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Lot 101
A Second Afghan War C.B. group of three awarded to Major-General J. H. P. Malcolmson, Sind Horse, late Bombay Horse Artillery; he commanded the Sind Horse at the battle of Maiwand and was twice wounded during the War, firstly at Khushk-i-Nakhud (slightly) and secondly at Deh Khoja outside Kandahar (severely) The Most Honourable Order of the Bath, C.B. (Military) Companion’s breast badge, 22 carat gold and enamels, hallmarked London 1859, maker’s mark ‘WN’ for William Neale, complete with swivel-ring bar suspension and replacement gold ribbon buckle; Indian Mutiny 1857-59, 1 clasp, Central India (Lt. J. H. P. Malcolmson, 2nd Tp. H. Bde. Bombay Arty.) fitted with replacement suspension rod; Afghanistan 1878-80, no clasp (Col. J. H. P. Malcolmson. C.B. 3rd Sind Horse) minor enamel damage to centres of the first, otherwise better than very fine (3) £5,000-£7,000 --- Provenance: Baldwin 1964; Dix Noonan Webb, December 2013. John Henry Porter Malcolmson was born at Ahmedabad, Bombay, on 20 October 1832, son of John Porter Malcolmson, Assistant Surgeon, Bombay Establishment, and Wilmot, his wife. He was nominated to the E.I.C. Military Seminary at Addiscombe by Lieutenant-Colonel Sykes, and joined Addiscombe on 2 August 1847. He passed the Public Examination on 8 June 1849, and was admitted to the service and gazetted a 2nd Lieutenant. He proceeded ‘overland’, via Suez, to Bombay on 20 August and arrived there on 29 September. On 20 October 1849, he was appointed to 2nd Company, 1st Battalion Foot Artillery. From 8 February 1850, he was with 4th Light Field Battery at Ahmednuggur and in 1832 he was appointed to 3rd Company, 3rd Battalion, which was a Golundauze, or Native Battalion. In 1853 he transferred to 3rd Troop, Bombay Horse Artillery, and was promoted to Lieutenant on 29 August 1854. In 1856 he transferred to the 4th Battalion, also a Golundauze Battalion. In May of that year he was sent to Europe on a Sick Certificate, and on returning to India in 1857, he was appointed to 2nd Troop, Bombay Horse Artillery. During the Mutiny campaign in Central India he served with 2nd Troop and as Acting Brigade Major of Artillery and Adjutant of Bombay Artillery with the Rajputana Field Division under Major-General Sir H. G. Roberts, K.C.B. He was present at the siege and capture of Kotah, 24-30 March 1858, and the pursuit of the garrison under Colonel Owen. On 14 August he was present at the battle of the Bunnass River, where Tantia Topi was defeated, and in the pursuit of the rebels which ended in the cavalry affair at the Khooshani. During this time he acted as Orderly Officer to Brigadier-General Honner, C.B., who, in his despatch, stated that Malcolmson was conspicuous by his forward gallantry and had his charger wounded by sabre cuts. He was promoted to 2nd Captain on 27 August 1858, and mentioned in despatches (London Gazette 5 May 1859). In 1860 Malcolmson was sent to Europe on a Sick Certificate with discharged soldiers. Upon his return he was appointed to 2nd Company, 2nd Battalion. When the E.I.C. Artillery regiments were absorbed into the Royal Artillery in 1863, he was commanding 2/2nd Battalion, now designated 3rd Battery, 21st Brigade R.A. at Belgaum. On 1 September 1863, he transferred to 18th Brigade R.A. (also ex-Bombay Artillery), and on 7 October was admitted to the Bombay Staff Corps. In November 1864 he was appointed Assistant Engineer, Public Works Department, Belgaum. After returning to Europe again on a Medical Certificate in 1868, he was promoted Major and appointed to the P.W.D. at Kulludghee in June 1869. On 19 August 1871, he transferred to the Poona Horse as Officiating Squadron Officer, and on 12 April 1873, he took command of 3rd Sind Horse. He was promoted to Lieutenant-Colonel on 8 June 1875. In September 1878, the 3rd Sind Horse was at Jacobabad and was warned for service in Afghanistan, as part of the Cavalry Brigade under Brigadier-General Palliser in the Quetta (or 2nd) Division under Major-General Biddulph. War was declared on 22 November, and the force moved through Pishin to Kandahar, where it arrived on 8 January 1879. On 16 January the 2nd Division was sent to carry out a reconnaissance towards Girisk and the Helmand, which it reached on 2 February. It began to retire on 23 February and Malcolmson was placed in charge of a small force to cover the fords over the river, and then became Divisional rearguard. On 26 February he was encamped at Khushk-i-Nakhud with his force - detachments of 3rd Sind Horse, 266 sabres, and 29th Bombay N.I., 118 rifles - when the enemy were reported to be advancing to attack his camp. An action developed in which the enemy lost 200 killed out of 1500, and the force lost Major Reynolds (commanding the detachment of 3rd Sind Horse) and 4 men killed, and Malcolmson and 23 men wounded. The following day the general and his staff arrived, and the withdrawal continued until Kandahar was reached on 2 March. In May 1879, Malcolmson was placed in command of the Pishin Moveable Column, consisting of 3 troops, 3rd Sind Horse, half of No. 2 Mountain Battery, 2nd Sikhs and one company 19th Punjab N.I. The duties of the Column were to guard the lines of communication to India. He was awarded the C.B. on 19 July, and on 7 November was mentioned in despatches in the London Gazette. In January 1880, 3rd Sind Horse was relieved of these duties and in May was at Kandahar with a strength of 5 officers and 391 sabres. On 8 June 1880, Malcolmson was promoted to Colonel. The 3rd Sind Horse was detailed as part of the force to march under Major-General Burrows to Girishk to try to prevent the mutiny of the troops of Sher Ali Khan, Wali of Kandahar. Brigadier-General Nuttall commanded the cavalry, which moved from Kandahar on 4 July and reached the Helmand River on the 10th, where it was found that the Wali’s troops had joined the army of Ayub Khan. There was an action at Girishk on 15 July, where the mutineers guns were recaptured, and the force then retired on Khushk-i-Nakhud. On 27 July the disastrous battle of Maiwand was fought, where Ayub’s army of 25,000 overwhelmed Burrows’ force of about 2,500. The cavalry, 3rd Sind Horse and 3rd Bombay Light Cavalry, were divided into small detachments and left exposed to heavy artillery fire, which caused many casualties, particularly among the horses. When finally ordered to charge the enemy, neither regiment went straight, but reared off to the right and retired. An eyewitness describes the action as follows: ‘Whatever men were still available were in a somewhat irregular formation. There was no time, however, to wait for a well-dressed line and General Nuttall ordered the cavalry to advance and charge, placing himself with his staff in front of the line. The men, instead of advancing straight to their front, inclined to the right and fell on the Ghazis who were attacking the Grenadiers, who were undoubtedly saved by the cavalry charge from heavy loss. After doing this much, the cavalry, retreating and the guns all gone, wheeled about and retired, to the best of my belief without orders. I certainly heard no orders. After wheeling about the cavalry retired steadily’. In spite of attempts by the officers to rally their men, the troopers would not turn and charge again. The casualties of 3rd Sind Horse were 14 killed and 5 wounded, out of a strength of 4 officers and 207 sabres. 56 horses were also lost. Burrows had given orders that the cavalry was to remain with the guns, but despite Nuttall’s efforts to check them, they pushed on without halting to Ashakan. Colonel Malcolmson, commanding 3rd Sind Horse and Major Currie, commanding 3rd Bombay Light Cavalry, were afterwards placed under arrest on charges of misbehaviour and cowardice on this occasi...
Lot 105
An ‘Edwardian’ M.V.O. group of three awarded to Engineer Captain A. J. Nye, Royal Navy, who served in the Royal Yacht Victoria and Albert from 1903-09, and who recorded his service in the Royal Yacht in a remarkable photograph album The Royal Victorian Order, M.V.O., Member’s 4th Class breast badge, silver-gilt and enamel, the reverse officially numbered ‘285’, in Collingwood, London, case of issue, the case similarly officially numbered ‘4 285’; Russia, Empire, Order of St. Stanislas, Civil Division, Second Class neck badge, 48mm, gold (56 zolotniki) and enamel, maker’s mark and gold marks to reverse and suspension ring, with short section of neck riband, in embossed case of issue; Norway, Kingdom, Coronation Medal 1906, silver, minor white enamel chipping and restoration work to MVO, otherwise good very fine; the foreign awards about extremely fine (3) £1,400-£1,800 --- M.V.O. London Gazette 30 December 1904: Engineer Commander Alfred John Nye, R.N., of His Majesty’s yacht “Victoria and Albert”. Alfred John Nye was born on 3 September 1855 and was appointed Assistant Engineer in H.M.S. Asia on 1 July 1877. He was advanced Engineer on 1 March 1883, and joined the Royal Yacht Osborne on 12 January 1884. Returning to ships of the line on 12 January 1889, he was advanced Chief Engineer on 7 June 1890; Staff Engineer on 7 June 1894; and Fleet Engineer on 7 June 1898. He was promoted Engineer Commander on 1 April 1903, and served in the Royal Yacht Victoria and Albert from 13 May 1903. Transferring to the retired list with the rank of Engineer Captain on 17 June 1908, he was permitted to remain in Victoria and Albert in this rank until the end of the year in order to complete the yachting season. He finally retired on 7 December 1908, and died on 11 August 1932. For his services in the Royal Yacht, Nye was appointed a Member Fourth Class of the Royal Victorian Order in the 1905 New Year’s Honours’ list, and also received the Russian Order of St. Stanislas Second Class, and the Norwegian Coronation Medal. Sold together with the following archive: i) A remarkable Edwardian photograph album compiled by the recipient whilst serving aboard the Royal Yacht, quarter bound in leather board covers, the spine gilt blocked ‘Engineer Captain A. J. Nye, M.V.O., R.N.’ Photographs include: Group photographs of the Gun Room Officers, H.M.S. Aboukir, dated 1902; Officers Smoking Circle, H.M.S. Aboukir; Several photographs of the officers on deck, H.M. Royal Yacht Victoria and Albert; the Officers, H.M.S. Aboukir, 1902; Internal photographs of the Royal Yacht Victoria and Albert including the King’s bedroom; photograph of the ‘King’s Coffee Maker’ in middle eastern garb; the wheel and compasses and silver bell of the Royal Yacht Victoria and Albert; the pet Bear of H.M.S. Aboukir, together with several photographs of places visited by H.M.S. Aboukir circa 1902, including Gibraltar and Cyprus; holiday photographs of a similar era taken in Pembrokeshire, of Tenby, Carew Castle, Picton Castle, Freshwater, Broadhaven, St. Govan’s Chapel, Manorbier Castle, and others; photographs of Brecon and district; several photographs of the Royal Yacht Victoria and Albert, including in Norway and passing through the Kiel Canal; the officers and crew, including the Emperor of Germany, H.M. King Edward VII and Queen Alexandra; several photographs of Captain Nye, in uniform on board the Royal Yacht; several panoramic photographs stated by marginal notes to have been taken by H.M. The Queen Alexandra and Princess Victoria, in Norway; several photographs of H.M. King Edward VII, and Queen Alexandra visiting Algiers; other photographs of personalities visiting the Royal Yacht, including Miss Charlotte Knollys, Lord Salisbury, Admiral Milne, General Brocklehurst, H.M. the King and Queen of Norway, Princess Victoria, Lord Farquhar. In all over 160 photographs all pasted into a luxury bound album, some yellowing to pages, annotated by hand throughout, with some later additions, photographs very good, the album with tight binding, and a remarkable photographic record. ii) The recipient’s Bestowal Document for the Royal Victorian Order, together with Privy Purse Office enclosure iii) Bestowal Document for the Russian Order of St. Stanislas, together with Admiralty enclosure, dated 20 March 1909, and Buckingham Palace Private Permission to Wear Document, dated November 1910 iv) Buckingham Palace Private Permission to Wear Document for the Norwegian Coronation Medal, dated January 1911 v) Various invitations and musical programmes to Banquets, both aboard the Royal Yacht Victoria and Albert and on shore vi) Various postcards and photographs; and copied research.
Lot 1005
A Victorian turquoise and pearl brooch (the pearls untested and unwarranted), marked '9ct', 2.06 grams gross; a 9ct gold colourless stone eternity ring, 1.64 grams gross; a ring set with five small diamonds, marked '585', 1.86 grams gross; an unmarked ring set with five graduated diamonds, 1.38 grams gross; a stick pin; a pair of drop earrings marked '375'; and a sapphire earring and pendant set
Lot 1027
A 9ct gold sapphire three stone dress ring, with diamond surround, a 9ct gold amethyst and pearl (the pearls untested and unwarranted) Victorian style ring and a blue spinel and diamond ring, marked '9ct', 8.46 grams gross; and a sapphire and pearl (the pearls untested and unwarranted) dress ring marked '18k', 4.39 grams gross
Lot 1064
An 18ct white gold solitaire diamond ring, the illusion set diamond approximately 2.2mm, with bright cut decoration to the shoulders, 4.54 grams gross; a 9ct white gold sapphire and diamond cluster ring, with decorated shoulders and a 9ct white gold patterned wedding ring to match, 5.2 grams gross
Lot 1117
9ct gold band ring, with hallmark commemorating the millennium, Sheffield, finger size I 1/2; a 9ct gold diamond single stone ring, the illusion set diamond 2.5mm, finger size J 1/2; a single stone turquoise ring, marked '9ct', finger size N 1/2; and Victorian five stone ruby ring, marked '15ct', finger size K 1/2; 9.49 grams gross
Lot 38
An 18ct gold Victorian five stone moonstone ring, the graduated circular cabochon moonstones claw set to scrolling mount, hallmarked 'J.R & S' Birmingham 1890, ring size Q, weight approx 5gCondition report: Some scratches and abrasion to the stones, some wear to the claws, hallmarks slightly rubbed, general wear, refer to images
Lot 44
A sapphire and diamond floral cluster ring, designed as a row of three diamond and sapphire floral clusters claw set in white metal, the white metal shank not stamped, ring size R, together with a pair of sapphire and diamond cluster stud earrings, total weight approx 6.5g (2)Condition report: Ring- some slight abrasion to the facet edges of the sapphires, diamonds bright, some slight wear to claws but no significant visible damage, refer to images, not hallmarkes but appears to be white gold-probably 18ct but cannot confirm/guarantee this, some slight thinning to the shank, ring reasonably modern-estimated age circa 1990earrings- hallmarkes 18ct white gold 1980, general wear but no significant visible damage
Lot 58
An 18ct gold ruby and diamond oval cluster ring, the oval mixed cut ruby claw set within a border of brilliant cut diamonds, ring size O, weight approx 3.6gCondition report: Ruby measures approx 7.5mm x 5.5mm x 3.5mm deep, some very small needle like inclusions seen with 10x but not the naked eye, chip to the pavilion that can be seen through the stone with a 10x, diamonds bright- clarity range SI1-SI2, colour H/I, no obvious damage just general wear, refer to images
Lot 82
An 18ct white gold seven stone diamond floral cluster ring, the old cut diamonds claw set in white gold, ring size M, weight approx 6.8gCondition report: Central stone weighs approx 0.65cts, measures approx 5.4mm x 3.5mm, two of the outer stones weigh approx 0.50cts and the remaining four outer stones weigh approx 0.40cts each, total diamond weight estimated 2.75cts, colour grade estimated to be H/I, clarity range VS1-SI2, a couple of small chips/naturals to girdles, general wear to mount but no significant visible damage, refer to images
Lot 100
Follower of Guillim Scrots Portrait of King Edward VI (1537-1553) bust-length, in a black doublet encrusted with gold braid, wearing the chain of the Order of the Garter and bejewelled black hatoil on panel55.5 x 43cmFootnote: The present painting is based upon an official portrait of Edward VI (1537-1553) painted by the Flemish artist, Guillim Scrots (sometimes William; active 1537–1553). It is highly likely that the original version was produced in 1550 during the marriage negotiations between Edward VI and the daughter of Henri II of France, Elisabeth of Valois. This composition became a popular image and many contemporary and later versions were made, all with subtle differences. Perhaps the most notable of these is the full-length version in the Royal Collection that was acquired by Queen Victoria in 1882.Condition report: Framed 68 x 56cmThe painting is executed in oil on a wooden panel support with the wood grain running vertically. The panel has a slight convex warp. There are vertical splits running down the panel from the upper edge. The split at the centre of the painting has been reinforced from the reverse with a trip of canvas. The paint along this split is slightly raised. The rest of the paint layer is in a good, stable condition overall. Areas of overpaint are mainly located in the sitter’s face and along the splits. The overpaint is finely applied and reasonably well matched to the original. The varnish is even and semi-matte with a layer of surface dust present.Technical Notes*Panel The panel comprises three radially cut oak boards. Visible working marks on the reverse indicate that the panel has not been thinned. Dendrochronological examination was carried out by Ian Tyers on the two wider boards. One board was too narrow with insufficient rings to be of use. Both boards are oak which originated in the eastern Baltic, although from different trees. They had a last heartwood ring dating to 1569. There was no sapwood. A probable first usage date could be given after 1577. It is possible that the painting might date up to the last use of Baltic oak in c.1650, however, the earlier date seems consistent with our observations of the painting technique and materials, and it is likely that the painting dates from the late 16th or possibly early 17th century. Paint and ground layers A pale coloured ground lies over the panel, over which a thin streaky grey imprimatura has been applied. This can be seen through the paint in normal light, and also in digital infrared photography indicating the presence of carbon containing pigments.Underdrawing in a dry medium is visible in the face and neck in normal light, and appears much more intense with digital infrared photography. The drawing delineates the features and indicates modelling for example in the cheek where there are hatched lines. It is likely that the drawing has been transferred from a pattern, as was typical practice for the time. The paint layers do not follow the underdrawing exactly. It is possible that there is underdrawing in the torso, but it is masked by the black of the drapery.The paint layers have been built up in thin even layers, using what appears to be a limited range of pigments, and simple paint structure. The background has been laid in first, with a reserve left for the face. The hat, with reserves left for the jewels, then the face has been added, followed by the pillar and clothing, again with reserves left for the two jewels at the neck. The highlights on the costume, jewellery and curtain were then applied in a more bodied lead tin yellow, and the black pattern on the curtain in a more bodied black paint. The colour of the pigments are typical of the period, and the use of lead tin yellow to imitate gold rather than using real gold, indicated a date in the later 16th century. This sequential pattern of painting, rather than working up the whole picture at once, is typical of painting practice of the period.Other versions Catherine Macleod writes that a new portrait type emerged when Edward was about thirteen years old, and at least five full length versions are now known. Of these five, she considers the Louvre version the prime copy by Scrots. The Hampton Court version was the most widely copied in England, and is the one to which ours is closest. SummaryThe materials and techniques are consistent with late 16th and early 17th century Anglo-Flemish Painting.*The above report was completed by Katherine Ara Paintings Conservator & Restorer in December 2010
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