![[WORLD WAR I]: EDWARD VIII (1894-1972) King of the United Kingdom January - December 1936. Later Duke of Windsor. A fine auto](https://cdn.globalauctionplatform.com/be7934e1-901e-4b62-8def-aa8d00c54591/e160a8b9-f381-4632-9d8e-aaa700bfe0e1/468x382.jpg)
[WORLD WAR I]: EDWARD VIII (1894-1972) King of the United Kingdom January - December 1936. Later Duke of Windsor. A fine autograph manuscript, unsigned, four pages, 4to and slightly smaller, n.p. (London), n.d. (July 1919). The boldly penned holograph manuscript, with a number of corrections, is the draft of a speech made by the Prince of Wales at a dinner in honour of Marshal Foch following the end of World War I and states, in part, 'This is an occasion of such unique & historical interest that I find it very difficult to address such a so distinguished an assembly. It is indeed a great honour for me to be presiding here this evening & that it should fall to my lot to propose such a wonderful toast; it is almost impossible for me to find adequate words……to welcome so many famous allied commanders…..At this dinner are gathered together, comrades in arms drawn from many nations…..who have been engaged in a long & desperate (sic) struggle against the most powerful military combination that the World has ever known & who have emerged from the struggle completely victorious……France & Paris have already celebrated peace & our overwhelming victory; the other allied nations & their capitals will doubtless do the same. But just now we are celebrating it all in the British & London way & I feel that yesterdays triumphal pageant was a brilliant success. We feel that it represented the great war, that it represented victory in every sense of the word & that no one who was present could fail to carry away but the proudest & most inspiring memories which will last a life time……To me as one of the younger generation these memories will be specia particularly vivid as during my periods of active service in several theatres of war I often had the priviledge (sic) & good fortune of being closely associated with many of our allied armies army corps divisions & even regiments…….It is obvious that this last greatest of world struggles has broken all records from every point of view but I would venture to point out that never before has so large a number of allies been fighting & working together…..Now that the great war is over & the powerful enemies that have so long disturbed the peace of the World & menaced our freedom are finally overthrown & subdued we all rejoice to welcome here those who have shared with us the perils & sufferings of the trying & strenuous campaign & who now share with us the joy of our victory. Representative of every allied power are present this evening but there is one power whose representative has occupied a unique position. In Marshall (sic) Foch we salute the great captain…..His position as a Supreme C. in C. has no comparison in history either from the point of view of power or responsibility. In this position he has revealed a genious (sic) for war equal to the greatness of his task & the magnitude of his difficulties'. Together with a further selection of holograph notes, unsigned, four pages, oblong 4to and 8vo, n.p. (London), n.d. (July 2019), being the Prince's briefer manuscript notes prepared in composing his speech, with various corrections and the different sections each marked with an ink and blue indelible pencil line, the notes concluding with a passage in French, 'C'est pour moi un tres grand honneur et tres grande joie de vous acceuillir ici au nom du Roi et de boire a la sante des grandes nations allies dont vous etes les representants distingues Je n'ai qu'une pensée ce soir "vive nos braves allies"' and his Toast to Foch, 'The Commanders & representatives of the armies forces of our allies coupled with the name of Marshall (sic) Foch'. A rare manuscript with interesting content. A few slight stains and minor age wear to the preparatory notes, the manuscript speech VG, 2 Ferdinand Foch (1851-1929) French Marshal, a General and military theorist who served as the Supreme Allied Commander from March 1918. The 'triumphal pageant' which the Prince of Wales describes as having taken place the day before in the present manuscript was undoubtedly the Victory Parade Peace Day held in London on 19th July 1919. Although fighting on the Western Front had ceased in November 1918, peace negotiations would continue for many months and the Treaty of Versailles was not signed until June 1919. When negotiations were reaching their conclusion and a 'proper peace' was within sight, a peace committee was founded to decide how Great Britain would publicly mark the end of World War I and acknowledge the widespread feelings of jubilation within the country. With a Bank Holiday having been agreed upon, on the morning of the 19th July thousands of people gathered in London to participate in a spectacle, the likes of which had not been witnessed before. Almost 15,000 troops participated in the victory parade which was led by the Allied commanders Douglas Haig (British Commander-in-Chief), John Pershing (Head of the United States Expeditionary Force) and Ferdinand Foch (Allied Supreme Commander). The latter received the honour of being created a Field Marshal in the British Army on the same day and was evidently honoured at a dinner the next evening when the Prince delivered his speech. A monument to those killed and wounded, designed by Edwin Lutyens, was unveiled in Whitehall to mark the end of the victory parade. Although it was a temporary construction, another made from Portland stone and designed by Lutyens was to replace it in 1920 and, known as the Cenotaph, still stands today.
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![[WORLD WAR I] LUTYENS EDWIN: (1887-1976) English Architect, recognised for his war memorials, country houses and public build](https://cdn.globalauctionplatform.com/be7934e1-901e-4b62-8def-aa8d00c54591/b7ac7ad3-a72c-4573-a65d-aaa700bfe1b3/468x382.jpg)
[WORLD WAR I] LUTYENS EDWIN: (1887-1976) English Architect, recognised for his war memorials, country houses and public buildings as well as his instrumental role in designing and building New Delhi in India. A good A.L.S., E Lutyens, three pages, 4to, Queen Anne's Gate, Westminster, 29th July 1919, to [Martin] Conway ('My dear Conway'). Lutyens announces 'If it is you that wish me to join that Stratford on Avon committee I will…but I am a bad committee man….' and continues to enquire 'How goes the H of Commons petition for the perpetuation of the Cenotaph in Whitehall', further remarking 'I do think Whitehall is the place…I understand the police see no objection to it on practical grounds. The site has been distinguished by the salutes of Foch & Allied generals & their armies, by our men & their great leaders. Another site would never acquire the same merit' and also discussing the memorial itself, 'I have had many suggestions for its elaboration with texts & with bronze figures at the corners representing sentries, but I think it is better as it is, a mirror of stone which reflects to the observer his expression of what is in his mind with due solemnity. At the corners one might have the impressions of where the sentries stood incised in the pavement & then if you have bronze figures you could not use living sentries on days of ceremony', concluding by suggesting 'If it is made permanent I should like to be allowed to perfect it with digestion & alter ½ inch here & another there….' Together with a second A.L.S., E Lutyens, one page, 4to, Queen Anne's Gate, Westminster, 1st August 1919, also to [Martin] Conway. Lutyens thanks his correspondent for their letter and refers to granite and its surface, adding that it requires some thought and concluding 'Bless you for your kind help & encouragement'. Two letters of fine content relating to one of the architect's most famous designs. A small file hole and minor paperclip rust stains appear to the upper left corners of each of the pages of the letters, not affecting the text or signatures, otherwise VG, 2 Martin Conway (1856-1937) 1st Baron Conway of Allington. English Art Critic, Politician, Cartographer & Mountaineer, the first Director General of the Imperial War Museum The Cenotaph in Whitehall was originally a temporary structure erected for a peace parade following the end of World War I and was unveiled on 18th July 1919, the day before the parade. Some 15,000 soldiers and 1500 officers marched past and saluted the Cenotaph, including John J. Pershing, Ferdinand Foch, Douglas Haig and David Beatty. The memorial quickly caught the public's imagination and the Cabinet were put under pressure in Parliament to approve a permanent structure which, after consultation with Lutyens, they did at a meeting on 30th July 1919. Construction of the permanent Cenotaph, made entirely from Portland stone and with just a few alterations made by Lutyens, began in May 1920 and the unveiling ceremony took place in Whitehall on 11th November 1920.
KNIGHT LAURA: (1877-1970) English Painter, famous for her works of London's theatre, ballet and circus. A good, small selection of five A.Ls.S., Laura Knight (3) and Laura K (2), nine pages (total), mainly oblong 8vo, 4to (1), St. Johns Wood, London, October 1965 - May 1967, all to Margaret Hallett. Knight writes, in part, 'When you rang me up a few minutes ago I was in a bit of a muddle, a certain lady who bought 2 pictures from the Diploma Gallery show, now cannot make up her mind whether she wants them or no. I was just writing to tell her - advise her not to have them and that I should be pleased to keep them. I have various scraps of paper, messages sent by telephone - all difficult to know what she is talking about…..I value your friendship greatly and am more than grateful for the wonderful articles you have written about my work…..I've done the worst of the work in connection with getting all the sold work from the R.A. to its new owners…..I cannot wish you greater joy than I myself had in the many years Harold & I spent together' (1st October 1965), 'I am so glad that “Ronald is reading 'The Magic of a Line' with great enjoyment”. It ought to have been a lot better than it is. However the publisher William Kimber and his wife Audrey are delightful people, who have become dear friends of mine. I am greatly interested in the book on women artists which you are writing. It would appear in the art schools, the R. A. for instance, as I have experienced, that they can compete with the men. But it is rare that they go far after leaving. Is the reason for this lack of advancement the fact that after marriage, or even single, that constant household duties leave insufficient time for the whole thought and constant toil - a single minded attitude - in the visual arts in particular. You can't hold a baby with a palette in your hand, nor can you keep your paint brushes in the sink. Apart from that, it is usual for the wife to become a show-piece for her husband. I was extraordinarily lucky, from the very beginning of our marriage, Harold Knight gave me equal chances with himself. If the few of us women painters have gone a little further, I guess it is largely due to the husband's generous thought. I am fully aware that I owe, however little the progress made, to my own dear and wonderful man. On the other hand in the Arts, although you can't paint on the kitchen table where food is prepared, you can write thereon' (16th October 1965), 'I have known two female infant prodigies - one, Pamela Bianco, half Italian, half English. She was the most remarkable. She was an infant Botticelli. She had enormous talent and possibilities, but her father Bianco, on his discovery of her gifts, gave up his business to keep her at work for years, making her notorious in many countries…..In my opinion she should have been allowed to study and find out what she lacked of understanding from other students, but no, he thought her too gifted for any tuition. Whether it is true or no, I do not know for certain, but it was said that she lost her mind at the age of twenty. A proud parent, it would appear, can be a danger to either a daughter or a son.' (5th November 1965), 'Thanks so much for your kind letter…..and for all you say about the B.B.C. interview. Robert Robinson is a delightful person - easy to talk to. I almost forgot the cameras…..I do hope….that you are finding pleasure in your work at Exeter University where you are organizing exhibitions and “a big theatrical display to co-incide with the opening of a new theatre” All the same, as you say, it is not like working at the Academy. I also love every stone of the old building. I hope you will soon be back there…..' (20th May 1967). Two of the letters are accompanied by the original envelopes (one signed by Knight in the return address to the verso. VG, 5 Margaret Hallett (1928-2018) British Clerk and Assistant Librarian at the Royal Academy of Arts in London 1955-65.
A collection of assorted gemstone necklaces, including a 20th Century coral single strand necklace, a jade type bead necklace, two semi-precious carved beaded necklaces, a faceted gemstone single strand necklace, a green jasper type and freshwater pearl necklace, a gold sandstone double strand oblong bead necklace, an intertwined double strand turquoise and white stone millibead necklace, plus others
A 14ct gold half hunter pocket watch, dial diameter approx 42mm, subsidiary dial, numbers, a/f glass missing, total gross weight approx 82gms, plated top loop, along with a 9ct gold swivel fob set with blood stone and carnelian on a small chain, total gross weight approx 14gms, length approx 8.5cm
A collection of silver and white metal jewellery comprising Art Nouveau and Celtic style jewellery including earrings, pendant, ring and brooches, Arts & Crafts stone set brooches, a circular link bracelet, amber bead necklace, silver mounted amber pendant and earrings along with a haematite suite of jewellery (1 bag)
A collection of costume jewellery to include Victorian style ring with embossed ivy detailing, a white metal rosary chain filigree and floral links with a miraculous medal, based on St Catherine Laboure visions, an enamelled dragon fly brooch, base metal, and a stone set fly version, along with a coat of arms enamel and metal bracelet and white metal brooch with ink stone set centre (1 bag)
A citrine and unmarked yellow metal brooch, (assessed as 9ct gold ) the emerald cut citrine measuring approx 22mm x 15mm, open work surround with bead and scroll decoration, total gross weight approx 11.9gms, along with a Victorian paste set brooch, leaf detailing, unmarked yellow metal testing as 18ct gold, total gross weight approx 3.4gms A/F stone missing
Prehistoric Stone Tool GroupA collection of flint tools, including scrapers, blades and an arrowhead, some with inked labels dating to the 1930s giving provenances including Avebury, Banstead Downs and Mildenhall, largest being 64mm, circa 10000-2500BC (9)Medieval Hawk and Poppinjay badges. A pewter badge in the form of a hawk or falcon, probably relating to the sport of falconry, together with an incomplete love badge in the form of a Poppinjay. 14th-15th century, both found in the River Thames, London.Largest 67mm. (2)Cf. Spencer - Pilgrim Souvenir and Secular Badges, 318 a-b.Group of ancient Greek and Roman provincial bronze coins (13)Three Medieval Bone Gaming Dice. Together with a bronze cube having an engraved circle on each face. Largest 10mm x 10mm x 10mm
A collection of semi and semi precious jewellery to include a fresh water cultured pearl necklace, with rough cut ruby detail, length approx. silver findings along with a matching bracelet strung on elastic, a jadeite chip bead necklace, silver findings along, length approx. 20'', with jadeite round bead bracelet strung on elastic and a tanzanite and morganite chip necklace, length approx. 22'', gilt metal findings and a loose cabochon oval stone (1 bag)
Two 9ct gold rings including an emerald coloured stone and diamond set ring, comprising an oval cut emerald to the centre with two round cuts either side with diamond set border, size U, along with a three blue topaz blue topaz and diamond version, size S, combined total gross weight approx 4.6gms
An Edwardian paste set bar brooch, open work detail set to the centre with a blue paste stone with seed pearl surround, unmarked rose metal testing as 9ct gold, replacement base pin, total gross weight approx 2gms, along with a Victorian gold fronted sweetheart brooch, set with turquoise, leaf decoration, gilt metal reverse (2)
A collection of silver and white metal jewellery to include two Victorian brooches, silver link bracelet, St Christopher medallion with chain, three silver chains, fifteen charms including rabbit, key, teddy pram etc, two lockets a cross, three padlock clasps a red stone set pendant and a stone set scarf clip ( 1 bag)
A collection of jewellery to include a 9ct gold and diamond pendant, set with pear cut blue topaz on a fine link 9ct gold chain along matching earrings, pierced ear fittings, combined total gross weight approx 3gms, along with an unmarked yellow metal, blue and white stone set ring, a/f stones missing and three white metal brooches including cameo versions (1 bag)
A tanzanite and diamond ring, the trillion shaped tanzanite offset with a diamond border detail, 18ct gold, size N, total gross weight approx. 3.3gms, along with three 9ct gold rings stone set with amethyst, citrine and diamonds and blue topaz and paste, sizes N1/2, and Q, combined total gross weight approx. 8.9gms and two white metal and amber rings
A collection of costume jewellery to include vintage faux pearl beads, rainbow glass necklace and mother of pearl version along with Siamese silver and filigree brooch, paste set jewellery including brooches and a pair of earrings, white metal bracelets set with amethysts and stone set pendant, tow ladies dress watches including Rotary and Accurist and a Stratton compact decorated with swans (1 bag)
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400965 item(s)/page