A RARE 9MM FRENCH FIRST PATTERN MODEL 1854 PIN-FIRE RIFLED CARBINE BY TREUILLE DE BEAULIEU FOR THE 'CENT GARDE' OF NAPOLEON III, NO. 136, CIRCA 1854 with tapering sighted barrel rifled with four grooves retained by two brass bands each with a spring-clip, the forward band with iron sling swivel and a lug for a bayonet, stamped with inspector's marks at the breech, in a heart M beneath a mullet, the letter 'F' between two mullets in a lozenge and a similar mark involving the letter 'C', stamped '136' beneath and fitted with folding ladder back-sight, patent action including vertical breech-block operated by a knurled hook-shaped lever acting on the trigger, regulation figured walnut full stock (cracked through and repaired at the grip), impressed '136' on the left of the butt, brass butt-plate, iron trigger-guard, and a pair of iron sling swivels, complete with its sabre bayonet, with tapering single-edged fullered blade with Châtellerault Imperial arsenal inscription and the date 1854, brass hilt comprising oval guard and cap pommel, and banded horn grip 80 cm; 31 1/2 in barrel 100.3 cm; 39 ½ in blade (2) Provenance Mark Dineley Collection Exhibited The Pattern Room 1973-2012 The Cent-Gardes were created by Napoleon III. They were armed with a sabre for use on horseback, sabre-bayonet for fighting on foot, an epée for ceremonial dress and 'muskets' as described below. The contract for the muskets was awarded to Treuille de Beaulieu. Only three hundred of these notably small calibre breech-loading carbines were produced. Baron Antoine Hector Thésée Treuille de Beaulieu (1809-1886) was a French General and Captain Inspector of the Châtellerault manufactory. He was a similar age to the Emperor, Napoleon III, and they enjoyed a shared a passion for artillery and firearms. Following a period of study at the Bourges Artillery School he presented a paper on breech-loading, barrel rifling and the use of small calibres in 1842. In 1854 he made the pin-fire muskets for the 'Cent-Gardes' of Napoleon III. The first model trials surprised all participants, a high speed round penetrating a cuirass at what was considered normal distances in warfare. Among other problems the first model was criticised as fingers could become pinched in the triggers, the sabre lances distorted the barrels and the ammunition was relatively delicate. These faults were addressed in the second model. See Lorain 1979, pp. 10-14 .
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AN OFFICER'S MESS DRESS OF THE 15TH LANCERS, INDIAN ARMY A British officer's blue mess jacket of stable jacket style, with buff facings. The jacket edged all round, and on the cuffs, with 1-inch gold "Vandyke" pattern lace. Gilt studs to left front. Buff piping to back-seams. Plaited gold shoulder-cords bearing Lieutenant Colonel's rank-badges. Red quilted cotton lining; and a companion buff cloth waistcoat, with upright collar, with ¾ inch gold lace edging. Five twisted loops of gold chain gimp each side, fastened with plain gilt ball buttons and trimmed with ornate Russia braid figuring. Pocket openings also edged with gold braid. Braid figuring severely rubbed, some stains to cloth.
‡ AN INDIAN AXE (ZAGHNAL), LATE 19TH CENTURY with slightly curved head of diamond-section chiselled at the base with a figure in traditional dress above an openwork panel involving a pair of addorsed beasts, rear pean formed as an elephant, iron socket, on a wooden haft (repaired) 54.0 cm; 21 1/4 in
AN OFFICER'S FULL DRESS TUNIC AND OTHER ITEMS OF THE INDIAN PRESIDENT'S BODYGUARD A single-breasted red cloth tunic with blue collar and cuffs. Red slashes to cuffs and back skirts. Hook-and-eye fastening to front, with seven narrow braid loops each side, four above the waist, to fasten with brass regimental buttons, and three below. Three similar buttons, with small gold-embroidered loops, on cuff-slashes and two on skirt-slashes. Gold lotus leaf embroidery to ends of collar. Collar, cuffs and slashes edged with white piping. White lining. A massive plaited gold shoulder-cord, forming an aiguillette, to the right shoulder (rank-badges not fitted). Parachutist's wings in gold embroidery to right breast. Left shoulder-cord missing, two buttons absent; a pair of overalls of lightweight blue cotton, with leather foot-straps and yellow piping between wide red cloth stripes; a pair of elastic-sided ankle boots, fitted with plated swan-necked box-spurs; a pair of black leather jack boots; a black felt shabraque, edged with a double row of yellow worsted braid; and a white sheepskin saddle-rug with wide black felt scalloped edging.
A FRENCH HALBERD OF THE SWISS GUARD OF LOUIS XV (1710, 1723-74) with tapering terminal blade formed with a wavy edge and medial ridge on each face, slightly concave axe-blade with wavy back-edge, rear fluke formed with an additional wavy spike above and below, the centre of the head chiselled with a sun-in-splendour mask in relief on each face and with traces of original gilding, tapering faceted socket formed with a moulding at the top, engraved '48', and fitted with a transverse bolt (the up-turned spike finial missing), a pair of straps of differing length, on a wooden haft 62.8 cm; 24 ¾ in head Provenance Jeanne et Robert-Jean Charles, sold Tajan, Paris, 8 December 1993, lot 239 The Swiss Guard (Cent-Suisses) were introduced into the Royal household in 1679. They had three sets of dress, for war, daily use and ceremony. The latter was decorated with blue vertical bands alternating with crimson silk velvet embroidered in white silk thread with a chain design. An example of this uniform is preserved in the Musée de l'Armée, Paris, inv. no. 3641 DEP.
A collection of costume jewellery, to include a cased gold and untested pearl stick pin, a pair of gold drop earrings, damaged and fitting deficient, a 9ct gold dress stud, a 15ct gold dress stud, a single row of graduating ivory beads, four gilt metal and blue enamel floral buttons, etc, 9ct gold 3.84g, 15ct gold 0.90g
RAF No.1 Dress Uniform dated 1951, as worn by one of the last RAF National Servicemen 8/1/56 - 22/12/57, the uniform belonged to a Radar Operator who served at RAF Schleswig on the Baltic coast. The uniform consists of the Jacket, trousers, jumper and collarless shirt (with detached collar). In excellent condition, size 36 jacket and 30 trousers. Including photos of the Gentleman who the uniform belonged and donated.
*Portrait Miniatures. A pair of portrait miniatures of a lady and gentleman from Goggingen, painted in Mainburg, Germany, 2nd September 1831, watercolour on ivory, backed with green paper, both half-length portraits in profile, the lady facing to the right and the gentleman to the left, the lady attired in a red-patterned yellow dress and head-piece, and a many-stranded bejewelled gold choker and large gold earrings, the gentleman wearing a navy blue coat, patterned waistcoat, and black cravat, latter with contemporary pencil inscription detailing places and date on verso, each 6.5 x 5cm (2.75 x 2ins) (2)
*Attributed to Tingqua. Peruvian types, circa 1840s, fourteen opaque watercolours on pith paper, depicting male and female costumes of nobles and peasants including the "New Spanish dress", each 21 x 16cm (8.25 x 6.25ins), mounted, framed and glazed, together with three similar watercolours on wove paper, depicting female costumes of Peru, each 20 x 14.5cm (8 x 5.75ins) Provenance: Sir Frederick William Mallandaine Ashton OM CH CBE, (1904-1988) British ballet dancer and choreographer, (invoice enclosed). The present works comprise hand-made multiples, produced in Canton, of the popular studies of costumes or costumbrista. Some the earliest surviving example of Peruvian costume studies were produced by Francisco Javier Cortes in the 1820s in association with an American diplomat Jeremy Robinson. These studies fed into the growing demand for visual images of world cultures and soon print makers were producing copies after Cortes to sell to the European and North American market. By 1830 original watercolours and lithographs of Peruvian costumes had reached China and luxury, hand-made multiples were produced for wealthy clients. The present works represent an example of these hand-made multiples together with three original watercolours from which the Chinese artists produced their copies. Though rare, a few similar examples have survived and most bear labels of either Sunqua or Tingqua workshops. Tingqua (Guan Lianchang) was one of the most prolific painting workshops in Canton during the early and mid 19th century, and produced copies of numerous subjects. The Library of Congress, Washington DC holds an album of Peruvian costumes with a Tingqua label, commissioned by the wife of William Wheelwright, founder of the Pacific Steam Navigation Company. Literature: see Majluf (Natalia), Reproducing Nations: Types and Costumes in Asia and Latin America, Americas Society, 2006. (17)
*Dighton (Richard, 1796-1880). Ladies of Cheltenham, a pair of watercolours on paper, each depicting a full-length portrait of a lady, one standing facing left carrying hat and parasol, the other seated wearing a blue dress and bonnet, each signed and inscribed "Cheltenham" in pencil to lower left, 24 x 19cm (9.5 x 7.5ins) and similar, matching maple frames and glazed, Charles Plante Fine Arts gallery label to verso (2)
*@Beaton (Cecil, 1904-1980). Lady Ottoline Morrell in evening dress, 1927 vintage bromoil gelatin silver print, 300 x 254 mm (11.75 x 10 ins), on original thick paper mount, signed by the photographer in ink below, backing sheet size 407 x 280 mm (16 x 10.5 ins) Provenance: From the collection of Lady Ottoline Morrell by descent. The spectacular evening gown worn by the sitter, made of vivid yellow silk with purple embroidery, is now in the Museum of Fashion, Bath. A similar but much smaller portrait of Lady Ottoline standing, wearing the same dress is in the National Portrait Gallery (Dame Helen Gardner Bequest). (1)
*Rogers (Jane Masters, fl. 1847-70, circa 1823-1909). Portrait of a young woman in a white dress, 1855, pastel and pencil on dark buff paper, half-length, seated, signed and dated 'J.M. Rogers, London, 1855' lower left, 66 x 51cm (26 x 20ins), framed and glazed Jane Masters Macdonald (circa 1823-1909) was born into a family of artists from Cork. Her father was James McDaniel/Macdonald (circa 1789-1865) and her brother Daniel Macdonald (1820-1853), who painted the only known painting of the Great Famine. The earliest records for Jane's works shown at the Cork Art Institute is 1841. She married William Richard Rogers and at some point moved to London. She worked as a portrait painter, exhibiting 16 works at the Royal Academy (including one in 1855 which may have been this painting), and others at the British Institute and Suffolk Street Gallery. A similar portrait of a woman in a blue dress from 1863 is held in the collection of the Geffrye Museum, London. (1)
*Lacon (John, d. circa 1757). Portrait Miniature of a young lady, 1753, watercolour on ivory half-length oval portrait of a young lady in pink dress with blue shawl wrap, signed and dated J[ohn]. Lacon 1753 lower right, 45 x 36mm (1.75 x 1.5ins), brass frame, glazed, together with Portrait miniature of a gentleman in blue coat, mid 18th century, watercolour on ivory half-length oval portrait, within double glazed brass brooch frame with hinged pin, containing mounted lock of hair to back board and inscribed to verso 'Souvenir de mon P‚re', miniature dimensions 45 x 37mm (1.75 x 1.5ins), plus Portrait miniature of a gentleman in profile facing left, circa late 18th century, watercolour & bodycolour on thin card round portrait, red sealing wax to verso, diameter 49mm (2ins), brass frame, glazed, The miniature portrait artist John Lacon worked from circa 1740 in Bath, and also established with his family a fashionable puppet-show, featuring life-size Wax Figures. He is recorded as having possibly worked in the medium of wax in the Proceedings of the Bath Natural History Antiquarian Club Field, vol.8, p.215, 1897. (3)
![*[Radcliffe, Ann, 1764-1823]. 'Mrs Radcliffe Authoress of the Mysteries of Udolpho', circa 1830, watercolour on paper, portr](https://cdn.globalauctionplatform.com/2eb3dfff-c50e-4326-b646-a625012bde72/c618e942-d819-4c20-9a28-8275ec08b9bc/468x382.jpg)
*[Radcliffe, Ann, 1764-1823]. 'Mrs Radcliffe Authoress of the Mysteries of Udolpho', circa 1830, watercolour on paper, portrait of a woman identified in ink with a contemporary inscription as above to lower margin, half-length, half facing left, wearing a pink and white bonnet with deep dark ringlets protruding over her forehead, pink scarf and white dress, holding a document with red seal in her right hand, Bristol Paper embossed stamp lower left, 230 x 180mm (9 x 7 ins), verso blank, tipped onto a contemporary album leaf at corners A very sensitive and intriguing watercolour by an unidentified artist, with great care and detail given to the face and strongly suggesting this was done from life. There is no known portrait from life of the author Ann Radcliffe and its attribution as her appears spurious for a number of reasons. The Bristol Paper stamp was introduced in 1800 and that and the age of the paper are consistent with the early 19th century. The woman appears to be aged 30 to 40, which if of Ann Radcliffe from life would date this to between 1794 and 1804. The hair and dress are completely wrong for this early date and these features indicate a date of perhaps the late 1820s; the waist on the dress is still above the natural waistline and the sleeves have yet to become as exaggerated as they become in the 1830s. Mrs Radcliffe was supposed to be small-proportioned while this sitter seems to be big-featured and broad-shouldered. Mrs Radcliffe had blue eyes and brown hair and a nose 'inclining to aquiline', all of which could be interpreted as true in this portrait. The document held by the sitter is indeterminate and in a portrait of Mrs Radcliffe one would expect here to be holding a novel, or something at least more romantic. One of the founders of Gothic literature, Ann Radcliffe's most famous novel and for which she is lastingly famous, The Mysteries of Udolpho, was published in 1794. The only known image we have of Mrs Radcliffe is an imaginary portrait dated to 1853, some 30 years after her death, which appeared in J.S Pratt's edition of The Romance of the Forest. Provenance: From an album of prints and watercolours compiled by Sir Theodore Martin (see lot XXX). There is no evidence that Theodore Martin or his wife, the noted actress Helen Faucit, met or knew Ann Radcliffe, nor does the inscription on the watercolour appear to be in either of their hands. How it came to be in Sir Theodore Martin's possession and why he chose to keep this in this album without any additional notes or remarks isn't obvious. Certainly, there were no other watercolours or drawings in the album that were remotely related or in the same hand. The portrait is the work of a highly skilled artist in the manner of Andrew Plimer and other similar miniaturists and portraitists of the period and for the artist not to sign this at all is another mystery. TBC - LEAVE SPACE FOR UP TO 10 MORE LINES. (1)
*Austrian School. Portrait of a lady, 1839, oval watercolour, three-quarter length portrait of a young lady seated in a red upholstered chair, wearing a blue dress, ermine-trimmed stole, leaf pendant earrings, and lace cap decorated with flowers, initialled 'RJ' and dated lower right, 22.5 x 18.5cm (8.75 x 7.25ins), glazed green velvet mount (1)
*Miniatures. Portrait of a young lady, mid 18th century, watercolour on vellum half-length oval portrait of a young lady in blue dress with crimson wrap, 36 x 30mm (1 3/8 x 1 1/8ins), in double glazed locket with mounted hair at back, piece of card inserted inside locket stamped with the name Mrs W. Barclay, together with Portrait of a lady with black bonnet and blue dress, late 18th/early 19th century, watercolour on ivory(?) oval head & shoulders portrait, indistinctly inscribed lower right, 28 x 24mm (1 1/8 x 1ins), brass pendant locket frame, glazed, plus Portrait of a gentleman in brown coat, late 18th century, watercolour on ivory oval head & shoulders portrait, 35 x 30mm (1 1/2 x 1 1/8ins), brass frame, glazed (3)
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