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Lot 120
Collection of 1d blacks, this lot comprises 35 plated 1d blacks (and a 1d red) on ten album leaves. There is a plate 2 with rare magenta Maltese Cross (four margins, some thinning but SG catalogue value is £3000) and a plate 11 (fair only but rare: SG catalogue value £5750 for examples in black like this one as opposed to greyish black) matched with a fine example in red. Several stamps have four margins. Plenty of attractive stamps despite some faults.
Lot 606
A rare pair of magnificent silver wine coolers, the crested bodies mounted upon turned sweeping bases with gadroon and floral borders to reeded leaf cap handles with removable buckets. Marked to bodies, liners and rims. Sheffield 1839. By Howard & Hawksworth. Approx. 31 cms high each to include liners. Approx. 5014 grams. Est. £15,000 - £20,000.
Lot 1088
FRANCO BALDUCCI (Italian): A rare and unusual stoneware pot pourri of baluster shape in two parts with flush fitting divide and scent holes to sides, the lower section in dark green glaze, the upper part in natural green earthy textured form. Impressed mark, 'fb' to base and dated '93. Approx. 22 cms high. Est. £50 - £80.
Lot 143
A rare Britannia Standard miniature George I silver tazza with crest to centre of a ladder, hooked at the top between ribbon tied crossed acanthus scrolls, to reeded border on spreading foot. Approx. 15.5 cms in diameter. London 1714. By William England and John Vaen. Approx 198 grams. Est. £800 - £1200.
Lot 675
Portrait of Lady Mary FitzAlan, Duchess of Norfolk (1540-1557) head and shoulders, in red, wearing a magnificent jewel oil on panel 47 x 31cmFootnote: Provenance: Sale, London, Sotheby's, 11th October 1961, lot 98, as English School, 16th Century as of an unknown lady, for £20, where acquired by the present owner's father and thence by descent Literature: cf. Diana Scarisbrick, “Jewellery in Tudor and Jacobean Portraits at New Haven”, in Apollo, vol. CXXVI, no. 309, November 1987, p. 326 The sitter was the second daughter and in her own right, eventual sole heiress of the 19th (or 12th) Earl of Arundel and married in 1555 as his first wife, Thomas, 4th Duke of Norfolk (1537/8-1572) Earl Marshall of England. The following year her first child, Lady Anne, died shortly after birth. Then in 1557, on the 28th of June, she gave birth to a healthy son, Philip, who was christened four days later at Whitehall Palace in a gold font with King Philip II of Spain standing sponsor in person, whilst Mary lay dying. She lingered for eight weeks and was buried with great pomp in the Church of St Clement Dane. Like his father, Philip FitzAlan Howard (1557-95) fell foul of Elizabeth I's deep fear and distrust of Mary, Queen of Scots (whom the 4th Duke had conspired to marry as his fourth wife and thus restore Catholicism to England with him as 'King consort') and was stripped of all his honours for adhering to the Catholic faith. He died in the Tower after ten years of imprisonment and was canonised in 1970. Yet in 1660, Lady Mary's great-great-grandson was restored to the Dukedom of Norfolk and thus brought together the vast FitzAlan and Howard estates and possessions. A three-quarter length portrait of Lady Mary, painted by Hans Eworth to commemorate her celebrated marriage in 1555 (see Roy Strong, 'Hans Eworth Reconsidered', in The Burlington Magazine, May 1966, vol. 108, no. 758, pp. 222+225-231+233) passed to her sister Jane who had married the 1st and last Lord Lumley (of the 1547 creation) and later passed into the collection of the Dukes of Hamilton (see Strong, ibid). It is today in the Yale Center for British Art at New Haven, Connecticut. Hans Eworth was very much painter to the old Catholic circle at the court of Queen Mary I (see Strong, ibid) and an 18th century copy of the Eworth original, increased to full length, is today at Arundel Castle, in the collection of the present and 18th Duke of Norfolk. The literature (Strong, ibid) records no other repetition of any other original or any other likenesses of Lady Mary. The present head-and-shoulder reduction of the Eworth prototype is therefore an important and apparently rare image of the sitter who was, in her short life, at the very centre and at the pinnacle of influence and power in England during the reign of the Catholic Mary I. The young Lady Mary, as would be expected of a woman of her rank, was well-educated and was reputedly capable of translations of ancient text from Greek to Latin (see BL, Royal MSS 12 A. i-iv) and she was by all accounts a sweet-natured and pious girl (see Neville Williams, Thomas Howard, 4th Duke of Norfolk, Barrie & Rockliff, London, 1964). Though Mary FitzAlan died as a result, the child she bore, in living to adulthood and producing his own male heir, secured the fortunes and future of what can fairly claim to be the 'first family of England' after the Royal House itself. We are grateful to Dr Ian Tyers who has confirmed that the oak this panel came from, was still growing in 1557, the year Duchess Mary died. He has proposed that the tree would have been felled between 1562 and 1580 and the panel used within that time frame. Thus the image was made after the Protestant Elizabeth had succeeded to the throne but before the time Catholic conspiracies and plots were being unravelled by Burghley and Walsingham and before the sitter’s son, Saint Philip, Earl of Arundel came under suspicion and was cast into the Tower of London. The Getty Index lists three paintings identified as of the Duchess of Norfolk (no sizes provided) which may possibly be the present painting. One in particular from its description as being on panel and of “The Duchess of Norfolk, time of Henry the Eight, white shirt and collar, jewel at her breast”, which was sold in Samuel Oxenham, London on 1st June 1832, lot 189, is the most probable option.Condition report: Oil on panel, formed from a single board with the wood grain running in a vertical orientation. The panel has an extreme convex warp. In localised areas the paint layers are raised following lines of craquelure and there are a few scattered losses. Along the edges of the panel are numerous small losses. In the sitter's face, vertical stress cracks have become dark with age and are slightly prominent. The thinly painted passages of the sitter's features and hair are worn, possibly through over cleaning in the past. Overpaint is very localised to small, historic damages. The varnish layer is semi-glossy, even and slightly yellow. The varnish is brittle and there are losses to this layer in the upper left corner and a few light scuffs and scratches. The panel is poorly housed in an oak frame which is not original to the painting. The painted and gilded surface of the frame has suffered from a few knocks and dents.
Lot 710
Dark horse grazing in front of trees signed in pencil left of centre 'E Blampied' lithograph 40 x 29cmFootnote: Provenance: Cheffins, Cambridge, 21st-22nd November 2007, Lot 340 Literature: Jean Arnold and John Appleby, A Catalogue Raisonne of Etchings, Drypoints and Lithographs of Edmund Blampied, Jersey: John Appleby Publishing, 1996, L. 35 The existence of this lithograph was previously unrecorded until the current catalogue which lists it as "Date unknown. Edition rare."
Lot 85
A Chinese carved cork on silk panoramic bas-relief view of Dawn on the Su Causeway in Spring but titled Spring Morn in Hangchou (Shanghai), with numerous watercraft and trees, with paper label on the silk mounted borders inscribed “ S Leck Esq Manager Eastern Extension Telegraph Co Ltd from local and Chinese staffs, Hong Kong Branch, on the Occasion of his retirement 19th December 1931”, 35 x 142cm; total size 154 x 47cmFootnote: This rare work is unusual in that it is attributed to Chan Tim Fat who worked in Changle, Fujian. The art of making cork pictures goes back to Fuzhou (near Changle) around 1910.Condition report: some silk fading, staining and small punctures/holes. Some small pieces of cork detached
Lot 282
A boxed commemorative album celebrating the rebuilding of the Leifeng Pagoda. The album contains replicas of ancient copper coins and tokens discovered at the site before rebuilding the Pagoda, to include a rare jade example. Each page also contains colour images and information. Slight damage to box and 1st page is loose.
Lot 351
German Imperial Kaiserliche Marine Officer cadet’s sidearm.A good rare de-luxe model. Ribbed brass hilt with integral oak oakleaf backstrap, the pommel bearing an imperial crown. Integral brass crossguard bearing Imperial crown with hinged fouled anchor. 35 cm plated blade etched with sailing ship etc both sides and with plain panel bearing crowned fouled anchor. Housed in its leather sheath with brass oakleaf decorated mounts and frog stud; retaining leather double strapped frog/carrier. Slight age wear, generally VGC.
Lot 182
9th Queen’s Lancers Victorian Officer’s Shabraque.A good rare example of dark blue Melton cloth, edged with two lines of gilt lace. To the fore quarters a crowned VR bullion embroidered device. The hind quarters embroidered in bullion with a Regimental device of crossed lances, at the junction a velvet padded title strap “NINTH LANCERS” encircle a VR cypher. The strap surmounted by a Guelphic style crown. Reverse bears ink name “M.C. Little”. Bullion dulled and some wear to bullion in parts. Slight moth. GC
Lot 430
“Methods of Unarmed Attack & Defence” 1917 WD Booklet.A rare example of the official War Department booklet, showing a large number of illustrations of British troops overcoming German soldiers. GC some wear. .... Accompanied by “Commando Training Notes” Published by the Royal Marines 1953. (2 items)
Lot 294
British Royal Herald's State Occasion Tabard.A magnificent and rare example of the Tabard worn on State occasions. Scarlet, blue and gold silk ground richly embroidered in gold bullion and coloured silks, with the emblems of Great Britain, Three Lions, Scottish Lion, Irish Harp. Complete with sleeves and bows. The colours remain bright and fresh, little age wear to silk panels not effecting the overall appearance. Colours and bullion bright.
Lot 80
Order of Malta gold neck badge.An exceptionally fine and scarce example for a Knight of Justice or a Knight of Honour in gold and enamels. White enamelled Maltese cross with gilt fleur de lis between the angles. Suspended through an most ornate openwork Crown by a gold trophy of arms with a red enamelled shield charged with a gold edged white cross. Complete with rare black silk neck riband embroidered with gold wire entwined thorn branches to top and bottom. VGC Attractively framed and glazed. The oldest Order of Knighthood continually in existence
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209236 item(s)/page