"Saint Benedict Receiving Gifts from the Peasants" Italian school, 18th centuryOil on canvas227x132 cm Note:Note:The painting we are now offering for auction is based on a lost fresco by Guido Reni (1575-1642) for the Church of San Michele in Bosco in Bologna.When speaking of Guido Reni life in his work “Felsina Pittrice: vite de' pittori bolognesi”, the art historian Carlo Cesare Malvasia (1616–1693) describes this fresco with the following words:“In this painting Guido represented Saint Benedict at the top of a mountain, stepping out of a grotto with a certain affability that does non diminish his gravitas, receiving the various gifts brought to him by the rustic inhabitants of different genders, ages, and complexions, and diverse in proportion, attitudes, and costumes. A graceful young girl, girdled with the finest veils and carrying a basket of eggs, is in the style of Raphael; in the style of Correggio, an older girl, her companion, with a smiling face rests a hand upon her shoulder. Both look out toward the viewers with so much liveliness and spirit they seem to breathe. In the style of Titian there is a little sheperd playing a flute with hands of a living and tender flesh; another sheperd, of not inferior beauty, listens intently to his music. In the style of Annibale is a woman with a nursing baby at her breast, and another older child whom she prods with her right hand into offering a basket of apples on which he fixes greedy eyes. Passing over many other figures, I shall mention a full-length nude in the foreground who pulls forcefully at a donkey's reins, and who is so vigorously and furiously drawn that it would seem that Michelangelo himself had traced his contours, leaving to the school of Lombardy the task of covering his body with living flesh in a more tender manner”.Currently on that place, we find a copy of this representation made by the painter Giovanni Maria Viani (1636-1700).Giacomo Maria Giovannini (1667–1717), engraved it and we find examples in the most diverse private and public collections, such as the collection of the Philadelphia Museum of Art with inventory number 1985-52-22095, and that of Victoria and Albert Museum with inventory number DYCE.1528.
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TWO BOXES AND LOOSE SUNDRY ITEMS ETC, to include a decorative metal model of a motorbike and sidecar, Buddy L Harley Davidson, incomplete Grain toy sewing machine, German pressed metal toy sewing machine, decorative spirit flasks, miniature enamel tea pots, vintage glass liqueur set, set of six vintage liqueur glasses, artist drawing models etc
TWO BUNDLES OF ASSORTED WALKING STICKS, CANES AND A CLUB, MOSTLY 20TH CENTURY, includes one with a silver mount and a horse measuring stick, unbranded, the aluminium measure with empty spirit level to the pull out arm (16) (Condition Report: mostly in well used condition, one damage and with basic repairs, one with missing plated mount)
![1 bottle The Aurora Spirit Bivros Cask Aquavit, Aquavit, [No VAT]](https://cdn.globalauctionplatform.com/50e6a5ae-a200-444a-b41b-afb400ad7237/f9572bc2-c43a-48ce-8015-afbb00e7cfd8/468x382.jpg)
Hitzman & Co of Cambridge - Early 19th century mahogany mercury wheel barometer c1830,With a broken pediment and finial, rounded base, and lined stringing to the edge, cast brass bezel with an 8-inch circular silvered register calibrated in inches and signed Hitzman & Co, Cambridge, with brass setting pointer to the glass, beneath an arched 12� Fahrenheit scale spirit thermometer with a silvered register. Joseph and Henry Heitzman were German barometer makers and clock importers who lived and worked in Trinity Street Cambridge 1820-1900, often found as here spelt Hitzman.Dimensions: Height: 97cm
D Luvate of Preston - early Victorian mahogany mercury wheel barometer c1840, with a swan's neck pediment and cavetto moulded square base, 8-inch silvered register calibrated in inches with a decorative star engraved centre, cast brass bezel and convex glass, with a steel indicating hand and brass recording hand, beneath a bowfronted Fahrenheit scale thermometer and hygrometer, rectangular spirit level signed D LUVATE, PRESTON.Lacking recording hand button.H109Dominic Luvate is recorded as working as a barometer and looking glass maker in Friargate, Preston 1820-45Dimensions: Height: 109cm
Edwardian silver spirit kettle on stand, the teapot of oval part fluted form with wooden finial, part ebonised carry handle and engraved motif to centre, upon a silver stand of oval form upon four curved and stylised pad feet, with removable silver burner, hallmarked Elkington & Co Ltd, Birmingham 1902, approximate gross weight 42.21 ozt (1313.1 grams)Condition Report:General wear commensurate with age and use, including surface scratches and nicks. Body with couple of knocks to fluting. Spout tip pushed downwards and knocked slightly. Lid does not quite close flush to. Each element part marked, hallmarks with some wear but generally clear and legible.
McDowall of Edinburgh - mid-Victorian mahogany mercury wheel barometer, with a gable pediment and cavetto moulded square base, cast brass bezel enclosing a 10-inch silvered register with an engraved symmetrical pattern to the centre and barometric air pressure in inches, boxed mercury thermometer with a silvered Fahrenheit scale flanked by turned wooden pilasters, brass recording hand button, rectangular spirit level signed McDowall, Edinburgh.This barometer once formed part of the collection of Edwin Banfield, a leading authority on barometers and is illustrated in his book "BAROMETERS, Wheel or banjo", page 100. McDowall is recorded as working in Edinburgh 1835-55Dimensions: Height: 112cm Condition Report:Mercury tube in good condition but empty.
Negretti & Zambra of London - c1860 Victorian carved oak cistern tube storm barometer, with arch top glazed front ceramic scale inscribed �NEGRETTI & ZAMBRA OPTICIANS TO HER MAJESTY�LONDON� to panel above, double vernier canted scales inscribed with barometric air pressure in inches and weather predictions, rectangular trunk with vernier setting discs above a boxed Fahrenheit and Centigrade scale spirit thermometer, the base with carved cistern cover. Dimensions: Height: 100cm
A collection of LP's various dates and genres to include The Beatles - Beatles For Sale, Rubber Soul, A Collection of Beatles Oldies and A Hard Day's Night (UAS 6366), Jimi Hendrix - Free Spirit, Maui Hawaii, Live, In The West, Midnight Lightening, The Essential and Live In Stockholm, The Who/Hendrix - Backtrack, The Who - Quadrophenia and Who's Next, King Crimson - In The Court Of The Crimson King, Tyranosaurus Rex - Prophets, Seers & Sages The Angels Of The Ages, Hawkwind - Doremi Fasol Latido, Uriah Heep - Look At Yourself, Free - Fire And Water, Neil Young - Harvest, Yes - Going For The One and Frank Zappa - Apostrophe (') (43)The Essential Jimi Hendrix missing one inner.T-Rex Prophets no inners.Sleeves overall with the usual wear to corners and spines etc.Vinyl generally appears good overall, but not every record has been checked.
Hornby O Gauge mixed group of Goods and Passenger post-war Rolling Stock consisting of No.1 and 50 Shell Tanker, No.0 Pullman Coaches, LMS No.1 1st/3rd and Brake End Coaches x 3, LMS Flat Truck with cable drum, Flat Truck with container, Motor Shell Spirit Tanker, LMS Meat Van, Hopper Wagon and a number of others. Condition varies throughout from Fair to Good. (33)
Hornby (China) Train Sets comprising R1109 "The Western Spirit" Train Set containing 0-4-0 GWR green Tank Loco No.105, brown and cream 4-wheel Passenger Coach, 3 x Goods Wagons (small wagon with container load, GWR vent van and private owner 7-plank open), along with oval of track, point, controller, wall mounted transformer, Lineside accessories including telegraph pole and huts etc and trakmat, loco and rolling stock are still in tissue and therefore assumed Mint with track still manufacturer sealed in Excellent picture box, R1088 "The Industrial" Train set containing 0-4-0 maroon Tank Loco No.1 "Lion Works Collieries", LMS maroon 4-wheel Passenger Coach along with 3 x Goods Wagons (Well Wagon with packing case load, brown Open and brown Vent Van), along with oval of track with point, controller, wall mounted transformer plus accessories including telegraph poles, Lineside huts etc and trakmat, loco and rolling stock are still tissue wrapped and therefore assumed Mint with track still manufacture sealed in Excellent to Excellent Plus pictured outer box. (2)
Spirits - Marquis de Puysegur Selection Privee Tres Grand Armagnac, 70cl., 40d., red velvet box, boxed; Wallace Single Malt Scotch Whisky Liqueur, 35cl., 35% Vol., boxed with green leather flask with four measures, boxed; Miniatures including Gordon & Macphail Glenlivet, Glen Grant, Glenfiddich "19th Hole"; "Match Box" Whisky & Spirit Miniatures.
FRANK AUERBACH (B. 1931)J.Y.M. Seated V 1989 oil on canvas 50.8 by 40.6 cm. 20 by 16 in. This work was executed in 1989. Footnotes:ProvenanceMarlborough Fine Art Ltd., London (39475.6) Marlborough Fine Art Ltd., New York (NOL 31.388) Campbell-Thiebaud Gallery, San Francisco (FA-108) Acquired directly from the above by the previous owner in 1995Thence by descent to the present owner in 2003Exhibited Campbell-Thiebaud Gallery, San Francisco, Frank Auerbach Recent Work, 1995, n.p., illustrated in colourLiterature William Feaver, Frank Auerbach, New York 2009, p. 311, no. 638, illustrated in colourExecuted in 1989 J.Y.M. Seated V is a strikingly fresh and beautiful portrait of one of Frank Auerbach's most celebrated and recognised sitters. Rendered in a majestic and jewel-like palette of green, purple and red pigment, the intensity of the artist's response to sitter and subject is gloriously brought to life through Auerbach's bravura handling of oil paint, for which he is so well known. His subject, Juliet Yardley Mills, referred to by her friends simply as J.Y.M. or Jym, is from a small group of subjects alongside Estella (Stella), Olive West (E.O.W.), his wife Julia, son Jake, and art historian Catherine Lampert among only a handful of others. Of this intimate group, J.Y.M.'s likeness presides over a host of the artist's most iconic paintings. She first posed for him in 1956 when she was a professional model at Sidcup College of Art and continued to do so for over forty years until 1997. Auerbach completed over seventy portraits and studies of J.Y.M., and this present work was executed over twenty years into their friendship. 'She was brought into the world to be a model, she came and sat, and it was not quite like anything else. It wasn't like painting Stella or painting Julia because it was just that... She took poses that were natural to her, and then I sometimes suggested things and one would go on. It became like a central spine of what one was doing' (the artist in: Catherine Lampert, Frank Auerbach Speaking and Painting, London 2015, p. 184). In this present work, out of the forms and brushstrokes emerges a face, a presence. There is an intense substantiality both to the painting and more particularly to the head itself. Auerbach has scraped at the surface of the painting, in a process where he starts again and again, erasing one day's efforts and beginning with another's. Yet the ghost of the previous forms remains in spirit, making J.Y.M. Seated V an accumulation not only of paint, but of paintings. The contrast between the lush, glistening oil of the head and the softer but rich olive background accentuates this, while also revealing a key part of Auerbach's artistic process that is more recognisable in his portraits painted in the late 80s. The background passages of this work have been applied with a more fluid oil paint, drying relatively matte; the artist employs a sgraffito technique, possibly with the upper end of the brush, scraping wet paint to form features of the face, with other areas partly scraped back more broadly. These swathes of impasto and flurried mark-making result in his subject being brought more powerfully into the foreground, engaging the viewer more intently with her presence. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art and has since remained in London. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially he was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive first one-man shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the 'School of London', a group that included Lucian Freud and Francis Bacon. The latter, in particular, shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human sensation. However, despite his affiliation with the School of London artists, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux-Arts Gallery until 1963. From 1965 he first exhibited at the Marlborough Gallery, and today his works have become some of the most internationally collected of a living artist.Auerbach's distortions in his portraits have been likened to Francis Bacon's figures, however perhaps unlike Bacon, a certain warmth emanates from an Auerbach portrait. As seen in J.Y.M. Seated V, his model is perhaps more understood than recognisable, arguably because Auerbach only paints those known closely to him. Still, although she may be somewhat incomprehensible, his prolonged engagement with her throughout the course of her sittings brings out its details, indeed the rapid and vivid strokes as seen here, the individuality of essence awaits, something that is more than a representation. J.Y.M. Seated V is the portrayal of an individual life, there is a contemplative personal eminence that captures the sincerity of Auerbach's long-standing relationship with Mills. Of this dialogue between artist and sitter, Mills has said: 'we had a wonderful relationship because I thought the world of him, and he was very fond of me. There was no sort of romance, but we were close. Real friends'. (Juliet Yardley Mills in Norman Rosenthal and Catherine Lampert (Eds.), Frank Auerbach: Paintings and Drawings 1954-2001, London 2001, p. 26).Frank Auerbach is widely recognised as one of the most inventive and influential painters of the post-World War II era. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others.Through brilliant colour and a faultless exhibition of Auerbach's charismatic painterly gesture, J.Y.M. Seated V carries a powerful and emotional charge. The work encapsulates a seminal exposition of Auerbach's thoroughly inimitable and compelling portraiture, and is excitingly fresh to the market having remained in the same Private Collection since the early 1990s.This lot is subject to the following lot symbols: * AR ○* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful.For further information on this lot please visit Bonhams.com
BOB LAW (1934-2004)Nothing to be Afraid of V 16.7.69 1969 dated 16.7.69; signed, partially titled, dated 1969 and inscribed No. on the overlaplaundry marker on canvas170.3 by 320.7 cm. 67 1/16 by 126 1/4 in. Footnotes:ProvenancePrivate Collection, UK (gift from the artist) Thence by descent to the present ownerAmongst a generation of Minimalist painters who emerged in the 1960s, there are few global representatives of the chiefly American movement that defined the defiant ethos and formal pursuits like the British artist Bob Law. His canvases were a firm rebuff to the paint-laden, intensely 'expressed' abstract works that had been de rigueur for European and American Modernism in the mid-century. Presented here, Nothing to be Afraid of V 16.7.69 is a definitive work of the Minimalist genre, yet it goes further than this, marking one of the most earnest breaks from the painterly canon that blurs the boundaries between material and conceptual artwork.Law was a self-taught and independent spirit amongst British painters. Associated at one time with Ben Nicholson and Peter Lanyon in Cornwall's avant-gardist nerve centre, Law took his cues as much from the searing open colour fields of Barnett Newman and Mark Rothko as his compatriots. He was an artist who was immensely ahead of his time, developing an awareness of painterly problems that demonstrate his ambition and radical concepts that were truly breakthrough. The Nothing to be Afraid of series was one of Law's earliest and most cunning projects, initiated in the early 1960s, prior to his seminal Black paintings that followed. Creating an interior frame that was carefully rendered askew to offset the subtly irregular shape of the stretcher, Law produced a painting that in its outrageous simplicity was constantly on the verge of visual collapse. Drawing the spectators' eye into the centre of the field, containing the 'nothing' that Law makes his subject matter, the artist drives home his controversial conceptual point: is art; is painting; is nothing; something to be afraid of? The titular puzzle that Law poses is just one facet of the present work's complexity and charm. Whilst cool American Minimalism rebelled against its wounded forefathers in the most extreme black and white terms, Law opens up space for wit, for debate, and for development. It is an ambitious vision of art practice, but one that Law is arguably the outright and leading champion for that is captured no better than in this definitive example.A painting that was gifted to a close friend and patron of the artist who supported him until his death, it is comes to market now as one of the most complex and rare pieces of British post-war painting to be offered in recent years.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Collection of Ephemera, including silver sugar nips, a boxed set of child's spoon and pusher in original fitted box, paper knife with owl handle, silver salt spoon, tea scoop, teaspoon, Emca City whistle, small fruit knife, Schrader Balloon Tyre Gauge, German flint lighter, Army knife with cutlery, etc. heavy magnifying glass, button hook, small perpetual calendar, spirit measure, etc. Interesting collection.
A George III 'Lac Bergaute' and Black and Gilt-Japanned Secretaire Cabinet-on-StandCirca 1765, Incorporating 17th Century Chinese Lacquer PanelsHeight overall 61 x width 26 x depth 18 1/4 inches.This lot is located in Chicago.Provenance:Sir Phillip Sassoon, Bt., Trent Park, Hertfordshire, recorded in Sir Philip's bedroom in 1939;Christie's, London, Works of Art from Collections of The Cholmondeley Family and the Late Sir Philip Sassoon, Bt. from Houghton, 8 December 1994, Lot 117 (with catalog)James Hepworth, London, 5 June 1996 (with copy invoice)Literature:C. Hussey, "Japanned Furniture at Trent Park," Country Life, 18 October 1930, p. 498, fig. 4P. Macquoid and R. Edwards, The Dictionary of English Furniture, London, rev. ed., 1954, Vol. I, p. 85, fig. 43R. Edwards, The Shorter Dictionary of English Furniture, London, 1964, p. 101, fig. 30Note:With its 17th century Chinese lacquer panels lushly inset with mother of pearl, this elegant secretaire epitomizes the height of the English fascination with the East popularized by the designs in Thomas Chippendale" The Gentleman and Cabinet-Maker" Director, 1754-1763. Their frequent combination of Chinese elements within an at times blinding array of naturalistic and Classical forms served as inspiration and a creative ideal. Elements from Chippendale" designs, such as the fretwork seen on the legs of the present lot, depicted in China Shelves (plate CLXI) and the Chinese Cabinet (plate CXXIII) from 1761, were likely drawn upon by this as yet unknown cabinet-maker. The secretaire's sophisticated melange of Chinese and Western ornament, and particularly its use of lac bergaute, an incredibly rare and expensive form of Chinese lacquer, indicates it was almost certainly a specific commission by an unknown aristocratic patron similar to the 4th Duke of Badminton (1704-1759). His Chinoiserie bedroom apartment at Badminton, Gloucestershire, which was supplied by William and John Linnell in the 1750s has two related japanned china cabinets which show yet another interpretation of this all-encompassing aesthetic (H. Hayward, William and John Linnell, London, 1980, fig. 218).The descendant of two prominent Jewish banking families, the Sassoons and the Rothschilds, politician, patron and connoisseur Sir Phillip Sassoon (1888-1939) was at home in the highest aristocratic circles. Sassoon" aesthetic eye saw the potential of Trent Park, an unremarkable house with grounds designed by the pre-eminent 19th century landscape architect Humphry Repton (1752-1818) and hired the architect Philip Tilden (1887-1956) to transform the house into a Georgian mansion worthy of this setting. The eminent British architectural historian Christopher Hussey (1899-1970) said that Sassoon captured "that indefinable and elusive quality, the spirit of a country house... an essence of cool, flowery, chintzy, elegant, unobtrusive rooms that rises in the mind when we are thinking of country houses." Trent Park and its grounds were documented in the 18 October 1930 issue of Country Life. After Sassoon" death, this cabinet and other works from his collection went to Houghton, the home of his sister Sybil, Marchioness of Cholmondeley (1894-1989).Photo Credit: Japanned Cabinet, Trent Park from Country Life, 18 October 1930: Future Publishing Ltd.Overall well-conserved, original condition. The writing surface slightly bowed. The decoration throughouot is vivid and largely intact. Part of the upper section's gallery and one of its decorative fretwork brackets at the front have been minimally repaired after minor damage sustained in moving. One drawer bottom with a pencil inscribed inventory number 2,2,3,4,56. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
GLYN WARREN PHILPOT (BRITISH 1884-1937)ROBERT ALLERTON, AS A FAUN Oil on canvas 39.5 x 31.5cm (15½ x 12¼ in.)Provenance:Sale, Phillips, London, Modern British Paintings - Watercolours & Drawings, 8 March 1988, lot 35, Private Collection, London Purchased from the above by the present owner c. 1988Literature:Simon Martin, Glyn Philpot, Flesh and Spirit, with an Introduction by Alan Hollinghurst, (Pallant House Gallery, 2022), illustrated, fig. 111, p. 104 In the late 1980s, a chance encounter with Glyn Philpot's niece, Gabrielle, would inspire a fascination with Philpot's work and result in the purchase of the present lot. They recall visiting Gabrielle, who lived in the basement apartment of their friend's property. They would visit for cups of tea as she sat surrounded by exquisite works produced by her uncle. They wanted to acquire a work by Glyn Philpot to add to their own collection and Gabrielle knew of a friend selling a work privately. This sensitive and intimate portrait by Glyn Philpot depicts the American philanthropist and art collector Robert Allerton. He was the son of Samuel Walters Allerton who made his fortune through the livestock trade in Chicago and was co-founder of the First National Bank of Chicago. Determined not to follow in his father's footsteps Robert Allerton decided to follow his passion for the arts and study at the Royal Academy of Fine Arts in Munich followed by further study in Paris. However, after just five years Allerton returned to Illinois to run the family farms. Allerton owned and managed a 12,000 acre estate in Monticello, Illinois which became known as 'The Farms'. Here he built a beautiful Georgian mansion in the style of Ham House in Richmond, inspired by his travels in London. The mansion served as a place to hold lavish parties where he invited artists, friends and notable people from high society. In 1906 the Chicago Tribune released an article surrounding Allerton and his wealth, titled the 'Richest Batchelor in Chicago'. Robert Allerton was a patron of the arts and travelled widely across Europe and Asia. In 1920 he started donating works to the Art Institute of Chicago including pieces by Vincent Van Gogh, Pablo Picasso and Auguste Rodin. By the time of his death in 1964 he had donated 6600 pieces, making him one of the most important benefactors in its history. Allerton also gifted his house, grounds and farmland to the University of Illinois to be used as an education and research centre. This mischievous portrait of Allerton depicted as a mythological faun was not the first time Philpot had explored the subject. In 1912, Philpot sculpted 'The Dead Faun' cast in bronze, believed to be a mask depicting Napier Sturt, Lord Allington. Furthermore, in the spring of 1913 Nijinsky was performing 'L'Apres-midi d'un faune' with the Ballet Russes at the Royal Opera House. Philpot produced a dramatic portrayal of Nijinsky stood against the sumptuous red velvet theatre curtain. This work is now held in a private collection. It was during one of these visits to the opera that Philpot and Allerton first met. Allerton invited the aspiring young artist to visit him in Monticello to which Philpot gladly agreed. In September 1913, Philpot boarded the R.M.S Carmania and set sail on his adventure to the USA. Philpot's arrival caught the attention of 'Madame X' who wrote for the Chicago Sunday Times. The paper published an article on 21st September 1913 which dubbed the artist 'the art sensation of the moment,' and highlighted his highly regarded reputation back in England. Allerton arranged a studio space for Philpot to work from during his stay at 'The Farms' and invited close friends and members of the Chicago elite, including Miss Isabelle McBirney, to have their portrait painted. Enamoured by the people and experience Philpot stayed for four months. Philpot is known to have produced two portraits of Allerton during his stay, The Faun, presented here and a beautifully simple and captivating portrait titled The Man in Black, now held in the Tate collection in London. The present head and shoulder study presents a strikingly different depiction of Allerton compared to all other known portraits and photographs in which he was presented dressed in a smart suit, suitably posed and professional. The admiration felt for Allerton and connection between the painter and sitter exudes from the surface of the canvas. He paints strong muscular shoulders , a chiselled face with a pair of small horns atop his head, glinting in the light. Philpot and Allerton are not believed to have engaged in a sexual relationship but in letters written to Philpot's sister he reveals his infatuation with Allerton and described him as 'the most beautiful wise mature character'. Letter to Daisy Philpot, 22 October 1913.The work is believed to have been a study for a later painting produced by Philpot during his second visit to Allerton in 1921, when he visited with his partner Vivian Forbes. The pair stayed for three months and Philpot painted society portraiture just as Allerton had arranged back in 1913. During their visit Philpot produced Faun and Satyr which was hung above the over-mantel. Unfortunately, this work was moved to Allerton's estate in Kauai, Hawaii and later destroyed in a hurricane. Allerton is known to have had a couple of garden statues which depicted the mythological faun and a bass relief of pan on the carriage house on the estate, which may have further influenced Philpot's decision to depict Allerton as a faun.We are grateful to the staff at Allerton Park Retreat Center, University of Illinois, Nick Syrett and Maureen Holtz for their assistance in cataloguing this lot. Please note: This work is Oil on Canvas Condition Report: Oil on canvas. This work has recently been sensitively re-stretched and very lightly cleaned. This process has revealed a study of The Veil of Veronica on the reverse. Some patches of craquelure scattered across the surface, mostly to the green background pigment. The very extreme upper and lower edges with some evidence of framing tape which has been painted, visible in current frame. This does not detract from the images. Inspection under UV reveals very light scattered retouching to the chest and lower edge. There is one small patch of retouching the left of the nose. Condition Report Disclaimer
‘Far too much has been made about “knights of the air” and chivalry... you couldn’t have operated like that... I just felt that I wanted to survive... and my best way of doing it was to kill the other fellow. I had no qualms about going down again and shooting him to pieces, I mean, I wasn’t going to be insulted in that way... But if you met 12 or 24 of them, as you did sometimes, well then discretion is the better part of valour. It’s no use just fighting and killing one and then being killed... You want to fight another day.’ The recipient’s own recollections refer The outstanding and rare Second War C.B.E., Great War D.S.O., M.C. and Bar, A.F.C. group of eleven awarded to Air Commodore P. F. Fullard, Royal Air Force and Royal Flying Corps, who with 40 confirmed aerial victories during 1917 would at the War’s end be the seventh highest scoring British Ace of the Great War and the second highest living. A pilot of supreme skill and confidence in his ability as a pilot, his 40 victories were claimed in just eight months at the front, a staggering feat that far surpassed those Aces with higher scores; indeed, his score would have been more had several balloons been added to this number which, whilst recorded by the squadron, were not by granted by a higher authority. Fullard’s war was cut short, not by a German bullet but by a fracture of his leg sustained during an off duty football match in November 1917. What could have been, had he not broken his leg, can only be guessed, but Fullard’s ratio for front line flying time to the number of aerial victories obtained would be unsurpassed by any of the British Aces who had more victories during the Great War. Had Fullard carried on flying, it is quite possible he could have surpassed the victory score of any Ace of any nation The Most Excellent Order of the British Empire, C.B.E. (Military) Commander’s 2nd type neck badge, silver-gilt and enamel, with neck riband, in Garrard, London, case of issue; Distinguished Service Order, G.V.R., silver-gilt and enamel, with integral top riband bar; Military Cross, G.V.R., with Second Award Bar, unnamed as issued; Air Force Cross, G.V.R., unnamed as issued; British War and Victory Medals, with M.I.D. oak leaves (Capt. P. F. Fullard. R.F.C.); India General Service 1908-35, 1 clasp, North West Frontier 1935 (S/L. P. F. Fullard. R.A.F.); 1939-45 Star; Defence and War Medals 1939-45; Belgium, Kingdom, Croix de Guerre, A.I.R., with bronze palm, the pre-Second War awards all mounted as worn; the Second War medals loose, generally good very fine (11) £40,000-£60,000 --- C.B.E. London Gazette 1 January 1941 D.S.O. London Gazette 16 September 1918: ‘For conspicuous gallantry and devotion to duty. As a patrol leader and scout pilot he is without equal. The moral effect of his presence in a patrol is most marked. He has now accounted for fourteen machines destroyed and eighteen driven down out of control in a little over four months’ M.C. London Gazette 9 January 1918: ‘For conspicuous gallantry and devotion to duty when engaged in aerial combat. He has on four occasions attacked and destroyed enemy aircraft, and has in addition engaged in 25 indecisive combats, in which he has shown fine leadership, great dash and determination to close with the enemy.’ M.C. Second Award Bar London Gazette 9 January 1918: ‘For conspicuous gallantry and devotion to duty. He has on many occasions displayed the utmost dash and fearlessness in attacking enemy aircraft at close range and in destroying at least eight hostile machines during a period of about ten days. His determination and fine offensive spirit have in almost every instance resulted in disaster to the enemy.’ A.F.C. London Gazette 3 June 1919. M.I.D. London Gazette 5 June 1919. Belgium Croix de Guerre London Gazette 1 April 1919. Philip Fletcher Fullard was born in Wimbledon on 27 June 1897 and was educated at the King Edward VI School, Norwich. Here he developed a reputation as an accomplished sportsman and played for Norwich City Reserves football team. Still at school on the outbreak of the Great War, he enlisted into the Inns of Court Officers Training Corps in 1915 and was gazetted Second Lieutenant, Royal Irish Fusiliers on 5 August 1916. Barely a week later he was instructed to report to the School of Military Aeronautics, Oxford, to train as a pilot in the Royal Flying Corps. Passing his ‘dual’ and ‘solo’ tests in under two days’ of instruction, he was awarded his wings in December 1916 and shortly afterwards, due to his exceptional flying abilities, was appointed as an instructor at Central Flying School, Upavon. An extremely confident young man, he described himself “as good a pilot as there was” and remarked: “I had a total lack of fear. I was very conscious of what I could make the machine do.” In desperate need for pilots and demoralised by the devastating looses sustained by the Royal Flying Corps during ‘Bloody April’, later that month Fullard was ordered to the Western Front and in early May 1917, was posted to 1 Squadron. Based next to Bailleul Asylum, a few miles southwest of Ypres in Flanders, 1 Squadron had recently been fully equipped with French Nieuport 17 fighters. Initially Fullard found the Nieuport to be “frightfully heavy-handed” and “unwieldy”, with a cramped cockpit and experienced his first ‘flip’ during a practice flight. Once mastering, his views changed and he came to regard the Nieuport with supreme respect, describing it as “immensely strong” and capable of withstanding “the most enormous strains and dives and spins and rolls”. Into Combat Fullard’s first combat flight came just days after his arrival at 1 Squadron, with an offensive patrol on 5 May. For all his self-assurance and ability, Fullard’s introduction to the Western Front was a difficult baptism of fire. During his first patrol he was so distracted by the “sight of the enemy in their brightly coloured liveries” that he stalled and spun “right down almost to the top of them”. His flight leader thought he was “a goner”. Days later he became embroiled in combat only to discover he was unable to use his gun due to an oil-covered sight. Worse still was the “rotten prospect” of a hazardous sortie against observation balloons that, following a “contour chasing” practice sortie flown over the trenches at heights of little more than “25 or so feet”, became a deadly reality late on 26 May. Of the six assigned to hit a group of balloons with Le Prieur rockets, Fullard was one of only two to make it home. Two balloons had been destroyed at the cost of four pilots killed, wounded or captured. Landing after a fruitless search for a balloon that had already been hauled down, Fullard vented his frustration. The outburst was indicative of a trait and did little to endear him to senior officers. The headstrong youngster soon exacted partial revenge with his first victory. During a frantic dogfight over Quesnoy, he spotted an Albatros D.III scout attacking a British machine. In what would become his trademark style, Fullard closed to 20 yards before opening fire. Half a magazine was enough to send it spiralling down and, with Fullard unable to follow, he was credited with having despatched it ‘out of control’. Two days later, Fullard was credited with a second Albatros Scout out of control. He reported firing 15 rounds at close range, the Albatros flying straight for some moments and then went into a spin, it...
The Second War Mentioned in Despatches Certificate awarded to Captain the Duke of Wellington, the Duke of Wellington’s Regiment, attached No. 2 Commando, Special Service Brigade, who was killed in action leading his men during a fierce action at Salerno on 16 September 1943; the great-great-grandson of the First Duke, he is the only holder of that illustrious title to lay down his life in action Mentioned in Despatches Certificate ‘Lieutenant (T/Captain) The Duke of Wellington, The Duke of Wellington’s Regiment (W. Riding)’, dated 28 September 1944, mounted in a glazed display frame, good condition £2,000-£2,400 --- Provenance: Dix Noonan Webb, December 2013. M.I.D. London Gazette 28 September 1944: ‘In recognition of gallant and distinguished services in Italy.’ Henry Valarian George Wellesley, 6th Duke of Wellington, was born on 14 July 1912, the only son of the 5th Duke of Wellington, and the great-great-grandson of the 1st Duke of Wellington. He was educated at Stowe School and on 13 November 1935, as Lord Mornington, was gazetted a Second Lieutenant in the 1st Battalion The Duke of Wellington’s Regiment, joining them in early 1937 in Malta. He served with them there and in England until February 1939 when he was seconded to the King’s African Rifles. He went out to join them in East Africa and saw service with them in the Defence of Kenya against the Italians and in the successful Abyssinian Campaign. Having succeeded his father as 6th Duke of Wellington in 1941, he returned to England in 1942 following a severe attack of malaria. Whilst at home on sick and compassionate leave, following the death of his father, he took his seat and made his maiden speech in the House of Lords. His adventurous spirit then prompted him to apply for Commando training, which he won through with flying colours. Appointed to No. 2 Commando, Special Service Brigade, commanded by the charismatic, Lieutenant-Colonel Jack Churchill, M.C., he took part in the invasion of Sicily and in the landings at Salerno on 9 September 1943. Commanding No. 2 Troop, was killed in action by a hand grenade in the bitter fighting at Piegolette on 16 September 1943. Recommended for the award of the D.S.O., he was posthumously Mentioned in Despatches. He is buried in Salerno War Cemetery, Italy. He was succeeded to the title by his uncle, the 7th Duke of Wellington. A Memorial Service was held at Stratfield Saye Parish Church, at the family seat, on 9 October 1943, conducted by the Bishop of Winchester. In his address, Canon J. B. Barker said: ‘A century and a quarter ago England’s Sovereign conferred a Dukedom on England’s greatest soldier. Today we mourn the sixth holder of that honoured title - the first to lay down his life in action - whom all men knew as ‘Morny’. What kind of man was he? We will ask it first of his fellow-officers and men, and they will tell you of his bravery - his utter fearlessness in the face of danger.’ Sold with a representative group of medals to the Duke of Wellington, comprising 1939-45 Star; Africa Star; Italy Star; Defence and War Medals 1939-45, with M.I.D. oak leaf; and representative unit insignia; a copy of the book ‘Wellington’, by Jane Wellesley; and copied research.
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