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Click here to subscribeA collection of Continental ceramics to include; Dresden part coffee set including the coffee pot and milk jug, with Dresden plates, saucers, cups, sugar bowl, a coffee and cake plate in a cobalt blue and painting of couple. With a J.P.L France part tea set including Tea pot, milk jug, cup and saucer, sugar bowl. along with two Cauldon England tea cups and saucers.Some chips, cracks and staining to some.
A collection of silver plated items to include; A tea set consisting of tea pot, sugar bowl and milk jug, a small Plato plate, a plated circular tray, two posy vases, a salver, a plated bordered two handled tray, an EPNS cigarette case, a Royal Selangor dolphin designed letter opener, three plated spoons, a horn handled steel knife and a small plated pickle fork. Along with a novelty boxed set Golfing bar set including measures, also an empty wooden fitted cutlery box.
A collection of silver plate, EP, EPNS to include: Georgian style four piece tea and coffee service; Georgian style mustard pot and cover and matching salts; toast rack, 1920s style tapering cylindrical cocktail jug; fish and cake servers, a set of six cased grapefruit spoons, a pair of Victorian style cased servers, stamped Walker & Hall; cased set of six butter knives; cased set of four fish eaters, large two handled tray, cigarette box, King's pattern flatware, boxed steak knives, antler horn carving sets, hip flasks, cruet set etc - this lot also includes a Limoges cobalt blue and gilt sugar basin and cover and an English Pewter J T & Co., pattern no: 2451 hammered two handled serving bowl (2 boxes)
A collection of silver tea spoons, including two cased sets of coffee spoons (CB&S for Cooper Brothers & Sons Ltd Sheffield, 1925 and TB&S for Thomas Bradbury & Sons Ltd, Sheffield, 1925 along with a set of eleven shell design tea spoons and tongs. (Hallmarked: GMJ for Josiah Williams & Co, London, 1889). H.3 W.17 D.14 (largest box) Weight 253g
A Sevres Bleu Celeste Porcelain Seven-Piece Tea Service (Dejeuner 'Courteille')Circa 1780each bearing blue interlaced Ls enclosing date letters cc below painter's mark of a comma for Mereaud le jeune and above gilder's mark '#' for Chavaux pere, with various incised marks; painted with trailing flower garlands and wreaths, the shaped turquoise border richly gilt and chased with a laurel garland, echoing the shape of the border edged with a gilt cisele band, comprising a shaped rectangular two-handled tray, a teapot and cover, a sugar bowl and cover and four cups and saucers; 7 items total.Length of tray over handles 14 1/4 inches.This lot is located in Chicago.Note:A 'dejeuner' is the name given to a small tea or coffee set with a matching tray, the name for the overall set dictated by the shape name given the tray. In this case, it is a shaped serpentine rectangular tray or plateau 'Courteille' with rounded corners and angled side handles, named after the marquis de Courteille, the King" representative in charge of the Vincennes/Sevres manufactory, to whom the first example of this tray was presented in December 1753. Sales records show Dejeuner 'Courteille' produced from 1757 into the 1780s.The selection of pieces making up the set can vary, as can the size and shape of the tray and of the individual pieces, the complement of pieces dictating the use for the dejeuner. The present dejeuner of a theiere 'Calabre', 3eme grandeur, a pot a sucre 'Bouret', 2eme grandeur, and four gobelets 'Litron' et soucoupes, 3eme grandeur resting on a plateau 'Courteille' originally will have included a pot a lait a trois pieds, likely 2eme grandeur. The individual pieces comprising the set will have been completed at the same time by the same decorators, resulting in identical factory, painters and gilders marks on each piece, as is the case here. With four cups, it is the largest such service produced, although the cups themselves are likely the smallest.Dejeuner 'Courteille' can be found in The Wallace Collection, the Wadsworth Atheneum, and the Victoria and Albert Museum, among others. Cf. Rosalind Savill, The Wallace Collection - Catalogue of Sevres Porcelain, London, 1988, cat. no, C401-6, pp. 615-621; Linda H. Roth and Clare Le Corbeiller, French Eighteenth-Century Porcelain at the Wadsworth Atheneum - The J. Pierpont Morgan Collection, 2000, cat. no. 83, pp. 175-178.Charles-Louis Mereaud le jeune (active 1756-1780) is recorded at Sevres as a painter specializing in flowers and patterns. Michel-Barnabe Chavaux pere (active 1752-1788) is recorded at Vincennes and at Sevres as a gilder. Their work on the present dejeuner is typical of that found on tablewares of the late 1770s-1780s, showcasing their talent and expertise of their specialties honed over many years at the factory.Teapot and cover: height 4 1/2 inches; incised 44 oo and 5.Sugar bowl and cover: height 4 inches; incised 40 and a.Four cans and saucers: height of cups 2 3/8 inches, each incised 48a; diameter of saucers 4 5/8 inches, each incised 48a.In overall excellent condition. The tray with no incised marks, having a tiny nick to the edge of one handle terminal leaf, a touch of wear to the leaf terminal diagonally opposite, very very light surface scratching. The teapot and cover with minute nick to tip of spout. The sugar bowl and cover with wear to gilt dentil rim, gilting on the berry finial possibly refreshed.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
A well-documented Second War ‘Arnhem’ ‘Immediate’ D.F.C. group of seven awarded to Battle of Britain Hurricane pilot Squadron Leader B. P. Legge, Royal Air Force, who served with 601 Squadron during the Battle of Britain, and saw further service in North Africa; as a Dakota pilot on D-Day; and at Arnhem during Operation Market Garden, where his was Dakota was badly hit and both he and his second pilot were severely wounded: despite the loss of blood he remained at the controls and effected a safe landing, for which gallantry he was awarded an Immediate D.F.C. Distinguished Flying Cross, G.VI.R., reverse officially dated 1945, on original mounting pin; 1939-45 Star, 1 clasp, Battle of Britain; Air Crew Europe Star, 1 clasp, France and Germany; Africa Star, 1 clasp, North Africa 1942-43; Italy Star; Defence and War Medals 1939-45, generally good very fine and better (7) £5,000-£7,000 --- D.F.C. London Gazette 2 February 1945: ‘This officer has completed much operational flying and throughout has displayed efficiency and zeal of a high standard. One evening in September, 1944, he piloted an aircraft on a mission involving the dropping of supplies to our ground forces near Arnhem. When approaching the target, the aircraft came under anti-aircraft fire and was hit in several places. Nevertheless, Flight Lieutenant Legge went on to the dropping zone and released his containers with precision. Shortly afterwards the aircraft was again hit Flight Lieutenant Legge was severely wounded in the leg; his co-pilot was also wounded. Undaunted, Flight Lieutenant Legge remained at the controls. Although suffering severe pain and becoming weak through loss of blood he flew the aircraft to base where he effected a safe landing in difficult conditions. This officer displayed great courage and fortitude and was undoubtedly responsible for the safe return of the aircraft and its crew.’ The original Recommendation, dated 26 September 1944, gives some additional information: ‘On the evening of 24 September, Flight Lieutenant Legge was briefed to drop re-supply panniers on a D.Z. to the west of Arnhem. A considerable amount of flak was encountered over the majority of the route and the aircraft was hit in several places. In face of concentrated machine gun and 20mm fire, Flight Lieutenant Legge pressed on over the Drop Zone and carried out an accurate drop. Just after turning away the aircraft was again hit, wounding the second pilot in both legs, and seriously wounding Flight Lieutenant Legge in the right leg, damaging the muscles and denying him the use of his leg. He lost a lot of blood on the route home, and arrived over base in a very weak condition. In spite of a slippery runway and a high cross wind, Flight Lieutenant Legge carried out a successful night landing. The courage and determination of this officer in the face of heavy opposition, is worthy of the highest praise. Remarks by Air Commodore Darvall, Officer Commanding HQ 46 Group: Flight Lieutenant Legge saved his aircraft and crew by a splendid display of courage and airmanship. Strongly recommended for an immediate award of the D.F.C.’ Brian Pauncefoote Legge was born at Snaresbrook, Essex on 5 May 1920, and spent his early years in China, before being educated at Exeter School. He joined the Royal Air Force on 6 February 1939 and was commissioned as an acting pilot officer on 15 April 1939. Following the outbreak of the Second World War Legge received his first operational posting, to 73 Squadron, on 12 May 1940, and his first flight over foreign soil took place the following day, in Hurricane L1826, when he was detailed for a Sector Recce. He notes in his log-book, ‘Did first aerobatics in Hurricane’. His next flight was on 15 May when he was one of six Hurricanes from ‘A Flight’ to take off after lunch to intercept enemy aircraft over Rheims. Legge records in his log, ‘Interception of 20-30 enemy bombers, Rheims - Chased a He 111 but was unable to catch it. Flak over Germany, fight with a Hurricane ensued.’ At the beginning of June, Legge had several attacks of malaria, resulting from his early days in China, and on 10 June he was declared unfit for further flying with the squadron and he was sent back to the UK immediately. It would appear that his days off sick combined with his strong personality did not endear him to the CO and other officers of 73 Squadron (who were a tight knitted bunch having been through rough times in France). Battle of Britain Legge was returned to No. 1 RAF Depot at Uxbridge where he stayed until July, and after a posting to an Officer Training Unit finally rejoined a Fighter Squadron when he was posted to 601 Squadron at Exeter on 13 October 1940. Between 18 and 27 October he was engaged on practice flights/formations, and cross country flights along with sea firing exercises, but finally, on 28 October, he did his first ‘operational sortie’ which would earn him the Battle of Britain clasp. He completed two further sorties on the 29 October when Portsmouth was attacked during the morning, and on 30 October he did another sortie with no contacts, noting in his log on each occasion the single word, ‘Flap’. North Africa At the start of November Legge was posted back to his old squadron, 73 at Debden, who had just been ordered to join the Desert Air Force, and by January 1941 the squadron was up and running, and having taken over from 112 Squadron they were soon on local defensive patrols over Tobruk. As he wrote in a letter to his mother: ‘I can’t tell you very much about the journey out here, except it was the most interesting one I have ever made. A forced landing in the bush followed, but I managed to make a big city for Christmas. The sand gets rather boring after a while; we have it for lunch, tea and supper, sleep in it, breathe and drink it, not to mention the sandstorms, which rip up our tents. Owing to the censorship regulations I can’t tell you about our activities out here, but the last week has been very exciting.’ On 21 January, during a dawn patrol, and with several Fiat G50s appearing over Tobruk, the CO led an attack on them with Legge, Wareham, Wainwright and Griffith, sharing in the destruction of one and Legge damaging another. He was subsequently hit by ground fire resulting in his engine bursting into flames. He made a forced landing at El Adem dousing the fire with sand and water and was rescued by the CO of 113 Squadron in a Blenheim. On returning to base Legge heard on Italian radio that the Italian fighters had ‘encountered five Hurricanes that morning and had shot one down in flames, and the other four had fled.’ Legge himself noted in his log book: ‘Attack on Tobruk begins, attacked several G50s, chased two for ten miles at ‘0 feet’, used up all my ammunition but only damaged one. Was shot in glycol tank by ground fire, when returning, and force-landed at El Adem. P/O Wainwright shot down in flames, Sgt Murray got a G50. (Sgt Murray later recalled ‘I was convinced that we were caught in a trap’). Benghasi fell on 6 February and by the following day the Allied attack captured Tobruk, the retreating Italians were caught at Beda Fomm in a battle that saw their army destroyed, 130,000 prisoners taken along with 850 big guns and 400 tanks, the Italian Air Force being virtually wiped out. Legge flew on the 1st in Hurricane TP-L on a ground strafing sortie in the morning led by Beytagh where they destroyed several Lorries on the road near Apollonia. He notes in his log book: ‘Set alight a (Caproni) Ghiblis which Sgt Murray had shot down, destroyed 2 motorbikes and drivers and one petrol lorry in flames. Ran into heavy A/A on way back.&rs...
A George V silver five-piece tea and coffee set of oval lobed form, comprising teapot, coffee pot, hot water pot, two-handled sugar bowl and milk jug, Sheffield 1919, 1924 and 1925 by James Deakin & Sons, weight 2754.9g, height of coffee pot 22.5cm.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.
An Edwardian silver three-piece tea set, each of circular girdled form on a circular foot, comprising teapot, two-handled sugar bowl and milk jug, Sheffield 1909 by Walker & Hall, weight 711.3g, height of teapot is 15.5cm.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.
A group of plated items, including a three-piece tea set, muffin dish and cover, wine coaster and sugar basket.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.
A George V and later matched silver four-piece tea set of oval form, raised on scroll legs, comprising teapot, hot water pot, two-handled sugar bowl and milk jug, Birmingham 1932, 1939 and 1940 by Joseph Gloster Ltd, total weight 1208g, height of hot water pot 20.5cm.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.
Four trays of Royal Albert 'Old Country Roses' tea, coffee and dinner ware: Fifteen dinner plates, with two lidded vegetable dishes, cruet sets, gravy boat and stand. Coffee set: coffee pot, six cups with five saucers, six tea plates, sugar basin and milk jug. Tea set: teapot and stand, milk jug, sugar basin and eight cups and saucers. (4) (B.P. 21% + VAT)
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