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Click here to subscribeA selection of collectables; Early 20th century Limoge porcelain planter with flower design together with A Pair of French Limoge tazzas & John Thomson & sons Annefield pottery cake plates, Two Campbellfield pottery soup plates Ta koo pattern & Annefield pottery & Small Ashet Marshall, Bo'ness Bosphorus pattern
Ca. 300 - 100 BC. A pair of gold earrings, each formed from a hoop with rounded outer contours and tapering towards the terminals. The ends are fitted with a simple curved wire for closure, looped through pierced holes near the tips.For similar see: F.H. Marshall, Catalogue of the Jewellery, greek, Etruscan and Roman in the British Museum. Cat. 2486, Plate LIII.Size: 14-16mm x 15-17mm; Weight: 2gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s.
Ca. AD 1 - 300. A pair of gold earrings. The one on the left is composed of openwork clustered pellets in graduated rows, with a single cylindrical setting at the top and a curved ear loop extending behind. The one on the right features a flat triangular sheet decorated with applied pellets forming a central vertical row and a horizontal base row, with a plain curved ear loop arching to the back.For similar see: F.H. Marshall, Catalogue of the Jewellery, greek, Etruscan and Roman in the British Museum. Cat. 2600, Plate LIV.Size: 19-21mm x 45999mm; Weight: 2gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s.
Ca. AD 1 - 300. A matched pair of gold earrings, each composed of a central spherical pearl bead held between two gold wire loops and framed within a twisted gold ring. Below the bead is a ribbed trapezoidal gold plate from which two suspension loops hang, each terminating in a pearl dangle. The ear wire extends from the back and loops over the top through a small attachment ring.For similar see: F. H. Marshall, MA., catalogue of the Jewelry, Greek, Etruscan and Roman in the department of Antiquities British museum.cat. 2648, Plate LV.Size: 23-24mm x 45940mm; Weight: 4gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. AD 100 - 250. A necklace formed of a series of 17 gold settings containing inset white glass elements with central ridges, framed by beaded wire. Between each pair of settings are short linking loops, and the lower edge of each unit is fitted with a double drop of small pearls suspended from U-shaped gold attachments.For similar see: Marshall, Catalogue of Jewellry Greek, Etruscan and Roman, 1911, Cat. 2749, 2730.Size: 120mm x 30mm; Weight: 18gProvenance: London collection; Ex. Mayfair collection, acquired from an Ancient Art gallery; formerly acquired on the London art market pre-2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.Reviewed by Sami Fortune, an ancient jewellery specialist.
Ca. 300 - 100 BC. A matched pair of gold earrings, each composed of a flat, crescent-shaped sheet with tapering ends. The upper face is decorated with applied granules in triangular clusters and small scattered pellets, along with sinuous wire elements. The terminals are tightly wrapped with plain wire, topped with applied discs and joined to a curved ear hoop extending across the opening.For similar see: F.H. Marshall, Catalogue of the Jewellery, greek, Etruscan and Roman in the British Museum. Cat. 2458, Plate LIII.Size: 17-17mm x 13-13mm; Weight: 1gProvenance: Private London collection; formerly in South German private collection 1980s-early1990s.
BRITISH ARMYThe 1st King's Dragoon GuardsWhen stationed at Aldershot, on 12 February 1879, the King's Dragoon Guards received a sudden order for service in South Africa. With as little delay as practicable, they were brought up to war strength by volunteers from other corps and the transfer of horses; on 27 February the left wing embarked at Southampton under the command of Major Marter, in the hired transport Spain; the right wing, with Headquarters, followed the next day under Colonel Alexander in the Egypt.Both ships arrived at Durban on 8 April, the men marching to Pietermaritzburg and then on to Dundee where they were joined by the 17th Lancers. On 19 April both regiments began marching towards Rorke's Drift, arriving at the battleground of Isandhlwana two days later; here they attempted to identify and bury the bodies of those who perished almost three months previously.Engaged in reconnaissance for a time thereafter, on 6 June the K.D.G's were involved in a particularly savage exchange at Erzungayan: the Zulus were found strongly posted in a wood which was intersected with dongas, and in front of which was a line of four large kraals and from here they poured a heavy fusillade upon men under the command of Colonel Buller and those of the 17th Lancers under Colonel Lowe. Seeing this, and fearing the Zulus might rush out upon the horses, the K.D.G's formed up on the flank and right rear of the 17th; the Zulus however remained completely concealed in the wood, and General Marshall had little choice but to give the order to retire. Realising their opportunity and following in skirmishing order, the Dragoon's had barely crossed the Upoko, in which there were quicksands, when a brisk fire was opened upon them.Thereafter, the regiment was employed on regular reconnaissance and skirmishing duties, using Fort Newdigate as a staging post; in these raids scores of native villages were destroyed. On the night of 7 August 1879, a detachment marched to Emptonjaneni, twelve miles distant from Ulundi. In the night a fearful storm of wind and rain smashed into the camp and continued until 11 a.m. the next morning. Lightning strikes, shock and the sheer ferocity of the weather left 360 transport bullocks dead in the camp, with approximately 90 more being discovered dead in the surrounding bushes.On 18 August Major Marter marched with a squadron of K.D.G's under orders to establish a chain of outposts to St. Paul's, 40 miles distant, and to keep up communications throughout the line by patrolling day and night, in order to prevent the King from breaking across. The men subsequently joined Clarke's Column and on 27 August the expedition commenced which resulted in the capture of the King.719 Medals were issued to the 1st King's Dragoon Guards, 641 of them with the '1879' clasp.Pair: Troop Sergeant-Major W. McGill, 1st King's Dragoon GuardsSouth Africa 1877-79, 1 clasp, 1879 (2181. Sergt. W. McGill. 1st. Dn. Gds.); Army L.S. & G.C., V.R. (2181. Tp: Sgt: Maj: W. McGill. 1st Dgn. Gds.), very fine (2)William McGill was born at Edinburgh in 1847 and was discharged to pension on 13 May 1890.…
The 'Trench Raid Leader's' M.C. group of three awarded to Lieutenant P. Crampton, 2/5th Battalion, Loyal North Lancashire Regiment, who was seriously wounded during a hand-to-hand clashThe same action saw him seriously wounded while leading a bayonet charge, leading to Crampton being treated by Harold Gillies, one of the pioneers of modern plastic surgeryMilitary Cross, G.V.R., unnamed as issued; British War and Victory Medals (Lieut. P. Crampton.), good very fine (3)M.C. London Gazette 16 August 1917, the original citation states:'For conspicuous gallantry and devotion to duty. He commanded a raid on the enemy trenches. Previously he had done most valuable reconnaissance work, entering the enemy lines on previous occasions. The success of the raid was largely due to his fine patrol work beforehand.'Percy Crampton enlisted initially with the Inns of Court Officer Training Regiment and was Commissioned 2nd Lieutenant from that unit on 15 September 1915. Posted to the Loyal North Lancashire Regiment he was later advanced Lieutenant on 27 July 1915. The Battalion entered the war in Flanders on 8 February 1917 with the 55th Division stationed in the Cordonnerie Sector. Their first actions were largely trenches raids launched across the lines, starting in May 1917, one of these was commanded by Crampton, the Regimental History outlines this stating:'Another raid, but on a smaller scale, took place on the 24th, when two officers- Lieutenants Crampton and Marshall- and fifteen men started off. These had just reached the enemy's support line when a German patrol was heard approaching, and the raiders divided into two parties; one charged the enemy with the bayonet and a sharp fight ensued, two Germans being killed and four captured; two of these last were wearers of the Iron Cross ribbons and all looked very fit and in good condition. Of the raiding party only one- Lieutenant P. Crampton- was wounded.'This is added too by several newspaper articles, one of which entitled 'Plucky Officer Wounded on Raiding Party' states:'From an account received by Mr. Crampton of the incident which resulted in the casualty it appears that Lieutenant Crampton and another officer, accompanied by seven men, took part in a raid on the enemy's lines. In an encounter at close quarters with six of the enemy. Lieutenant Crampton was wounded in the neck and shoulder, it is thought, by revolver fire. Two of the enemy were, however, killed, and the remainder surrendered, the whole party of six thus being accounted for. The Boches' arms and equipment, which had been thrown down, were collected and the prisoners hurried down to the enemy front line, and across No Man's Land to the British lines. It is stated that two, at least, of the Boches were wearing the ribbon of the Iron Cross; one was also wearing a Red Ribbon. Lieutenant Crampton was able to reach his own lines, with assistance, and was quickly put on a stretcher and brought to a dressing station, where first aid was given him.Has done Good Work in France.In a letter to Mr. Crampton, the Commanding Officer of the Battalion writes as follows:- "Your son was wounded severely, but I hope and trust he will be all right. He was very brave over it. He has done good work in France and some weeks back, when my second in command was killed, carried another officer out of the shelled area on his back. This, I know, will be a comfort to you. You will get news when he reaches England, and I trust you will let me know how he progresses."Lieutenant Crampton is 26 years of age and was educated at the Warrington Grammer School. At the age of 21 he was articled as a solicitor, and, up to his joining the Army, was in practice with his uncle, who is a solicitor in Leigh. Yesterday Mr. Crampton was greatly relieved to hear that his son was making satisfactory progress.'Returning to Britain, Crampton's serve injuries were treated by Harold Gillies, a New Zealand born medical officer and one of the pioneering forces behind plastic surgery. After seeing skin grafting techniques in France and America Gillies opened a ward in Cambridge where he began to develop the techniques required to treat facial injuries. Here he performed what is believed to be the first modern plastic surgery on Walter Yeo, who was wounded at the Battle of Jutland.Gillies treatment of Crampton appears to have been for a wound to the jaw, a transcript of his medical record notes 'Fractured Mandible' and 'Keloid Scar Clavicle'. The results of these surgeries are unclear however Crampton certainly survived, going on to work as a solicitor for his uncle T. R. Dootson.During the Second World War he was living near Leigh and joined the Newchurch Local Defence Volunteers. A newspaper article from the time- - in a scene that could have been called straight out of Dad's Army - makes reference to him being asked to resign after an argument with the local Rector. Rather touchingly it is related that eighty members of the L.D.V. threatened to resign if Crampton was forced out of his post; sold together with copied research.…
A collection of summer clothing, c.1900, comprising, a cream dress cut in crêpe with lace trim detailing and appliquéd flowers to the hem,80cm bust,61cm waist,together with a summer dress,late 19th century, comprising a boned bodice cut in striped silk, trimmed with lace detailing to the half sleeves and neckline, the matching skirt with layered detailing and a ruffled lace trim, with appliquéd needle lace,72cm bust,48cm waist,with a summer cape,early 20th century, cut in champagne tone silk taffeta, with collar detail and button front, with two side arm holes, labelled 'Marshall & Snelgrove London',137cm long,with a summer jacket,early 20th century, cut in cream silk with embroidered lapels and a three button closure, no size stated88cm bust,and a silk blouse,early 20th century, in white silk with chiffon and lace trim to the neckline and cuffs, no size stated,82cm bust (6)Condition ReportWith marks, tears, pulls and holes to all pieces commensurate with use and age.
HINDE, SQUIRE, MARSHALL & COOKE: 'A NEW ROYAL AND UNIVERSAL DICTIONARY OF ARTS AND SCIENCES' volumes 1 and 2, printed for J. Cooke at Shakespeare's Head, London, 1770, full brown leather binding with red and black leather half titles, both volumes with red tooled leather bookplate worded 'George Murdoch at Eltham in Kent 1772'Provenance: A Dorset bibliophile.
AUDUBON, JOHN JAMES: 'THE ORIGINAL WATER-COLOUR PAINTINGS FOR THE BIRDS OF AMERICA'introduction by Marshall B. Davidson, volumes 1 and 2, published by American Heritage Publishing Co. Inc, New York, 1966, blue cloth bound with slip case; together with Dock Jr., George - 'The Audubon Folio' published by Harry N. Adams, New York, 1964, paper bound (2)
ALFRED RUSSEL WALLACE INTEREST: DISTANT, W.L. - 'RHOPALOCERA MALAYANA': A DESCRIPTION OF THE BUTTERFLIES OF THE MALAY PENINSULA published by West, Newman & Co, London, and also D. Logan, Penang, 1882, retaining colour lithographed plates, with ink annotations throughout, believed to be that of Alfred Russel Wallace (1823-1913), the volume also annotated to front flyleaf 'L. Richmond Wheeler….Bound - Chowrata Malay School, Penang, May, 1937', later red half leather bindingProvenance: By repute, purchased from a second-hand bookshop in Southampton (UK) in 1978, along with a copy of Wallace's autobiography 'My Life' (1905) which contained an autographed letter of his (see Lot 169 in this auction). This volume has been inspected by Dr George Beccaloni, Director of the Wallace Correspondence Project. The annotations have been examined by an expert on Wallace's hand-writing who came to the conclusion that the handwriting was "probably that of Wallace.'' Wallace possibly used the book when he wrote a review of it for the journal Nature in 1882 - he was an admirer of Distant and corresponded with him on various issues.Supporting evidence of the date is found in a leaflet included in the book advertising the publication of The Butterflies of India, Burma and Ceylon (Marshall & Nicéville, Calcutta Press 1882) which is a comprehensive guide to butterfly species found in the regions of India, Burma (now Myanmar), and Ceylon (now Sri Lanka). There is also, curiously, a pressed flower inside the back cover of the Distant book, provisionally identified by Sir Ghillean Prance as a species of Poppy, which was almost certainly put there by the British educationalist, philosopher of biology and botanist Leonard Richard Wheeler (1888-1948), into whose hands the book seems to have passed after Wallace's death. We shall never know the exact circumstances, but it seems feasible that Wallace brought this volume back from Malaya and that somehow it passed to Wheeler. Wheeler seemingly took the book to Penang with him where he worked as a Schools Inspector for the British Colonial Service. He has written on the inside cover of the book "L R Wheeler 1936, Bound - Chlororasta Malay School, Penang May.1937". Wheeler returned to Britain in 1945 to avoid the advance of the Japanese forces into Penang.Note: Alfred Russel Wallace (1823-1913) was one of the leading evolutionary thinkers of the 19th century. A contemporary of Charles Darwin, he independently conceived the theory of evolution through natural selection, travelled the world collecting specimens including courageous solo trips up the Amazon and even addressed humanity's place in the universe. William Lucas Distant (1845-1922) was inspired to write a study of natural history on a whaling trip to the Malay Peninsula with his father in 1867. He was editor of the journal The Zoologist and was employed by the British Museum of Natural History between 1899 and 1920, where he worked mainly on bugs (Hemiptera). He also collected many species of insects during a four-year stay in South Africa, many of which were described in his 'Insecta Transvaaliensia' (1900-1911).
A FINE ENGLISH CARRIAGE CLOCK BY JAMES AND WALTER MARSHALL 19th century, striking on a bell, the enamel dial with Roman numerals and subsidiary alarm dial, the floral engraved case with a swing carrying handle to the top, 11cm high, in a leather case, 15cm highProvenance: A private North Dorset collection.
CHARLES RENNIE MACKINTOSH (1868-1928) 'BROOKWEED', 1901 pencil and watercolour, signed and inscribed lower right BROOKWEED/ HOLY ISLAND/ JULY 1901/ MT FB C, framed 22cm x 17cm (frame size 44.5cm x 39.5cm) Provenance: William Marshall, GlasgowScottish Private Collection Exhibited: Edinburgh, London, Darmstadt, Zürich, Charles Rennie Mackintosh (1868-1928) Architecture, Design and Painting, 1968, Catalogue number 289, lent by William Marshall, Glasgow1901 was a productive and exciting time for Mackintosh professionally, being the year that he was made a partner in the Glaswegian architectural practice where he worked. Seeking some brief respite from his busy roster of commissions, he and his wife Margaret took a holiday to Holy Island in the month of July, joined by the other members of ‘The Four’: Margaret’s sister Frances Macdonald and her husband Herbert McNair, as well as Margaret and Frances’s brother, Charles.Given the trip was for such a short duration, sketches from this excursion are scarce. Nonetheless, the impact of this visit on both Mackintosh’s artistic and architectural practice was marked. For example, the surviving sketches show that he was deeply absorbed by Lindisfarne Castle. It has been noted that its sweeping, austere curves find echoes in his architectural language, for example in the Glasgow School of Art’s design which was completed in phases between 1896 and 1909. Mackintosh had begun to develop his botanical studies in the 1890s, but the series of works from Holy Island are notable in that they crystallize the format for his botanical drawings thereafter. It is here, for example, that he begins to add his distinctive, almost Japanistic ‘cartouche’, featuring the initials of the companions present at the time of the work’s inception. In the past some have implied that the presence of ‘MM’ on such works suggest that Margaret did the colouring, but this does not fit with what is known of his attitude as an artist. Those close to him, notably Mary Sturrock - daughter of his friend and mentor Fra Newbery - are adamant that Mackintosh would not have let his artwork be added to in such a manner. Further support for this can be found in ‘Brookweed’ and other Holy Island watercolours, some of which feature more than two sets of initials. In ‘Brookweed’ the picture is signed M (for Margaret Macdonald), T (Tosh for Mackintosh himself), F (for Frances Macdonald), B (for Herbert (Bertie) McNair), and C (for Charles Macdonald, Margaret and Frances's brother), which appears to confirm the theory that the inscriptions were more of an aide memoire or dedication to those who were present when the pictures were made. Botanic studies were central to Mackintosh’s artistic practise. Even when he was busy with his architectural business, they remain a mainstay. Mackintosh’s ideology had sprung from the tenets of the Arts and Crafts Movement, in tandem with European Art Nouveau, and it is crucial to understand that his design language, whether that be architecturally or artistically, ultimately found its basis in his belief that nature was the source of beauty. His work across all media is characterised by a sinewy, linear approach to form, the distillation of the essential patterns and design of the natural world. This fascinating, alchemical process by which Mackintosh transforms the organic into design is arguably most tangible in his botanical studies, which perhaps explains their enduring appeal. The drawings vary subtly over the course of time. From naturalistic depictions on Holy Island in 1901, to analytical, almost scientific studies in Sintra in 1908. Ultimately a more wholly decorative interest was developed post-1910, enhanced by the fact he is highly likely to have begun pressing his flower stems in order to more clearly expose the decorative formal possibilities. Finally, there was the explosion of botanical studies in Walberswick in 1914 (40 over a period of approximately 12 months), which marked a move from depictions purely of wildflowers to the inclusion of cultivated blooms.Writing for The Studio in 1897, London critic Gleeson White remarked that the work of the ‘Spook School’, “is singularly free from vulgarity of idea, redundance of ornament, and misapplication of material…”. This sentiment holds across all aspects of Mackintosh’s work, but perhaps most particularly his botanical studies. This meeting of classicism and modernity, precision and invention, the spare and the decorative, goes some way to explain the timelessness of these pieces.
CHARLES RENNIE MACKINTOSH (1868-1928) 'PIMPERNEL', 1901 pencil and watercolour, signed and inscribed lower right PIMPERNEL/ HOLY ISLAND/ JULY 1901/ M T, framed 22cm x 17cm (frame size 44.5cm x 39cm) Provenance: Provenance: William Marshall, GlasgowScottish Private CollectionPencil inscription to verso of frame reads ‘The previous frame’s backboard had written (handwritten) in pencil: ‘The Property of William Marshall/ 45 Cecil Street/ Glasgow (top flat)’Scottish Private Collection
A Copeland Parian ware figure 'Marshall', together with a carved stone owl ornament CONDITION REPORT In our judgement, condition of lot is good. Our team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself. To that end, we have provided a number of additional images to showcase the lot in further detail.
A beautifully crafted Boehm porcelain sculpture titled "Rufous Hummingbirds", model number 486, depicting two intricately sculpted hummingbirds hovering around a vibrant yellow poppy flower. This limited edition sculpture is finely hand-painted, showcasing Boehm's renowned attention to detail in wildlife artistry. The base is inscribed Boehm, and the underside features the official Boehm Limited Edition backstamp with species identification (Selasphorus rufus), confirming its authenticity. Boehm porcelain, founded by Edward Marshall Boehm, is celebrated for its exquisite naturalistic sculptures, many of which are housed in prestigious museum collections worldwide.Issued: 20th centuryDimensions: 9"L x 5.5"W x 14.5"HCountry of Origin: United StatesCondition: Age related wear.
Presenting a finely crafted Boehm porcelain sculpture titled "Wood Thrushes." This exquisite piece features two wood thrushes perched gracefully among intricately detailed foliage, capturing the essence of these melodious songbirds in their natural habitat. Each bird is meticulously hand-painted, showcasing Boehm's commitment to realism and artistic excellence. Edward Marshall Boehm (1913 - 1969) was a renowned American sculptor known for his porcelain figures of birds and other wildlife. His works are part of permanent collections in institutions worldwide, including the White House and the Metropolitan Museum of Art. This sculpture exemplifies Boehm's dedication to portraying the beauty of nature through the medium of porcelain.?Issued: 20th centuryDimensions: 11"L x 6"W x 16"HCountry of Origin: United StatesCondition: Age related wear.
HA4c Sir Arthur Harris Marshall RAF Signed by Sir Arthur Harris Marshal RAF. 15 May 76 BFPS 1531 Sir Arthur Harris Marshall of the Royal Air Force Black Flown Cachet Flown in Last Lancaster of the RAF. Personally Signed by Sir Arthur Harris Marshal of the Royal Air Force. Black and White Photo with details enclosed. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
WOOD (Rev. J G): 'Common British Beetles': London, Routledge, n.d (c.1870): wood engraved plates, contemporary black half-calf gilt, 12mo: 'Sure Methods of Improving Health and Prolonging Life...': London, Simpkin & Marshall, 1828: mid-19thc black quarter-calf, spine gilt ruled and lettered, 12mo: 'The Secretary's Assistant; exhibiting the various and most correct modes of superscription, commencement and conclusion of letters to persons of every degree of rank...': London, Whittaker & Co, 1834: later crimson half-calf, spine gilt ruled/lettered, 12mo: together with a copy of Wood's 'Common British Moths', in publishers cloth. (4)
AFTER BEN MARSHALL SIR JOHN SHELLEY'S CELEBRATED POINTER, SANCHO IN A WOODED LANDSCAPE Oil on canvas 32 x 46cm (12½ x 18 in.) Together with another painting of Southern Hound after Ramsay Richard Reinagle, and a print of the same work, 25 x 35cm and 14 x 19cm respectively (3) The original work painted by Ben Marshall in 1805, was sold at Sotheby's on 12 April 1995, lot 151.
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