* Gillray (James). Doublures of Characters; - or - Striking Resemblances in Phisiognomy. "If you would know Men's Hearts, look in their Faces", London: J. Wright for the Anti Jacobin Review, November 1st 1798, uncoloured etched caricature, light areas of dust-soiling, old folds, 260 x 360 mm, together with: Gillray (James). Pen-Etration..., London: H. Humphreys, August 6th, 1799, etching on wove paper with contemporary hand colouring, small area of mount tape at top margin on verso, 260 x 200 mmGillray (James). Half Natural, London: H. Humphreys, August 1st, 1799, etching on wove paper with contemporary hand colouring, some mount burning, tipped onto card, 250 x 190 mm, together with 4 other portraits by Gillray, various sizes and condition QTY: (7)NOTE:BM Satires 9261 for the first work.'In 1798 the Anti-Jacobean Review published the explicit Doublures of Characters; - or - striking Resemblances in Physiognomy. This print played on the recent success of the English translation of J. K. Lavater's Essay on Physiognomy which offered rules interpreting facial features. Gillray ironically unveiled the 'true' faces of the opposition party by linking their caricatures to their various weaknesses for drink, gambling or debt' Gillray Caricatures: The Genesis of Caricature, The National Portrait Gallery.
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* Gillray (James). L'Infanterie Francaise en Egypte - Le General L'Asne converted to Ibrahim Bey, published H.Humphrey March 12th 1799, etching on wove with contemporary hand-colouring, trimmed to the neat line, small areas of adhesion scarring to the verso, 255 x 355 mmQTY: (1)NOTE:BM Satires 9357.
* Gillray (James). The Loss of the Faro-Bank; or The Rook's Pigeon'd. "When Greek meets Greek then comes the tug of War!" published by H. Humphrey, February 2nd 1797, etching with contemporary hand-colouring, thread margins, some old adhesion scarring to verso, 250 x 355 mmQTY: (1)NOTE:BM Satires 9078.One of four satirical prints produced by Gillray on the subject of illegal gambling, facilitated by 'ladies of fashion'. On this occasion, the somewhat portly Lady Buckinghamshire is made aware that her 'bank' of £500 has been stolen. Several commentators suggested that Lady Buckingham herself was responsible for the disappearance of the money, and a subsequent trial for illegal gambling further sated the public's salacious appetites. Gillray - never one to miss an opportunity to satirise Whig politicians - includes Fox and Sheridan among the gamblers around the table. Gillray's satire is completed by the caption to the print derived from the play The Rivals Queens (1677) by Nathaniel Lee: ' When Greek meet Greek, then comes the tug of war'; emphasising the point that all the participants were thieves and cheats and all of them were guilty.
* Gillray (James). The Fall of the Wolsey of the Woolsack, London: H. Humphreys, May 24th 1792, etching on wove paper with contemporary hand colouring, paper residue on verso, 250 x 350 mm, together with:The Coward, comforted; -or-A Scene immediately after the Duel, London: J. Aitken, May 29th 1789, etching on wove paper with contemporary hand colouring, paper residue to top margin and on verso, 250 x 350 mm, plusCooling the Brain. or - The Little Major, shaving the Shaver, London: J. Aitken, May 8th 1789, etching on wove paper with contemporary hand colouring, small repaired hole to printed area, 250 x 350 mm, andBrunswick, Triumphant! or-The Battle of the Blood's,-pure, & contaminated, London: J. Aitken, May 23rd 1789, etching on wove paper with contemporary hand colouring, light dust-soiling, some closed repaired tears, trimmed to platemark, 250 x 350 mm QTY: (4)NOTE:BM Satires 8096; 7535; 7529 & 7531 respectively.
* Gillray (James). The Liberty of the Subject, published by H. Humphrey, Oct. 15th 1779, hand-coloured etching on laid, very slight toning, some adhesion scarring to the verso, 250 x 350 mmQTY: (1)NOTE:BM Satires 5609.Burly sailors armed with clubs and cudgels have seized and 'press-ganged' a terrified tailor and are dragging him away to serve in the Royal Navy in the American War of Independence. The tailor's enraged wife has grabbed one of the sailors by the ear and is kneeing him in the bottom, whilst another belays the press gang with a mop. A nervous officer has drawn his cutlass, anticipating further unrest from the crowd.
* Gillray (James). The Minister endeavouring to eke out Dr Pr*ty***n's Bisho-prick, Southwark: R. Phillips, March 1787, uncoloured etching on wove paper, small area of surface abrasion to lower right under platemark, wide margins, mounted, 330 x 250 mm QTY: (1)NOTE:BM Satires 7146.William Pitt holds up the dome of St. Paul's and places it over the central tower of Lincoln Cathedral. The caption relates to Dr George Pretyman who was 'a close friend of William Pitt..., his appointment as Bishop of Lincoln at the age of 37 was thus seen as blatant favouritism by the Prime Minister' Richard Godfrey, James Gillray: The Art of Caricature, p. 70.
* Gillray (James). End of the Irish Invasion; -or- The Destruction of the French Armada, London: H. Humphreys, January 20th, 1797, etching on wove with contemporary hand colouring, trimmed to printed area, 270 x 370 mm, together with another example, uncoloured etching on wove, closed tear into printed area to top margin, narrow margins, paper weakening to verso with small areas of loss to printed area, 270 x 380 mm QTY: (2)NOTE:BM Satires 8979.
A Group of four caricature prints: comprising 'A Hint to Young Officers', by Rowlandson after Woodward, etching and aquatint, annotated in pen and pencil, 15 x 10 in; 'The Poor Sailor's Mistake' by Rowlandson after Woodward, hand coloured etching ; 'The Brave tars of The Victory, & the Remains of the Lamented Nelson', by Rowlandson after Woodward, published by Ackermann, 1808, hand coloured etching; and 'Business and Pleasure' by Rowlandson after Woodward, hand coloured etching, four (4)
FLORENCE ENGLAND "Still life study of roses in a glass vase", watercolour, signed lower left, 49 cm x 37.5 cm, another similar by the same hand, 35 cm x 25 cm, AFTER T S ALLAN "Stow on the Wold", black and white etching, signed and titled in pencil to the margin, plate size 11 cm x 15 cm, , together with "Lower Slaughter", "Castle Coombe" and "Milton's Cottage Chalford St. Giles" by the same hand and various other decorative pictures and prints
A large collection of decorative pictures, prints, etc. to include SURYA LAMA "Circular medallion", watercolour, 34 cm x 34 cm, AFTER HENRY G WALKER "Evening glow Teignmouth", etching, hand-coloured, signed in pencil lower right, 17 cm x 28 cm, together with another similar, 16.5 cm x 28 cm, POLLY FULLER "Tree with boat and figures", watercolour, signed lower left, 32 cm x 22.5 cm, etc. (1 box plus 9 loose)
A pre Third Reich era, likely late 19th or early 20th century German M1849 Lion’s head sabre. Using the so called ‘half lion head’ or ‘jawless’ lion’s head to the pommel, fish skin grip, P shaped knuckle guard, and the crossed swords motif to the langet on one side, with a plain shield to the other. Single edged slightly curved blade, with flat spine and long fuller. Etching to both sides of the blade, foliate patterns, crossed swords, and the Imperial Eagle. No apparent makers marks, and if there are, they are hidden by the positioning of the langets, and a small amount of corrosion to the ricasso area under the langets. Complete with a black painted steel scabbard, with single suspension ring, and its original leather and bullion sword knot. Overall length in scabbard 95.8cm, blade length approximately 80.5cm. Condition: some age and service wear. The hilt and grip has ingrained old polish in may places, and the wire binding to the fish skin grip only partially remains (3 strands). The blade is in fairly clean and bright condition, with only minor dulling and mottling in places. The scabbard has the often seen paint loss to the surface, which reveals the russet coloured steel below.
Gunnar Nylund (Swedish, 1904-1997) for Rorstrand, Sweden. Unique or "unik" Art Deco ceramic vase depicting a pastoral hunting scene, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style, with several glazes and details defined using a Sgraffito etching technique. Stamped along the underside "Flambe Rorstrand" and "Modell" and "Nylund" on either side of an "ALP" mark. Below this, the stamp continues "Lidkoping, Sweden," "Dekor: Olson," and "Unik"; numbered 6947.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 10 1/2 in x diameter: 7 1/2 in.Condition: There are no major cracks, losses, or restorations. Fleabite chip along the interior of rim. Light wear to the footrim.
Philip LaVerne (Amercan, 1907-1987) and Kelvin LaVerne (American, b. 1937). Acid-etched patinated bronze, enamel, and pewter model "#142" coffee or cocktail table from the LaVerne's iconic "Chan" series, ca. 1960. The central tabletop image depicts a lively Chan dynasty era village scene. Peasants mill around the landscape carrying sacred gifts, possibly for an Emperor’s child, evoking themes of reverence and celebration. The harmonious blend of delicately wrought foliage and figures, enhanced by a rich palette of multicolored patinas, embody the essence of Chinoiserie design. Incised signatures along the lower right of the tabletop; "Philip LaVerne Galleries Ltd." label along the underside of the tabletop.Lot Essay:Philip and Kelvin LaVerne, a father-and-son duo from New York, emerged as pivotal figures in mid-20th century American design, renowned for their transformative approach to furniture and decorative arts. Philip LaVerne, initially a skilled craftsman, began his career in the early 1940s, creating bespoke pieces that combined traditional techniques with modern sensibilities. His collaboration with his son Kelvin, who brought fresh perspectives and innovative techniques, marked a significant evolution in their design philosophy. Together, they pioneered the use of complex metal alloys and intricate etching processes, crafting furniture that was both functional and highly artistic. Their work, characterized by its rich textures and dynamic patterns, drew inspiration from a range of influences including classical art, Asian aesthetics, and abstract modernism.The "Chan" Series, Model #142 coffee table featured in this lot, a prime example of the LaVerne's legendary craftsmanship, reflects their dedication to integrating art with utility. The table's design embodies their signature style, featuring hand-etched bronze with elaborate patterns that evoke both elegance and intrigue. This piece not only highlights their technical skill but also their ability to imbue everyday objects with a sense of artistry and cultural depth. The work of the LaVerne's remains a testament to their innovative spirit and enduring influence in the world of decorative arts, bridging the gap between high art and functional design.Height: 17 in x diameter: 47 1/4 in.Condition: There are no major splits, cracks, or losses to the wood or the inlay. Some light scratches along the surface of the table. Some patination throughout, possibly original to the artistic process. Marker inscription along the top surface of the table base, only visible when the tabletop is lifted off of the base.
Signature of 18th President Ulysses S. Grant framed with an etching portrait of the President. The etching with "B.W. Smith N.Y." in print below bust. The ink signature on a sheet of paper with the heading "Head-Quarters Armies of the United States...186."(Signature, sight) height: 2 in x width: 4 in. (Etching, sight) height: 4 in x width: 3 1/2 in. (Framed) height: 9 1/2 in x width: 6 1/4 in x depth: 1/2 in.Condition: Thee are no visible tears, creases, losses, or repairs. Both sheets are housed under an acidic mat. Mat burn and toning to both. Framed under glass; light wear to the frame. Not inspected out of frame.
Gunnar Nylund (Swedish, 1904-1997) for Rorstrand, Sweden. Unique Art Deco ceramic urn vase vessel, ca. 1930s. Decorated by Dahl in the tradition of the "Three Graces", this "unik" image depicts three neoclassical female musicians against a mottled beige ground. Stoneware pottery of Nylund's signature "flambe" style, with several glazes and details defined by using a Sgraffito etching technique. Stamped along the underside "Flambe" with "Modell" and "Nylund" on either side of an "ALP" Rorstrand mark. Below this, the stamp continues "Lidkoping, Sweden," "Dekor: O. Dahl," and "Unik"; numbered 2017.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 9 1/2 in x width: 10 in x depth: 6 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim. Four felt tabs affixed to the underside.
Gunnar Nylund (Swedish, 1904-1997) and Oskar Dahl (Swedish, 1902-1966) for Rorstrand, Sweden. Unique or "unik" Art Deco ceramic urn vase vessel depicting a neoclassical archer presenting a goose, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style, with several glazes, including copper-rich blue, and details defined by using a Sgraffito etching technique. Stamped along the underside "Flambe Rorstrand" with "Modell" and "Nylund" on either side of an "ALP" mark. Below this, the stamp continues "Lidkoping, Sweden," "Dekor: O. Dahl," and "Unik"; numbered 7470.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 9 1/2 in x width: 10 in x depth: 6 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Gunnar Nylund (Swedish, 1904-1997) and Oskar Dahl (Swedish, 1902-1966) for Rorstrand, Sweden. Art Deco ceramic urn or lidded vase depicting a galleon ship amid tumultuous waters, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style, with several glazes and details defined by Dahl using a Sgraffito etching technique. With applied double-loop handles on either side of the vessel surmounted by a lid with a star and scrollwork form finial. Stamped along the underside "Flambe Rorstrand" with "Modell" and "Nylund" on either side of an "ALP" mark. Below this, the stamp continues "Lidkoping, Sweden" and "Dekor: Dahl." The underside of the lid is similarly marked.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 9 in x width: 10 in x depth: 5 1/2 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim. Light wear where the lid joins the body.
Gunnar Nylund (Swedish, 1904-1997) and Oskar Dahl (Swedish, 1902-1966) for Rorstrand, Sweden. Large and unique or "unik" Art Deco ceramic bowl depicting a nude dancing female figure amid foliage, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style, with several glazes and details defined by Dahl using a Sgrafitto etching technique. Stamped along the underside "II Flambe Rorstrand" with "Modell" and "Nylund" on either side of an "ALP" mark. Below this, the stamp continues "Lidkoping, Sweden" and "Dekor: Dahl"; numbered 3830.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 2 1/2 in x diameter: 10 in.Condition: There are no chips, losses, or restorations. There is a firing flaw along the underside of the vessel's rim. Light wear to the footrim.
Gunnar Nylund (Swedish, 1904-1997) for Rorstrand, Sweden. Unique or "unik" Art Deco ceramic plate or charger depicting an exotic feminine figure, possibly a princess, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style, with several glazes and details defined by using a Sgrafitto etching technique. Stamped along the underside "Flambe" above "Modell" and "Nylund" on either side of an "ALP" Rorstrand mark. Below this, the stamp continues "Lidkoping, Sweden," "Dekor: Weinberg," and "Unik"; numbered 1654.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 1 3/4 in x diameter: 12 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Gunnar Nylund (Swedish, 1904-1997) for Rorstrand, Sweden. Art Deco ceramic urn or lidded vessel depicting a reclining nude woman with billowing lengths of fabric draped across her body along one side and the same woman kneeling amid foliage along the other side, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style with several glazes, including copper-rich blue, and details defined by using a Sgraffito etching technique. With applied double-loop handles on either side of the vessel surmounted by scalloped shell-form finial. Stamped along the underside "Flambe" with "Modell" and "Nylund" on either side of an "ALP" Rorstrand mark. Below this, the stamp continues "Sverige" and "Dekor: Olson"; numbered 46. The underside of the lid is similarly stamped.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 9 1/4 in x width: 10 in x depth: 5 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim. Light wear where the lid joins with the body.
KOMRIJ, G. Het schip De Wanhoop. Gedichten 1964-79. Amst., Arbeiderspers, (1979). 148 pp. W. or. aquatint etching by Ch. Hofman, signed & numb. in pencil. Ohcf. In ocl. slipcase. NOTE: Printed on "Ossekop Antiek Druk" in a limited & numb. edition of 70 copies, signed in the colophon by the author & the artist. Our copy nr. 32.
LOW COUNTRIES -- "AMERS-FORT" (Amersfoort). (Antwerp, C. Bouttats, 1674). Etching by Bouttats after Joh. Peeters, cold. by hand. 145 x 240 mm. Framed, glazed and under passepartout. -- Added: "HET DORP ACKOY". N.d. Etching by H. Schouten (1762-1822). 141 x 185 mm. Framed, glazed and under passepartout. -- (2).
![DEVOTIONALIA -- "DESE SPRUIJT WAST IN INDIE IN CUSCO en[de] wert aldaer genoemt de Passie ons Heeren, Ende is een wonder voor](https://cdn.globalauctionplatform.com/932d5e84-ba47-4c50-abda-b20300af11ad/265e54bf-97ae-497b-8742-b20300be6c4b/468x382.jpg)
DEVOTIONALIA -- "DESE SPRUIJT WAST IN INDIE IN CUSCO en[de] wert aldaer genoemt de Passie ons Heeren, Ende is een wonder voor onsen ogen. Psal(m?)". 17th c. (?). Anonymous tinted etching of the passion flower printed on vellum, captioned in the plate. 75 x 110 mm. NOTE: Very rare representation of the passion flower. Its individual features were found to be symbolic of the crucifixion of Christ/Passion of Christ. The first European report on passion fruit was by Cieza de León in 1553, when he was an official in Colombia. In 1569, Nicolás Monardes, a physician in Spain, associated the passion flower morphology with the crucifixion of Christ, because the flower has spikes protruding from the center, symbolizing the crown of thorns. Subsequently, the passion fruit flower was used by early missionaries in Brazil as an illustrative aid in an effort to convert the indigenous population to Christianity. - Rare, no other copy found by us.
PIRANESI, Giovanni Battista (1720-1778). "Veduta del Ponte Molle sul Tevere due miglia lontan da Roma". (1762). Etching, signed in the plate outer right corner. 441 x 678 mm (image size). (Skilfully remargined, in v.g. condition). NOTE: Fine perspective view of the Ponte Molle. First state (of 4). Fine impression. Hind 64.
PIRANESI, Giovanni Battista (1720-1778). "Veduta dell'Arco di Settimo Severo". (1772). Etching, 'signed' "Cavalier Piranesi del. e inc" in outer left corner. 470 x 708 mm (image size). (Blank margins/splits skilfully rep. in places, in v.g. condition). NOTE: The Arch of Septimus Severus. First state (of 3). Fine impression, rich in contrast. Hind 99.
ARETHUSA PERS -- PAUSTOVSKIJ, K. Tsjechov. 1992. W. cold. etching by D. Bekker. Ocl. (Few smudges on back cover). Printed in 60 copies, this copy number 4. -- I. BABEL. Odessa. 1995. Ocl. (Few smudges on front cover). One of 55 bound copies w. cold. etching by D. Bekker, this copy number 3. -- A. DVORAK. Franz Schubert. (1987). W. cold. etching by O. Kulhanek. Ocl. Printed in 110 copies. -- H. KRIGAR. Anton Dvorak. Eine biographische Skizze. Komm. v. Jarmil Burghauser. Clipeus Pers, (1991). W. front.-portr. & 2 commemorative postage stamps for A. Dvorak in the Impressum. Owrps. Printed in 110 copies. -- R.M. RILKE. Über den jungen Dichter. Ed. W. Simon. 1991. 2 vols. W. loosely inserted signed woodcut portr. by C. Floor. Obrds. In or. marbled slipcase. Printed in 125 numb. copies, this copy H.C. 6. -- And 3 o. by the Arethusa Pers. (9).
ARETHUSA PERS -- VERVOORN, A.J. Zicht op Van der Meij. 1993. W. 3 (2 signed) etchings by W. v.d. Meij. 4°-obl. Ocl. Printed in a lim. & numb. edition of 70 copies. -- Th. de VRIES. De verdwijning van Monsieur Cambert. (1993). W. etching by W. v.d. Meij. Sm-8°. Ocl. W. an extra copy of the etching loosely added, this copy numbered h.c. -- VERZEN voor vrienden. 1993. W. (signed) etching by H. Pauwels. Hcf. (Spine ends dam., some invitations and funeral cards loosely inserted). Printed in a lim. & numb. ed. of 70; this copy 1 of 14 printed & bound for colleagues of the publisher, dedicated by name to J. de Coo. -- Added: some invitations & booklets and 1 In Memoriam w. an etching by H. Pauwels. -- And 5 o. by the Arethusa Pers. (13).
TUINWIJKPERS -- DRIE AMOUREUZE LIEDJES/Three Love Songs/Three Chansons d'Amour. Haarlem, n.d. (±1964). W. small cold. woodcut in text. 16°-obl. Obrds. First production of Sem Hartz at the Tuinwijkpers, printed in 50 copies. -- M. ANDRIESSEN, (a.o.). Portret van Thijm. Haarlem, 1968. W. etching by S. Hartz. Owrps. Printed in 90 copies. -- F. RABEL (=S. Hartz). Vierslag. (Haarlem), 1976. 16°. Owrps. One of 5 copies, according to the author's ms. inscription. -- B. ROGERS. Four unpublished letters to S.H. de Roos. Haarlem, 1975. 16°. Owrps. One of 5 copies, according to the author's ms. inscription. -- W. SHAKESPEARE. The Phoenix and the Turtle. 1975. 24°-obl. Owrps. One of 90 copies on Barcham Green. -- And 8 o. publ. by the Tuinwijkpers, nearly all inscribed/dedicated by the publisher S. Hartz in ms. (13).
A SCIMITAR PRESENTED TO CAPTAIN JAMES KEARNEY WHITE R.N. ABOARD H.M.S. NORTHUMBERLAND BY NAPOLEON BONAPARTE, ST. HELENA, 1815the 31in. curved steel flat blade with faint etching, brass quillon guards with cast and engraved foliate decoration, shaped polished stone grip with tassel hole to end, contained in brass mounted leather scabbard with medallion facings by suspension loops, the top locket engraved From Napoleon Buonaparte / To Captn. James Kearney White / St. Helena, October 1815. / H.M.S. Northumberland -- 36in. (91.5cm.) overallJames Kearney White (1782-1828) and thence by descent. Blade has small patches of corrosion but remains sharp, close examination shows the top third was once finely etched but this is now almost invisible.; the scabbard is scuffed and the top section now loose, but overall in fair condition.A FASCINATING AND IMPORTANT TRIO OF SWORDS PRESENTED TO CAPTAIN JAMES KEARNEY WHITE, R.N.James Kearney White was born in 1782 and although there is scant information about his family, his early life or his entry into the Royal Navy, the latter part of his career more than made up for this deficiency. He first came to notice in 1804, during operations off the coast of the Netherlands, when the 18-gun brig-sloop Scorpion was detached from Admiral Thornborough’s squadron to reconnoitre the Vlie passage into the Texel where she discovered two Dutch brig-corvettes at anchor in the Texel Roads on 28th March. One of them, the Atalante, was armed with sixteen valuable ‘long’ 12-pounders and Captain Hardinge, commanding Scorpion, resolved to take her. Not wanting to risk Scorpion herself because of the danger of shoals, he decided to mount a ‘boat action’ when conditions allowed. In the event, it was three days before the conditions were right and, at 9.30pm. on the evening of 31st March, in full dark, three boats from Scorpion and two from H.M.S. Beaver (which had joined the fray earlier that day) set out on the flood-tide. Nevertheless, it still took two hours to reach the Atalante which, by now, was on full alert and more than ready to repel any boarders. Leading the attack, Captain Hardinge himself was first aboard and, in a short but furious action, the Atalante was taken. In his subsequent despatch to Admiral Thornborough, Hardinge described Atalante as “one of the largest brigs in the Dutch navy… and admirably calculated for His Majesty’s service” and then went on to commend “the zeal and gallantry” of several individuals including “…Lieut. White” who was rewarded with a £50 sword from Lloyd’s Patriotic Fund (see lot 204).He next attracts attention during the Anglo-American ‘War of 1812’ during which he achieved at least a small measure of fame as well as wealth and, finally, a well-deserved promotion to post-rank. Having been made Commander on 10th June 1811, he was given the gun-brig Thistle, still on the stocks at Rochester but launched on 13th July 1812. From there, White took his new command to Chatham to oversee her fitting out after which she sailed for North American waters. White only stayed in Thistle just over a year until appointed to the command of the larger brig-sloop Peruvian in October 1814. The Peruvian had already enjoyed two very successful tours, first in the Caribbean in 1812 and then, in 1813-14, on the American Station during which she had captured two U.S. privateers and taken part in a daring expedition up the Penobscot River in Maine. When White took over the command in October 1814, crew morale was riding high and, under his captaincy, two more prizes were added in quick succession to Peruvian’s impressive tally – the Spanish ship Dolores and the U.S. merchantman Rufus – before Peruvian was ordered home in April 1815. By mid-June, she lay becalmed at Ostend and when Major the Hon. Henry Percy, the only one of Wellington’s aides to have survived the carnage at Waterloo unscathed, arrived with the news of the great victory, White took drastic action. With no wind in the offing, he immediately ordered Peruvian’s gig lowered and, after selecting four of his strongest crew, the six men, including both White and Percy who did their share at the oars, rowed it across the Channel to Broadstairs where the two officers hired a fast post-chaise-and-four and raced to London bearing the momentous news of Napoleon’s defeat.Once Napoleon had been brought to England and the decision taken to banish him to the distant island of St. Helena, Peruvian and her sister Zenobia were assigned to Admiral Cockburn’s squadron which was to escort the Emperor into exile. Extraordinarily, and before the long journey south began, Peruvian was despatched to Guernsey to pick up a supply of wine for Napoleon’s consumption in exile, a very personal service rewarded by the presentation of another sword (see lot 206). Later, when Cockburn became concerned that the French might use the then uninhabited island of Ascension as a base from which to mount a rescue attempt to free Napoleon, he sent Peruvian and Zenobia to claim it and, at 5.30pm on 22nd October 1815, White and Zenobia’s commander Captain Dobree went ashore, raised the Union flag and took possession of the island in the name of King George III. Leaving some marines as a garrison, the two sloops then resumed their voyage to St. Helena although, in the meantime, Peruvian’s crew had presented White with a splendid silver-mounted sabre (see lot 205), presumably purchased in Portsmouth before Cockburn’s squadron sailed. Months later, Peruvian returned to England carrying despatches from the island’s governor, and then laid up In Ordinary at Plymouth where she remained until broken up in 1830. After some shore leave, White returned to sea and was promoted Captain (December 1818) although he was already in command of the sixth-rate Spey (1818-August 1819). Before taking up his next command, another sixth rate, the Tyne, in February 1821, with orders to sail for the West Indies, White took the opportunity to marry Elizabeth Neeld in London with whom he had one daughter. His appointment to Tyne was short-lived however – barely one year – and he was not re-employed at sea, perhaps due to sickness. Given that he died in Bermuda on 2nd March 1828 at the age of only 46, it is possible that he had contracted one of the many fevers which afflicted Europeans there and died as a result, although this remains unconfirmed.
VARIOUS ARTISTS works on paper - including J. S. WRIGHT watercolour - pastel Conwy Castle and bridge from foreshore, signed and dated lower right, 19.5 x 36.5cms, CHARLES BELL limited edition (5/500) print - entitled 'Conway One Design Class Off Deganwy', 30 x 40.5cms and HENRY G. WALKER original etching - Conwy Castle with boats in foreground, signed in pencil, 21 x 32cmsProvenance: private collection ConwyComments: framed and glazed
An 18ct white gold diamond daisy cluster ring, with seven round brilliant cut diamonds rub set to an open gallery, to elevated shoulders and a plain band. Total diamond weight estimated as 1.20 - 1.40ct. Sheffield, 2002. 7.85g Ring size N½Buying this diamond ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportDiamonds well matched, with inclusions visible under 10x magnification. Some pits and etching to the metal surfaces of the under-gallery. Surface scratches to band.
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