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Lot 1065
A Continental emerald and pearl bar brooch, a pear shaped finial grain set with a round mixed cut emerald, and peg set with a pearl, with foliate decoration below, to a white tapering hollow bar, backed in yellow, to pin and catch, tested as approximately platinum and 14ct gold, 3.00gCondition ReportHollow bar dented and a little out of shape.Surface marks/scratches.Pin bent.
Lot 247
A 19th Century Sino Tibetan bronze teapot with dragon handle and spout in the archaistic manner raised on a circular foot 23.5 cm high CONDITION REPORTS The piece appears in basically untouched condition, presumably attic stored. The lid has a hole to the top of the finial, the interior of the lid has a silvering effect and some signs of what appear to be more modern solder suggesting that it may have been repaired to the inner edge, though this is not visible from the outside. There is a crack to the rim of the neck and two wear holes to the base of the handle around the scrollwork. There is signs of some sort of repair to the rim of the interior of the neck visible from the outside. There is white residue around the relief work of the spout and handle. The colour is a dull yellowish bronze. The base has a sign of repair, or filling at least, to the centre visible inside and out - see images for further detail
Lot 358
A pair of Satsuma vases of baluster form with twin handles 24 cm high each bearing character mark to base together with a 19th Century Chinese blue and white twin handled vase of rectangular form, the lid with Dog of Fo finial and stylised snake handles 28.5 cm high CONDITION REPORTS Blue and white vase - finial damaged and repaired i.e. has been dislodged completely and replaced back. Handles to side - one damaged with loss at base, the other damaged to top and repaired, damaged to middle and repaired, damaged to base and with loss, damage to neck with amateur repair to two sides. Otherwise basically sound, though with some firing cracks and gilding worn.Satsuma vases - one basically sound though with some wear to the gilding. Large chip to foot and various small hairline cracks. Vase two with large area of damage and repair to the neck/rim. Hairline cracks to base and wear to gilding throughout
Lot 816
A 19th Century Norwegian folk art floral painted bow back wooden chair on splayed supports decorated throughout with floral sprays 58 cm wide x 36 cm deep x 69 cm high CONDITION REPORTS Has some signs of old wear to include to the front apron and the underneath side of the seat. The piece holding in the back rail to the supports have rusted and the bottom pin to the back rail - the filler has come out. There are losses to the paintwork throughout, particularly on the extremities. There are several knocks and bumps including to the back of the finial on the back support. Scratching, etc and some fading and discolouration to the paintwork. General wear and tear conducive with age and use. See images for further detail.
Lot 401
Dame Lucie Rie (1902-1995) a tureen and cover, stoneware, flaring circular form with flat, domed cover with open finial, covered in a bronze glaze with sgraffitio lines to base and radiating lines to cover, the interior pitted grey, impressed seal mark 23.7cm. diam, 15cm. high Literature Lucie Rie & Hans Coper, Potters in Parallel, Barbican Art Gallery, page 60 cat. no. 3.14 for a comparable bowl and cover, circa 1964.
Lot 54
Gilbert Bayes FRBS, (1872-1953) Tudor Rose a Royal Doulton stoneware finial for a washing line post, glazed in colours one side red rose, the other white, with later ebonised wood stand, unsigned, 33.5cm. high Provenance Private collection Literature Louise Irvine & Paul Atterbury Gilbert Bayes Sculptor 1872-1953, Richard Dennis, page 171 and 172.
Lot 354
Two early 19th century French silver mustards, each of cylindrical form with hinged lid and pine cone finial, fitted with a blue glass liner, one pierced and embossed with winged female supports, the other with cupids seated on animals, heights 10.5cm and 10.4cm.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.
Lot 413
A pair of late Victorian The Salters Company silver spoons, each cast finial formed as the company's arms and inscribed 'May 12 1853' to reverse, the stems with motto 'Sal Sapit Omnia' and gilded shell bowls, London 1899 by Carrington & Co, cased, weight 100.7g.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.
Lot 412
A George VI silver golf trophy cup and cover with golfer finial, the urn shaped body with enamelled armorial flanked by a pair of handles, on a circular foot, Birmingham 1941 by Fattorini & Sons, weight 160.5g, height 13.9cm.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.
Lot 305
A George VI silver trophy cup and domed cover with ovoid finial above a squat circular body with gently flared rim, inscription engraved 'H.W Tate Trophy 1938 James Rothwell', flanked by two angular and floral medallion handles, on a circular foot, Birmingham 1938 by A.E. Jones, weight 346.4g, height 15cm, on a turned wood plinth.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.
Lot 574
Two pairs of 9ct gold earrings, a 9ct gold stickpin with initial 'J' finial, total weight 4.5g, another pair of gold hoop earrings, unmarked, weight 1g, and five further pairs of earrings.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.
Lot 335
A George III silver coffee pot of baluster form, the domed hinged lid above an ebonized scroll handle and scroll moulded spout, on a stepped circular foot, London 1762 by Louis Black, weight 710.9g, height 23.5cm (later bird finial).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.
Lot 106
A JAPANESE MEIJI PERIOD SATSUMA LIDDED KORO of sqaure tapering form, fitted with dragon shaped handles and foo dog finial, finely decorated with figures in landscape settings - signed seal mark for Hogetsu and Shimazu family Mon in blue.13cm high In very good original condition with no damage or restoration under UV examination.
Lot 143
A 19TH CENTURY CARVED JADE AND HARDWOOD CHINESE TWO HANDLED KORO AND COVER with finely pierced lid fitted with a green glass finial; the body carved band depicting dragons and geometric shapes.11cm wide 7cm high There are natural hairlines in the jade in the body, no damage, losses or repairs.
Lot 380
A MID 19TH CENTURY SINGLE BARREL 10 BORE PERCUSSION SPORTING GUN having an octagonal to round browned barrel, platinum plug and scroll engraved lockplate with indistinct signiature, half-stocked in walnut with chequered grip, engraved trigger guard with stylised pineapple finial, brass-tipped ramrod127cm overall
Lot 411
A 19TH CENTURY PERCUSSION GALLERY GUN BY CARL STIEGELE, MUNCHEN with browned octagonal sighted barrel signed to the top flat, the underside with aperture for applying percussion caps to the nipple, blued faux Martini action with hinged trigger guard and blued double trigger on a figured walnut half-stock with chequered panels, carved cheekpiece and blued steel butt plate with scrolled end and finial 120cm overall
Lot 546
AN ARTS AND CRAFTS ARTISTS GUILD PLANISHED COPPER POT-POURI BOWL AND COVER the footed rounded body set with lozenge shaped abalone mounts beneath a pierced leaf spray and flower head cover with spire finial.13.5cm high in good undamaged condition, with no knocks or dents or splits, the inset mother-of-pearl lozenges are in tact and all original, it has good colour and patina.
Lot 560
A GEORGE III INLAID SATINWOOD OVAL SHAPED TEA CADDY with crossbanded edges and branchwork inlays.16.5cm wide 9.5cm deep 11.5cm high There is a split running down the back of the caddy on the inside, not visible from the outside, the split is in line with one of the hinge screws making one of them loose. There are fine splits in the veneer to the body. The caddy has a nice colour and patina with no missing inlays. The finial from the lid is missing.
Lot 77
AN ORNATE ROYAL WORCESTER GILT AND IVORY GROUND SCROLLED TWO-HANDLED CABINET VASE AND COVER of bulbous footed form with pierced neckband and panelled cover topped by a scrolled openwork finial, the body painted in raised enamel colours with trailing flower sprays - shape No. 1285 printed puce mark together with A PAIR OF ROYAL WORCESTER BLUSHED IVORY AND GILT TWO HANDLED TAPERING OVOID PEDESTAL VASES AND COVERS decorated extensive sprays of summer flowers - shape No.1481 printed puce marks and date code for 1897 (3) - faults39cm and 29.25cm highOne of the smaller vases has had the lid fully restores and one of the handles, the lid to the large vase has been brocken and re-glued, there is a hairline crack to the neck and loss of paint to the side handles
Lot 915
AN EARLY 20TH CENTURY CHIPPENDALE STYLE MAHOGANY THREE TRAIN QUARTER STRIKING GRANDMOTHER CLOCK the brass arched dial with mask head spandrels and silvered chapter ring fronting a three train spring driven movement with quarter striking on four gongs. The elaborate case with figured door and finial surmounts146cm high
Lot 937
RICHOND. A LATE 19TH CENTURY FRENCH ORMOLU MANTEL CLOCK the ornate case surmounted by an urn finial above a square bodied case with lion's mask handles on a masked plinth with leafcast paw feet enclosing a 4" gilt and enamel dial with Roman numerals fronting an eight-day spring-driven movement striking the hours/half hours on a bell.39cm high
Lot 161
German Bureau, with fall front and 8 drawers, rounded and waved front and stepped top on four curved feet, rounded side and corner columns and pilasters, 6 peaked finial vases and open work carving on top, richly carved wooden ornaments, mounts and knobs all in Rococo style, mahogany veneered on hardwood, original locks, interrior in dark rosewood veneer and leather board, 8 drawers and central door, with carved maple wood ornaments and geometric lines, two envelope drawers with sections, keys, with signs of age and use, 195 x 110 x 58 cm, Northern Germany around 1850
Lot 55
A pair of George III mahogany and kingwood crossbanded urns and pedestalsCirca 1780, of Gillows qualityWith boxwood stringing, each urn wrapped with an alternating reeded and fluted band, the body carved with oak-leaf swags and husk festoons interspersed by flowerhead roundels, with an egg-and-dart collar, the detachable lid with a gadroon carved edge and stiff-leaf clasped upper part surmounted by a pinecone finial, one pedestal with a graduated triple re-entrant panelled and triple tablet inlaid door enclosing one shelf, the other pedestal with three graduated mahogany lined drawers of conforming appearance, on plinth bases, both urns with their metal linings to the interior now missing, both inscribed in white chalk: 'ALTMAYER HARRIS', each urn and pedestal approximately: 49cm wide x 48cm deep x 167cm high, (19in wide x 18 1/2in deep x 65 1/2in high) (2)Footnotes:ProvenanceThe present lot was apparently previously acquired from M. Harris and Sons, London, possibly during the 1950s.Thereafter the offered urns and pedestals were purchased by the current owner and vendor, Christie's, New York, 19 January 2017, Palmetto Hall: The Jay P. Altmayer Family Collection, lot 65.The offered urns and pedestals appear in M. Harris and Sons, A Catalogue and Index of Old Furniture and Works of Art, London, n.d. (circa 1930), No. F20869, p. 407. Two related pairs of urns and pedestals are illustrated in S. Stuart, Gillows of Lancaster and London, 1730-1840, Vol. I, 2008, Woodbridge, pl.'s 342-347, pp.'s 309-310. One pair made during the late 1770s, which is attributed to Gillows, was supplied for Thirsk Hall, North Yorkshire upon behalf of John Bell whilst the other pair, dating to circa 1780, were provided to the Weld family of Lulworth Castle, in Dorset.Of additional interest are a group of three designs for 'pedestals and vases' by George Hepplewhite, first published posthumously in 1787 within The Cabinet-Maker's and Upholsterer's Guide, also featuring in the 1794 third edition, re-published 1969, Toronto, pl. 36. Across these drawings a number of similar characteristics are shared with the present example, including equivalent swag and festoon carving, comparable stiff-leaf clasped elements and re-entrant panelling, along with analogous crossbanding. The same Hepplewhite designs are also replicated in D. Nickerson, English Furniture of the 18th Century, 1967, Frankfurt, fig. 101, p. 95.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 56
An impressive George IV silver meat dish and cover with mazarineRobert Garrard, London, base 1823, the cover and mazarine 1827 Shaped-oval base with gadroon rim, with a matching lift-off shaped double-domed cover, with gadroon band and surmounted above with an ornate cast and chased finial of a lion's head issuing from a ducal coronet, engraved armorial to either side for John William WARD (1781-1833), a moulded lower girdle beneath with matching moulded rim, the removable pierced mazarine resting in the base centred with a matching engraved armorial, the platter beneath also with matching engraved armorials to each side of the border, length 45.2cm, weight excluding finial 158.5oz.Footnotes:The armorial engraving represents the full armorial of John William WARD (1781-1833) of Himley Hall near Wolverhampton Staffordshire, who from 1823-7 was the 4th Viscount Dudley in Worcestershire and Ward in Birmingham and was in 1827 created 1st Earl Dudley. He was the son of William WARD (1750-1823) 3rd Viscount of Dudley and Ward by Julia BOSVILLE (1750-1833) daughter of Godfrey BOSVILLE of Gunthwaite Yorkshire. He was unmarried. Before entering the House of Lords in 1823 John William WARD, politician and statesman served as MP for Downton 1802-3, Worcestershire 1803-6, Petersfield 1806-7, Wareham 1807-12, Ilchester 1812-8 and Bossiney 1819-23.In 1827 Ward was appointed Foreign Secretary under George Canning, a post he held also under Lord Goderich and the Duke of Wellington. Later that year he was created Earl of Dudley.Ward died at Norwood. His earldom and viscountcy became extinct, but the barony passed to his second cousin, William Humble Ward (1781-1835). The bulk of his great fortune went to his heir's son, William Ward (1817-1885), who was created Earl of Dudley on 17 February 1860.The Silver Collection of Dr Andrew J RaineyAndrew Rainey's life-long passion for collecting silver began at the start of his medical career in Oxford. As a true epicure, his collecting was single minded: entertainment through eating.He became a consultant histopathologist of increasing repute at The Royal Sussex Hospital in Brighton, and this success was matched by the increasing grandeur of picnic-luncheons and dinners. At these, each piece of Georgian and Regency silver was used exactly as originally intended, and tureen after tureen was purchased to serve ever more elaborate dishes and sauces.Dr Rainey died in May 2022. It is hoped that these treasured items will impart the same sense of joie de vivre to their new owners.For further information on this lot please visit Bonhams.com
Lot 57
A George IV silver entrée dish and coverJoseph Craddock & William Ker Reid, London 1824 Oval form, the base with gadroon rim, the tall dome cover with fluted lower band, with engraved arms to both sides with motto below 'A DEO LUMEN', surmounted with a cast crest finial modelled as a an antelope's head erased, inside of base also with engraved crest of an antelope's head, length 31.2cm, weight 61oz.Footnotes:ProvenanceFrom The Silver Collection of Dr Andrew J RaineyThe arms appear to be for the family OGLE of Worthy Park House Hampshire. There is a baronetcy associated with the family which was created in 1816 for the Royal Navy Officer Admiral Sir Chaloner OGLE (1726-1816) who died the same year. In 1761 he married Hester THOMAS (1744-1796) and was succeeded by his son Admiral of the Fleet Sir Charles OGLE (1775-1858) 2nd baronet, who in 1802 married Charlotte Margaret GAGE (1773-1814). However, as the arms show no indication of being connected with baronetcy one owner of these arms possibility may be the only surviving younger sibling of the 2nd baronet: James OGLE (1778-1833) who married Elizabeth POULTER (1785-1855).For further information on this lot please visit Bonhams.com
Lot 80
THE 1926 ASCOT GOLD CUP: an 18 carat gold cup and coverSebastian Garrard, London 1926, inscribed under handle 'Chas. Sykes Sculpt' Of ovoid form, the whole hand-raised, a pull-off part domed cover featuring an organic style cast and chased six-pointed star wrythen finial, the main body with a rolled flaring upper rim transitioning into a gently waisted wide neck adjoining the main body, from the rounded shoulders two cast lug handles project horizontally, both ergonomically curved with fluting and ornamented in a kneeling ribbed character partly clothed by leaf forms, from which two slender arm-like strands return and attach to the main body, their ends curled within applied acanthus leaves, the smooth egg-shape form powerfully gripped at its base by four embossed spined acanthus leaves, a flanged pedestal beneath flowing into four embossed matching acanthus leaves in high and low relief, on a circular spreading foot, the patina of the gold to the whole warm and vibrant, presented on the original circular wooden plinth with applied lettering for 'ASCOT 1926' to one side, to the other a plaque inscribed 'Won by Sir John Rutherford's Solario', height cup without plinth 42cm, diameter handle to handle 34cm, weight 3041gms.Footnotes:ProvenanceAwarded to Sir John Rutherford in 1926 and thence by family descent to the present owners.Lot ResearchThe Ascot Gold Cup stands proudly as the showpiece event and trophy of Royal Ascot week, and is Britain's most prestigious horse racing occasion for 'stayers' – horses which specialise in racing over long distances. It is a Group 1 flat horse race, open to horses aged four years or older, covering a distance of 2½ miles. Ascot Racecourse itself is located in Berkshire, not far from Windsor Castle, and is located on Crown Estate Land. Founded by Queen Anne in 1711, it has a symbiotic relationship with the British Royal family, resulting in the reigning Monarch appointing a representative to run the administration of the racecourse on their behalf. Traditionally the racecourse had been run by the Master of the Royal Buckhounds, but in 1901 this changed and Lord Churchill (Victor Spencer, 1st Viscount Churchill, 1863-1934) was appointed by Edward VII as his first official Representative, becoming Chairman in 1913. In 1926, when this Gold Cup was awarded, Lord Churchill was still very much at the helm and was integral to the design of the trophy on offer.The Gold Cup was first run in 1807 when it was won by Master Jackey, and the first formal Royal procession, starting from Windsor Castle, was introduced in 1825 by George IV. Throughout Royal Ascot week, each race day begins with the Royal Procession, when the reigning Monarch and accompanying members of the Royal family arrive in horse-drawn carriages. While the Royal Standard is being raised, they are driven slowly along the track in full view of the expectant crowds. The Royals and invited guests then spend the day watching the races from the Royal Enclosure. The magnificent Ascot Gold Cup is the prize awarded to the owner of the winning horse by the reigning Monarch, and the cup design has to be approved by the Sovereign each year. It is one of only three perpetual trophies at the Royal meeting that are able to be kept on a permanent basis by the winners, the other two being the Royal Hunt Cup and the King's (or Queen's) Vase. As such, all three trophies are re-made every year, to a different design.Gold Cup Day is traditionally held on the third day of the Royal Ascot meeting held in June, which is known colloquially (but not officially) as 'Ladies' Day'; a day to see and be seen. The term seems to have been coined in 1823, when an anonymous poet described the Thursday of the Royal Meeting as 'Ladies' Day ... when the women, like angels, look sweetly divine.' A strict dress code underpins the spectacle, attracting the very best in fashion, horses, trainers and quality of racegoers alike. Lord Churchill is reputed to have taken personal charge of vetting applications for entrance into the Royal Enclosure, sorting letters into three baskets marked 'Certainly' 'Perhaps' and 'Certainly Not.'On Thursday June 17th, 1926, the Gold Cup on offer was won by 'Solario' (1922-45), a four-year-old thoroughbred, ridden by the jockey Joe Childs (1884-1958) and owned by Blackburn's phenomenally wealthy Sir John Rutherford (1854-1932). George V, accompanied by his wife Queen Mary, awarded Sir John the trophy on offer in the presence of a huge cheering crowd – a design chosen by George V after much deliberation and angst, causing much controversy behind the scenes. This tension over the cup design has come to light since letters held in The Goldsmiths' Company archives, specifically on the design process behind the 1926 Gold Cup, were carefully perused.However, the drama that had played out behind closed doors was not in evidence on that sunny day in June, when 'Solario' reigned triumphant. Originally bred in Ireland by the 4th Earl of Dunraven, 'Solario' was the son of the Triple Crown winner, 'Gainsborough'. In 1923 he was bought as a yearling by Sir John for £3,675 at the Doncaster blood sales, as a handsome horse of elegant build in unmarked brown, with high withers, long legs and a short back – the perfect 'stayer' in form. Under the guidance of his trainer Reginald Day, 'Solario' went on to become one of the most famous racehorses of his day, undoubtedly the best Sir John Rutherford had ever owned, winning numerous prestigious races such as the Exeter Stakes in 1924, the St Leger Stakes in 1925 alongside the Ascot Derby and the Princess of Wales Stakes, and in 1926 the Ascot Gold Cup and the Coronation Cup. He retired to Terrace House Stud in Newmarket, commanding the highest stud fee in the land of 500 guineas a mare and winning the 'Leading Sire of Great Britain & Ireland' award in 1937. Indeed, he was immortalised in oils after his monumental win at Ascot in 1926 by Sir Alfred James Munnings (1878-1959), and in 1932 the painting was bequeathed to Blackburn Museum and Art Gallery by Sir John Rutherford, where it still resides today. His owner, Sir John Rutherford, died in 1932 and 'Solario' was offered in his dispersal at the Newmarket July sale that year. Amidst fear that he would be snatched up by a wealthy American syndicate, bidding was contentious, and a British syndicate headed by Lord Glanely won him at 47,000 guineas, a new record price for a horse at auction. He was returned to stud at Terrace House, where he died in 1945.Solario's owner Sir John Rutherford, 1st Baronet (1854-1936) was originally born in Annan Dumfriesshire, the only son of Mr John Rutherford J.P. of Blackburn, a town which he had a lifelong association with. Sir John was a man with true Northern grit, a multi-faceted character who had been one of Blackburn Rovers first-ever football players, later inheriting his father's partnership in Shaw's Brewery in Blackburn town centre. He gained a Commission into the Duke of Lancaster's Own Yeomanry regiment in 1881, which he commanded for six years, found time to serve as a Conservative Member of Parliament for Darwen, a seat he held for a total of twenty-seven years, and was appointed the Mayor of Blackburn in 1898. His elevation in social standing was cemented by being granted a baronetcy on 27 January 1916, owning the archetypal country estate in Scotland, as well as a now-vanished mansion at Beardwood in Blackburn. As a brewing tycoon, he was wealthy enough to afford to turn down the Aga Khan's offer of £100,000 - equal to more than £3.2 million today - for his colt 'Solario' after it won its first classic, the St Leger in 1925. His interest in horses had begun in 1880, when he originally showed an interest in show jumping and steeplechasing, but his true passion lay with ownership of thoroughbred... For further information on this lot please visit Bonhams.com
Lot 404
A large silver twin-handled trophy cup and cover, by Charles Boyton & Son, London 1926, of campana form, the cover with cast horse and jockey finial, the body decorated with repousée domed frieze of repeating heart-shaped foliate motifs, the plain tapered body above fruiting view border, and lobed base, between leaf capped scroll handles, on knopped stem, and spreading circular foot, raised on ebonised socle, trophy height 66cm. £1,400-£1,800
Lot 406
A Magnificent Victorian 18ct gold Racing Trophy Centrepiece: The 1877 Ascot Gold Cup, won by Lord Lonsdale’s ‘Petrarch’, by Charles Frederick Hancock, London 1876, the 18ct gold cup and cover of vase-shaped baluster design, the cover of wrythen lobed form, with cast finial of a rearing stallion attended by a classical youth, the twin handles both modelled as figures of Winged Victory, the rim fitting inscribed ‘RIDDEN BY T. CANNON 6 STARTED’, the knopped stem within a surround of four young male figures, kneeling, two holding wreaths, two holding shields engraved: ‘ASCOT GOLD CUP 1877 WON BY EARL OF LONSDALE’S ‘PETRARCH’ 4YRS’, on stepped foot, the trophy placed on circular stand chased with a border of amorini and horses, spaced by female masks, the centre engraved with the Royal Arms and inscribed: ‘ASCOT GOLD CUP 1877. WON BY EARL OF LONSDALE’S PETRARCH’ 4YRS, contained in a shaped and fitted dark green velvet case, within outer conical wooden carrying case, stencilled to the exterior ‘THE EARL OF LONSDALES TRUSTEES, PLATE CASE NO.1, trophy height 47.5cm, diameter of stand 36cm. £100,000-£120,000 --- The Ascot Gold Cup: “The most prestigious prize in flat racing since 1807” Gold has traditionally been associated with sporting glory and there is no more famous race at the Royal Meeting than the Ascot Cup. First staged in 1807, the inaugural race took place in the presence of King George III and Queen Charlotte. Originally open to horses aged three years and older, and taking place in June each year, the race was run over 2 miles 3 furlongs and 210 yards. The winner of the first race, Master Jackey, was awarded prize money of 100 guineas. In 1844, the race was attended by Emperor Nicholas I of Russia, who was making a state visit to England. That year's winner was unnamed at the time of his victory, but he was given the name ‘The Emperor’ in honour of the visiting monarch. In return Nicholas offered a new trophy for the race — the Emperor's Plate — and this became the title of the event for a short period. Its original name was however restored after nine years, in 1853. Today the race is the first leg of Britain’s Stayers’ Triple Crown followed by the Goodwood Cup and the Doncaster Cup, the last horse winning all three prestigious races in the same year being ‘Stradivarius’ in 2019. The 1877 race numbered six runners including the four-year-old bay Petrarch, ridden by Tom Cannon, trained by Joe Cannon, and owned by Lord Lonsdale. A contemporary account gives commentary on the race itself: “Considerable interest was occasioned on Cup Day by the presence of the Princes Albert Victor and George, it being their first appearance at a race meeting. Cannon rode a fine race for the Gold Cup on Lord Lonsdale’s Petrarch. When passing the Hotel turn, Petrarch attempted to stop, and made as if he would go to the stables, but Cannon managed him splendidly; and although at Swinley Bottom he was six lengths behind, fortune favoured him. At this point, Sugar Loaf bolted and jumped the ditch, and Petrarch slipped into third place, increasing his advantage until at the bend into the straight, he took the lead from Skylark and Coomassie and won easily by four lengths”. Regarding the winning owner’s trophy cup, The Auckland Star (6 September 1877) enthused: “This year the cup is of real gold, and a most magnificent piece of plate, worth, with the stakes, £2,070”. The magnificent gold trophy was one of only three Royal Ascot races where the winner’s cup was retained in perpetuity by the winning owners (the Royal Hunt Cup and the Queen’s Vase being the other two). ‘Petrarch’ Petrarch was foaled in 1873, his sire Lord Clifden was the St Leger winner of 1863, his dam Laura was a successful brood mare whose other foals included the Doncaster Cup winner Fraulein and the Craven Stakes winner Laureate. Petrarch was described as an extremely handsome rich bay horse. Alexander Scott, author of Turf Memories of Sixty Years, remarked, "Whenever I am asked to give my opinion of the grandest looking Thoroughbred of the past sixty years, I always declare unhesitatingly for Petrarch." Petrarch was bred by J. E Gosden at Midhurst, West Sussex, and as a three-year-old, stood 15.3 hands high. The colt was sent into training with John Dawson, the younger brother of Mathew Dawson, at Warren House stables at Newmarket, Suffolk. Dawson was best known as the private trainer of Prince Batthyany, for whom he trained the 1875 Epsom Derby winner Galopin. Between October 1875 - October 1878 Petrarch ran sixteen times and won eight races. In 1875, Petrarch won the Middle Park Stakes on his only appearance of the season. In 1876 he won two of the three races which comprise the Triple Crown, taking the 2000 Guineas at Newmarket and the St Leger at Doncaster. During the winter of 1876, he was purchased by Lord Lonsdale and as a four-year-old in 1877, he won three races including the two and a half mile Ascot Gold Cup which at that time was regarded as the most important weight-for-age race in the world. Petrarch was troubled with recurring kidney ailments, making his health precarious at times. Dawson, his trainer, remarked on his successful four-year career competing at the highest levels of racing, as being “testament to his courage and quality”. Petrarch retired to stud in 1878, where he became a successful sire of winners. Lord Lonsdale St George Henry Lowther, 4th Earl of Lonsdale (1855 – 1882) was the eldest son of Henry Lowther, 3rd Earl of Lonsdale, and had a keen interest in travel, science and racing. During the winter of 1876, Lord Lonsdale purchased Petrarch from Viscount Dupplin, and lost no time in securing successes for the four-year old in 1877, winning at Newmarket, at Epsom in the High Level Handicap, and easily taking the Ascot Gold Cup. Petrarch finished just a head behind Snail in the Liverpool Summer Cup. In 1878 at the age of just 23, after the death of his father, St George inherited the earldom and the Lowther Estates in Westmorland. He died just a few years later in 1882, and was succeeded to the earldom by his younger brother Hugh.
Lot 407
A fine silver gilt trophy cup and cover, by Daniel and John Wellby, London 1927, of campana form, the lobed domed cover with pineapple finial, the base with gadroooned rim, and applied cast fruiting vine border, between leaf capped and foliate twin handles, with cast rising acanthus leaf decoration below, raised on spreading lobed circular foot, height 33cm. £1,000-£1,500
Lot 408
A fine George III silver gilt Racing Trophy Cup: The Lincoln Gold Cup, 1823, won by Thomas Houldsworth’s ‘Palatine’, by Rebecca Emes & Edward Barnard, London 1823, the silver gilt twin-handled trophy cup and cover of campana form, the cover mounted with a cast horse and foal finial, applied to a leaf and flower border, above fluted surround, the cup with egg and acanthus rim, the twin handles of organic oak leaf and branch form extending into a cast oak leaf and acorn border, the knopped stem and fluted base decorated with rising acanthus and floral detail, the front engraved: ‘LINCOLN RACES, 1823, JOHN WILLIAMS ESQ.r, M.P.,WILLIAM MILES ESQ.r STEWARDS’, the interior rim inscribed ‘THE GOLD CUP, WON BY MR THOMAS HOULDSWORTH’S PALATINE [BY FILHO DA PUTA] LINCOLN, SEPT. 26TH 1823’, height 40cm. £4,000-£5,000 --- The Lincoln Gold Cup The Lincoln Gold Cup was a four mile flat race run annually between 1805 and 1844. In the 1823 race, ‘Palatine’, a brown filly, ridden by Holmes, and bred and owned by Thomas Houldsworth, beat Sir W. Milner’s ‘Angler’, Mr Gascoigne’s ‘Violet’ and three other runners to win the Cup, valued at 100 guineas in the Racing calendar. The filly had been unnamed when winning her first race earlier that year, the Palatine Stakes, at Chester. Thomas Houldsworth then named her Palatine, in commemoration of this victory. The Lincoln Gold Cup of 1844 was the final running, with an attempt to revive the race made in 1846 which proved unsuccessful. Palatine Palatine was a brown filly foaled in 1820, her sire Filho Da Puta, her dam being Treasure. She was bred and raced by Thomas Houldsworth, who also owned her famous sire. Palatine won two other races in 1823, a Handicap Sweepstakes at Manchester and a Sweepstakes at Pontefract. In 1824 Palatine recorded four victories and was then sold to Mr Griffiths for whom she won fourteen races between 1825 and 1828. Her sire, Filho Da Puta, had been purchased by Thomas Houldsworth from his previous owner, Sir William Maxwell, in 1815, for the sum of 3000 guineas. This proved to be a shrewd investment for Mr Houldsworth, as the fine stallion was to be highly successful, winning 9 of his twelve races including the St Leger Stakes and Doncaster Gold Cup. The name apparently originated from the ire of Sir William Barnett, owner of the stud farm where the foal was born, who discovered at the time of the the foal’s birth, that his wife had been disloyal. Sir William, who lived in Portugal and knew the Portuguese language well, in a fit of rage gave this name to the future champion. In his final season, the stallion won the four-mile Richmond Cup and In 1818 he retired to stud. He became the leading sire in Great Britain and Ireland in 1828, standing at Mr Houldsworth’s stud at Farnsfield near Southwell until his death in 1835. Thomas Houldsworth Thomas Houldsworth (1771-1852) was a self-made entrepreneur. Apprenticed to a stocking weaver, he joined his brothers in a cotton spinning business in Manchester in 1793. He went on to became a prosperous Manchester cotton manufacturer and in the early 19th century purchased the landed estate, Sherwood Hall, in Nottinghamshire. He also had a passion for horse racing. He became a major owner and breeder and had horses in training from 1816 to 1841. His stud and racing colours of gold and green were famous on the race tracks of the early nineteenth century. He was also a conservative party politician, being a Member of Parliament for a total of 34 years between 1818 to 1852 - as MP for Pontefract from 1818-1830 and MP for North Nottinghamshire from 1830 to July 1852, when he stepped down from the House of Commons at the General Election, and died two months later aged 80. Many of Thomas Houldsworth’s champions appear in sporting pictures including the famous paintings by J.F.Herring of Filho Da Puta, painted in 1815 and Vanish with jockey Sam Darling, of 1830.
![[GASTRONOMY]: [LOUIS XIV] (1638-1715) King of France 1643-1715. An extraordinarily remarkable and detailed manuscript noteboo](https://cdn.globalauctionplatform.com/de6c7e0b-c5e1-4588-a7bd-af3f0123225a/4f3d26f0-0da0-4043-ae09-af4200dacdcb/468x382.jpg)
Lot 528
[GASTRONOMY]: [LOUIS XIV] (1638-1715) King of France 1643-1715. An extraordinarily remarkable and detailed manuscript notebook entitled Estat et menu g[e]n[er]al de la Depence ordinaire de la chambre aux deniers du Roy, annee 1694 (i.e. the status and general menu of the King’s private rooms for the year 1694) compiled by a member of the Royal household of King Louis XIV charged with the responsibility of keeping accounts and records for the menus and gastronomic expenses associated with Le Grand Couvert and other meals. Penned in a small, neat and attractive hand the manuscript runs to over 160 pages and commences with a list of the status of persons who must and have the right to eat at the King’s table, as well as other named tables, followed by different ‘menus’ (that of bread, and of wine) and then details of the meals provided for the different private tables, including that of the King (remembering that his menus were only ‘for one’), ‘Menu de la table du roi de deux plats, deux assiettes et cinq services et hors d'oeuvre. Bouillon du dejeuner: Un chapon vieilli, 4 livres de boeuf, 4 livres de veau, 4 livres de mouton....Diners, potages: 2 chapons vieillis pour potage de sante, 4 perdrix aux choux. Petits potages: 6 pigeonneaux.....4 petits potages hors d'oeuvre: un chapon hache, une perdrix aux morilles, 3 poulets....un chapon por potage au blanc. Entree: Un quartier de veau et une piece autour, le tout 20 livres, 12 pigeons pour tourtes. 2 petites entrees: 6 poulets fricasses, 2 perdrix en hachis. 6 petites entrees hors d'oeuvre: 3 perdrix au jus, 6 tourtes a la braise, 2 dindons grilles, 3 poulets aux truffes, 4 perdreaux, 2 poulardes depecees aux truffes’ (Translation: ‘Menu of the King’s table of two courses, two plates and five courses and appetizers. Breakfast broth: an aged capon, 4lbs of beef, 4lbs of veal, 4lbs of mutton…..Dinners, soups: 2 aged capons for healthy soup, 4 partridges with cabbage. Small soups: 6 young pigeons….4 small soup appetizers: a minced capon, a partridge with morels, 3 chickens….a capon for white soup. Appetizer: A quarter of veal and a piece around it, in all 20lbs, 12 pigeons for pies. 2 small appetizers: 6 chicken fricassee, 2 minced partridges. 6 small appetizers: 3 partridge au jus, 6 charcoal-grilled pies, 2 grilled turkeys, 3 chickens with truffles, 4 partridges, 2 skinned chickens with truffles’) as well as the Grand Maitre de France, Henri Jules, Prince of Conde (which are no less copious) the Chamberlain, the Chaplains, the Valets de chambre, and various other courtiers and special servants etc., ‘Aux deux tapissiers: 8 livres de mouton; au Bidau, horloger: un chapon, au boulanger: 8 livres de veau, 4 livres de boeuf’ (Translation: ‘To the two upholsterers: 8lbs of mutton; to Bidau, watchmaker: a capon; to the baker: 8lbs of veal, 4lbs of beef’), also detailing different menus for ‘fish days’, for the soups ‘Une carpe de pied, un cent d'ecrevisses......un cent d'huitres’ (Translation: ‘A foot carp, a hundred crayfish….a hundred oysters’) and for the fillets ‘demi grand saumon, 6 soles, un grand brochet’ (Translation: ‘half a large salmon, 6 soles, a large pike’) and further specifying the smallest details of the distribution of bread and wine, precisely quantified, ‘Aux trompettes de la chambre: dix pains, 2 quartiers de vin de table, 4 gibiers, 16 livres de veau et de mouton, 2 livres de lard’ (Translation: ‘To the trumpeters of the chambre: ten loaves, 2 quarters of table wine, 4 game, 16lbs of veal and mutton, 2lbs of bacon’) although other musicians are not treated equally, the oboist receiving ‘une poule d’Inde, un lapin, un chapon’ (Translation: ‘a hen, a rabbit, a capon’) and the pipers are entitled to veal, mutton and bacon, whilst the jesters and actors seem to be the worst off, and are not entitled to meat. The manuscript also provides a record of the cakes and excellent wine which are distributed on certain commemorative days and at numerous festivals, as well as the expenses involved, and towards the conclusion there are also records of the special menus provided for the King’s confessor, or the preacher when he is in attendance to preach to the King, as well as that which is offered to the Brigade of Musketeers, the King’s bodyguard when he is on campaign, and even a note of ‘les biscuits qui se delivrent par jour a la Chambre pour les petits chiens du roi’ (Translation: ‘the biscuits which are delivered daily to the Chamber for the King’s little dogs’). The 12mo manuscript is contemporarily bound in brown calfskin leather with gilt borders and finial decorations to the corners, the spine with five raised bands, gilt title and decoration, and marbled endpapers. With the ownership signature of A. Simonetty (‘Ex libris A. Simonetty’) to the front free endpaper. A truly meticulous manuscript providing a wonderfully fascinating insight into the gastronomic activities of the Royal household of King Louis XIV. VG King Louis XIV was a gourmet who adhered to the convention and ceremony of Le Grand Couvert (‘The Great Serving’) on a daily basis. At 10pm the great public meal was served in the antechamber of the King at Versailles and was very much regarded as being symbolic of the power he held. Royal dinners meant that the King would sit and eat, and the members of the royal family and courtiers stood and watched the deed (although female members of the royal family were permitted to be seated, but little else). From time to time the Sun King would invite his family or a few guests and courtiers to join him at the meal, however all plates were cleared once the King indicated that he was done, regardless of whether the rest of the diners had finished their meals.
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