Competitive in the right hands, this beautifully prepared B8 has current FIA/HTP papers and is potentially eligible for a host of exclusive events including Masters, Peter Auto and the Guards Trophy.The hugely-successful Chevron B8 first appeared in 1968, usually with BMW 2-litre engines but also with the Ford FVA, FVC and occasionally the Lotus-Climax. It was homologated into FIA Group 4 Sports Cars from 1 March 1968 on the basis that 50 were built (reduced to 25 in 1969). To help Chevron Cars achieve the required number (on paper), every rebuild was listed as a new car - a habit that would continue into the B16, B19 and even the B21 and, no doubt, was a practice common to other builders of limited production racing cars. In the end, 44 of the original cars were completed. Often described as one of the greatest racing cars of all time, the B8 was fast, forgiving and delightful. In common with the Lotus Elan and the BMW E30 M3, it was one of those cars that would not punish you for a temporary 'loss of talent' and would quietly sort itself out whilst you were considering 'Plan B'. Then, as now, it was capable of humiliating the top GTs in period at short circuits like Crystal Palace or Brands Indy where dicing with GT40s was a regular occurrence.Offered here for auction at the 2023 Race Retro International Historic Motor Show is DBE-45, believed to be the only B8 to escape a racing life and was reportedly sold for road use which is supported by a "Pink Slip" and letter of authenticity. The B8 proved too difficult for even occasional road use and was soon parked up, unused and fell into disrepair before being shipped to Switzerland where it was restored and used for hill climbing. Around 2003, the old race car was brought back to the UK and professionally returned to full racing specification.Our vendor has owned the B8 since 2012 and carried out a meticulous ground-up rebuild beginning in 2015 with new brake master cylinders, callipers, rotors, new ProLite 350, Aeroquip hoses & fittings, new purpose-moulded shatterproof acrylic windows and professionally re-wired. Also fitted was a new FIA approved fuel bag, all new NMB rod ends, track ends, spherical bearings, wheel bearings and new Koni (correct period) shocks. To finish the project off, the Chevron was professionally painted in a high-gloss red gel coat.The B8 has had seven hours running since and comes with a zero-hours M10 BWM engine completely rebuilt to full race specification with new rods, crank, valves and guides mated to a zero-miles Mark Baily FT 200 gearbox.Described as absolutely race ready, on-the-button and highly competitive in the right hands, this historic racer should be eligible for many prestigious events including Masters, Peter Auto, Guards Trophy and many more, and could be raced most weekends of the season somewhere. Offered with new type 2016 HTP, an additional long-range fuel tank, Lifeline Zero 360 electric fire-system, ignition system, nose and other miscellaneous running spares.SpecificationMake: CHEVRONModel: B8Year: 1968Chassis Number: DBE-45Registration Number: N/ATransmission: ManualMake: Interior Colour: BlackClick here for more details and images
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Epifanio d' Alfiano (fl. 1590s)The contest of the Muses and the PieridesEngraving, 1592, a well inked impression of the first state (of two) with the coat of arms and before the added address of Succhielli, on 16th century Italian laid paper with indiscernible oval watermark, sheet 232 x 337 mm (9 1/4 x 13 1/4 in), trimmed to or just within the platemark (unframed)Together with: A large collection of over 25 other old master prints, including: three Claude Lorraine etchings [Mannocci 17, 20, 23], 19th century impressions; an etching of a Rocky Landscape with Volcano by Gaspard Dughet, with ink inscriptions verso of both Lenormand du Coudray (1712-1789) [L. 1704] and Colnaghi & Co.; Pietro Testa's 'The Symposium of Plato' [Cropper 114]; Cherubino Alberti's 'Prometheus and the Eagle', after Michelangelo, and prints by Ghisi, Ciamberlano, Farinati, Sadeler, Saenredam, Dietterlin, Hollar, Wierix, Della Bella, amongst others, 16th to 19th century (c.30)
NO RESERVE Old master prints.- Veneziano (Agostino, fl. 1509-1536) The Cumaen Sybil, engraving on laid paper without watemark, sheet 165 x 127 mm (6 1/2 x 5 in), mounted on support, small losses, trimmed within platemark to edges, unframed, 1516; together with 19 other old master prints, including prints after van Ostade, Israel van Meckenem, 2 German woodcuts with inscriptions suggesting they are from the early 16th century, 7 double-sided sheets of soldiers and flag bearers by Jacob Kallenberg, a late 15th century printed leaf, a small Italian engraving after Michelangelo's 'Last Judgement', and with a group of facsimile prints after Albrecht Dürer, printed by F. Haver Leipold in 1982, all unframed, various sizes, 16th to 20th century (20)
1955 MG TF 1500 RHD motor car, Registration no. 521 XVX, Chassis no. HDB16/8696Please note: the present lot is subject to a reduced buyer's premium of 10% (+ VAT)a RHD MGTF 1500 Matching number built on 4th January 1955.Consigned from a deceased estate, the late owner having purchased it in 1976. Copies of original log books and recent repair bills all available on requestMOT until 20.12.2023The vehicle has just passed MOT, and in order to do so, the following works have been completed:1/ New set of tyres fitted (4 off)2/ All new brakes fitted front and rear and a new master cylinder3/ Check engine and get oil pressure up and fit new oil and get the car running4/ Supply and fit new fuel pump5/ Supply and fit a new battery6/ Drain old fuel and refill with fresh and clean the lines etc
A 20th century Art Deco Eugenio Pattarino (1885 - 1971), pottery carnival wall mask hand signed "Prof. E Pattarino, Italy" (verso). 38 cms x 23 cms. (A/F - chip to rosette on tri-corn hat, old restorations to gilt frilled edge).Italian ceramics artist and sculptor Eugenio Pattarino studied under Giovanni Fattori and was known for his large-scale religious statues. He was born in Florence in (1885 - 1971), and he studied art there as well as in Venice and Frankfurt. At his studio near Ponte Vecchio Bridge he designed earthenware, ceramic, and terracotta pottery in addition to his sculptures. Pattarino's ceramic pottery and sculpting reflected his love for modern, traditional, and antique styles.Sculptor Pattarino retired in 1966 following a flood destroyed the bulk of the designs, master molds, and models in his studio.
A circa 1768 gold-coloured metal quill-pen in its fitted case, the rachis engraved ‘Socy. For Encouragement of Arts &c. to Andrew Dickie not 13 years of age for his excellent penmanship’ (21g) (24 x 2.8 cm). (The Society for the Encouragement of Arts, Manufactures and Commerce was the precursor of the RSA and founded in 1754.)Also to include:1. A letter dated May 19th 1768 from the Solicitor’s Office to the recipient's father which reads:‘Sir I have the pleasure to acquaint you that your sons Gold Pen was delivered to me last night, with orders to summons Master Dickie to attend the Committee of Public Arts to receive the same tomorrow evening at six o’clock.I am SirYour obedt, Humb. ServtWill. BaileySolicitor’s Office'2. An 1830 gift letter from the prize winner's brother, John Dickie (1759-1843), to his nephew Samuel Kershaw (1796-1854) asking him to hold the quill in trust for his son Burroughs Kershaw.3. An 1841 letter from John Dickie to his grand-nephew Burroughs Dickie Kershaw (1830-1900) regarding the quill.4. A note from John Dickie to his grand-nephew Burroughs regarding another gift, a set of silver and gold 'coins of our Good Old King George the 4th'.Provenance: By descent through the family of Andrew and John Dickie's sister, Mary Kershaw.Andrew Dickie became confidential clerk of Thomas Coutts & Co., and envoy to its royal clients. When Thomas Coutts died in 1822, his wife, the former actress Harriet Mellon, took control of the bank and Dickie remained in the same position until 1827, when he was made partner. Examples of his dexterous penmanship can be seen in lot 325 'Specimens of my Writing in the Earlier Periods of My Life'. His exquisite calligraphy is also referred to in lot 548, an 1827 letter to Dickie from Louis-Philippe, the Duke of Orléans, who remarks how delighted he was to see his friend's handwriting had not at all deteriorated over the past 27 years.(The lot relates to lots 160, 325, 353, 495, 548, 555, 558 and 560)
Attributed to Paulus Potter (Dutch, Old Master, 1625 - 1654) Studie Twee Paarden in de Wei bij een Hek Study of Two Horses in a Meadow near a Gate, c1649 Oil on canvas laid on panel numbered "10175055" (verso) Indistinct signature (lower left) 19 cms x 25.5 cms (image) 21 cms x 27.5 cms (panel) 35 cms x 41 cms (gilt framed) Condition report: Restoration, craquelere to surface, 2 cms tear (restored) to rear of Chestnut horse. Surface dirt and discolored yellow varnish, pentimento, retouching and over paint evident (refer to pentimento "ghost horse" image for this oil study). Laid on later associated panel and gilt frame with remains of "Dickhoff, Vergulder, Oppert 90 - Meent 35, Rotterdam" label (verso). Provenance: Private collection, Holland and United Kingdom. Completed original work of art in the collection of Rijksmuseum, Amsterdam. Two Horses in a Meadow near a Gate, c1649. Two horses stand on a little rise before a sweeping meadow landscape. The town of Delft in the distance. The animals’ fluttering tails and manes, and the low-lying clouds, signal that the weather is raw and windy. Potter enhances the liveliness of the depiction by placing a grey horse (refer to pentimento "ghost horse" image), before a dark boscage and the chestnut horse before a light, cloud-filled sky. Paulus Potter was born into an artistic family and exhibited a precocious talent as a young man. He exhibited his first painting dated 1640 at the age of just 15 years old. Patrons included Katherine The Great of Russia. Paulus Potter died of tuberculosis at the age of 29. Tayler & Fletcher require cleared funds before this item can be released to the Buyer
Jacobite Rising. An Account of the Behaviour of the late Earl of Kilmarnock, after his Sentence, and on the day of his Execution. By James Foster..., London: J. Noon and A. Millar, 1746, bound with A Review of Mr. James Foster's Account, of the Behaviour, of the late Earl of Kilmarnock, after his Sentence, and on the day of his Execution, &c. By a Westminster Scholar, London: H. Carpenter, 1746, bound with The Westminster Scholar Corrected, or, A Defence of Mr. Foster's Account of the Behaviour of the late Earl of Kilmarnock, against the trifling objections of that juvenile writer. By a young gentleman of the Church of England, [by James Foster], London: J. Oldcastle, [1746], bound with Seasonable Reflections on the Dying-Words, and Deportment, of that Great but Unhappy Man, Arthur, late Lord Balmerino ... in a letter to Mr Ford, author of an Account of the behaviour of the late Earl of Kilmarnock, and the above Lord..., [London]: John Noon, 1746, bound with one other incomplete related pamphlet, some light dust-soiling, occasional close trimming at head touching a few page numbers, late 19th-century brown morocco, joints rubbed, 8vo, together with:[Napleton, John], Considerations on the Public Exercises for the first and second degrees in the university of Oxford, Glocester: Printed by D. Walker, 1805, old ink stamp to verso of title, bound with [Napleton, John], A Letter to the Reverend **** ***** M.A., Fellow of ***** College Oxford, on the case of Subscription [to the Thirty Nine Articles] at Matriculation, Oxford: Daniel Prince, 1772, bound with Napleton (John), The Duty of Churchwardens respecting the Church, 3rd edition, Glocester: Printed by D. Walker, 1805, bound with seven other similar pamphlets, edges untrimmed, early 20th-century boards, light wear, 8vo, Holdsworth (Edward), Taffi's Master-Piece: or, the Cambro-British Invention. A Mock Poem. Being the Muscipula Oxoniensis translated into Burlesque Verse. By a Cantab., London: Printed and sold by John Morphew, 1709, gutter margins of few leaves torn (not affecting text), browning and damp staining, 20th-century brown half morocco, slim 8voQTY: (3)
Signed 'Elizabeth Gardner' bottom right, oil on canvas39 1/2 x 29 1/4 in. (77.5 x 74.3cm)Executed in 1888.ProvenancePrivate Collection, North Carolina.Exhibited"Salon de 1888," Palais des Champs-Élysées, Paris, 1888, no. 1071. "North Carolina Collects: Traditional Fine Arts and Decorative Arts," Mint Museum of Art, Charlotte, North Carolina, July 9-September 18, 1994, no. 23.LiteratureExplication des Ouvrages de Peinture, Sculpture, Architecture, Gravure et Lithographie des Artistes Vivants Exposés au Palais des Champs-Élysées le 1er Mai 1888, Paul Dupont, Paris, 1888 (second edition), p. 87, no. 1071 (listed, not illustrated).Norma Broude and Mary D. Garrard, The Expanding Discourse: Feminism and art History, IconEditions, New York, 1992, no. 8 (illustrated).Tamar Garb, Sisters of the Brush: Women's Artistic Culture in Late Nineteenth-Century Paris, Yale University Press, New Heaven, 1994, p. 157, no. 62.Charles Pearo, Elizabeth Jane Gardner: Her Life, Her Work, Her Letters, MA Thesis, McGill University, 1997, p. 9, fig. 16 (illustrated).NoteElizabeth Jane Gardner Bouguerau was one of the most famous and successful American artists in Paris at the end of the 19th century. Dubbed an honorary French woman through her marriage to William Bouguereau, she was one of the first expatriates to be exposed to the male-dominated Parisian art market, which she learned to infiltrate and eventually master throughout her impressive fifty-eight-year career in the French capital city.Born in Exeter, New Hampshire into a family of merchants, Gardner graduated from the Lasell Seminary (now Lasell University) in Auburndale, Massachusetts in 1856. At first a French teacher, she sailed for France in the summer of 1864 along with a former teacher of hers, Imogene Robinson, and the two settled in a studio 2, rue Carnot, across the street from the highly revered and successful painter, William Bouguereau.Contrary to another famous American expatriate who arrived in Paris two years after her, Mary Cassatt, Elizabeth Gardner could not count on any financial aid from her family, and therefore did not receive private tutoring from eminent masters. Instead, she trained and made a living by copying Old Masters at the Musée du Louvre, as well as the more contemporary artists in the nearby Musée du Luxembourg. She would then sell her work to American collectors travelling through Europe, recommended to her by her own family. Yearning life-drawing classes, but denied the access to them because of her gender, Gardner joined a collective studio of women, where she studied anatomy among her peers during evening sessions. In parallel, and at the recommendation of her friend Rosa Bonheur, a true “sister of the brush and long-time career counselor” according to Charles Pearo, Gardner also joined a sketching class at the Jardin des Plantes, Paris’ Botanical Gardens and Zoo, where she painted living animals alongside the animal sculptor Antoine Barye. There, she met the famous painter Hugues Merle, who would invite her to join his studio and acted as a constant support throughout Gardner’s life, even when she decided to rally the studio of Bouguereau, Merle’s longtime rival.The life of Elizabeth Gardner is marked by a strong desire to fit in. As an American woman from the low middle-class with an everlasting sense of duty and even guilt for leaving her country, Gardner could not afford to experiment with modern trends and embrace a radical career in the form of Impressionism. Instead, she had to study the rules set by the Institution and learn to respect them to blend and succeed in a very competitive milieu. This explains the artist’s polished, impeccable style, the true expression of French Academism adopted by many other American expatriates at the time, and her association with France’s ultimate forum and official place of recognition: the Salon. Gardner participated in thirty Salons, showing thirty-six of her works between 1868 (her first try, marked by two entries) and 1914, the apex of her participations being in 1887, the year she received a bronze medal for La Fille du Jardinier, thus becoming the only American woman to ever receive a medal.The present, rediscovered work follows this immense success. Set against a homey kitchen interior marked by several utensils and a slowly burning fire, a young mother sits lovingly behind her toddler child. Next to her, in a cradle, sleeps her youngest. Playfully, she watches a family of chickens eating at her feet, thus creating a tender echo between her and the mother hen with her chicklets. The work bears close resemblance to the style of William Bouguereau, champion of the Art Pompier, and whom Gardner never felt embarrassed to channel as she proudly explained to an interviewer in 1910: “I would rather be known as the best imitator of Bouguereau than be nobody.” At the time, views of idealized peasantry untouched by modern life were popular among Victorian collectors. As Bouguereau was facing an impressive number of requests of that nature (having started the trend himself), Gardner must have understood the benefits, both academic and financial, to work within this niche market and emulate her famous master’s style to satisfy a hungry crowd. Here Gardner adopts a smooth brushwork, she creates solid lines heightened by soft glazes and soft colors. She frames her subjects in a way that makes them seem monumental and ennobling. Just like Bouguereau, she pays great attention to the rendering of the hands and feet, and depicts her peasant woman barefoot, a characteristic of the romanticized view of French peasantry outside of urban areas, and which American collectors were particularly fond of.Despite the use of certain iconographic formulas however, one notes certain particularities that make the composition truly special, and which highlight Gardner’s very own artistic gifts. Contrary to Bouguereau’s figures, which are purposefully more static, Gardener’s mother and child interact with one another. They cuddle, and as such imply an inward movement which accentuates the intimacy of the moment. None of them are looking at us. On the contrary, they are so caught in the moment and display such a strong and natural bond that neither the artist nor the viewer can interrupt it. This feeling of a warm and pure love is further enhanced by the presence of the chickens. Traditionally seen as an element of femininity, they appear regularly in Gardner’s work, unlike Bouguereau’s (see for example La Fille du Jardinier -1887, Dans le Bois -1889, or La Captive -1883). The artist was fond of birds and owned herself an aviary of about 30 poultry in her studio.Such iconography appealed to her prude, mostly feminine clientele. It also helped strengthen the moral undertones of family love and accentuate the irreplaceable nature of the mother figure in the patriarchal society. In this regard, the piece can be seen as a modern, secular version of a Madonna and Child.
Books. 5 shelves of general stock, including Beresford, Memorials of Staffordshire, 1909, green cloth gilt, 8vo, further topography and antiquarianism, regional British archaeological journals, mid-20th c vintage pictorial dustjackets, seven Folio Society volumes, Old Master paintings, Giles annuals, Shakespeare, Reilly's Wedgwood in two volumes, etc.
This is a book written by Philip Dormer Stanhope, otherwise known as Lord Chesterfield, who was a British statesman, diplomat, and man of letters. The full title is Principles Of Politeness, And Of Knowing The World. By the late Lord Chesterfield. With Additions, By the Rev. Dr. John Trusler. Containing Every Instruction Necessary To Complete The Gentleman And Man Of Fashion, To Teach Him A Knowledge Of Life, And Make Him Well Received In All Companies, published in Boston by E.& J. Larkin, No. 47, Cornhill, Greenough & Stebbins, Printers, Nov. 1806, with a two-page advertisement after the title page to promote the book. Some topics of the book include “Modesty”, “Lying”, “Good Breeding”, “Genteel Carriage”, “Dress”, “…Small Talk”, “Choice of Company”, “Dignity of Manners”, and “A Father’s Legacy”, topics that were in vogue at the time and all about Lord Chesterfield’s love for his son, Philip. When his own father died, Stanhope ((1694 - 1773) became the 4th Earl of Chesterfield and assumed his father’s seat in the House of Lords. He supported the leadership of Robert Walpole, but withdrew his support for Walpole later on, which led in part to the downfall of the prime minister, and Stanhope was an opponent of King George II. In 1755 he had a dispute with Samuel Johnson over Dr. Johnson’s Dictionary of the English Language - Johnson ended up criticizing Lord Chesterfield’s “Letters To His Son” in downright insulting terms - he said the letters "they teach the morals of a whore, and the manners of a dancing-master" as means for getting on in the world as a gentleman - and despite being an accomplished essayist, Lord Chesterfield's literary reputation derived almost entirely from his “Letters to His Son on the Art of Becoming a Man of the World and a Gentleman”. Decades after his death, Lord Chesterfield appeared as a character in Thackeray’s novel The Virginians (1857). He was also mentioned in Charles Dickens' novel Barnaby Rudge (1841), wherein the foppish Sir John Chester says that Lord Chesterfield is the finest English writer: “Shakespeare was undoubtedly very fine in his way; Milton good, though prosy; Lord Bacon deep, and decidedly known; but the writer who should be his country’s pride, is my Lord Chesterfield.” John Trusler became a priest in 1759 and was a schemer who tried to make money off of Lord Chesterfield’s name. The small book is 5 1/2 x 3 1/2 in. wide, with leather covers, a gilt title on a red label, blank endpapers, with the owner’s name “Samuel H. Held” stamped on the front free endpaper; the book is 166 pages long with five pages of ads at the rear for books published by E. & J. Larkin, the cover letters have faded, and there’s light rubbing and light wear on the spine and occasional foxing, and in good condition for a book over two hundred years old.
Master Humphreys Clock, By Charles Dickens, With Illustrations By George Cattermole and Hablot Browne, London: Chapman and Hall, 186, Strand, MDCCCXL - MDCCCXLI [1840 - 1841], complete three-volume set, first edition, first issue, tall 8 vo., with the imprint of Bradbury and Evans, Printers, Whitefriars [London] on the reverse of the title page, with a dedication page to Samuel Rogers and a two-page preface, “Devonshire Terrace, York Gate, September 1840” on iv in Vol. I, “Devonshire Terrace, London, March, 1841” on vi of Vol. II, and “Devonshire Terrace, York Gate, November 1841” on vi of Vol. III, with all the points of issue called for by Eckel and Walter Smith that make this set a first edition, first issue, with gilt lettering, elaborate gilt tooling, and Roman numerals in gilt on the spine, with the original embossed brown cloth and gilt clock motifs on the front covers, and a neat device on the clocks where the hand of the clock pointed to the volume number for the book; pale yellow endpapers, with the bookplate of Kenneth Rapoport on the front free paste-down of each volume, with 306 pages in Vol I, 306 pages in Vol II, and 426 pages in Vol III; with illustrations by George Cattermole and Hablot Browne and woodcut engravings by E. Landells, C. Gray, Vasey, and S. Williams, after the designs by Cattermole and Browne; Daniel Maclise also drew one of the illustrations on page 108 in the second volume. All of the illustrations are untitled and some are unsigned, while others contain the artist’s initials or monogram, occasionally reversed, and the initials and surnames of the engravers are also appended to the illustrations in most cases (Smith page 49), and all those details are present here, as called for. There are 56 points of issue in the three volumes, according to Smith, and all 56 points are present here; Smith calls them “internal flaws”, but they are just points of issue by another name, and these points of issue make the three books a first edition, first issue set. The yellow endpapers are also important. Many people believe that the first issue had marbled edges and marbled endpapers, but Smith (page 57) quotes Hatton and Cleaver (page 163), who said that copies with yellow endpapers and trimmed edges preceded those with marbled endpapers and marbled edges, so right now the copies with marbled endpapers are considered first edition first issues, but this set with yellow endpapers is considered a first issue set too, and it seems rarer than the sets with marbled endpapers, based on Smith’s observations. And that begs the question: If the copies with yellow endpapers preceded the other copies, does that make the copies with marbled endpapers first editions, but second issues? We don’t know the answer to the question, but it seems to be obvious, and perhaps more research needs to be done here to get the literary community to agree. (Part of the answer seems to be in finding out exactly when the copies with yellow endpapers were first printed and when the copies with marbled endpapers were first printed, and we don’t know if research that way has been done yet.) This is Dickens’ fifth novel and it was issued in three forms - in weekly parts, monthly parts, and the three-volume book form after all the parts were completed, and this is the first time Dickens used woodcuts in his novels; Volumes I and II also include “The Old Curiosity Shop” and Volumes II and III include “Barnaby Rudge”. George Cattermole (1800 - 1868) was a British painter and illustrator who worked mainly in watercolours; he was also a friend of Dickens and many other literary and artistic figures, and Hablot K. Browne (1815 - 1822) was an English artist and illustrator who illustrated many of Dickens’ novels after 1836. Kenneth Rapoport was a noted book collector who amassed many rarities in literature, especially works by Rabelais, Cervantes, Shakespeare, Moliere, and English poetry and drama, according to Swann Galleries in their April 2022 auction catalogue, and his remaining book collection is housed in a separate room at Harvard University’s Houghton Library. The boards measure 10 1/4 x 7 1/8 in. wide; Vol. I has clean text, with light bumps on the right edge of the front cover, tips slightly curled in, and a 1 in. long chip developing on the spine, Vol. II has clean text, with very light bumps at the heel and crown of the spine, three tips are slightly turned in, and Vol. III has clean text and light bumps at the edge of the rear board and small brown oval stains on the fore-edge of the book, the tips are slightly turned in, and light bumps on the crown and heel of the spine. See The First Editions Of Charles Dickens, Their Points and Values, by John C. Eckel 1932; also Walter E. Smith, Charles Dickens In The Original Cloth, A Bibliographical Catalogue Part I, Los Angeles: Heritage Bookshop 1982; and A Bibliography of the Periodical Works of Charles Dickens: Bibliographical, Analytical & Statistical, by Thomas Hatton and Arthur Cleaver 1933 for more information about this set.
East India Company, Madras Presidency, Reformation 1807-18, gold Two Pagodas, second issue, type B/IV, seven-tiered Gopuram of a temple flanked by 9 stars either side, surrounded by oval buckled garter inscribed two pagodas ·, do hun [Two hun], peak of Gopuram points to o in pagoda, rev. Vishnu holding sword, rising from a lotus flower, surrounded by three concentric circles of pellets, within ribbon inscribed in Tamil and Telugu, · 2 vara kun/2 vara hun [2 hun], no pellet in Telugu legend, 5.93g/12h (Prid. 146 [Sale, lot 361]; Stevens 3.6; KM. 358; F 1582). Virtually as struck with full mint bloom, most attractive, rare [certified and graded NGC MS 66] £1,500-£2,000 --- Owner’s ticket and envelope. In February 1806, and in the wake of the adoption of a milled coinage by the Bengal presidency, the Governor in Council, Lord William Bentinck (1774-1839), recommended the Supreme Government at Calcutta authorise a new mint to be erected in Black Town, and that Benjamin Roebuck (1753-1809), the assay master at the old Madras mint and whose father, John Roebuck (1718-94) had introduced James Watt to Matthew Boulton and sold the latter the patent on Watt’s steam engine, be appointed mint master. Erection of mint machinery and the preparation of dies occupied a year, with the first coins produced, copper dubs and halves, along with silver rupees and their fractions, in April 1807. Problems with the mint machinery, powered by bullocks and not helped by the quality of the silver being used (Spanish dollars were laminated prior to being struck into half-pagodas or double-rupees), further complicated matters, with the first of the 1807-8 issue coins, 5 and 2 fanam pieces, being issued in June 1807. By August the full range of silver denominations were being struck from, it is presumed, dies that were engraved in Calcutta, and the first gold coins, valued at 2 and 1 pagoda, appeared in February 1808. By the summer of 1808 it would seem that the new die-cutting room at Black Town was in full operation and coinage of the 1808-12 second issue silver denominations could commence. Concurrently, however, the multiplicity of coin types circulating in Madras was causing concern among the Company’s Court of Directors. Eventually, in June 1812, coinage of silver pagodas was ceased by proclamation and a new rupee coinage took its place; initially to the old Arcot standard, and later to the English standard. The issue of gold pagodas was discontinued in December 1817
Trollope, Anthony Collection of first editions comprising: Can You Forgive Her?, 1864-5 (2 volumes, half-titles); The Claverings, 1867 (2 volumes, ink-stamps of Count de Torre Diaz to front free endpapers); The Last Chronicle of Barset, 1867; He Knew He Was Right, 1869 (2 volumes); The Vicar of Bullhampton, 1870; all in contemporary or later half morocco or half calf, with all plates as called for. Together with:Dickens, Charles. Little Dorrit. London: Bradbury & Evans, 1857. First edition, 2 volumes, 8vo, contemporary reddish-brown half calf, all plates as called for, bound from the parts with stab-holes visible in gutter, armorial bookplate of Lord Kinnaird;Idem. Master Humphrey's Clock [containing The Old Curiosity Shop and Barnaby Rudge]. London: Chapman and Hall, 1840. 3 volumes in 2, large 8vo, contemporary half calf, 2 frontispieces only (of 3);[Oliphant, Margaret]. Chronicles of Carlingford. The Rector and the Doctor's Family. Edinburgh: William Blackwood and Sons, 1863. First edition, 8vo, contemporary blue half roan, half-title, spotting;Idem. Chronicles of Carlingford. The Perpetual Curate. Edinburgh: William Blackwood and Sons, 1864. First edition, 3 volumes, 8vo, contemporary maroon half roan;the lot collated with regards to plates only
RAF Wing Commander Sidney Patrick 'Pat' Daniels, D.S.O*, D.F.C* - The original flying headgear worn by Daniels on WW2 operations, including the disastrous Nuremberg Raid (30th - 31st March 1944). Comprising RAF C-Type 1st pattern leather flying helmet, with G-type oxygen mask and Mk.VIII flying goggles mounted on a dummy display head with an inscribed plaque.Sold together with the original sale catalogue of purchase by the present vendor (Bonhams, 28th May 1996); a letter to the present vendor from the curator of Royal Air Force Bomber Command Collection confirming the provenance; quantity of related photocopied paperwork and a copy of 'Bomber Barons' by Chaz Bowyer.*Please note that although the plaque and letter from Bomber Command state this equipment was worn for all 87 sorties, the Type G oxygen mask and Mark VIII goggles were first entered into service in 1943 and could therefore only have been in use from that date onwards. Notes: RAF Wing Commander Sidney Patrick 'Pat' Daniels, D.S.O*, D.F.C. Pathfinder and Master Bomber. Born in 1921, he joined the Royal Air Force Volunteer Reserve in 1939 and had flown over 80 missions by the time he was 24 years old.Citations for his medals are as follows:DFC 6 June 1941: This officer has completed 25 operational flights over the enemy and enemy-occupied country, involving 187 hours flying. He has proved himself to be a captain of outstanding dash and initiative, especially on long-distance flights. In the face of heavy opposition he pressed home his attacks on Berlin and Mannheimn as well as Stettin and Weiserling. He has shown great enthusiasm and efficiency.Bar to DFC 4 December 1942:Since being awarded the DFC this officer has participated in numerous successful sorties. His attacks have at all times been pressed home with the greatest determination and excellent photographs of the target area have frequently been obtained. One night in July 1942, Squadron Leader Daniels piloted an aircraft detailed to attack Hamburg. On the outward flight, shortly after setting course from base, one of the engines caught fire and became useless. Despite this, Squadron Leader Daniels flew on to his objective and, regardless of the heavy defences, bombed it successfully. Displaying fine airmanship, he flew the aircraft to base and landed it safely. This officer is an exceptional operational captain who has always displayed fearless determination to complete his allotted task.DSO 12 March 1943: Since the award of a bar to the DFC this officer has participated in a number of operational sorties from most of which he has returned with excellent photographs of the target area. On a recent occasion, when detailed to attack Hamburg, one of his aircraft's engines failed early on the outward journey. Undaunted he proceeded with his mission, successfully bombed the target and returned safely to base. Squadron Leader Daniels, as Deputy Flight Commander, has displayed utmost courage and enthusiasm, and his influence on the Squadron has been excellent.Bar to DSO 29 September 1944:This officer has completed a third tour of operational duty during which he has completed many sorties against strongly defended targets in Germany. He has pressed home his attacks with the greatest determination and his coolness and courage in the face of enemy fire have been most inspiring. He is a highly efficient squadron commander whose sterling qualities have impressed all.Please see additional images. The mask is very much at fault, a section at the top is missing (the area which originally had the nosewire and its retaining loops) and the other areas are perishing and cracking. There is also a tear to the lower section of the mask.
A Masonic Jacobite Rising fob seal,c.1745, the cut steel seal with the portrait of the fifteen-year-old Bonnie Prince Charlie in relief, who by 1752 was the Grand Master of the Scottish Order of the Knights Templar, inscribed 'Aspice Ama Sequere' (Look, Love, Follow),3.5cm longProvenance: The Cabinet of Curiosities - The Gary Pyper Collection.Condition ReportWith rust to the relief and seal.
Edward Evans (American, b. 1935). Acrylic on canvas trompe l'oeil painting titled "Desert Fox," depicting Evans' iconic blend of old master painting techniques and conceptual approach to Abstract Expressionism to create a crumpled appearance to the canvas, 1981. Pencil signed, titled, and dated along the stretcher along the verso.Provenance: Gary Loch Fine Arts, St. Cloud; Distinguished Corporate Collection, Minnesota.Sight; height: 32 in x width: 40 in. Framed; height: 32 3/4 in x width: 40 3/4 in.
NO RESERVE Flint (Sir William Russell, artist, 1880-1969) Autograph Letter signed to Randall Davies, 1p., sm. 4to, Peel Cottage, Campden Hill Road, [London], 29th July 1926, "The Connoisseur notice is an amazingly rotten one but I don't believe any letter interview will do the slightest good in any way", fold; and a small quantity of photographs of paintings etc., v.s., v.d. (sm. qty).⁂ Randall Davies (1866-1946), collector of old master drawings and English watercolours, about which he wrote several monographs. Editor for many years of the volumes of the Old Watercolour Society.
NO RESERVE Medicine.- Aristotle's Last Legacy, unfolding the Mysteries of Nature in the Generation of Man, woodcut frontispiece, some soiling, preserved in old marbled wrappers, rubbed, for R.Ware...C.Hitch...J.Hodges, 1749 § Halford (Sir Henry) An Account of what appeared on opening the Coffin of King Charles the First...at St.George's Chapel at Windsor, on the First of April, MDCCCXIII, first edition, marginal soiling, modern boards, 1813 § Aikin (Lucy) Memoir of John Aikin, M.D., 2 vol., first edition, engraved portrait (offset onto title), contemporary tan morocco, gilt, spines gilt, g.e., a little rubbed at edges, 1823; and 2 others including a bound volume of medical tracts, v.s. (6)⁂ The first, a curious item on gynaecology, sex, and midwifery, spuriously attributed to Aristotle, first appeared in 1684 as Aristoteles Master-Piece and in numerous subsequent editions, often as a rearranged abridgement as here. All editions are scarce and ESTC cites 7 UK copies in 6 locations of this edition (BL 2 copies, Cambridge 2 copies, Glasgow, Oxford, John Rylands Library in Manchester).
* CECIL ARTHUR HUNT VPRWS RBA (BRITISH 1873 - 1965),SOUND OF SLEAT, ON THE WAY TO SKYE watercolour on paper, signed, titled label versoimage size 25cm x 35cm, overall size 46cm x 56cm Mounted, framed and under glass. Label verso: Anthony Woodd Gallery Ltd., Edinburgh.Note: Cecil Arthur Hunt was born in Torquay, Devon, on 8 March 1873, the second of three children of the highly regarded writer and geologist, Arthur Roope Hunt, and his wife, Sarah (née Gumbleton), who was born in Waterford, Ireland. He was educated at Winchester and Trinity College, Cambridge, studying Classics and Law, and being called to the Bar in 1899 (as had his father before him). He treated painting and writing as serious pastimes until 1925, when he was elected to the full membership of the Royal Society of Painters in Water-Colours. He then relinquished his legal career to become a professional painter. Hunt had first exhibited in London in 1900, at the Alpine Club Galleries, and had held his first major show a year later, alongside E Home Bruce at the Ryder Gallery. From the first, he established himself as an atmospheric painter of mountains, especially of the Alps and Dolomites. However, he was soon accepted as a master of a great variety of topographies, for he exhibited the products of his wide travels frequently and extensively. Favourite destinations included the West Country, the West Coast of Scotland, the Rhône Valley, Northern Italy, Rome and Taormina. In 1903, Hunt married Phyllis Lucas, and they would have two sons. From 1911, they lived at Mallord House, on the corner of Mallord Street and Old Church Street, Chelsea, which was especially designed by Ralph Knott to include a large studio on the ground floor. During the summer months, he and his family retreated to the farm estate of Foxworthy, on the edge of Dartmoor, in Devon. Hunt showed work regularly at the Royal Academy of Arts (from 1912), the Royal Society of British Artists (from 1914) and the Royal Society of Painters in Water-Colours (from 1918). He was elected a member of the Royal Society of British Artists in 1914, an associate of the RWS in 1919, and a full member six years later. He acted as the Vice-President of the RWS for a three-year period from 1930. His many substantial solo shows included six at the Fine Art Society (1919-34) and one at Colnaghi’s (1945). Following his death on 5 August 1965, he was the subject of a large memorial show at the Royal Society of Painters in Water-Colours. Chris Beetles Gallery (London) mounted a large scale retrospective exhibition in 1996 at his London gallery, on the exact site of the artist’s first substantial show in 1901. His work is represented in the collection of the Royal Watercolour Society and numerous public collections, including the V&A.
A collection of Old Master and later prints, 17th-20th century, comprising Giovanni Francesco Grimaldi (1606-1680), landscape with two men seated on a hill being addressed by another, with a lake and castle behind, signed within the plate Gio. Fran.co Grimaldi bolognese fecit., n.d. [1630-1680], etching, 14.4 x 22cm, 19th century manuscript collector's note to verso, [Bartsch XIX.97.23; Bellini 23], further Baroque etchings and engravings, including Nicolaes Visscher II after Gérard de Lairesse, José de Ledesma, 18th century English mezzotints, including a hand-coloured example of Admiral the Lord Anson, 18th century Austrian engravings of Marie Theresa and other Hapsburgs, 18th century French portrait engravings, 18th century English named-view topographical and antiquarian, including Southwell Minster, Welbeck Abbey and Bucks' view of Nottingham, some Chinoiserie and Orientalist scenes, satire, antiquities and art, etc., various sizes, (approx. 60 sheets).
JEANNE MODIGLIANI (Nice, 1918 - Paris, 1984).Untitled.Mixed media and collage on paper.Signed with initials in the upper left corner.Size: 65 x 50 cm.Daughter of the acclaimed painter Amedeo Modigliani and the artist Jeanne Hébuterne, Jeanne Modigliani never knew her parents: Amadeo died on 24 January 1920 when Jeanne was only fourteen months old and her mother, the painter's muse, committed suicide a few hours later. The child was adopted by her paternal aunt and grew up in Livorno, where she graduated in art history at the University of Florence. Of Jewish origin and granddaughter of a socialist, in 1939 she fled to Paris because of fascist persecution and, after the Nazi occupation, joined the Maquis. After the war, Jeanne Modigliani began to search for the truth about her father. In 1952, with a grant from the National Centre for Scientific Research, she also embarked on research into Van Gogh. It was precisely the similarities between the life of the Dutch painter and that of her father that brought her back to him, to Modigliani, to whom she devoted herself completely from that moment on. Her constant interest in obtaining official recognition of the value of her father's work was a great success when, in 1981, in Paris, she mounted the most complete exhibition of Modigliani: more than 250 works including paintings, sculptures, gouaches and drawings formed part of an exhibition that increased, if anything, interest in the master. In 1983 she founded the Archives Légales Amedeo Modigliani to classify and protect Modigliani's work. However, Jeanne Modigliani's life was not limited to documentary work; she inherited her father's mastery of the brush. With a production close to abstract expressionism, sometimes approaching figuration, Jeanne Modigliani's compositions expressed, with total sincerity and freedom, the deepest states of the soul. From the most dynamic and spontaneous compositions to the most calm and soothing, Jeanne knew how to capture her most intimate and personal self in her works.
The G.C.I.E. set of insignia attributed to Charles, Lord Hardinge of Penshurst, sometime Viceroy of India and Grand Master of the Order The Most Eminent Order of the Indian Empire, G.C.I.E., Knight Grand Commander’s set of insignia, comprising sash Badge, 87mm including crown suspension x 60mm, gold and enamel; breast Star, 91mm, silver, silver-gilt, gold and enamel, with gold retaining pin, complete with full sash riband, some very minor enamel damage to badge, otherwise extremely fine and rare (2) £6,000-£8,000 --- Provenance: Richard Magor Collection, Dix Noonan Webb, July 2003 (when sold alongside the recipient’s other honours and awards) Lord Hardinge was created G.C.I.E. and Grand Master of the Order upon his appointment as Viceroy of India in 1910. The Right Honourable Sir Charles Hardinge, 1st Baron Hardinge of Penshurst, K.G., G.C.B., G.C.S.I., G.C.M.G., G.C.I.E., G.C.V.O., I.S.O., Privy Counsellor, (1858-1944), was the younger son of the 2nd Viscount Hardinge, and was educated at Harrow and Trinity College, Cambridge. He entered the Foreign Office in 1880 and rose rapidly to become British Ambassador at St Petersburg, 1904-06, and, as Permanent Under-Secretary of State for Foreign Affairs, head of the Foreign Office. One of the most brilliant diplomatists of his time and close friend and trusted adviser of Edward VII, he was raised to the peerage as 1st Baron Hardinge of Penshurst in 1910, when, forsaking the courts and chanceries of Europe which he knew so well, he fulfilled his lifetime’s ambition to follow in the steps of his grandfather, the Peninsular veteran who was Governor-General of India at the time of the First Sikh War, by becoming Viceroy of India. Hardinge arrived in India in November 1910, ‘full of enthusiasm for his great undertaking; a supremely self-confident figure, tall, spare, upright, with a high forehead and trim moustache, looking younger than his fifty-two years’, at his side a Vicereine who was to acquire a reputation for being every bit as clever as her husband. Hardinge’s first challenge was to reunite Bengal following partition in 1905 which had been the cause of terrorism and assassination attempts during his predecessor’s time. The unification of Bengal to form a Presidency under a Calcutta-based Governor sent out from home gave rise to the momentous decision to move the Imperial capital from Calcutta to Delhi. The move which was to become the principal legacy of Hardinge’s reign was announced by the King-Emperor, George V, at the Delhi Durbar in December 1911 – this third and last of the great Delhi gatherings being by far the most spectacular costing £660,000 against Curzon’s 1903 expenditure of £180,000. In March 1912 the Hardinges vacated Government House in Calcutta to make way for the new Governor of Bengal, and took up residence in Delhi, occupying a large bungalow which was to serve as the winter residence of the Viceroys for the next seventeen years until Edwin Lutyens’ grand design for the Viceroy’s House, New Delhi, was finally completed. Hardinge had strong views on style yet insisted on a woefully inadequate construction budget and a demand for speed that was far from conducive to producing timeless architecture in the grand manner. Indeed Hardinge’s role as patron to Lutyens has been described as ‘one of the classic conflicts of architectural history, comparable with that of Michelangelo and Pope Julius II’. Hardinge’s persistent urging was important however in ensuring that tangible progress was made before outbreak of war, which otherwise would probably have caused plans for the new Imperial capital and a world-class palace to be dropped. In December 1912 Lord and Lady Hardinge made their official entry into Delhi riding in the silver State howdah at the head of a long elephant procession of chiefs and high officials. As they passed through the crowded streets of the old city Hardinge remarked to his wife that something terrible was going to happen. A few moments later his premonition became reality when an anarchist threw a nail bomb at them from an upper storey window causing an explosion which could be heard up to six miles away. Initially it seemed that no harm had been done, but as Hardinge retrieved his topi which was passed up on the end of a lance, Lady Hardinge glanced round to see that the attendant who held the umbrella was dead, ‘his shattered body entangled in the ropes of the howdah’. She then noticed a rent in the back of her husband’s tunic and blood flowing freely from it. In the next instant Hardinge fell forward unconscious. With the help of aides, Lady Hardinge managed to get her husband down from the elephant, which was too terrified to kneel, by means of a hastily assembled pile of packing cases. As Hardinge lay on the pavement with a burst ear-drum among his injuries, he briefly came to and ordered the procession to proceed as though nothing had happened with his Finance Member standing in for him. A car whisked the Viceroy away to Viceregal Lodge, but the servants had all gone to watch the procession and it was left to Hardinge’s twelve year old daughter, Diamond, to make up a bed. A succession of operations to remove nails, screws, and gramophone needles with which the bomb was packed ensued. More serious than his physical injuries however was the psychological one which appeared to make him evermore conciliatory in his dealings with Indians. Furthermore he was observed to have lost much of his self-confidence. He was personally dismayed that terrorism was still a factor in Indian life and was accused of playing to the ‘Indian gallery’. In 1913 he annoyed subordinates and local officials in the United Provinces, by going over their heads and making an unprecedented appearance in Cawnpore to settle a dispute over a mosque which had caused serious riots and was inflaming Muslim opinion across India. He addressed the entire Muslim population of the city and having reproached them severely for their disobedience, proceeded to win the crowd by ordering the release of more than a hundred rioters from prison. Needless to say his dealings with Lutyens became yet more fractious. In 1914 he was hit by a series of personal tragedies. In the spring Lady Hardinge died unexpectedly after an operation carried out in England – a blow by all accounts far greater than the bomb. Later in the year his elder son (Lieut., D.S.O., 15th Hussars) was mortally wounded in France. Then the Viceroy lost three of his A.D.C.s to the war, all three being killed within a few days of each other. Diamond, on whom he became evermore reliant, died aged twenty-six in 1927. With the outbreak of war there was much to distract him from grief. He at once sent large numbers of Indian troops to Europe to help slow down the first German advance on Paris, and reduced the British garrison in India to what was regarded by some as a dangerously low-level yet kept order satisfactorily. He was also responsible for organizing the transport, supplies and medical services for the Mesopotamian campaign under Sir Beauchamp Duff whose appointment as C-in-C he had strongly supported in 1914. Whilst he relied too heavily on Duff (who eventually committed suicide) and can thus be blamed in some part for the Mesopotamian nightmare, he did go to Basra in person as soon as he realized how bad things were to try and improve the conditions of the troops. A post-war commission of inquiry absolved him of all blame. Owing to the war his Viceroyalty was extended for six months beyond the usual term. He returned home and became head of the Foreign Office once more before attaining the absolute pinnacle of the Dipolmatic Service, the Paris Embassy, 1920-22. In 1931...
To Sir Horatio Nelson, K.B. Audacious, 1st August, 1798 I have the satisfaction to tell you the French Ship, Le Conquerant has struck to the Audacious and I have her in possession. The slaughter on board her is dreadful: her Captain is dying. We have but one killed, but a great many wounded. Our fore and mainmast are wounded, but I hope not very bad. They tell me the foremast is the worst. I give you joy. This is a glorious victory. I am, with the utmost respect, yours in haste. D. Gould. The Important ‘Battle of the Nile 1798’ Post Captain’s Naval Gold Medal awarded to Davidge Gould, Captain of the 74-gun H.M.S. Audacious, who fought in many ‘Boat Actions’ during the American Revolutionary War and enabled the capture of two French capital ships off Genoa in 1795. At the Battle of the Nile, he sailed Audacious inshore of the French line and took Le Conquerant after a desperate close-range fight, then helped batter Guerrier and Spartiate into their submissions. Gould was soon embroiled in the controversy around Lord Nelson’s affair with Lady Emma Hamilton; he finally became Vice Admiral of the United Kingdom, and was the last surviving member of Nelson’s famous ‘Band of Brothers’ Naval Small Gold Medal 1794-1815, the reverse engraved in capitals ‘DAVIDGE GOULD ESQUIRE CAPTAIN OF H.M.S. THE AUDACIOUS ON THE 1 of AUGUST MDCCXCVIII + THE FRENCH FLEET DEFEATED+’. Early Naval Gold Medals were inscribed with ‘The’ between H.M.S. and the ship’s name, but this is omitted in later Naval Gold Medals (Douglas-Morris ‘Naval Medals 1793-1856’ p13 refers). Lacking gold ribbon buckle (therefore was probably worn from a left-hand buttonhole) and enclosed in its original lunettes, extremely fine £80,000-£100,000 --- Provenance: Hamilton-Smith collection; Glendining November 1927; W. Waite Sanderson collection, Glendining November 1941; Glendining September 1991. Davidge Gould was born at Bridgewater, Somerset in 1758, the youngest son of William Gould of Sharpham Park. He entered the Navy at the age of 13 in May 1772 as a volunteer on H.M.S. Alarm, a 32-gun frigate which was the first Royal Navy ship to have a fully copper-sheathed bottom. Early Career Gould served in frigates in the Mediterranean and then in North America, where he spent four years as a Midshipman on Captain Hyde Parker’s 44-gun H.M.S. Phoenix during the early part of the First American War. The teenage Midshipman Gould was “much engaged in attacking the enemy’s batteries, cutting out their vessels, and contesting, not without loss, with their boats up the North [now called the Hudson] River” (O’Bryne’s Naval Biography refers). On 7 May 1779, after seven years at sea, Gould was promoted to Lieutenant. He moved into his first 74-gun line-of-battle ship, H.M.S. Conqueror, and took part in the Battle of the Saintes on 9-12 April 1782. The British fleet (36 ships of the line, commanded by Admiral Rodney) achieved a decisive victory over a combined French and Spanish fleet of 47 ships. Conqueror lost 7 men killed and 23 wounded. As a reward for his conduct in the battle, Gould was appointed First Lieutenant of Rodney’s 98-gun flagship and on 13 June 1782 was promoted Master and Commander of the fire-sloop Pachahunter, based in Jamaica. In 1787 he was appointed to command a former Dutch privateer, H.M.S. Pylades (18), which built up a considerable reputation as an effective anti-smuggling vessel cruising off Start Point in Devon. In between commissions, Gould appears to have spent about four years on half-pay. Thanks to the Spanish and Russian war scares, on 17 March 1789, aged 30, Gould was made a Post Captain. He was appointed to the command of frigates in the West Indies and the Mediterranean, where he was part of Admiral Hood’s fleet sent to drive the French out of Corsica. He was present at the sieges of Bastia and Calvi (where Captain Nelson was blinded in an eye) and was given his first command of a 74, the 20-year-old H.M.S. Bedford. The Battle of Genoa 1795 Gould’s first fleet action as Post Captain of Bedford took place in March 1795, when Vice-Admiral Hotham brought to battle off Genoa a French squadron carrying troops intended to recapture Corsica. On 13 March Ca Ira (80) lost her fore and main topmasts in a collision with another French ship. Falling behind the retreating French squadron, Ca Ira soon had to be taken in tow. She was attacked by Captain Nelson in his 64-gun Agamemnon and the 74-gun Captain, until the French squadron returned and drove them off, despite Gould’s attempts to engage the French flagship, the 120-gun Sans-Cullotte. At dawn the next day Ca Ira, while being towed by the 74-gun Censeur, was isolated, having fallen well behind the main body of the French squadron during the night. In contrast, the British fleet was advantageously placed to windward. Hotham signalled the 74-gun warships Captain and Gould’s Bedford to close and attack Censeur and Ca Ira. The two British ships had to endure raking fire from both French broadsides (some 1,500lbs of metal) as they approached, before they could bring their own guns to bear. They battered the French for 75 minutes, until Captain, which had suffered severe damage to her sails, rigging, and stays, signalled to be towed out of the action. Hotham saw that Bedford had also had her sails and rigging badly cut up and sent two other 74s to relieve them. Five men were killed on Captain and seven wounded. Bedford had seven killed and eighteen wounded, including her First Lieutenant. By this time Ca Ira and Censeur had been heavily damaged and reduced to almost defenceless hulks, suffering over 400 casualties. The French Admiral abandoned them to their fate, and they duly surrendered to Nelson. Joining the Audacious and Nelson’s ‘Band of Brothers’ By autumn 1795 Gould, now 37, had turned over command of Bedford. His next ship was H.M.S. Audacious, ten years old and with a 781lb broadside, assigned to Sir John Jervis’s Mediterranean fleet. “Under Jervis, the captains of the Mediterranean fleet were becoming a brotherhood, bonded by skill, experience, mutual respect and a common cause. Maybe they had not thought of it in that way before; but from about this time they all did, and Nelson most of all. And the concept - so suitable to his nature - became an important, conscious element in his conduct of the war.” (Howarth, Nelson – The Immortal Memory refers). Southey (Life of Nelson p 127) quotes a letter in which Nelson used his famous phrase “The Band of Brothers” (a quotation from Shakespeare’s Henry V Act 4 scene 3 ‘We few, we happy few, we band of brothers’) in 1797: “Such a gallant set of fellows! Such a band of brothers! My heart swells at the thought of them!” After the Nile, Nelson wrote a number of letters and dispatches, often using the term ‘band of brothers’ to refer to the fourteen Captains who had fought under him. To Lord St Vincent, referring to Alexander Ball: “His activity and zeal are eminently conspicuous even amongst the Band of Brothers - each, as I may have occasion to mention them, must call forth my gratitude and admiration.” And on 8 January 1799 to Earl Howe, “I had the happiness to command a Band of Brothers...” Nelson had already served alongside several of the future ‘Band of the Nile Brothers’. He knew Gould from Corsica and the Battle of Genoa. Nelson's ability to deeply understand, trust and inspire his fleet Captains, through close consultations with them prior to actions, enabled him to leave them free to fight their ships as they beli...
The following 54 lots represent the greater part of an impressive and comprehensive collection of Wiccamica, diligently assembled over the course of his life by an Old Wkyehamist, now living in Oxfordshire. The items are essentially ephemera and collectibles relating to Winchester College and specifically to the iconic figure of the Trusty Servant, painted originally by John Hoskins in 1579. The servant is emblematic, and boasts all of the attributes that were required of the perfect steward. The picture is accompanied by explanatory verse, translated from the Latin as:A Trusty Servant's Portrait would you see,This Emblematic Figure well Survey.The Porker's Snout not Nice in diet shows;The Padlock Shut, no Secrets he'll disclose;Patient the Ass, his Master's wrath will bear;Swiftness in Errand, the Stagges feet declare;Loaded his left Hand, apt to Labour saith;The Vest his Neatness; Open hand his Faith;Girt with his Sword, his Shield upon his Arm,Himself and Master he'll protect from Harm.A Continental, probably Austrian polychrome decorated pottery model of the Trusty Servant, circa 1900; the cylindrical base with vacant plaque; impressed marks to the underside; 22.5cm high.
Roman School (early 17th century), after RaphaelPutto with a foliate garland draped around his shoulders, bearing a partial cartouchewith later pencil inscription Raphael d'Urbino to lower left corner, the paper with indistinct shield or lozenge watermark lower rightblack and red chalk on cream laid paper37 x 24.5cmProvenance note:Private CollectionPreviously recorded at Swann Auction Galleries, New York,Old Master Drawings with a Selection of Rembrandt Etchings, 25/01/2006, lot 17 ($3680)Please Note: After Raphael's 'Isaiah' fresco at San Agostino, Rome.
Attributed to Charles-Louis Clérisseau (French, 1721-1820)Ruins of a Roman Bath with figuresthe reverse later inscribed 'A Roman Bath by Jacques-Louis Clérisseau (1722-1820)'a sketch in ink and wash, heightened with white36 x 25cm.The present architectural capriccio, possibly inspired by the ruinous bathhouse of the Roman Emperor Diocletian, may be a preparatory study for a larger composition. Related depictions of bathhouses by Clérisseau, mostly in gouache, showing similarities to the setting depicted here, are in the collections of Sir John Soane's Museum, London, and the Louvre. Another similar work in gouache was sold at Christie's London, Old Master Drawings, 15 December 1992, lot 185 (£4000)
Books - Dogs in Art - Aldin C. Heron R. Cecil Aldin. The Story of a Sporting Artist.1981. Heron R. The Sporting Art of Cecil Aldin. 1990. Signed copy. Cecil Aldin Art exhibition catalogue 1990. Aldin C and Morton J.B. Who's Who in the Zoo. 1950. Editions Beaumont. Harry Eliott-Le Plus Anglais des Illustrateurs Francaise.1994. Eliot was the French Cecil Aldin. Yeates J. Michael Lyne Sporting Artist. 1992. Signed copy. Lyne M. From Litter to Later On. 1973. Robinson P. Lionel Edwards. A Profile and Bibliography 1995. The Art of Gilbert Holiday 1982. Welcom J and Collens R. Saffles on Racing and Point to Pointing.1988. The Studio, Famous Sporting Prints. Part 7. Shooting. 1930. The Studio. Famous Sporting Prints. Part 5. Henry Alken.1929. . Editions Montaut. Leon Danchin-Animalier 2001. Parker T.Golden Hours. The Painting Of Arthur J Elsley.1998. Signed copy. Maud Earl exhibition catalogue William Secord, 1992. The Arthur Wardle Studio Sale catalogue, Sothebys 1994. The Count Alarico Palmieri Collection of Dogs and Cats in Art. Christies 1996. The Life and Works of Lucy Kemp Welsh. 1976. George Vernon Stokes 1873-1954. Britain's Master Etcher of Dogs. Barton F.T. My Favourite Book of Dogs.C1900. 12 colour plates by George Vernon Stokes. Barton F.T. Some Sporting Dogs. C1906. 12 colour plates by George Vernon Stokes. Croxton-Smith A. British Dogs at Work. 1906. 16 colour plates by George Vernon Stokes, Stokes. G.V.S. and Harnett H.C. Bobtail Pup 1945. Illustrated story about an Old English Sheepdog. Another copy 1947. Stokes G.V.S. The Drawing and Painting of Dogs. 1934. Dogs in Photography, Erwitt E. Vies de Chiens/ To the Dogs. 1992. Erwitt E. Dogs Dogs C1992. Erwitt E. La Vie de Chien d'un Photographie 1988. Wegman W.(Weimaraners). Fashion Photographs. 1999. Wegman W. Puppies 1997. 2 copies. Wegman W. Little Red Riding Hood. 1999. Eichorn G.E. and Jones S. B. The Dog Album. 19th century studio Dog studies 1993. Silverman R. The Dog. 100 years of Classic Photography 2000. Silverman R. Cabotinages. French edition of previous title. 2000. Scheid U. Dog in Focus. 150 Years of Photography. 1989, Silverman R. The Dog Observed. Photographs 1844-1988.1988. Silverman R. The Dog. 100 Years of Classic Photography 2000. Merritt R. and Barth M. Un Milleur de Chiens/A Thousand Hounds (The Presence of the Dog in the History of Photography 1839-1994.). Suares J.C. Hollywood Dogs. 1993. Conrad B. Les Chiens de Paris, 1995. Eichorn G.E.and Jones S. B. The Dog Album. 2000. Eichorn G.E.and Jones S.B. The Dog Album Postcard book.2000. Hall L. Those Were Our Dogs. 2007. Hall L. Prince and Others 1850--1940.2000. Davis P.S.and Gamble R Southern Dogs and Their People 2000.(43)
Corgi/Corgi Classics - a group to include CC07811 Ford Transit "Master Replicas"; LP06567 MGB Sports Car; "RNLI" 4-Piece Gift Set; 98305 Volvo "Exel" Truck and Trailer"; TY86624 Scania "Knights of Old"; CC99180 "Mini Miglia" 2-Piece Racing Set plus others - conditions are generally Excellent to Mint in Fair (grubby) to Excellent carded and window boxes - see photo. (23)
Follower of MATEO CEREZO (Burgos, 1637-Madrid, 1666), 18th century."Penitent Magdalene".Oil on canvas.Re-drawn.It presents old restorations.Measurements: 84 x 63 cm; 96 x 75 cm (frame).Devotional painting representing Mary Magdalene penitent. It follows models by Mateo Cerezo, who made several versions of this theme. Specifically, the present one is based on Cerezo's "Penitent Magdalene" in the Rijksmuseum in Amsterdam. The figure, taken half-length, retains the sensuality of the original, with the blouse slipping below her shoulders but modestly covering her bust, which in Cerezo's version was semi-naked. The satiny fabric is folded in naturalistic draperies. The saint, her eyes misty with emotion, gesticulates in repentance before the open book of Scripture. The female canon here is ultimately drawn from Venetian sources, and her silky hair can be compared to that of Titian's women. In contrast to the eroticism that reminds us of her sinful life, the skull and crucifix express the ascetic ideal to which the figure prostrates herself. Intense contrasts of light, typically Baroque, construct the scene and give volume to the young woman's body.Mateo Cerezo trained in Madrid, where he joined Carreño's workshop. He was in great demand by a varied clientele, particularly for his religious painting, although he also tackled other genres. In this respect, the treatise writer and biographer Palomino stated that he produced "still lifes with such superior excellence that no one else could surpass him", a judgement that is fully corroborated by the works in the Museo Nacional de San Carlos in Mexico, which are signed and dated. On the basis of these, Pérez Sánchez attributed to him the Kitchen Still Life purchased by the Museo del Prado in 1970, a work of evident Flemish influence that has sometimes led him to think of Pereda. The works of this artist from Valladolid have also been pointed out as Cerezo's descendants, particularly in his early creations. We know that in 1659 Cerezo was working in Valladolid, where he left somewhat rougher works than those he produced in the following decade. In his works he is a faithful follower of Carreño, with whom he became one of his best collaborators. The master showed him the path he himself later followed, following in the footsteps of Van Dyck and Titian. Thus, Cerezo developed compositions that open out into large, complex scenographies, conceived with a distinguished refinement that is evident both in the work as a whole and in the smallest details. Like the Antwerp master, he endowed his figures with a rich magnificence in their costumes, applying a fluid, light brushstroke, contrasted by a rich play of light. A superb example of all this is the Prado's The Mystical Betrothal of Saint Catherine, signed and dated 1660.
Castilian school of the 16th century. Circle of PEDRO BERRUGUETE (Paredes de Nava, Palencia, ca.1445/50 - Madrid?, 1503)."Christ in the House of Martha and Mary".Oil on pine panel. Gilded background.Conservation: sealing, repainting, damage by xylophages.Measurements: 64 x 39 x 3 cm.The biblical scene illustrates a passage narrated in the Gospel of Luke, in which the arrival of Jesus to a village is described. He is received in the house of Martha and Mary. From the way in which the older woman questions him and the gesture that Christ returns, we can see that the scene depicts the moment when Martha complains that her sister left her to do the housework, and Jesus replies that she is worrying about unimportant things and exhorts her to seek eternal salvation. The panel belongs to the circle of Pedro Berruguete, one of the most outstanding painters of 15th-century Spain, the principal introducer of the Italian Renaissance into the Castilian school and thus situated in the transition between the Flemish-influenced Gothic style and the new Italianate Renaissance language. The stylised canons of each figure, the softness of their bodily and gestural grammar, the meticulous preciosity in the depiction of the trimmings and brocades, the expressiveness of the faces, the emphasis on drawing and the choice of a palette dominated by sienna and earthy tones are all attributes that can be found in numerous paintings by Berruguete.Although we know very little documentary information about his life and work, we do know that he was born in the Palencia town of Paredes de Nava around 1445, if we assume, as is generally accepted, that he was the "peras Spagnolus" mentioned in Urbino in 1477. By then he was already a full resident of the Italian city, which is why he had to leave Castile for Italy at least in 1472. Berruguete was born into a family of noble origins and various hypotheses have been put forward regarding his artistic training. It is most likely that he trained in his native Castile with a master influenced by northern models, perhaps Justo de Gante. This training in the Flemish language has led some scholars to situate his training in Flanders, although given the importance of the Nordic influence in Spain at the time, a trip to the Low Countries was not a necessary condition for knowledge of the Flemish language. His training must have been completed in 1470 before leaving for Italy, as two panels survive from this period: "Historia de la Santa Cruz" (Museo Parroquial de Santa Eulalia, Paredes de Nava) and "La prueba del fuego" (Museo del Prado). He must have started his journey to Italy with Rome in mind, although he must have arrived in Urbino early, around 1473 or 1474. There he worked for Duke Federico de Montefeltro, producing works such as The Double Portrait of Federico de Montefeltro and his Son Ghibaldo (Gallerie Nazionale delle Marche, Urbino). He must have subsequently returned to Castile and Ceán Bermúdez locates him in Toledo in 1483, as documentation indicates that he was at that date working on the paintings of the Old Tabernacle in Toledo cathedral, now lost.
Follower of EUGENIO LUCAS VELÁZQUEZ (Madrid, 1817 - 1870), pps.s.XX."Goyaesque scenes".Two ink drawings on old paper.Apocryphal signature and date "E. Lucas, 1862".Measurements: 19 x 30 cm; 56 x 68 x 8 cm (frame).Pair of drawings of Goyaesque inspiration, recreating popular types in the manner of Eugenio Lucas. Lucas was the Spanish romantic artist who best understood Goya's painting. Trained in the neoclassicism of the San Fernando Academy, he soon turned his training around and devoted himself to studying Velázquez and, above all, Goya, whose works he admired and copied in the Prado Museum. On the basis of the master, Lucas developed a personal and imaginative style of painting, with fantastic visions and unleashed passions. Apart from his Goyaesque themes, in 1850 he painted the ceiling of the Teatro Real in Madrid, which no longer exists, and was later appointed honorary chamber painter and knight of the order of Charles III by Queen Isabella II. As a true Romantic, he made several trips, including stays in Italy, Morocco and Paris. He achieved great success as a genre painter and as a painter of fantastic and sinister scenes, although he was also an excellent landscape painter and portraitist. His work is well represented in the Prado Museum, and also in other centres such as the Bilbao Fine Arts Museum, the National Art Museum of Catalonia, the Lázaro Galdiano Museum, the British Museum, the Metropolitan Museum in New York and the Goya Museum in Castres (France).
JOSÉ ROYO (Valencia, 1945)."Woman with a pitcher".Oil on canvas.Signed in the lower right corner.Measurements: 100 x 81 cm; 129 x 110 cm (frame).A precocious painter, José Royo began his drawing studies when he was only seven years old. After studying with the best masters of his city, he entered the School of Fine Arts of San Carlos, and finally completed his studies travelling around the great museums of the world, immersing himself especially in Goya, Velázquez and the impressionist masters. These influences marked his pictorial development to the point of becoming a master of post-impressionism himself, heir to Renoir, Sorolla, Monet and Bonnard. The decisive change in his life came when the painter and his family decided to move to the countryside; in a small village near Valencia, Royo built the house that would bring light and colour to his work, which would be an exact replica of his iconography and vice versa, a house full of geraniums and orange trees where the light is precious at every moment of the day, in a different corner. However, the essence of the Mediterranean culture that this artist carries within him demanded, more and more insistently, to paint the sea. Royo then found his second paradise in Mallorca, in the Salmunia cove, where he has moved every summer to paint since the seventies. At the same time, his career became increasingly successful, first in Spain and soon throughout Europe. The Mediterranean charm modelled by Royo's virtuosity also seduced the Japanese and then the South American market, although it was above all his success in the United States that consolidated this artist as one of the key figures of our time. On the other hand, Royo's eagerness to investigate has led him to explore other fields such as sculpture and silkscreen printing, always accompanied by public recognition. He has also excelled as a portrait painter, portraying the presidents and High Magistrates of the Spanish Supreme Court, aristocratic personalities and His Majesty Don Juan Carlos I for the Spanish Embassy in Japan. Royo is currently represented in the Diocesan Museum of Barcelona, among other collections.
Twelve assorted bottles of port and madeira wine including:Fonseca Bin 27 150cl, wooden boxGraham's Natura Reserve, boxed gift setReal Cavelha 2004 vintage, wooden boxDow's Trademark, and Master BlendCockburn's Special ReserveM&S Decanter Port (x3D'Oliverieas 5 year old Madeira Wine, etcQty: 12
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