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Click here to subscribeCBS PROMOS - BLUES/PROG/PSYCH/BEAT - Marvelous selection of 6 x sought after 7". Titles are Philamore Lincoln - The County Jail Band (S 5007, strong Ex), James Royal - House Of Jack (3915 - Ex), Eastwood - Orphan (7325 - Ex+), The Kool - Step Out Of Your Mind (2865 just as scarce stock copy of this Psych/Mod winner - Ex), Goliath - Port & Lemon Lady (5312 - Ex+ or archive) and Formula Two - Easy Times (S 8285 - Ex+ or archive).
Attributed to George Clint"Vice Admiral, William Lukin Windham," three-quarter length portrait, standing with sword in hand and in naval attire, O.O.C., 100cms x 87cms (43 1/2" x 34 1/2") in gilt frame. (1)Provenance: Falmore Hall, Dundalk, Co. Louth, and then by descent to the present owner.Note: William Lukin (1768-1833) was a native of Felbrigg in Norfolk. Thanks largely to the patronage of the local squire William Windham, who was also his step-uncle, he obtained a commission in the Royal Navy and rose rapidly to the rank of captain. He performed with distinction in the Napoleonic Wars, especially during a naval action off Rochefort in the Bayof Biscay in which he captured two French Frigates. He retired in 1814 as Vice-Admiral of the Blue.In 1824 he inherited Felbrigg Hall on the death of the widow of his benefactor, and assumed the additional surname of Windham. He employed the architect W.J. Donthorne to remodel, extend and alter the house and stable block. George Clint (1770-1854) was a talented and prolific portrait painter and engraver, best known for his many theatrical subjects. His portrait of the Vice-Admiral, of which this is a version, hangs at Felbrigg Hall (now a National Trust property). Two of the Vice- Admiral's daughters married members of the Hare family, and the younger - Maria Augusta, later Countess of Listowel - is also the subject of a fine portrait by Clint.
Sir John Lavery RA RSA RHA (1856-1941) AN EAST WIND, 1912 oil on canvas laid on board inscribed [To The Countess Becdelievre from John Lavery 1912] lower left; signed and titled on reverse 10 x 14in. (25.40 x 35.56cm) Adam's, 1 April 2009, lot 131;Private collection 'Exhibition of Irish Art', Milmo-Penny Fine Art, Dublin, June 1991, catalogue no. 5 In the autumn of 1912 Lavery sent his recently completed full-length portrait of Cécile Marie Ernestine Roger de Villers, Countess Becdelièvre, to the annual Autumn Exhibition at the Walker Art Gallery, Liverpool. Nothing is known about the circumstances of the commission and the portrait in which the countess wears, 'a wonderful Parisian creation in shimmering satin' remains unlocated. The present seascape, probably given to the countess at the time of the sittings, is the only evidence we have of the friendship that was formed as a result of the commission. Sketches, personally inscribed to favoured sitters, are not uncommon in the Lavery oeuvre. The fact that this represents a familiar group of rocks on the shore at Tangier may also indicate that the painter and his subject met in the 'White City'. In March 1912 while Lavery was working at his Tangier studio, and anticipating the wedding of his daughter, Eileen, General Lyautey invaded Morocco, making it a French protectorate. The numbers of diplomats and military personnel in the city immediately increased. Since the illustrious Becdelièvres were a military family, it is possible that the portrait commission resulted from this intervention - it was one of a number of portraits of the French nobility painted around this time, when the painter's reputation in Paris was consistently high. Between March and September 1912, at the International Society's exhibition in June, the painter had exhibited five small recent seascapes to which the present example may relate. All of these were 10 x 14 canvasboards, of which he had an ample supply. In the present case, the rocks on the left, stretching into a choppy sea, are likely to be those depicted on other occasions - most notably in A Rough Sea (Paisley Art Institute). At low tide, on a calmer day, these same rock pools would attract his wife and step-daughter, and their presence would be used to punctuate compositions that would then be re-worked on a larger scale. The beach also became a convenient thoroughfare for passers-by as in The West Wind 1911 (Private Collection). Few beach scenes however, apart from the Paisley picture and possibly, Tangier Bay, Rain 1910 (Ulster Museum), show inclement or potentially stormy conditions - as here. During the early months of 1912, as Lavery noted in a letter, the weather was colder and less predictable than usual, and strong easterlies swept the Straits of Gibraltar. While his painting activities were restricted, he was nevertheless a seasoned campaigner and small studies such as the present example were always possible. While the wind may whip up the sands on the shore, and threaten to overturn a larger easel, it made no impact upon the delightful freshness of the present sketch held securely in a field-box. Professor Kenneth McConkeyJanuary 2017
BRITISH PRIME MINISTERS: David Lloyd George (1863-1945) British Prime Minister 1916-22. A.L.S., D Lloyd George, on two sides of a blind embossed House of Commons correspondence card, n.p. (London), 6th June 1898, to Miss. Lewis. Lloyd George confirms that 4.30pm tomorrow suits him and continues to add ‘Mr. Alfred Thomas M.P. will join us on the terrace’. Accompanied by the original envelope hand addressed by Lloyd George.. Also including a note signed, D Lloyd George, on one side of a postcard, War Office, n.d. (annotated August 1915 in pencil to the verso), to Daisy Astin. The manuscript note, in an unidentified hand, states that Lloyd George is pleased to send his autograph. Accompanied by the original envelope signed ('D Lloyd George') to the lower left corner; Stanley Baldwin (1867-1947) British Prime Minister 1923-24, 1924- 29 & 1935-37. A good T.L.S., Stanley Baldwin, three pages, 4to, 10 Downing Street, Whitehall, 21st June 1928, to Sir Courtenay Mansel, on the printed stationery of the Prime Minister. Baldwin sends his best wishes to his correspondent for their fight in the Carmarthen Division and continues 'Our political opponents have accused the Government of apathy and of failure to tackle the problems of Unemployment, the necessitous areas and the depressed industries. I would ask the electors to reject these misrepresentations and to look at the other side of the shield. Not only has the Government carried out every pledge which it made at the General Election, but in its Budget of 1928 it has produced a bold and constructive scheme of rating reform which is a genuine attempt to bring back prosperity to those areas and to those industries', also adding 'Since the War the great basic industries, which employ the largest proportion of the working population and are responsible for no less than two-thirds of this country's export trade, have been going through especially difficult times, owing to severe foreign competition and heavy costs of production. The best solution of the problem lies in cheaper production, which must mean better trade, less unemployment, cheaper prices and better wages. It is in this direction that the Government has found it possible to come to the relief of industry', explaining that the scheme has been designed 'as to give the greatest help to those areas and to those industries which are most in need of it' and referring in particular to the coal, iron and steel industries ('upon which the prosperity of South Wales so largely depends') as well as agriculture which has also been helped by the introduction of a Credits Bill 'which will make it easier for people to purchase and equip farms and to obtain working capital with which to develop them'. Baldwin concludes his letter 'These are practical steps which cannot fail to help the industries concerned on the road to prosperity. Every step on that road means better conditions for the workers and more opportunities of employment, and it is because this reform which the Conservative Government has introduced really holds out hopes of better times for everybody connected with industry that I feel confident that it will receive the support of the electors'. A letter of interesting political content. A small pinhole appears to the upper left corner of each page and with a few extremely light, very minor spots of foxing, none of which significantly affect the text or signature. G (1) to VG, 3 Sir Courtenay Mansel (1880-1933) Welsh Landowner and Farmer, Barrister and Liberal Party Politician who later joined the Conservatives. Baldwin's letter is written at the time of the Carmarthen By-Election of 1928 at which Mansel was chosen by the Conservative Party as their candidate. In a tight contest the Liberal candidate William Nathaniel Jones won by the narrow majority of 47 votes over Labour's Daniel Hopkin. Mansel came bottom of the poll with just under 30% of the votes.
MANDELA NELSON: (1918-2013) South African President 1994-99, Nobel Peace Prize winner, 1993. A good T.L.S., N Mandela, three pages, 8vo, n.p., 14th January 1998, to Helen Suzman. Mandela thanks his correspondent for her letter and states 'I do of course share your concerns regarding human rights issues of the past and the toll it has taken on our nation', continuing 'Some of the victims families still oppose The Truth and Reconciliation Commission as they fear the injustices are not being dealt with by lengthy prison sentences, however they will come to realise its importance, perhaps not during the hearings but in the years which follow. The families of the victims are finally receiving closure, this alone is a step in the right direction' and further remarking 'Our police force was negatively involved in countless acts in the past, however the force is constantly transforming and will continue to do so well into the future as a far greater number of all races are currently being accepted into the force, the human rights violations acted out by a small number of our police force can be directly attributed to the Apartheid regime'. Mandela also reflects that 'Human rights violations are an unfortunate part of our history, however we must not ignore the past but rather embark on a healing process' and comments 'The Commission is most fortunate to have Archbishop Desmond Tutu as Chairman, both parties respect him and his presence as a Christian religious leader is symbolic. Religion is the common ground, ultimately both parties believe in the same God, this difficult process is spiritual if the legal aspect is overlooked for a moment'. The President adds 'The judicial system is doing everything within its power to ensure that justice is followed in the correct manner. Over the past few years I have witnessed many success stories, South Africa has completely transformed to make me believe that The Commission will ultimately be a great success' and concludes 'I note the continued efforts you are making towards this issue. I would be happy to meet with you to discuss any general issues you may wish to raise'. A letter of interesting political content and association. A couple of very small staple holes to the upper left corner of each page, not affecting the text or signature, VGHelen Suzman (1917-2009) South African anti-apartheid Activist and Politician, twice nominated for the Nobel Peace prize. Desmond Tutu (1931- ) South African Social Rights Activist, the first black Archbishop of Cape Town. Nobel Peace Prize winner, 1984. The Truth and Reconciliation Commission was a court-like restorative justice body assembled in South Africa following the abolition of apartheid in 1994. The Commission was seen by many as a crucial component of the transition to full and free democracy in South Africa.
This lot is of Frederick Remington's Mountain Man, which depicts a horse carefully going down a very steep mountain with his rider. The horse has three legs on the ground, and the fourth is raised as he gingerly takes the next step, with his hind legs bracing him. The rider gazes out as he grips to the reigns with one hand and his other rests behind him on the horse’s saddle. This statue is all comprised of the same deep bronze coloring with high detail shown in the cast. Please note that there is no marble base on this statue.
Gun (A) is a custom short rifle built from a 1901 Swedish Mauser action. Caliber not marked so we will assume it's original 7.65 Swiss, matching bolt that has not been bent, alignment receiver sight, military style step barrel has been shortened to 18". Front sight installed, no barrel rear sight, plain pistol walnut stock with contrasting grip cap and forend tip, rubber recoil pad, sling, matching number on magazine plate. Gun retains virtually 99% of the reapplied custom finish. Perfect action and a strong bore. The Swedish Mauser actions were considered one of the finest ever made. Gun (B) is a custom Japanese Arisaka sporting rifle. This custom rifle was built using a Japanese Arisaka with a Flagg's Ace custom contoured barrel with no provision for factory sights, scope mounts, pistol grip stocks with Monte Carlo comb and roll over cheek piece. Strong rifling, perfect action, 95% of the reapplied finish is intact. Stock is in near mint. Serial Number-S183, 70747; Manufacturer-Mauser, Flaig; Model-1901, Ace; Caliber-7.65, .243; Barrel Length-19", 26"; FFL Status-Curio & Relic;
Manufactured by Waffenfabrik Bern for military and commercial sales; this is a military sale as it lacks "P" in front of serial number. Features the step-down frame, grip safety and the brown molded plastic grips with Swiss nomenclature stamp on both sides. Swiss cross and shield stamp on toggle. Serial number at rear of toggle, top barrel rim and left rail. Has the FW cross stamp on back of frame. Swiss cross stamp on bottom of barrel. Has the distinctive smooth toggles with no checkering. Steel magazine with brown cap and stamped with Swiss cross. All matching numbers. This pistol has a little light muzzle wear, a touch of light high rail wear and high sideplate hump. Still retains 95% original blue. Near mint bore and action. Fairly scarce high condition Swiss variation with scarce release date stamp. Serial Number-59551; Manufacturer-Luger; Model-Semi Auto; Caliber-7.65mm; Barrel Length-4 - 3/4"; FFL Status-Curio & Relic;
A RUBY AND DIAMOND RING centred with an emerald step-cut ruby weighing 4.14cts, within a surround of round brilliant-cut diamonds weighing approximately 0.53cts in total, the gallery embellished with scrolls, acid tested as 18ct gold. The ruby accompanied by a Gemstone Report from GemResearch Swiss Lab, no. GRS2014-064980, stating it to be natural with Vivid Red colour and no indication of thermal treatment.
A PAIR OF AMETHYST EAR STUDS each claw-set with a rectangular step-cut amethyst weighing approximately 7.64cts in total, acid tested as 9ct gold, approximately 1,7cm in length; and An Amethyst Ring, centred with a square step-cut amethyst weighing approximately 3.32cts, impressed 9K, size N (3)
RARE 1920's BELL Five and a quarter RECORD COLLECTION. The US based Bell Records Record Label started issuing records in about 1920. The Label's parent company was the Standard Music Roll Company of Orange, New Jersey, but the label was taken over in 1923 by the Bell Record Corporation. The label went out of business in 1928. Number 311: A The Old Folks at Home (Orchestral) B: Don't Mind the Rain (Fox Trot Song). Number 333: A: The Wembley Wobble (Xylophone), B: The Toy Drum Major (Song) with original sleeve). Number 366: A: Bobadilla (One step with vocal chorus), B: Fascinating Mary (Song), (with original sleeve and valid only in the British Empire P. Luna Stamp. All in excellent condition for age. An opportunity to acquire rare examples of the history of recorded music.
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