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Lot 258
A.T Langton Electrical Co. Tonbridge, early c20th mahogany servants bell board with solenoid operated flags, c20th brass gas mantel converted to electric with glass shade and a early c20th ebonised walking stick with illuminated end and simulated bamboo scroll handle, L94cm bell board W32cm D25.5cm H7.5cm (qty)
Lot 533
London 1744, each with quatrefoil scalloped edged base, knopped column, spool capital and part marked friction fitting removable wax pan, engraved with the family crest of BRUDENELL, EARL OF CARDIGAN, 11.5 x 11.5cm, 20cm high, 33.2ozt gross (2)George Wickes was one of the most important English silversmiths of the 18th century. He held a Royal warrant for the supply of silver to Frederick, Prince of Wales and the company that he founded eventually became Garrard & Co. - the former Crown jewellers - who are still in business in London today.Given the date of the hallmark, these sticks were undoubtedly in the possession of George Brudenell (later Montagu), the 4th Earl of Cardigan (1712-1790). George was the eldest son of George Brudenell, the 3rd Earl of Cardigan and his wife, Lady Elizabeth Bruce. He succeeded his father as the 4th Earl on the 5th July 1732.George married Lady Mary Montagu (1711-1775), the second daughter and co-heiress of John Montagu, the 2nd Duke of Montagu and his wife, Lady Mary Churchill at the Parish Church of St Giles-in-the-Fields, Middlesex on the 7th July 1730. In consequence of his marriage to Lady Mary Montagu, George inherited the estates of his father-in-law in 1749, and assumed the arms and surname of Montagu for himself. He was later created Baron Montagu of Boughton, NorthamptonshireGeorge was appointed as a Knight of the Most Noble Order of the Garter on the 13th March 1752. He was also sworn as a Member of His Majesty’s Privy Council in 1766 and served as the Master of the House from 1780 – 90 and Lord Lieutenant of Huntingdonshire for the year 1789 – 90.The Brudenell crest of the seahorse being ensigned with an earl’s coronet must have been engraved between1744 and his assuming the arms and name of Montagu in 1749.Overall in good condition with no obvious sign of damage or repair. Some minor surface scratches, dents and dings as to be expected. Both stand firm on a flat surface with no wobble.Hallmarks are located to the inner of the bottom edge of the base, applied, as usual, before final finishing, and on one stick the bottom half of the maker's mark is missing, probably as a result of enthusiastic final polishing. It is still identifiable from the letter tops and the crown. (See images)Wax pans numbered to match corresponding numbers engraved to the underside of the sticks. Locating tubes a bit scuffed and the edges a little unevenCrests on both the sticks and the pans a little worn but still clear.
Lot 558
mark of Luke Proctor & Co., Sheffield 1792, each with loaded circular reeded base, simple tubular reeded column and part marked friction fitting wax pan, 10cm diameter, 16cm high, wooden bases, two with table protectors (4)Overall in fair to good condition with no obvious signs of repair. Hallmarks a bit rubbed but readable. Some surface scratches and minor dents as to be expected. Tops of the sticks under the wax pans rather bruised and the rims are a little out of shape. Bruise and dent to the bottom rim of one to the left of the hallmark. Sconces with heavy wax residue preventing the wax pans from sitting properly. One stick with a wobble when on a flat surface, the other three sit well.
Lot 67
the oval mourning pin designed as a coiled black enamelled serpent with rose cut diamond eyes around a seed pearl and agate forget-me-knot motif, engraved to reverse 'SAMUEL WHITBREAD BORN JAN 18th 1764 DIED JULY 6th 1815, LADY ELIZABETH WHITBREAD BORN APRIL 7th 1765 DIED NOVEMBER 28th 1846', unmarked yellow metal, tested as 18ct gold, together with an abalone shell cameo stick pin, unmarked yellow metal, tested as 18ct gold, gross weight 8.1g (2)Whitbread II was born in Cardington, Bedfordshire, the son of the brewer Samuel Whitbread. He was educated at multiple places, including St John’s College, Cambridge, then went on to join his father’s successful brewing business in 1786. In 1790 he was elected Member of Parliament for Bedford, a post he held for twenty-three years - a champion of religious and civil rights, for the abolition of slavery, and a proponent of a national education system.
Lot 28
Harold KNIGHT (1874-1961)Portrait of the artist Robert Morson Hughes (1873-1953)Circa 1915/16 Oil on canvas 102 x 127.5 cmExhibited: ‘Artists by Themselves’ 2019 Penlee House GalleryProvenance: From the Estate of Robert Morson Hughes, thence by descent. A professional conservator's condition report is available upon request. This heroic portrait, so reminiscent of Harold Knight’s self-portrait in the National Portrait Gallery, ostensibly appears to be a study for his large, important work 'The Council,' (exhibited RA 1916) which features Robert Hughes on the right of the painting, also with pint in hand, walking stick and overcoat on left arm.In 'The Council' Hughes leans forward, intently facing his good friend the artist Samuel John Lamorna Birch. Birch is expounding an opinion, no doubt upon a war-related subject, whilst three other Lamorna locals around the table look on, including Old Jory, the landlord of the Lamorna Wink where the painting is set. Knight was an accomplished portraitist and completed numerous commissions, but his sensitive portraits of women differ greatly to many of his male studies, which although technically brilliant, could be dour and lacking in emotional warmth. Rapport, respect or a connection with his subject really mattered. In this portrait Hughes (Bertie to his friends) looks directly at us out of the painting, with a truly penetrating, almost intimidating gaze. He is life sized, and the full force of his personality is almost simmering upon the canvas. It says: “This is a man of character.” And who are we to argue? It is a painting that demands respect. It is one of Harold Knight's most powerful portraits, and is very much a finished work in its own right. Prior to the war, life for the Knights in Lamorna had been idyllic, aside from the tragedy of Florence Munnings’s suicide in July 1914, these had been halcyon days in the ‘Happy Valley’ of Cecily Sidgewick’s novels, and Harold had done some of his best work here.They moved to Lamorna in 1913 when Laura’s career was still developing and although Harold had established himself as a portrait painter, money was still tight for them. They needed to sell paintings to live, unlike their friends and neighbours, the independently wealthy Hughes’.Robert Morsen Hughes and his wife Eleanor were popular and significant members of the artists group living in pre-war Lamorna. Like the Procters, the Simpsons and several others, they had come to Newlyn to study under Stanhope Forbes, had fallen in love, not just with each other but also Cornwall. They married, stayed, and made their lives there.Along with the Napers, Sidgewicks, Leaders and the Heaths, the Hughes bought a parcel of land from Colonel Paynter of Boskenna and in 1911, designed and built their own home, 'Chyangweal' above the Lamorna Valley. Eleanor was an accomplished pianist and their home became popular for social gatherings and musical evenings. Along with S J Lamorna Birch and his family, this was a social group of great harmony and friendship. Although undated, this work was probably painted in 1915 and in the context of that time frame, it is a fascinating portrait. As illustrated by ‘The Council’, war dominated every conversation. Many Lamorna friends and colleagues joined up, and by 1915 there had been tragic deaths and woundings amongst them. This portrait and ‘The Council’ document a point in Harold’s life just before a great emotional shift, because in 1916 Harold declared himself a conscientious objector. It was the start of a period of immense mental and physical strain. Friendships fractured, even long standing friendships with the Sidgewicks and the Birchs were put to the test. Although too old to serve, in 1916 S J Lamorna Birch and Robert Hughes became members of a local volunteer force, guarding Newlyn harbour, and so struggled with Harold’s pacifist stance. When Knight got his call up papers in 1916, he was asked to explain himself before a tribunal. Unimpressed, they sent him to work as a farm labourer on the Cornish coast. He was alienated by friends and colleagues, writing: '’I have lost the friendship of several people whose friendship I valued, and my career as a portrait painter has been prejudiced by my attitude towards the war I have been compelled to take.’' It must have been an immensely painful episode for him. Knight was a quiet, sensitive man, often overshadowed by his brilliant, vivacious artist wife, Laura, but this stance showed immense courage. It took its toll on him both mentally and physically. 'Hoeing', Laura remarked, 'for days on end without seeing a living soul. He was again a sick man.' By 1917, Knight's health had deteriorated to such an extent that he was excused from further labour and returned to painting. After the war they left Cornwall for London, whilst this portrait, arguably one of Harold Knight’s finest, remained in the Lamorna home for which it was painted. We don’t know whether this work was a gift or a purchase, but other than a three month loan to Penlee House in 2019, this marvellous portrait has hung at Chyangweal for over 100 years and never been exhibited elsewhere.
Lot 106
A COLLECTION OF SIX ITEMS OF LATE 19TH/EARLY 20TH CENTURY JEWELLERY a marked 375 horse shoe brooch, C clasp (stiff), length 3.2cm, a white agate and turquoise brooch (lacks clasp), length 3cm, a white metal and marcasite brooch, safety catch clasp, length 4.9cm, hardstone spinner fob/pendant in unmarked yellow metal, length including bale 3cm, a clear yellowish tourmaline and seed pearl pendant in unmarked yellow metal (one seed pearl missing), length including bale 3.3cm, a cased pearl set stick pin
Lot 76
A DIAMOND, PEARL AND PARAIBA WINGED INSECT STICK PIN the insect made up of fourteen single cut diamonds, bezel set, a grey baroque pearl and one cabochon blue Paraiba set in yellow and rose metal with illegible markings, insect length at longest and widest points 2.5cm and 2.7cm, stick pin length 7.5cm and weight 6grams
Lot 2162
A set of six mid-20th century Swedish beech framed stick back kitchen chairs of retro design, height 83cm, width 42cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 2681
A 20th century novelty walking stick with internal horse measuring ruler, length 95cm, a 19th century bamboo walking stick with rhino horn handle, a Malacca cane with Asian silver embossed pommel, length 87cm, an ebonized cane with silver mount and a swagger stick with a silver pommel. Note: as this lot incorporates rhinoceros horn, it would be very unlikely that a re-export certificate would be granted beyond the UK. Customers outside the UK are requested NOT to bid on this item.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
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