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Click here to subscribeScripophily, 15 18th/19th C transport related share certificates (2 framed and glazed) to include 'Gulf Mobile and Ohio Railroad Co', 'Chicago and Eastern Illinois Railway Co',' Omaha and Council Bluffs Street Railway Co', 'Philadelphia Rapid Transit Co', 'New Orleans Great Northern Railroad Co', 'Large Ontario Shore Railroad Co', 'Chicago and Eastern Illinois Railroad Co', 'China Railway Equipment Loan' (gd) (15)
Three folders of related Stockton items including Stockton Roll of Honour DLI Military Post Office Staff Served 1914 cabinet portrait, cdv Stockton photographers, c1867 to 1950s ephemera (share certificates, invoices, letterheads - Screw Steam Shipping Company), Prinsky Jeweller Advert, Bus tickets, Sub post office cancel wireless telegrams, cheques, Acker Bilk autograph, Colonel Ropner Souvenir of the War in South Africa 1900, Henry Vale Tempest 5th Marquess of Londonderry, Ferryhill Coat of Arms License.
Black leatherette and chrome, with black enamel and brass accents.Kodak Autographic cameras are equipped with hatches in the backplate, meant to allow messages to be written on Kodak Autographic film. Such autographic cameras were a flagship offering from Kodak, during their domination of the American film market. This pair share many design elements as part of the No. 3 A line, and make ideal display or restorative models. Issued: 1910s-1920s Dimensions: 9"H x 10"L x 5"D Manufacturer: Kodak Country of Origin: United States Condition: Age and use related wear, as-is
HILLARY EDMUND: (1919-2008) New Zealand Mountaineer, the first man, with Tenzing Norgay, to reach the summit of Mount Everest, 1953. A good D.S., `Ed. Hillary´, one page, folio, being a numbered certificate of gratefulness for the donation received for the edition of the work Sagarmatha (1991). The typed text stating in part `The presentation edition of Sagarmatha come to you with my special appreciation. It is only with donations such as yours that the Himalayan Trust can continue its environmental work in the Everest region in Nepal. I consider our various projects with the Sherpa people of vital importance, and I am happy that you share in my support of them..´ Signed by "Sir Edmund Hillary, Himalayan Trust, Kathmandu, Nepal". Printed at the base "The paper is hand-made in Nepal from the bark of the daphne shrub..". The document has been cleanly affixed to a larger card. G £150-200
HUGO VICTOR: (1802-1885) French Poet and Novelist. A.L.S., `Hugo´, two pages, 8vo, Wednesday 9th December [c.1828], to the chief editor of the Journal des Salons, in French. Hugo forwards an amendment to his article of yesterday and kindly requests his correspondent to publish this correction, further stating in part `..I was ill and confined at home as per doctor instructions since the awful misfortune which struck us all. You, being one of your closer friendship, and me with one of my strongest sympathy..´ Hugo further on sates `I hope I will go in the next few days to a rehearsal of Hernani, to meet you and share our affliction.´ With blank address leaf. Area of paper loss to the blank leaf as a result of the opening of the letter. Bearing also remnants of a former red wax seal. Folded. Small overall age wear and creasing. G £500-600
EMPRESS MARIA FEODOROVNA: (1759-1828) Empress Consort of Russia, the second wife of Tsar Paul I and mother of Tsar Alexander I and Tsar Nicholas I. L.S., La bone Soeur Marie, one page, 4to, Saint Petersburg, 3rd March 1815, to His Sicilian Majesty, in French. The Empress congratulates His Majesty for the Royal family new-born stating `My Brother, I hasten to express to Your Majesty my sincere interest learning by your letter dated 19th December about the Royal Princess and heiress happy childbirth..´ and further continues `…I share with you the joy of such an event which brings joy to Your August Family and I beg you to believe in my congratulations for the birth of Your Little Daughter and my best wishes, happiness and prosperity to the Princess new-born…´ With blank integral leaf. Accompanied by the original envelope bearing a red wax seal. VG £200-300 Ferdinand I (1751-1825) King of the Two Sicilies 1816-25, after his restoration following victory in the Napoleonic Wars. Before that he had been, since 1759 Ferdinand III of the Kingdom of Sicily. Maria Isabella of Spain (1789-1848) Infanta of Spain and Queen Consort of the Two Sicilies 1825-30 as spouse of Francis I of the Two Sicilies. Princess Maria Antonia of the Two Sicilies (1814-1898) Born 19th December 1814.
EMPRESS ALEXANDRA FEODOROVNA: (1872-1918) Alix of Hesse. Empress Consort of Russia 1894-1917, wife of Tsar Nicholas II. The last Tsarina of Russia, known for her notorious friendship with the Russian mystic Rasputin. A.L.S., with her initial A, four pages, 12mo, n.p., Saturday, n.d., in French. The Empress states in part `A real bad luck prevented me from responding to you until now…´ further saying `..share our little dinner and I would have the pleasure to introduce you to my dear nephew.. the goodness of his lovely face..´ Few extremelly small ink holes. One to the signature. G £500-800
* Coxwell (Henry, 1819-1900). My Life and Balloon Experiences, 2 volumes (first & second series), second and first edition, 1889, Woodburytype portrait frontispiece to first volume, 14 wood-engraved plates including frontispiece to second volume, both with heavy spotting to early leaves, ownership signature of William Collier, Oxford, to half-title and frontispiece recto, original pictorial cloth gilt, rubbed and slightly soiled, 8vo, together with two autograph letters signed from Henry Coxwell to William Collier, Tottenham, [London], 2nd September 1879 & Seaford, Sussex, 22nd October 1879, the first letter outlining the various costs of potential balloon trips depending on the balloon size and number of passengers, and suggesting alternative trips, '... what I was thinking of was a Continental voyage across the Channel as I told you in my last letter - I should only be [?] to share the honour with one, and for such a trip that one would have of course to pay truly handsomely...', a little spotting, 4 pp., 8vo, the second letter a follow-up suggesting they might meet when he is back in Tottenham as he is currently in Sussex, 'where I have a sort of balloon factory, and keep my balloons at present', heavy spotting, 3 pp., both 8vo (Qty: 4)Provenance: From the ballooning collection of Wilf Woollett. Autograph letters signed by the English balloonist Henry Coxwell are uncommon.
Corgi, A group of farm and agricultural vehicles:, No 50 Massey Ferguson 65 Tractor, No 112 Rice's Beaufort Double Horse Box, No 71 Wheel Controlled Tandem Disc Harrow, No 51 Massey Ferguson 30cwt Trailer, No 101 Platform Trailer, No 61 Four Furrow Plough with plated share and No 100 Dropside Trailer, (7).
A FINE DIAMOND BROOCH, BY CHAUMET, CIRCA 1955Of stylised openwork design, the principal round brilliant-cut diamond weighing approximately 1.40cts within a cluster of marquise-shaped diamonds, to a triple spray of brilliant and tapered baguette-cut diamonds, mounted in platinum, remaining diamonds approximately 8.00cts, signed Chaumet, within Chaumet fitted case, length 3.8cmChaumet was founded in 1780 by Marie-Etienne Nitot, with an establishment at the heart of place Vendôme. His creativity and quality of workmanship, led him to become one of the most sought-after jewellers in Europe and thus establish a loyal and prestigious clientele. Since its inception Chaumet has preserved and continued the Parisian tradition of expertly crafted fine jewellery.The history of Chaumet has been entwined with the History of France, with Nitot and his son, Francois Regnault Nitot becoming the official jeweller to Napoleon during the Consulate and the Empire, creating tiaras, official court jewels and fashion accessories. Napoleon’s marriage to Joséphine, then to Marie-Louise of Habsburg-Lorraine, Queen Marie-Antoinette’s great-niece, resulted in some impressive commissions for Chaumet. Following the fall of the Empire, Nitot’s successors Jean-Baptiste Fossin and his son, Jules, dedicated themselves to romantic jewellery inspired by the decorative arts of the Italian Renaissance and of the French 17th-century.In 1848, Jules Fossin set up a London branch in partnership with J.V., Morel, assisted by his son Prosper. On his return to Paris in 1954, Prosper Morel joined Jules Fossin whom he succeeded in 1868. Prosper Morel’s daughter married Joseph Chaumet in 1875. With exceptional creativity and inspired by the re-enchantment of nature, Joseph Chaumet came to be recognised as an undisputed master of the Belle Époque. In 1889, Chaumet took over the company and gave his name to the house.In 2001, the LVMH Group acquired the house and entrusted the reigns to Thierry Fritsch, an art lover who revived the business, all while preserving its original spirit. Pascal Bourdariat was made the 12th head of the workshop, and as tradition dictates, a special ceremony was held for the handover to initiate the new bearer of the tradition. The house’s skill is traditionally passed down from one head of the workshop to another, without interruption, reflecting the creativity and excellence of each era.In the 1920s Chaumet’s jewellery styles became more geometric in line, following art deco style, characterised by strong contrasts in colours and materials, the use of semi-precious stones, black and white, as well as exotic inspirations. The 1930s saw Chaumet becoming more feminine, continuing its style while exploring a certain modernity that echoed fine Parisian taste, ever in search of novelty and the avant-garde. In 1970, gold jewellery, sometimes set with hardstone, bronze or mother-of-pearl, was on offer in a new boutique concept.Chaumet’s legacy of bucolic beauty is a deep well of inspiration that bridges past and present designs. Today, the bees share Chaumet’s garden-inspired Jardin’s Collection with the spider, weaving its perilous web, playing their game of amorous hide-and-seek. The ‘Hortensia’ collections invite us into a delicate garden filled with vibrant colour, the ‘Bee my love’ collection, including the diamond bee and the honeycomb motif, celebrate an imperial pledge of love and the ‘Attrape Moi’ collection once again highlights the bee. The house’s international development continues with a network of stores across Europe, the Middle East, Japan and Asia. Chaumet’s headquarters at 12 Place Vendome still house the studio, workshop and boutique - including a “Tiara Hall” and a large 18th century lounge that has been classified as a national monument.For more than 230 years Chaumet’s excellence in high Jewellery has been passed down through generations of jewellers. Diamonds and precious stones, carefully selected for their exceptional clarity and brilliance, are sculpted into round, cushion, oval, emerald or the house’s signature pear-shaped cut, and then the jewellers, stone setters, polishers and engravers give life to the jewels, exhibited in magnificent pieces of jewellery. With inspiration drawn from Art Nouveau, nature and travels, Chaumet ceaselessly reinvents its aesthetic codes and creates jewels that are truly remarkable. The elegant diamond brooch embodies a naturalistic theme, with the large round brilliant diamond surrounded by smaller brilliant marquise shaped diamonds depicting a flower, all set to the side of an artistic design. This is a truly magnificent piece to be cherished, increasing the glamour stakes of any outfit.
Original vintage educational educational poster for children featuring a collage style illustrative panel by the American artist Bess Bruce (1876-1966) depicting a group of Eskimo hunting a walrus while two other Eskimo are approaching in their canoes. Published by the Harter Publishing. Good condition, folded as issued, pinholes and minor tears in corners. County: USA, year of printing:1930s, designer: Bess Bruce, size (cm): 30.5x91.5 (Horizontal). Bess Bruce Cleaveland (1876-1966) was born in Washington Court House, Ohio. She studied art at the Art Students League & Pratt Institute in New York, graduating in 1901. After teaching art for six years, Cleaveland turned to illustrating books, teacher's magazines, and other commercial art projects. Cleaveland worked in ink and watercolor. Children and animals were her favorite subjects. In addition to drawing most of the cats and dogs in Washington Court House, she visited zoos to study and sketch wild animals. Her backyard garden attracted birds, squirrels and rabbits, all of which she sketched. She illustrated the children's book Windmills and Wooden Shoes by Maude Grant, published in 1920. Eskimo or Eskimos are the indigenous peoples who have traditionally inhabited the northern circumpolar region from eastern Siberia (Russia) to across Alaska (of the United States), Canada, and Greenland. The two main peoples known as "Eskimo" are: (1) the Alaskan Iñupiat peoples, Greenlandic Inuit, and the mass-grouping Inuit peoples of Canada, and (2) the Yupik of eastern Siberia and Alaska. The Yupik comprise speakers of four distinct Yupik languages: one used in the Russian Far East and the others among people of Western Alaska, Southcentral Alaska and along the Gulf of Alaska coast. A third northern group, the Aleut, is closely related to these two. They share a relatively recent common ancestor, and a language group (Eskimo-Aleut). The word Eskimo derives from phrases that Algonquin tribes used for their northern neighbors. The Inuit and Yupik peoples consider the word "Eskimo" to be offensive and generally do not use it to refer to themselves, preferring to refer to themselves as "Inuit". The governments in Canada and Greenland have ceased using it in official documents.
JAMES B. A. 'JIMMY': (1915-2008) British Squadron Leader with the Royal Air Force. A Prisoner of War from 1940-45, James made numerous efforts to escape from various POW and Concentration Camps, most famously from Stalag Luft III in March 1944 as part of the 'Great Escape'. An extremely rare War date A.L.S., Bert, on one side of a partially printed Kriegsgefangenenlager (Prisoner of War Camp) correspondence card, Stalag Luft I, (Barth), 8th July 1940, to his sister Betty James in St. Albans, in pencil. James asks how his sister is and informs her 'We are now starting a garden outside our window, having just purchased a packet of radish seeds! We being a Fleet Air Arm Lieutenant and the officer Air Gunner with whom I share a room', adding that it is raining hard and concluding 'Cheerio old girl, don't work too hard'. Hand addressed by James to the verso and again signed ('B. A. James, Pilot Officer') in the return address panel, also adding his prisoner number ('2263') in his hand. With several official cancellations. A small tear to the centre of the top edge, not affecting the text or signature, and with some light age wear, otherwise about VG The present letter was written just over one month after James had been taken prisoner following his capture after the Wellington bomber he was flying on was shot down over the Netherlands on 5th June 1940. The air gunner to whom James refers to in the present letter was the American-born rear gunner Bill Webster, a fellow crew member on the Wellington bomber that was shot down.
A GEORGE III 1796 PATTERN LIGHT CAVALRY SABRE, in a brass scabbard, throat engraved 8th Armagh, the stirrup hilt with wire wrapped bone grip, the blade etched with regimental motifs. 85.5cm wideThe sword belongs to the 8th Armagh Militia.The 8th Armagh Regiment was set up in 1793 but was not fully engaged in active service until the French Invasion of 1796-98.Following their own revolution, the newly established French Republic carried a sympathy for other nations similarly repressed under Crown Rule and therefore agreed to assist the United Irishmen in their push for independence. However, behind this lay the more calculating desire for an invasion of Britain itself. The French perceived that if they could arrest rule in Ireland, they could use the country to gain access to the British mainland. Protective of Ireland and aware of the greater threat, the 8th Regiment was mobilised to halt the French advance.On 8th September 1798, the sporadic fighting came to a head in Ballinamuck, Co. Longford. With a successful win over the British at Castlebar, General Humbert led the French army through Mayo and towards Dublin. Nearby, in Westmeath and Roscommon, French allies were being defeated and Humbert thus chose to make a stand at Ballinamuck. Humbert and a small force of Irishmen were met in the early morning by the Armagh militia. A cursory attack was made by the French before, seeing that they were greatly outnumbered, Humbert gave the order to surrender. Unfortunately, the Irish did not share this sentiment and the resulting battle gave way to an unconditional slaughter of Irish forces.The Armagh Regiment’s victory at Ballinamuck effectively signalled the end of the 1798 Rebellion, but the militia was kept in service for a further twenty years.
* Australasia. Map of the Torres Strait and Islands, Queensland, 1892, published to accompany the Annual Report of the Government Resident at Thursday Island, dated 4th May 1892, uncoloured lithographic map, inset map of Thursday and Prince of Wales Island, old folds, 650 x 525 mm, mounted, framed and glazed, together with, Rapkin (J.), Western Australia Swan River, New South Wales [and] Van Diemen's Island or Tasmania, circa 1850, together three engraved map with contemporary outline colouring, Tasmania with some later watercolour enhancement, each approximately 340 x 250 mm, framed and glazed, with, Virtue (James S., publisher), New Zealand and The Australian Colonies of Great Britain, circa 1890, lithographic map 235 x 310 mm, mounted, framed and glazed, plus, Australian Mining company Share certificates, late 19th and early 20th century, three share certificates for gold and silver mining companies, each approximately 215 x 315 mm, mounted in a three aperture mount, framed and glazed, and a map of North West Africa by Rigobert Bonne (Qty: 7)
The unique and outstanding post-war M.B.E., Second World War North-West Europe operations immediate M.M., 'Japan B.E.M.' group of twelve awarded to Major (Q.M.) A. P. 'Bobby' Joyce, Welsh GuardsIn a remarkable career - spanning active service in Normandy in 1944 to Northern Ireland in the 1970s, the whole with the Welsh Guards - he first came to prominence for his M.M.-winning deeds in March 1945, deeds that reached a wider audience on the front and back pages of The Victor some 30 years later: the comic's colourful depiction of his gallant actions included a scene of him lobbing a grenade into a Spandau position - "Share that with your mates, Fritz"Whether he shared such sentiments with Rudolph Hess remains unknown, but he commanded the former Nazi leader's 'Old Guard' at Spandau Prison in the early 50s, a far cry from his subsequent duties in South Arabia and Northern IrelandThe Most Excellent Order of the British Empire (M.B.E.), Military Division, 2nd type breast badge, silver; Military Medal, G.VI.R. (4547748 L. Sjt. A. Joyce, W. Gds.); British Empire Medal (Military), G.VI.R. (4547748 A./W.O. Cl. 2 Austin Joyce, M.M., W.G.), officially impressed naming on pre-prepared ground; 1939-45 Star; Pacific Star; France and Germany Star; Defence and War Medals 1939-45; General Service 1918-62, 1 clasp, Palestine 1945-48 (4547748 W.O. Cl. 2 A. Joyce, M.M., W.G.); General Service 1962-2007, 2 clasps, South Arabia, Northern Ireland (Capt. A. P. Joyce, M.M., B.E.M., W.G.); U.N. Korea 1950-54; Coronation 1953, mounted court-style as worn, contact marks, very fine or better (12). Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.
It is with deepest regret that I have to tell of bad news respecting Corporal, or rather, Sergeant, Marlowe.He was in the attack on September 1st and was hit while taking his gun into action. He refused to go back, although unable to keep up with his men. He followed them as best he could by himself. His men, of course, had to go on, and the next they knew was when some returned next morning, and found him dead, dear fellow.It is heartrending, but it was a 'noble' ending to a splendid life. Few men would have carried on as he did, after being hit.One hates to think of his passing alone, and yet I know he was not alone, as he had found and loved the Friend who never changes, whose love can never die, and who is with us always.Please accept my heartfelt sympathy, and will you let his parents share this, as I have not got their address … I mentioned the circumstances of his death to the Commanding Officer.'A letter from the Rev. Arthur Buxton, Padre to the 3rd Battalion, Rifle Brigade - addressed to Clarice Anderson, the fiancée of Sergeant Marlowe - refers.A poignant and well-documented Great War campaign group awarded to three awarded to Lance-Sergeant J. H. Marlowe, Rifle Brigade, who was killed in action on the Somme in September 1916A much-loved valet and butler, his last employer - Gertrude Drabble of Brockhurst Hall - wrote to his mother: 'A better servant we never had - the children were so upset when they heard the news. He was so willing, nothing a trouble to him and we hoped he would return to us when the war ended … '1914-15 Star (Z-1461 Pte. J. H. Marlowe, Rif. Brig.); British War and Victory Medals (Z-1461 Cpl. J. H. Marlowe, Rif. Brig.), in their card boxes of issue with related Record Office, Winchester forwarding letters, together with the recipient's Memorial Plaque 1914-18 (John Harris Marlowe) and his Rifle Brigade cap badge, extremely fine (5). Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.
λDenis Mitchell (British 1912-1993) St. Keverne Bronze Inscribed with initials, titled, dated 1971 and numbered 6/7 on the underside of base Height: 37.5cm (14 3/4in.) Provenance: Acquired directly from the artist by the present owner Denis Mitchell grew up in South Wales but moved to Cornwall in 1930 at the age of 18 where he was to remain for the rest of his life. He settled first in St. Ives where the heady artistic energy proved an enduring inspiration. Initially drawn to painting, he worked at a series of jobs whilst always pursuing his artistic ambitions. During the war years, Mitchell worked at the Geever tin mine near Land’s End and this experience of working with his hands and manipulating the stone was to change the course of his life. When the potter Bernard Leach suggested his name to Barbara Hepworth as a potential assistant, he was not only to become a trusted companion to one of the greatest sculptors of the twentieth century, but he would also develop his own successful career. Mitchell worked with Hepworth for ten years between 1949 and 1959 and under her mentorship, he grew in confidence. His first sculptures were in wood with his first bronze in 1959.Due to the high cost of working in bronze, Mitchell could only afford to use a sandcasting foundry in St. Just. The process allowed for only very simple shapes to be cast and resulted in an economy of form which, in hindsight, honed Mitchell’s skills and set him on a path to purity of form for which his work is known. Whatever the medium, Mitchell’s sculptures tend to incorporate just one principle form, stretching and curving upwards into the space. They are an expertly judged balance between space and form, between line and mass and their sleek polished exteriors belie their material weight.From his base in St. Ives, Mitchell was always at the centre of the Cornish abstract movement surrounded by artists that have since become icons of 20th century British Art - Barbara Hepworth, Ben Nicholson, Terry Frost, Wilhelmina Barns-Graham, Bryan Wynter, Peter Lanyon and Patrick Heron to name but a few. As Mitchell’s success grew, he found his St. Ives studio too small and opted instead to share a studio with another friend and artist, John Wells, across the Penwith peninsula in Newlyn. In 1969, he moved his family and settled permanently in the town and it was here that much of his most successful work was produced. Mitchell continued to work and exhibit right up until his death at the age of 80 in 1993. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
λDenis Mitchell (British 1912-1993) Zagcone Portland stone Height: 50cm.Executed in 1974, this work is unique and one of the only few works produced in Portland stone. Provenance: Acquired directly from the artist by the present owner in May 1975 Exhibited: London, Marjorie Parr gallery, October 1974 St. Ives, Tate Gallery, Ascending Forms (with Wilhelmina Barns-Graham), January-May 2005 St. Ives, Tate Gallery, Gabo - Hepworth - Mitchell, January-May 2010 Denis Mitchell grew up in South Wales but moved to Cornwall in 1930 at the age of 18 where he was to remain for the rest of his life. He settled first in St. Ives where the heady artistic energy proved an enduring inspiration. Initially drawn to painting, he worked at a series of jobs whilst always pursuing his artistic ambitions. During the war years, Mitchell worked at the Geever tin mine near Land’s End and this experience of working with his hands and manipulating the stone was to change the course of his life. When the potter Bernard Leach suggested his name to Barbara Hepworth as a potential assistant, he was not only to become a trusted companion to one of the greatest sculptors of the twentieth century, but he would also develop his own successful career. Mitchell worked with Hepworth for ten years between 1949 and 1959 and under her mentorship, he grew in confidence. His first sculptures were in wood with his first bronze in 1959. Due to the high cost of working in bronze, Mitchell could only afford to use a sand-casting foundry in St. Just. The process allowed for only very simple shapes to be cast and resulted in an economy of form which, in hindsight, honed Mitchell’s skills and set him on a path to purity of form for which his work is known. Whatever the medium, Mitchell’s sculptures tend to incorporate just one principle form, stretching and curving upwards into the space. They are an expertly judged balance between space and form, between line and mass and their sleek polished exteriors belie their material weight. From his base in St. Ives, Mitchell was always at the centre of the Cornish abstract movement surrounded by artists that have since become icons of 20th century British Art - Barbara Hepworth, Ben Nicholson, Terry Frost, Wilhelmina Barns-Graham, Bryan Wynter, Peter Lanyon and Patrick Heron to name but a few. As Mitchell’s success grew, he found his St. Ives studio too small and opted instead to share a studio with another friend and artist, John Wells, across the Penwith peninsula in Newlyn. In 1969, he moved his family and settled permanently in the town and it was here that much of his most successful work was produced. Mitchell continued to work and exhibit right up until his death at the age of 80 in 1993. Zagcone dates from 1974 and is one of a few unique works produced in Portland stone. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
Antarctic Explorer.- Wilson (Edward Adrian, Antarctic explorer and naturalist, 1872-1912) Autograph Letter signed "Edward A Wilson" and "EAW" to Mr Haskoll, 4pp., 8vo, 19 Holland Street, Kensington, [London], 15th March 1910, thanking Haskoll and his pupils for their encouragement in his forthcoming participation in Scott's Antarctic expedition, regretting that he cannot come to the school and speak, "the business of a preparation for years of isolation out of reach of telephones & general stores", and promising to paint a picture of a Penguin, "I will send you something Antarctic instead of necessarily a picture of a dog... . Wouldn't a Penguin be more useful educationally than a dog, which I should have to crib from a photo, for we have none to sit for us here? You shall have a picture of the dog on my return - I could almost promise that. Anyway - let me thank you heartily for your hearty support... . And I promise you shall have something to remind the boys of the share they are taking in the quest", and in a postscript pointing out that the promised guinea for his "instrument fund" was not enclosed, folds, slightly foxed.⁂ The Terra Nova expedition set sail in June 1910, and in the following year Wilson led the sortie to a rookery of Emperor Penguins so vividly described by Apsley Cherry Garrard in The Worst Journey in the World. In November Wilson was one of the five who reached the South Pole only to discover that Amundsen had already been there. None of the five returned and the last three to survive, Scott, Bowers and Wilson perished together in their tent on the Great Ice Barrier on or about 29th March 1912.
Catlin (George, 1796-1872) Wah-ro-née-sah, The Surrounder, Chief of the Tribe, watercolour over graphite, heightened with white, inscribed 'Chief of the Ottoes' in the lower section and numbered '117' in the upper right corner, on cream wove paper without a watermark, sheet 245 x 162 mm. (9 5/8 x 6 3/8 in), unframed, [circa 1832]Provenance:Acquired directly from the artist, circa 1840s or slightly later;Captain William Henry Shippard;Then by descent to the present ownersLiterature:cf. Catlin, George, 'A Descriptive Catalogue of Catlin's Indian Gallery', 1840, no. 117⁂ An early and previously unrecorded study of the 'Chief of the Ottoes'. Catlin produced a fully worked oil painting of the sitter in 1832, probably from when he was at Fort Leavenworth (modern day Kansas), which is now held in the Smithsonian American Art Museum (see object no. 1985.66.117). "[I] painted thus many of my pictures in water colours during my 8 years travels, and most, though not all of them I enlarged onto canvass, wishing my collection to be all in oil painting" [1]Another watercolour of Wah-ro-née-sah is held in the Gilcrease Museum collection (no. 0226.1542 (117)), but dates from the early 1840s and is much smaller than the present "cabinet picture"; this variant was most likely executed after the work currently offered, and intended to be used as an illustration for the second edition of James Cowles Prichard's 'Natural History of Man'. Other examples of Catlin's watercolours held in the Gilcrease collection are however more suitable comparisons to the present work, particularly the earlier portraits associated with Catlin's visit to the tribes living around Cantonment Leavenworth in Kansas in 1830 (for example see museum nos. 0226.1570 (279) and 0226.1559 (243)). These portraits all share the same careful modelling of the heads with wash laid over graphite underdrawing, alongside a much looser sketchy execution of the torsos. Joan Carpenter Troccoli has suggested that Catlin may have travelled with a sketchbook in which he made preliminary watercolour studies of his subjects, which he later mounted and finished'. [2] Catlin described Wah-ro-née-sah as "quite an old man; his shirt made of the skin of a grizzly bear, with the claws on"; he lived in spacious timber lodges perched on a ridge overlooking the Platte River, and his bear claw necklace suggests he was a member of the Bear Clan, which shared leadership of the Otoes with the Buffalo Clan. [3][1] Truettner, William H., The Natural Man Observed, 1979, p. 131[2] Troccoli, Joan Carpenter, First Artist of the West, George Catlin Paintings and Watercolours from the collection of the Gilcrease Museum, 1993, p. 20[3] Gurney and Heyman (Ed.), George Catlin and His Indian Gallery, Smithsonian American Art Museum, exhb. cat., 2002, p. 126
Edwin Hayes RHA RI ROI (1819-1904)Smacks Running for ScarboroughOil on canvas, 105 x 140cm (41¼ x 55'')SignedExhibited (probably): 1871 London, Royal Academy, as 'Freshening Gale, Scarboro: Fishing Boats Returning to Harbour'.Edwin Hayes was born in Bristol but spent much of his childhood living in Dublin. Growing up next to the city’s busy ports, a love of the sea was firmly imbedded in the artist and he sought to experience it at its rawest. An avid sailor in his youth, Hayes used his knowledge to gain employment as a steward’s boy on a ship bound for America and the glory of the Atlantic was laid bare before him.Arguably, this hands-on approach is what enabled Edwin Hayes to create superlative works, with each painting being imbued with an atmosphere that could only be evoked from experience. In ‘Smacks Running for Scarborough’, the North Sea has been transformed into an aching belly of water, with each cavernous dip threatening to swallow those within it. As a thriving fishing town in the 19th and 20th centuries, Scarborough’s inhabitants would not have been strangers to the perils of the sea and, here, Hayes manages to capture the everyday struggles of the industry. Through the use of vigorous brushstrokes on the water, Hayes injects a tangible energy into his picture, the rolling waves swaying the viewer’s vision so that we can feel the boat lurch beneath us. The sails bellow outwards in their fight with the wind, mimicking the bent bodies of the fishermen as they bow their heads against the salty sting of the spray. Drawn to this activity surrounding the central boat, we are urged to follow the gaze of the helmsman as he stares out to sea and share in his anguish at the impending storm. Indeed, it is as if the menacing darkness has brought with it such trepidation that even the sails themselves are trying to flee in the opposite direction. In contrast to this, the clouds above the shore have parted to unveil the land as a beacon of safety, an immovable mass against the uncertainty of the water. Although the fishermen’s livelihoods depend on the sea, Hayes has painted her as a volatile and unforgiving provider, ready to render her servants helpless with only a moment’s notice. It is, ultimately, to the land that they must go, banished by her threat.For artists, such as Hayes, who endured a genuine love affair with the sea, it is this fickleness that yielded an endless source of inspiration and subject matter. Despite a prolific career, each of Hayes’ seascapes carries its own unique beauty, the shifting colours and weather patterns flitting through his canvases as clouds across the sky.Helena Carlyle, February 2019
Various collectables, inc. postage stamps loose and in an album, a 19th century leather photograph album, autograph album, Norah Wellings black velvet doll, die-cast model Coronation coach and horses, Wellington boot door knocker, George V commemorative tin lid and framed share certificate for Genoa District Water Works 1913 (8)
A collection of approximately twenty bond and share certificates to include 43 coupons from the Chinese Government 5% Reorganisation Gold Loan of 1913, numerous Russian Government examples to include 4.5% Peasants Land Bank, 4.5% Compagne Du Chenin and 3.5% Imperial Land Mortgage examples as well as Confederate States of America Bond examples to include a $1000 6% example from 23rd March 1865. Share certificates include examples from The South Eastern Gold Mining Co and Waterloo Cedar Falls & Northern Railroad.
Royal Worcester Blush Ivory Helmet Shaped Jug 'Spring Flowers' decoration with painted gold handles. Date 1897, Reg No. 29115, Share No. 1094. Height 6.5" - 16.25 cm. Plus a Royal China Works Worcester twin-handled blush ivory Butterfly small vase - reticulated. circa 1870. Height 5" - 12 cm. Both pieces are in excellent condition. Please see accompanying photographs.
2 GERMAN PASSPORTS ONE WITH VISAS APRIL AND JULY 1939. BOTH WITH J BEFORE NUMBER WITH NATIONAL IDENTITY COVER AND SOLDIERS SERVICE BOOK. ALSO A 1915 PASSPORT OF WELL TRAVELLED GENTLEMEN GERMANY IDENTITY CARDS, BIRTH CERTIFICATES MEDALS. ALSO 3 SHARE CERTIFICATE RAILWAY CO HACKNEY EMPIRE PALACE LTD 20 MILLION MARKS
Expect the Unexpected: The following two historically important lots originally formed part of the infamous Berlin Wall. The Berlin Wall was a guarded concrete barrier that physically and ideologically divided Berlin from 1961 to 1989. Constructed by the German Democratic Republic (GDR, East Germany), starting on 13 August 1961, the Wall cut off by land West Berlin from virtually all of surrounding East Germany and East Berlin until government officials opened it in November 1989. Its demolition officially began on 13 June 1990 and finished in 1992. More than 5,000 escape attempts were made trying to flee life behind the Iron Curtain. Then on November 9, 1989, the first sledgehammers pounded into the concrete to |tear down this wall|. It took 18 months to bulldoze the 140 km (87 mile) structure. Most of the materials were crushed and recycled into roads. However, some sections were sold, auctioned off or donated as historically important objet d’arts. A number of large scale installations from the Berlin wall may be seen as far away as the World Trade Centre in Montreal, donated to the city in 1992, to Seoul, South Korea, where a three section portion of the wall stands in Berlin Square. It was brought to Seoul in 2005 as a gift from the City of Berlin to inspire South Koreans to hope for a similar reunification with North Korea in the future. Closer to home a single section stands outside the Imperial War Museum, London. For a fuller description of 16 other historically important large scale sections of the Berlin Wall around the world and further photographs please see our website. An historically important reinforced concrete portion of the Berlin Wall comprising four sections, with stencilled graffiti by Ben Wagin PARLAMENT DER BAUME DENK-STATTE SICH ZU VEREINEN HEISST TEILEN LERNEN (Parliament of Trees, To Unite Means to Learn to Share) Richard Weizsacker 360cm high by 480cm wide overall by 238cm deep; each piece 360cm high by 120cm wide by 238cm deep German artist and environmental activist Ben Wagin painted his powerful messages over these sections of the Wall in 1990 after initial visitors had chipped off the original graffiti - creating a uniquely textured surface. The effect is as dramatic as it is powerful. These sections were part of the memorial to the hundreds of people killed at the Wall trying to escape to freedom, called the Parliament of Trees, in the middle of Berlin opposite the Reichstag. These parts of the original memorial had to be removed to make room for additional constructions. The wall is covered with a quote by the German President at the time, Richard von Weizsäcker, who said: |To unite means to learn to share.| The reverse shows graffiti ‘Berlin November 1989’
A bronze ship's belllate 19th/early 20th century, inscribed 'Cutty Sark',28cm highApart from the celebrated tea clipper of this name, there are a number of other prominent vessels which share it, including the fast steam yacht owned by Bendor, Duke of Westminster, in the interwar years, which was based on the hull design of a WWI destroyer and, when finished as a yacht, was capable of speeds in excess of 30 knots.
A collection of eight various 19th Century indentures together with a framed and glazed "The International Nickel Company" share certificate for 100 shares number 15783 and a framed and glazed certificate appointing" Garrard and Company Ltd into the place and quality of Goldsmiths and Crown Jewellers to Her Magesty..." date 2nd 1967
Pinter (Harold, 1930-2008). The Caretaker, A Play in Three Acts, 1st edition, Encore, [1960], signed presentation inscription from the author in red ballpoint pen to title-page, 'To Alan [Bates] from Harold, 28.5.60', original stapled wrappers, a few minor bumps and marks, lower wrapper slightly dust-soiled, slim 8vo, together with a share certificate giving Alan Bates one share in Caretaker Films Ltd., 30 November 1962, pre-printed form completed in manuscript and signed by the directors Birkett and Harold Pinter lower right, embossed stamp, fold creases, 24.5 x 25.5cm The Caretaker was Pinter's first significant commercial success. It premiered at the Arts Theatre Club in London's West End on 27 April 1960 and transferred to the Duchess Theatre the following month, where it ran for 444 performances before moving to Broadway. Alan Bates starred in the production as Mick, alongside Peter Woodthorpe and Donald Pleasence. (2)
1948 Taylor's Missing label 1x75cl BY NEAL MARTIN | MAY 7, 2018 There is Vintage Port and then there is the 1948 Taylor Fladgate. It remains a monumental Port that towers over the 20th century. Nineteen forty-eight is perhaps one of the lesser-known declarations compared to 1945 and 1963, although nine houses declared that year. Michael Broadbent described that as an “error of judgment” given the quality of the vintage in retrospect. I have been fortunate to taste the 1948 Taylors on several occasions, encountering one or two perfect bottles along the way. “Christopher & Co” bottled my most recent encounter in 1950, British merchants bottling a lion’s share of production in those days. With the recent declaration of the 2016 vintage, the 1948 serves as a timely reminder of the heights Vintage Port achieves with age. Deep in color, it appears more twenty-years old than seventy. The bouquet is exactly like the previous bottle in 2015, soaring from the nose with opulent raspberry, blackberry, clove, sage, vanilla and Medjool dates, perhaps this bottle more floral than others. The aromatics just feel exuberant and vivacious. The palate is beautifully balanced to the point where you barely notice the power locked inside this multi-faceted fortified. Red and black fruit, orange rind, cracked black pepper and smoke, later fig and a hint of cassis. The purity makes this so ethereal and the finish has been abraded by the passing decades to create a sense of harmony that only time and not winemaking can create. No doubt that well-stored bottles will reach the century mark and still be going strong. Broadbent suggested that the 1948 stands as one of the greatest Vintage Ports ever made. Of that, I am in no doubt. 100/Drink 2018-2048.
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![HUGO VICTOR: (1802-1885) French Poet and Novelist. A.L.S., `Hugo´, two pages, 8vo, Wednesday 9th December [c.1828], to the ch](https://cdn.globalauctionplatform.com/02e68003-75e4-48bb-bfe9-aa37014106f0/acb61d82-f0cc-442c-b89d-aa37014b994f/468x382.jpg)
![Pinter (Harold, 1930-2008). The Caretaker, A Play in Three Acts, 1st edition, Encore, [1960], signed presentation inscriptio](https://cdn.globalauctionplatform.com/a3ebd08e-0d61-45d7-b5d0-a9f500c017ad/837d530b-3459-4590-86b4-a9fc00e1aa90/468x382.jpg)
