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Lot 921
LARGE POSTCARD ALBUM including family portrait postcards, processions, Cathedrals and Churches, GB content (Jersey, Monmouth, Yate, Chipping Sodbury, Torquay, Newquay, Launceston, Waterford, Limerick, Loch Lomond, Blackpool, Ilfracombe, Boscastle, Weston-Super-Mare, Dartmoor Prison Gate, Weymouth, Farnham, Cheltenham, Cleeve Hill Tram Terminus, Bridlington, London, Laxey, Isle of Wight, and many more. Also with some foreign cards including Canada, Mexico etc.
Lot 906
A signed letter from Prince Albert Edward (Prince of Wales) - Royal ephemera interest, handwritten letter on Marlborough House mourning stationary with matching envelope, addressed to 'Lt. Colonel, The Viscount Bury M.P. [William Keppel, 7th Earle of Albemarle], 48 Rutland Gate', dated June 16, 1864, written when the Prince was aged 23. The letter reads, "My Dear Lord Bury, Many thanks for your very kind letter which I have just received & for your kind allusions to Princess & myself. I can assure you that both the Princess & myself are deeply sensible of the feelings also displayed towards us & we were both very much gratified by the protection (hic) of the Civil Service Volunteers under your command yesterday. We shall always be most anxious to support any great public institution & undertaking & it is indeed most necessary to encourage the volunteers, who have displayed so noble a feeling in coming forward for defence of their Sovereign & Country. With my kindest regards to Lady Bury, I remain Yours very sincerely Albert Edward." * William Keppel had achieved a highly successful military career and was previously responsible for the raising of the 21st Middlesex Rifles Volunteer Corp, to which one assumes this letter of gratitude refers. William Keppel's third son George Keppel, yet to be born, would eventually become the husband of the Royal Mistress Alice Keppel!
Lot 554
Herbert Gustave Schmalz (English, 1856-1935), " The Gate of ..?.. France " , oil on canvas, signed and inscribed to artist's label verso, in original giltwood and composition frame , 35¾ x 23in. (91 x 58.5cm.) .* Herbert Gustave Schmalz also worked under various pseudonyms including Angelico and Angelo. He re-named himself Herbert Gustave Carmichael in 1918 to avoid the anti-German sentiment prevalent at the time. He was counted amongst the Pre-Raphaelites, lived in the Kensington area of London and was friends with William Holman Hunt and Frederic Leighton.** Condition: Painting is dirty and would benefit from cleaning. Small flake from paint top right corner. Paint is thin in places, but it is a sketchy work, particularly to the foreground.
Lot 301
A LATE VICTORIAN OR EDWARDIAN HOLD-TO-LIGHT BIRTHDAY CARD with three cherubs around a cradle, 14cm h, a Victorian mechanical birthday card with two children at a garden gate, a mechanical aeroplane novelty valentine card dated 1932 and a 1930s embossed doub leaf birthday card painted with a pansy (4), A VICTORIAN OR EARLY 20TH C EMBOSSED PULL DOWN BIRTHDAY CARD with roses and a seated lady before an alpine landscape, 16.5cm h, and FOUR GERMAN MECHANICAL BIRTHDAY CARDS, one dated 1882 comprising a pull-down card with flowers and a child with a card and cornucopia, another with two children pulling a barrow of flowers, the third with a child popping out of a flower spray, the fourth of slightly later date of larger pull-down design of bird and flowers, largest 17cm h (9)
Lot 320
A collection of gold jewellery, a hallmarked 9 carat yellow gold bar link necklace 40cm long, a five bar gate link bracelet 10cm wide with padlock fastener, a 17cm St Christopher, a 30mm articulated fish pendant, total weight approximately 16.8gms, an unmarked rose metal length of Victorian style chain, 80cm long with a swivel fastener marked 9ct, approximate weight 24gms. (5)
Lot 23
George Bernard O'Neill (1828-1917) Picking Grapes (1898)oil on boardsigned lower left and dated (18)'98 45.70 x 35.20cm (18 x 13.9in)Richard Green Gallery, London (label verso); Private Collection Accomplished and prolific, O'Neill was best known for his highly detailed genre and figure paintings, which typically featured children and animals. Born in Dublin, he exhibited over seventy works at London's Royal Academy, and his paintings survive in more than 16 public collections, e.g. A Deathbed Scene (National Gallery of Ireland, Dublin), and The Foundling (Tate Britain, 1852). His narrative suggests children leaving their game of hoop and stick, to help the old man, so he need not descend from the ladder as he picks grapes. Meticulously depicted, the open gate hints that the girl has wandered into the scene, where the boy already has his basket lined and filled with a vine leaf and grapes. Plants are used symbolically; to represent youth and innocence (the daisy, between the children), and old age (the autumn leaves), soon to be swept aside with the besom that leans up in the foreground. The terrier, representing faithfulness, observes the scene. The leaded fenestration and good clothing, suggest an English rather than Irish setting. Claudia Kinmonth, October 2018
Lot 125
* CAROLINE BAILEY RSW, ORIENTAL POPPIES watercolour on paper 45cm x 60cm Mounted, framed and under glass Label verso: Mina Renton Fine Art, 50 Eresby House, Rutland Gate Note: Caroline Bailey is a graduate of Manchester Polytechnic (BA and MA). An award-winning artist, she taught until the 1980s, while continuing to produce her own work. Since then she has painted full-time. She has had major solo exhibitions in London and elsewhere and group exhibitions include the Royal Institute of Painters in Watercolours, the Royal Watercolour Society, the Royal Glasgow Institute and the Royal Scottish Society of Painters in Watercolours (RSW), to which she was elected member in 1998. Caroline’s awards include the NS Macfarlane Charitable Trust Award at the Royal Scottish Academy in 1999, the Glasgow Arts Club Fellowship at the Royal Scottish Society of Painters in Watercolours 1999, and the Scottish Society of Painters in Watercolours 2001.
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