine de Bourbon, duc d'Angoulême (1775-1844) and Charles Ferdinand d'Artois, duc' d'Berrie (1778-1820), Sons of Charles X, King of France, a pair of oval oils on canvas laid onto panel, one signed and dated 1797, each 24cm x 18.5cm, both within gilt composition frames with applied titled plaques. Note: Danloux fled the French Revolution in the early 1790s settling in London. The arrival of Charles Philippe, Count of Artois (later King Charles X of France) and his sons in Edinburgh attracted the artist north to paint the portraits of his fellow countrymen who had established an 'emigré court' in the Palace of Holyroodhouse. Danloux's portrait of the duc d'Angoulême was engraved by Philipp Audinet in 1799 (see National Portrait Gallery, London, cat no. NPG D20429). Versions of both portraits by Danloux can be found in the collection of the Palace of Versailles, inventory nos. MV6923 & MV6924). Provenance: gifts from the sitters to Lord Adam Gordon (1726-1801) commander-in-chief of the forces of North Britain, thence by family descent. Lord Gordon had greeted Artois and his sons at the quayside on their arrival in Edinburgh, where half of the city had turned out to witness the spectacle. Danloux painted Lord Gordon's portrait in 1799, now in the collection of the National Galleries Scotland inventory no. PG192). References: Alan Wintermute (et al), '1789: French Art During the Revolution' (University of Washington Press, 1989) p.105; Stephen Wood, 'The Auld Alliance, Scotland and France, the Military Connection' (Mainstream, 1989) p.109.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Juan Manuel Blanes - A Gaucho on Horseback in a Uruguayan Prairie Landscape, 19th century oil on canvas, signed with initials recto, label verso, 112cm x 128cm, within a Watts style gilt composition frame. Provenance: Baldomero Hyacinth de Bertodano, 7th Marquis del Moral (1844-1921), Solicitor of the Supreme Court of Judicature and resident of Cowbridge House, Wiltshire; The sale of the Contents of Cowbridge House, Messrs Matthews, Matthews & Goodman in conjunction with Messrs Dore, Fielder & Co, October 1922, lot no.137 described thus, 'A fine Oil Painting, The Gaucho on the Pampas in Argentine about 52 by 46 ins'; where purchased by Charles Edmund de Bertodano M.Inst.C.E. (1853-1926); thence by family descent. Note: Juan Manuel Blanes was one of the most important artists in the history of Uruguay, helping to shape the visual identity of the country, which was, at the time, locked in an independence battle with Spain. He was also instrumental in establishing wider Latin and South American aesthetic archetypes. The gaucho was a recurring theme in his work. Intrigued by the powerful proud landless cattle ranchers that roamed the plains of Uruguay, Argentina and Brazil, Blanes stamped for posterity his vision of these characters who lived lives of seemingly utter freedom. Blanes himself said of the gaucho, 'A man among the thousands of hapless men who live in our ravaged countryside; a decent, vigorous, and intelligent man reduced by the contempt in which he is held; a man garbed in a chiripá, a rough shirt, a flimsy pair of short trousers, a vincha (headband), a bandanna handy at the neck, carrying the adornments of his trade, the bolas and belt…' Blanes' 'equestrian gauchos' were painted during 1875 to 1878. Light played a crucial element in these works; in this painting the luminous glow from the sky beyond shares the stage with the gaucho, whose pointing gesture amplifies the rising or setting sun. With thanks to Arch. Gabriel Peluffo Linari for his help with the cataloguing of this lot.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Antique Dental Instruments, two sets of seven dental forceps, both early 20th century, in nickel plated steel, both in leather rolls, one set by Down Bros. Provenance: Used by the vendor's grandfather, a surgeon who went to work in Africa in 1911, later served as Director of Public Health in Accra and Deputy Director of Public Health in the Gold Coast.

A Group of Surgical Instruments, British, early 20th century, in nickel plate ans carbon steel, including two amputation knives, an amputation saw, bone forceps, directors, a cartilage knife, bistouries, a brass spirit burner by Down Bros, male and female catheters, a variety of forceps. Provenance: Used by the vendor's grandfather, a surgeon who went to work in Africa in 1911, later served as Director of Public Health in Accra and Deputy Director of Public Health in the Gold Coast.

Medical, An Antique Field Anaesthesia Kit, Early 20th century, an oval nickel plate case containing a chloroform drip bottle, mask and gauze, mouth gag and forceps, instruments unsigned in nickel plate. Provenance: Used by the vendor's grandfather, a surgeon who went to work in Africa in 1911, later served as Director of Public Health in Accra and Deputy Director of Public Health in the Gold Coast.

Lost Lives: The Stories of the Men, Women and Children Who Died as a Result of the Northern Ireland Lost Lives: The Stories of the Men, Women and Children Who Died as a Result of the Northern Ireland Troubles, David McKittrick, Seamus Kelters, Brian Feeney and Chris Thornton, reprinted 1999, original dustcover, inscription in pen to inside 'Christmas 1999'

PAMELA BONE (1925-2021) Six Creative Colour Landscapes, printed or framed 2012, a set of six colour photographs, Cibachrome prints, each from (1970s?) negatives of manipulated images using pre-digital technology, some or all these prints are from multiple superimposed negatives, five signed in ink on the image, four with photographer's hand written notes taped verso regarding the images and framing, images 31cm x 29.3cm, in identical glazed frames 51cm x 49cm Note 1: These six photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey Note 2: : Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”

A 19TH CENTURY PARIAN FIGURE OF THE CHRIST CHILD, modelled wearing robes, holding an open book inscribed 'Blessed is he Who Believes' and making the sign of peace, on a circular plinth base, unmarked, height 33cm and a 19th century Minton parian Triton and Nautilus, impressed marks including '222', height 21cm (2) (Condition Report: two of Christ child's fingers have been broken off and glued back on, otherwise in good condition, Triton has a chipped tail fin, otherwise in good condition)

PHILIP LARKIN & LICHFIELD, Phillip Larkin (1922-1985) Poet and Novelist, signed correspondence (two handwritten letters and two cards) to his cousin Mrs. Vera Thorpe, who lived in Lichfield, the letters are of a personal rather than a professional nature and are dated, together with a 1st Edition of Required Writing Miscellaneous Pieces 1955-1982 with a photograph of Mrs. Vera Thorpe (nee Larkin) holding the said book, an Order of Service In Memory of Philip Larkin at Westminster Abbey, Friday 14th February 1986, a ticket stub from The Lichfield Festival 'A Celebration of Phillip Larkin' Sunday 6th July 1986, twenty David Garrick Theatre Programmes 1949-1952 and two Lichfield Church/Cathedral Guides

TAXIDERMY - AN EDWARDIAN OTTER MASK ON AN OAK WALL SHIELD, bears applied inscription 'N.C.O.H. TWEED JUNE 26TH 1906 18LBS', (N.C.O.H. refers to the Northern Counties Otter Hounds who were established under that title in 1903), height 26cm (Condition Report: ear tips are a bit worn, as are edge of nose and around inside edge of mouth, generally dusty)

Cricket: A leather bound Visitors Book in which John Arlott asked people who visited his home to sign their name and address. It dates from 1946 onwards. The entries cover 28 pages and include local friends, BBC colleagues, famous English and touring cricketers, and names from the world of poetry and literature.In 1946 we have the top players of the Indian touring team - Vijay Merchant, Vijay Hazare and Vinoo Mankad plus Michael Ayrton - a famous artist, sculptor, writer and broadcaster. Then in 1947 we meet members of the South African touring team - J D Lindsay -and Louis Duffus (writer) - as well as Req Perks, the Worcestershire cricketer who became a close friend. Harry Craig an Irish writer who was producing radio programmes at the time but later became a noted screenwriter of top level movies - writes a little four line ditty beginning "In Arlott's home they filled my glass. In 1949 several of the NZ tourists, including the manager and captain, as well as several of the Leicestershire cricket team. Also some famous players - Bill Bowes. Denis Compton, Bill Edrich,Norman Yardley. In 1950 we start with Raymond Postgate - a famous left-wing socialist and novelist (one of his books listed below) - but soon get back into cricketers - Martin Young, Wilf Wooller, Desmond Eagar. Also writers like Rupert Hart-Davis and Rex Warner and a fairly famous bandleader and impresario - Jack Hylton. Diana Rait Kerr arrives from Lord's and then nine members of the West Indian touring team including Gerry Gomez and Goddard the captain. They are followed by Harry Altham, Neville Cardus (the first visit from a key friend and colleague) and several other cricketers. From the entertainment world we see the comedian Ted Ray and many artistic and literary figures - Laurence Whistler. Pennethorne Hughes, William Plomer, the cartoonist 'Giles' - and then the first signature by John Betieman, the famous and much-loved poet laureate. He signs in on another 4 occasions over the next few years. In 1951 we get South African tourists - the Rowan brothers, Isaacs and Charles Fortune. Then, moving on to 1953 the great Lindwall and Miller arrive as do Mr and Mrs Denis Compton, Walter Robins, Benaud, WA Johnston and a first visit from Gerald Brodribb. Also Andrew Young, well regarded Scottish poet whose works were revered by Arlott. (see items below) And Norman Birkett, the cricket loving barrister.More cricket figures appear - Bill Bowes and Neville Cardus again, several Somerset players, Leslie Gutteridge, AA Thomson, Tom Graveney, Arthur Morris. Also a noted cricket-loving literary name - Edmund Blunden. Another interesting character was Ted Mason who was the first BBC screenwriter of The Archers and Dick Barton - Special Agent. The names tumble over and over - Frank Tyson, Robin Marlar, Rex Alston, Leo Harrison (Arlott's greatest cricket player friend). Ray Robinson, Willie Watson, Jackie McGlew, Neil Adcock and further visits by Whistler, Betjeman etc. By 1956 Colin Cowdrey, lan Craig, Peter May, RS Whitington, JW Rutherford, Jim Burke, Ron Archer, Len Hutton, David Sheppard, Gamini Goonesena and other cricketers show up plus many returns by Frank Tyson. Arlott's fellow BBC icon Brian Johnston visits with his wife, Pauline. Also one of the Boulting brothers, a famous movie maker. Finally, the great writer Kingley Amis appears twice but then the list is finished. John must have moved on to a new Visitors Book which sadly is not included in this lot. Still, a fine collection - and an important indicator of just how Arlott launched himself from local policeman to world famous broadcaster, writer and TV personality.Please assess photographs for a sample of the Visitors Book, viewing is advised.

Cricket: A Hollywood Cricket Cap, awarded to actor Boris Karloff. Karloff was famous for playing Frankenstein's Monster in the 1931 film as well as many other films. Karloff among many other British actors played for Hollywood Cricket Club which was founded in 1932 by Charles Aubrey Smith, a former England cricket captain. It is believed that the cap is from around the 1930s. Karloff's surname is written in pen to the label inside the cap alongside Thomas Freebairn-Smith's who is believed to have inherited the cap at some stage.

Aston Villa: A 1971 Aston Villa tracksuit top and bottoms, worn by the Aston Villa players before the 1971 League Cup Final against Tottenham Hotspur. With stitched Aston Villa badge with 'Wembley 1971' underneath. The tracksuit set was given to the vendor by their cousin, Ron Wylie, who in 1971 was Aston Villa's assistant manager. It is unknown who the jacket and bottoms belonged too.

Doctor Who collectables to include remote control K9, Tardis and a Cyberman mask. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

An Arts & Crafts Della Robbia ewer, early 20th century, of shouldered inverted baluster form, designed by Cassandia Annie Walker and painted by Ruth Bare, the central band with impressed motto "CHI VUOAL DELL' ACQUA CHIARA VADA ALLA FONTE" [who wants clear water to go to the fountain] dividing four stylised floral panels, the base with incised ship mark for 1903, number "255", "C.A.W" monogram and painted ".R.B." monogram, 26.5cm high (at fault) CONDITION REPORT:The piece shows firing cracks to the top handle terminal, the odd small glazing loss to the rim, small glazing faults, small firing pits and frits, and fine surface crazing throughout.

Inscribed with the sitter's name on a label affixed to upper stretcher verso, oil on canvas50 3/4 x 40 1/4 in. (128.9 x 102.2cm)Housed in a period giltwood frame.ProvenanceBy family descent to Captain Robert Archibald James Montgomerie R.N. (1855 - 1908) of Edinburgh.To his son Captain Robert Victor Campbell Montgomerie-Charrington, 1st Life Guards, of Newport, Rhode Island.Thence by family descent.Private Collection, Massachusetts.LiteratureLady Russell, Three Generations of Fascinating Women and other Sketches from Family History, Longmans, Green & Co., London, 1905, p. 175 (mentioned, and illustrated).NoteDaniel Campbell, also known as "Great Dan" because of his impressive height and his considerable wealth, was a towering figure in early eighteenth centiry Scottish history. Starting as a leading merchant from Glasgow trading (sometimes illegally) with the English North American colonies and the Caribbean, Campbell later rose as one of the most prominent members of the last Scottish Parliamant, opposing the Jacobite cause. A close friend of his clan Chief the Duke of Argyll, he represented Inverary in the Scottish parliament from 1702 onwards, and was one of the several commissioners who negociated the terms of the Union treaty, before eventually sitting in the newly assembled Parliament of Great Britain between 1707 and 1708. In 1711 Campbell built Shawfield mansion, which gave its name to the infamous Shawfield riots of 1725, following Campbell malt tax which infuriated the mob who, after taking possession of the city and preventing the officers from collecting the said tax, proceeded to Campbell's mansion and ransack its interior. Campbell eventually received £9,000 from the city as compensation for the damages caused by the riot. Soon afterwards he sold Shawfield and purchased the island of Islay, where he led a series of modern agricultural changes including the introduction of commercial distillation of single malt whisky, which forever changed the face, and fate, of the island.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.

Oil on canvas50 x 40 in. (127 x 101.6cm)Executed circa 1710-1720.Housed in a period giltwood frame.ProvenanceBy family descent to Captain Robert Archibald James Montgomerie R.N. (1855 - 1908) of Edinburgh.To his son Captain Robert Victor Campbell Montgomerie-Charrington, 1st Life Guards, of Newport, Rhode Island.Thence by family descent.Private Collection, Massachusetts.NoteThis very early work by Aikman was painted around the time the artist was first coming to the attention of Daniel Campbell, who fostered his career and eventual success in London. Aikman here presents us with Campbell's first wife, Margaret Leckie, the daughter of John Leckie of Newlands. Together, they had three sons and three daughters. When Margaret died relatively young, Daniel remarried. The portrait of Daniel Campbell featured on the cover of Joanna Hill and Nicholas Bastin's biography of Daniel Campbell (A Very Canny Scot: “Great” Daniel Campbell of Shawfield & Islay 1670-1753, Two Plus George Ltd, 2007) may have been the pendant to the present work. The couple's eldest son and Daniel's heir, John Campbell is featured by Margaret's side. John eventually married Lady Margaret Campbell, daughter of the Earl of Loudon. As they had no children and she died young, he remarried to Lady Henrietta Cunninghame, daughter of the Earl of Glencairn, with whom he had three sons: John, Daniel and Walter.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.

Oil on canvas50 1/8 x 40 1/4 in. (127.3 x 102.2cm)ProvenanceLady Leontine Sassoon, The Manor House, Upton Grey, Hampshire.Thomas Agnew & Sons Ltd., London, United Kingdom.Christie's, London, sale of 18 November 1983, Lot 45.Private Collection, The Manor House, Upton Grey, Hampshire.Christie's London, sale of July 9, 2008, Lot 155 (as Portrait of Lady Almeria Carpenter (1752-1809), three-quarter-length, in a White Dress with a Chiffon Shawl, in a Landscape).Acquired directly from the above sale.Collection of David and Virginia Ford, Bryn Mawr, Pennsylvania.The Estate of David B. Ford, Bryn Mawr, Pennsylvania.NoteThe eldest daughter of George Carpenter, 1st Earl of Tyrconnel, Lady Almeria Carpenter (1752-1809) was lady-in-waiting to Maria Walpole, the wife of Prince William Henry, 1st Duke of Gloucester and Edinburgh, younger brother of King George III. Described by Sir Nathaniel Wraxall as "one of the most beautiful women of her time," Carpenter soon attracted the attention of her employer's husband and became his mistess by the early 1780s, later giving him a daughter.Although Cosway is primarily remembered for his detailed work as a miniaturist, the present work proves the artist's accomplished skills in executing life-like portraits. With its feathery touch, pearlescent tones and slight idealization of the sitter (all at play here), Cosway became one of the leading portraitists of the Regency era. He may have been asked to paint the present portrait of Lady Carpenter at the request of his famous patron, the Prince of Wales (the future King George IV), who Cosway painted in 1780 before becoming his official Painter in 1785.The relined canvas in overall good condition. The painting presents well, with some abrasions along the right outer edge of the canvas due to frame abrasions (to that effect, the canvas is slightly wobbly in the frame and might need consolidating). Examination under UV light reveals remnants of old greenish varnish at the bottom of the painting, thus indicative of a selective cleaning. With localized, careful restoration throughout. See for example at upper center right, to the right of the figure: series of linear repairs in the sky. The figure is mostly intact, but we notice pinpoint inpainting on her headband, the bridge of her nose, as well as her bosom. Scattered repaired losses (or abrasions) at bottom center on the figure's dress. Broader (almost feathery) retouch at bottom right on the tree. To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.

Signed 'J.L.E. Meissonier' bottom left, oil on canvas21 x 25 7/8 in. (53.3 x 65.7cm) ProvenancePrivate Collection, Pennsylvania.NoteThe exacting precision with which Ernest Meissonier executed his figures has drawn comparisons to the work of 17th century Dutch painters with whom he had much in common as a Classicist who embraced the tenets of the French Academy. Meissonier espoused a very traditional view of painting, living and working in ‘The Grand Mansion’ in Poissy from 1846, and toward the end of his life becoming the President of the Société Nationale des Beaux-Arts. While the artist enjoyed considerable success during his lifetime for his Napoleonic and military-themed compositions–he described himself as a history painter–he was also quite accomplished as a genre painter who excelled at depicting 17th and 18th century domestic scenes, as seen in the present work.The relined canvas in overall fine to good condition. With some craquelure throughout. Examination under UV light reveals a heavy layer of old greenish varnish, which makes our inspection difficult. Yet, we notice some restoration (very feathery and delicate) in the upper left corner and along the top outer edge (along the wood timber in the composition, where most of the cracks are). The figures are intact, but we notice some repairs undearth the standing figure (between his legs) and a small repaired indent to the left of the yellow vest. Some more localized inpainting at bottom left and generally speaking along the bottom outer edge up until the stool in the bottom right corner (the restoration appears to follow the cracks and circles around the props, leaving them seemingly untouched). Some more highlights in the background, at upper right and upper center on the tapestry. We notice a horizontal repair underneath the head of the man on the tapestry. See Specialist's pictures for more details.Frame: 27 x 1 3/4 x 2 1/2 in.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.

Signed and dated 'W-BOVGVEREAV-1895' bottom left, oil on canvas62 3/8 x 36 in. (158.5 x 91.5cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceThe Artist.Acquired directly from the above.Collection of Solomon Mehrbach, New York, New York.A.A.A, New York, New York, sale of March 1, 1906, Lot 128 (as The Gardener's Daughter).Acquired directly from the above sale.Collection of Colonel Nathan H. Heft, Bridgeport, Connecticut.A.A.A., New York, sale of January 22, 1920, Lot 72 (as The White Rose).Acquired directly from the above sale.Private Collection, New York.A.A.A., New York, sale of November 17, 1938, Lot 64 (as The Wild Rose).Acquired directly from the above sale.Collection of Michael J. Kutza, USA.Sotheby's, New York, sale of April 28, 1977, Lot 169 (as La Fille du Jardinier).Acquired directly from the above sale.Private Collection, North Carolina.Exhibited"North Carolina Collects: Traditional Fine Arts and Decorative Arts," Mint Museum of Art, Charlotte, North Carolina, July 9-September 18, 1994, no. 7 (as Peasant Girl).LiteratureWilliam Bouguereau's Accounts, as L'odorat.Amable Charles Franquet de Franqueville, "William Bouguereau" in Le Premier Siècle de l'Institut de France, Vol. I, J. Rothschild, Paris, 1895, p. 370 (as La Fleur).Marius Vachon, W. Bouguereau, A. Lahure, Paris, 1900, p. 29 (as L'odorat).Braun & Clément, Oeuvres Choisies des Maîtres Anciens et Modernes, Braun, Clément et Cie., New York, 1907, no. 5445 (illustrated as La Fleur Préférée). Mark Steven Walker, William Bouguereau: A Summary Catalogue of the Paintings, New York, 1991, p. 74.Damien Bartoli and Frederick C. Ross, William Bouguereau: Catalogue Raisonné of his Painted Work, Vol. II, Antique Collectors' Club , New York and Art Renewal Center, Woodbridge, NJ, 2010, no. 1895/12, pl. 225 (illustrated as La Fleur Préférée).NoteThe highly refined and polished art of William Bouguereau is often used as the quintessential illustration of 19th Century French Academism. His name is forever associated with images of elegant female sitters, mostly young girls and teens, as well as mythological figures, caught in a moment of grace, lightness, and sensuality, with an almost photographic quality. These artistic traits, which Bouguereau refined throughout his fifty-year-long-career, made him hugely successful, both academically and financially. It also enabled him to present and sell his work in the United States early on, where such academic finesse and gentle moralization appealed to conservative, often industrialist, collectors of the Gilded Age. At the time of Bouguereau’s death in 1905, The New York Times even concluded: “at one time to possess a Bouguereau was regarded as the first necessity for an art patron.”Appearing at auction for the first time in over fifty years, the present work dates from the artist’s mature, experienced period, just ten years before his death. It was most likely a “tableau de vacances,” executed in the summer of 1895 while Bouguereau sojourned in his villa on rue Verdière in La Rochelle, and completed later that same year in the artist’s Parisian studio. Bouguereau repeatedly worked from live models and was known for hiring Italian teenagers in the region, whom he paid generously to gain their trust, so they would appear in later works. While the identity of our sitter remains a mystery, she was most likely a local Rochelaise, whose delicate treats and slender allure appealed to the master.On many levels, La Fleur Préférée is a textbook example of Bouguereau’s artistic mastery. In a lush landscape stands an almost life-size paysanne, unalarmed, her bare feet firmly planted in the dirt path on which she was walking before stumbling upon us. Simply dressed (she wears a traditional bodice and draped dress like many peasant girls of the time), she holds a small bouquet of wildflowers, from which she plucked a white rose -the titular favorite flower- which she languorously sniffs. Like many of Bouguereau’s earlier works, La Fleur Préférée stands as an idealized version of rustic life. Contrary to Jean-François Millet, Léon Lhermitte or Jules Breton who also depicted farmers and peasants, Bouguereau does not hint at the harsh conditions associated with the rural way of life. The young woman is beautiful, elegant (although her attire is simple, a rather sophisticated scarf is tied on her shoulders), and immaculate, as revealed by her pristine apron, and her clean hands and feet, which Bouguereau particularly excels at rendering here in a formidable foreshortening. According to Alfred Nettement, a student of the master at the Académie Julian in Paris, Bouguereau in fact had “absolute horror of what he would call realism and he always said that reality is charming when it borrows a gleam of poetry from imagination.”Yet, the present work slightly differs from Bouguereau’s past depictions of young maidens, as it introduces a new sense of confrontation and directness which resembles the more provocative, modern works such as Jeune Bergère (1885), Jeune Bergère Debout (1887) and Petite Bergère (1891). This bold face à face is duplicitous. While at first glance one might see a young girl slightly intimidated by her encounter with the viewer, using the flower as a screen, a second read reveals a self-assured adolescent voluntarily engaging with us, assessing the male audience directly, with no hint of slyness, pruderie or reserve. The sitter projects self-assurance, and her heavy gaze implies coyness, flirting even, which somehow clashes with the so-called naïveté and innocence Bouguereau aimed at depicting in the French peasants he portrayed, and for which wealthy American collectors would pay large sums of money.Here, the narrative is stronger than usual, as revealed by the successive changes of title in our painting’s history, subtly implying that each of its owner preferred a different facet of the story. The bouquet the girl holds in her hands may have been assembled by her, as she wandered through the woods along the dirt path. In this version, Bouguereau would have depicted a moment suspended in time; a halt during which “the gardener’s daughter” picked her favorite flower to smell its intoxicating perfume before returning home, or to work. But the flowers could also have been collected by someone else. 

Signed 'Elizabeth Gardner' bottom right, oil on canvas39 1/2 x 29 1/4 in. (77.5 x 74.3cm)Executed in 1888.ProvenancePrivate Collection, North Carolina.Exhibited"Salon de 1888," Palais des Champs-Élysées, Paris, 1888, no. 1071. "North Carolina Collects: Traditional Fine Arts and Decorative Arts," Mint Museum of Art, Charlotte, North Carolina, July 9-September 18, 1994, no. 23.LiteratureExplication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants Exposés au Palais des Champs-Élysées le 1er Mai 1888, Paul Dupont, Paris, 1888 (second edition), p. 87, no. 1071 (listed, not illustrated).Norma Broude and Mary D. Garrard, The Expanding Discourse: Feminism and art History, IconEditions, New York, 1992, no. 8 (illustrated).Tamar Garb, Sisters of the Brush: Women's Artistic Culture in Late Nineteenth-Century Paris, Yale University Press, New Heaven, 1994, p. 157, no. 62.Charles Pearo, Elizabeth Jane Gardner: Her Life, Her Work, Her Letters, MA Thesis, McGill University, 1997, p. 9, fig. 16 (illustrated).NoteElizabeth Jane Gardner Bouguerau was one of the most famous and successful American artists in Paris at the end of the 19th century. Dubbed an honorary French woman through her marriage to William Bouguereau, she was one of the first expatriates to be exposed to the male-dominated Parisian art market, which she learned to infiltrate and eventually master throughout her impressive fifty-eight-year career in the French capital city.Born in Exeter, New Hampshire into a family of merchants, Gardner graduated from the Lasell Seminary (now Lasell University) in Auburndale, Massachusetts in 1856. At first a French teacher, she sailed for France in the summer of 1864 along with a former teacher of hers, Imogene Robinson, and the two settled in a studio 2, rue Carnot, across the street from the highly revered and successful painter, William Bouguereau.Contrary to another famous American expatriate who arrived in Paris two years after her, Mary Cassatt, Elizabeth Gardner could not count on any financial aid from her family, and therefore did not receive private tutoring from eminent masters. Instead, she trained and made a living by copying Old Masters at the Musée du Louvre, as well as the more contemporary artists in the nearby Musée du Luxembourg. She would then sell her work to American collectors travelling through Europe, recommended to her by her own family. Yearning life-drawing classes, but denied the access to them because of her gender, Gardner joined a collective studio of women, where she studied anatomy among her peers during evening sessions. In parallel, and at the recommendation of her friend Rosa Bonheur, a true “sister of the brush and long-time career counselor” according to Charles Pearo, Gardner also joined a sketching class at the Jardin des Plantes, Paris’ Botanical Gardens and Zoo, where she painted living animals alongside the animal sculptor Antoine Barye. There, she met the famous painter Hugues Merle, who would invite her to join his studio and acted as a constant support throughout Gardner’s life, even when she decided to rally the studio of Bouguereau, Merle’s longtime rival.The life of Elizabeth Gardner is marked by a strong desire to fit in. As an American woman from the low middle-class with an everlasting sense of duty and even guilt for leaving her country, Gardner could not afford to experiment with modern trends and embrace a radical career in the form of Impressionism. Instead, she had to study the rules set by the Institution and learn to respect them to blend and succeed in a very competitive milieu. This explains the artist’s polished, impeccable style, the true expression of French Academism adopted by many other American expatriates at the time, and her association with France’s ultimate forum and official place of recognition: the Salon. Gardner participated in thirty Salons, showing thirty-six of her works between 1868 (her first try, marked by two entries) and 1914, the apex of her participations being in 1887, the year she received a bronze medal for La Fille du Jardinier, thus becoming the only American woman to ever receive a medal.The present, rediscovered work follows this immense success. Set against a homey kitchen interior marked by several utensils and a slowly burning fire, a young mother sits lovingly behind her toddler child. Next to her, in a cradle, sleeps her youngest. Playfully, she watches a family of chickens eating at her feet, thus creating a tender echo between her and the mother hen with her chicklets. The work bears close resemblance to the style of William Bouguereau, champion of the Art Pompier, and whom Gardner never felt embarrassed to channel as she proudly explained to an interviewer in 1910: “I would rather be known as the best imitator of Bouguereau than be nobody.” At the time, views of idealized peasantry untouched by modern life were popular among Victorian collectors. As Bouguereau was facing an impressive number of requests of that nature (having started the trend himself), Gardner must have understood the benefits, both academic and financial, to work within this niche market and emulate her famous master’s style to satisfy a hungry crowd. Here Gardner adopts a smooth brushwork, she creates solid lines heightened by soft glazes and soft colors. She frames her subjects in a way that makes them seem monumental and ennobling. Just like Bouguereau, she pays great attention to the rendering of the hands and feet, and depicts her peasant woman barefoot, a characteristic of the romanticized view of French peasantry outside of urban areas, and which American collectors were particularly fond of.Despite the use of certain iconographic formulas however, one notes certain particularities that make the composition truly special, and which highlight Gardner’s very own artistic gifts. Contrary to Bouguereau’s figures, which are purposefully more static, Gardener’s mother and child interact with one another. They cuddle, and as such imply an inward movement which accentuates the intimacy of the moment. None of them are looking at us. On the contrary, they are so caught in the moment and display such a strong and natural bond that neither the artist nor the viewer can interrupt it. This feeling of a warm and pure love is further enhanced by the presence of the chickens. Traditionally seen as an element of femininity, they appear regularly in Gardner’s work, unlike Bouguereau’s (see for example La Fille du Jardinier -1887, Dans le Bois -1889, or La Captive -1883). The artist was fond of birds and owned herself an aviary of about 30 poultry in her studio.Such iconography appealed to her prude, mostly feminine clientele. It also helped strengthen the moral undertones of family love and accentuate the irreplaceable nature of the mother figure in the patriarchal society. In this regard, the piece can be seen as a modern, secular version of a Madonna and Child. 

Signed 'Frits Thaulow.' (underlined) bottom left, oil on canvas32 x 39 1/2 in. (81.3 x 100.3cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceCollection of Mr. and Mrs. Edmund Lyon, Buffalo, New York (acquired in Paris cira 1924)By descent to Mr. and Mrs. Francis K. Remington, Rochester, New York, circa 1938.By descent to Mr. and Mrs. William Moore Dietel, New York, New York and Flint Hill, Virginia, since 1995.NoteBorn in Oslo in 1847, Frits Thaulow found modest success as a painter of marine and coastal subjects under the tutelage of C.F. Sørensen at the Academy of Fine Arts in Copenhagen. Following a short tenure in the studio of Hans-Fredrik Gude in Karlsruhe, Germany, Thaulow committed—in large part, for the remainder of his career—to painting landscapes, first in his native Norway and, subsequently, across northern and northwestern France.Thaulow’s views of the 1880s and 90s reveal a selective commingling of styles then au courant, from French academic Realism to Naturalism—in the manner of artists Léon Augustin Lhermitte and Jules Bastien-Lepage, whose paintings he would have encountered in Paris the previous decade—to Impressionism. A close friend of Monet and brother-in-law of Paul Gauguin (who, by the late 1870s was still painting in an impressionistic mode), he cultivated an approach that exploited the strengths of each movement. Retaining the compositional structure of mid-century Realism, Thaulow explored the relationship between humans and nature à la Naturalism, while embracing the Impressionist preoccupation with color, light, and atmosphere. His carefully studied depictions of canals, riverbanks, and rural hamlets—the bulk of his output across the final two decades of his life—best reflect this synthesis.Settling in France in 1892, Thaulow executed a spate of characteristic and critically-acclaimed canvases, mostly in and around the villages of Montreuil-sur-Mer (1892–94), Dieppe (1894–98), where he maintained a studio, Quimperle in Brittany (1901) and Beaulieu-sur-Dordogne (1903). The present work likely dates to this fertile period. From an elevated and downward-looking perspective, viewers are transported canal-side. Sharply foreshortened under a cobalt-and-cloud-filled sky, water gently eddies into the middleground of the composition. Flanked by trees and a series of barns and outbuildings on either side, the canal dominates the composition. Figures and a horse-drawn cart are all but enveloped by the landscape—an acknowledgement, perhaps, of the waterway’s importance to the life and livelihood of the village. Hallmarks of Thaulow’s mature style—staccato brushwork, mirror-like reflections, and an intuitive juxtaposition of light and shadow–recommend the scene.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.

Signed 'EDOUARD CORTÈS.' bottom right, oil on canvas21 1/4 x 28 3/4 in. (54 x 73cm)Executed circa 1967.ProvenancePrivate Estate, Philadelphia, Pennsylvania.NoteWe wish to thank Madame Nicole Verdier, who confirmed the authenticity of the present work, which will be added to the forthcoming new volume of the Catalogue Raisonné of the Artist's work. A Certificate of Authenticity will accompany the Lot.The unlined canvas in overall very good condition, with light craquelure throughout, especially visible in the sky. Examination under UV light reveals minor inpainting on the right front wheel of the car (center right) as well as on the hood of the car (very minor). Pinpoint inpointing on top of the Maurice Column at center left. See Specialist's picturesTo request additional images, and for any other information, please email Raphael Chatroux at rchatroux@freemansauction.comFrame: 29 x 33 1/2 x 2 in.

Bears signature 'Paolo Veronese' bottom right; also inscribed with artist's name on the mount bottom left, and with collector's stamp at bottom right verso (not in Lugt), black, white and yellow chalk on heavy laid paperSheet size: 12 9/16 x 10 in. (31.9 x 25.4cm)ProvenancePrivate Collection, Main Line, Pennsylvania.NoteThis striking study of a woman's head is very close to the style of Renaissance master Paolo Veronese. If not by him, the drawing may have been executed by the artist's son, Carlo Caliari, who worked in a similar manner, or by one of his students in his immediate workshop. It may be related to the head of Europa in the Rape of Europa in the Palazzo Ducale, Venice.We wish to thank Fondation Custodia for adding the undocumented Lugt collector's mark to their database. According to them, the same mark appears on the back of a head study by Federico Barocci (Italian, 1528–1612), Studio di Testa Maschile di Tre-Quarti Volta a Destra (Cristo) (Inventory no. 293) now at the Pinacoteca di Brera.In overall good condition. The sheet is laid down to a larger sheet, with hand-drawn and colored mat surrounding the image. The sheet is slightly toned, with scattered surface soiling marks (brown marks and staining spread throughout, as well as some accumulated dust spots at center left, on the woman's neck, and at center, to the left of her eye). Some accentuated yellowing on the woman's forehead (bridge of the nose), cheek and chin: most likely a result from toning and handling smudges. With a fold in the paper at upper right corner. No evidence of tear or repair. Examination under UV light does not reveal any sign of inpainting. See Specialist's images for more details.Frame: 22 x 20 x 2 1/2 in.To access more pictures, or to receive any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.

Inscribed, signed and dated 'ma tante chéri [sic]/James Ensor/14 avril 1916' bottom right; also inscribed 'James Ensor 27 rue de Flandre Ostende/A. Ensor', and titled verso, colored pencil and gouache on paper laid down to cardSheet size: 7 1/8 x 9 7/8 in. (18.1 x 25.1cm)Unframed.ProvenancePrivate Collection, Philadelphia, Pennsylvania.NoteKnown for his predilection for the macabre and death, James Ensor’s work was generally considered scandalous by his contemporaries. His favorite subjects ranged from carnivals and skeletons to masks and images of the dead. Ensor would often stage the scenes for his works in his studio by dressing up skeletons in bright colorful masks. His eccentricities allowed him to create a space where he could have complete artistic freedom. Towards the end of the 19th century he began introducing religious themes in his works, leading to his large scale, controversial painting, Christ’s Entry Into Brussels in 1889.In this intimate work Ensor manages to capture the final moments of a woman’s life- the artist’s own aunt (his mother's sister), Marie-Louise Haegheman - whom he lovingly called "Mimi" - and who passed away on April 11, 1916 a year after the death of the artist's mother's. Continuing his use of bold color, the red background is juxtaposed against the woman’s quiet figure. She is shown clutching a crucifix and has her eyes closed as if in prayer, leaving the viewer to question if the subject has already passed on. For a similar composition in oil by Ensor depicting the same subject, also executed in 1916, see Ma Tante Chérie, sold at Sotheby’s Amsterdam on December 17, 1996 (Lot 170). In overall good condition. The work is affixed to the verso of the mat via three pieces of white mesh tape at upper left corner, upper center and upper right corner. With remnants of thin brown tape underneath each section as well as 8 pieces of 'Haegheman DeWinter' stickers placed along the outer edges of the sheet verso (all sectioned off, so the sheet can be flipped). The sheet is lightly toned, with accumulated brown dust along the outer edges, along with accompanying smudges. No evidence of tear or repair. Scattered fox marks and brown spots on the verso of the sheet as well as on the surrounding edges of the mat, which indicates the work needs a new mat and a frame.To have access to more images of the work, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.

JOSEFA TEXIDOR TORRES, known as PEPITA TEXIDOR (Barcelona, 1865- 1914)"Roses and carnations", 1896 .Pair of oils on canvas.Signed and dated one of them.Patch on one of the canvases. Slight lack of polychromy in the frames. Measurements: 74 x 39 cm; 91 x 55 cm (frame).Pepita Texidor was a Spanish watercolourist and painter, who also cultivated techniques such as gouache and oil. Her two brothers, Modest and Josep, also painted and were her first teachers, together with her father José Texidor and the painter Francesc Miralles. Her usual clientele was the Barcelona bourgeoisie of the time, but her fame and prestige transcended the limits of Barcelona, and even Queen Maria Cristina bought works by her. In addition to painting, Pepita Texidor also cultivated music and singing. She formed part of the group of women who fought to be able to exhibit their work in the galleries that usually only exhibited male artists. In this group we find other outstanding women painters of the time such as Lluïsa Vidal, Visitación Ubach, Antònia Ferreras Bertran and Maria Lluïsa Güell.

French school; second third of the 19th century."Bacchante".Oil on canvas.The original canvas is preserved.It presents a good state of conservation.Measurements: 31,5 x 60,5 cm; 40 x 69 cm (frame).Country scene dominated by the presence of a woman lying on the grass, surrounded by flowers. The young lady appears naked, showing her body to the spectator, although her gaze is directed to another point, where she points with one of her arms. The marked naturalism of the face and gesture typical of this period is adapted to the personification of a mythological figure, a relatively common practice in Neoclassical painting and sculpture and, in general, in 19th-century portraiture, thus creating an image of great evocative power, lyrical and expressive, in which the woman is both the subject of the portrait and of the artist's emotions, who depicts through her not only a physical but also a spiritual feminine ideal. The woman, as was common in the 19th century.

French school, late 19th century."Army Drummers, 1875.Oil on canvas.Signed and dated in the lower right corner.It presents faults and perforation.Measurements: 27 x 41 cm; 43 x 57,5 cm (frame).A group of soldiers drummers of the French army are lined up in front of a sergeant who directs them. Behind them, the cornet player stands out together with other members of the music band. The costumes and features are rendered with veristic precision.

Spanish school of ca. 1839. Circle of GUILLERMO DUCKER (doc. 1799-doc. 1813)."Portrait of a lady.Gouache on vellum.Signed "Saco fecit, 1839).Frame from the beginning of the 19th century.Size: 7 x 6 cm; 12,5 x 11,5 x 1,5 cm (frame).Portrait of a lady painted in miniature, with a delicate and meticulous technique based on a light and watery brushstroke, based on glazes, which gives the work a marked pictorial sense, typical of the miniature of the period.According to the Museo del Prado, "The first known reference to the Dutch miniaturist Guillermo Ducker is contained in a letter from Francisco de Goya to the Secretary of State, Mariano Luis de Urquijo, dated 2 December 1799 (...)". He continues: "Little information on one of the best miniaturists of the early 19th century who carried out his main activity in Madrid, although he must have been trained by a French master.(Espinosa, C., ''Las miniaturas en el Museo Nacional del Prado. Catalogue raisonné'', Madrid, Museo del Prado, 2011).

Spanish school ca. 1830."Portrait of a lady.Gouache on vellum.Signed "García fecit".Silver frame.Measurements: 8 x 7 x 0,4 cm.Most probably this female portrait is a work made by a painter of the García family. Sergio García was a painter from Madrid who had a small production, whose artistic activity is documented mainly between 1831 and 1841. In addition to being a painter, Sergio García was a member of the staff of the Royal Museum of Paintings and Sculpture (later the Prado Museum), where he was caretaker from 1847 and caretaker from 1854. According to the Museo del Prado, "He was the son of Nicolás García, a miniaturist in the Chamber from 1852, with whom he must have learnt the technique while producing a number of portraits of the royal family, some of which were engraved. From 1840 onwards, as documented by the specialist Carmen Espinosa (1999), he devoted himself almost exclusively to copying the royal paintings and portraits commissioned by Isabella II, especially those by the painter Federico de Madrazo. There are some miniatures by his hand in private noble collections and a gouache on ivory in the Museo Lázaro Galdiano attributed to him, which depicts Manuel Fernández Varela, Commissary General of the Crusade, dated around 1840, a copy of the portrait of him painted in 1828 by the painter Vicente López, probably for Queen María Cristina (Text drawn from Azcue, L.: Museo Nacional del Prado, Memoria de Actividades 2016, pp. 90-91)."

RAFAEL DURANCAMPS I FOLGUERA (Sabadell, 1891 - Barcelona, 1979)."Capea in the village. Thunder at the fair".Oil on canvas.Signed in the lower right corner.Measurements: 37,5 x 84,5 cm; 59 x 105,5 cm (frame).Rafael Duran i Camps, better known as Durancamps, was a disciple of Vila Cinca in the Industrial School of Arts and Crafts of Sabadell. He later met Joaquín Mir, with whom he established a close relationship, and whose style influenced the colourful language of Durancamps' first period. He exhibited for the first time in 1917 at the Galerías Layetanas in Barcelona, and his success encouraged him to continue painting despite his family's opposition. He spent several periods in Madrid, where he studied the masters of the Prado Museum, and then travelled to Italy. He returned to Barcelona and took part in various competitions, winning important prizes such as the Masriera medal in 1920, as well as holding several exhibitions at the Sala Parés. In 1921 he travelled to Paris for the first time. His work at this time is close to Impressionism, but also shows the influences of Zurbarán, El Greco and Venetian colourism, combining the precision of the drawing with the gravity of the colour. In 1926 he returned to France and settled in Passy, where he lived until 1939. During these years he met Picasso, who encouraged him to hold exhibitions at the Zak gallery, where he enjoyed considerable success, which increased with his successive exhibitions. He returned to Spain and settled in San Sebastián, but continued to work closely with the Sala Parés, where he continued to hold exhibitions until his death. He also held various exhibitions in Madrid, Sabadell, Bilbao, Valencia, London and Philadelphia. Although his first period was influenced by Mir, Durancamps soon evolved towards a more personal conception, giving special prominence to the constructive line and a peculiar colouring of sober beauty. His still lifes, which he treated with a profusion of line and transparency, are a prodigy of serenity and elegance, with such a personal stamp that they escape any contemporary classification. His landscapes and genre scenes, especially the "capeas" in various Spanish villages, are highly emotive. The "skies of foreboding" that express the drama of the fiesta evoke his acute lyrical sense. He is represented in the Museums of Contemporary Art in Barcelona, Madrid, San Sebastián and Buenos Aires, as well as in a large number of Spanish and foreign collections.