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Lot 314
A vibrant 14-piece assortment of Royal Doulton character and Toby jugs spanning miniature to large sizes, showcasing a rich array of historical and whimsical figures. Highlights include a large Beefeater, a red-coated Chelsea Pensioner, and two large likenesses of John F. Kennedy with Esso flag handles. The lot also includes classic figures such as a sailor, a tophat gentleman, Neptune, and various expressive characters with distinctive molded handles. Several pieces feature vibrant hand-painted details and hallmark Royal Doulton glazing. This diverse grouping presents a compelling overview of Royal Doulton's iconic jug artistry, from expressive miniature mugs to statement display pieces. A spirited and colorful collection for Royal Doulton collectors or fans of British ceramic character ware. Largest piece 7.75"H. Issued: 20th centuryDimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.
Lot 67
SIR DAVID WILKIE (SCOTTISH 1785-1841) COMPOSITION STUDY FOR THE CHELSEA PENSIONERS Pen and brown ink 7 x 6cm (2¾ x 2¼ in.) UnframedProvenance: Sale, Christie's, London, 17 November 1992, lot 32 (part)The present drawing is an early study for The Chelsea Pensioners, Apsley House. We are grateful to Alex Kidson for his help in preparing this catalogue entry. The work will be included in Hamish Miles' forthcoming catalogue raisonné of the work of David Wilkie.
Lot 117
λ‡ PETER ROSE PULHAM (BRITISH 1910-1956) TROMPE L'OEIL À CLEF Oil on panel Signed with initials and dated 1939-1945 (to centre of right edge) 51 x 76cm (20 x 29¾ in.) Peter Rose Pulham worked initially as a photographer, producing work for Harper's Bazaar in the early 1930s before moving to Paris. He famously photographed Picasso in his studio on the Rue des Grands Augustins in 1936 but became increasingly interested in French surrealism and began painting in the late 1930s, returning to London just before the outbreak of World War II. In 1941, a German bomb hit his studio on Old Church Street in Chelsea, destroying many of his paintings. His later work is heavily influenced by Francis Bacon, with whom he became close friends. Condition Report: There is a small fleck of paint loss to the lower right quadrant, just above the feather. Ultraviolet light reveals retouching to the left hand and lower edges. Otherwise, the work appears to be in good condition.Condition Report Disclaimer
Lot 518
Vinyl - 18 Punk 1st generation UK pressing 7” singles to include: The Exile (CYS 1033), The Xdreamysts (GOT 5 with foldover sleeve), The Only Ones (VEN 001) The Only Ones (S CBS 7086), John Copper Clarke (TOSH 103 with foldover sleeve), The Table (VS 176), Menace (SMALL 5), Chelsea (SF 5), X-Ray Spex x 3, Alternative T.V. x 2, N.Y. Gong (with Anti-Ageist Manifesto folded insert), Subway Sect, The Boys, The Wall, The Mekons. Condition VG+ overall
Lot 603
Vinyl - One album and 8 7” singles by Elvis Costello including private pressings, to include: Our Aim Is True (US 1977 private pressing LP with 2 inserts) EX (in open shrink, pressing bubbles on vinyl), John Peel 1978 (KK 10, private pressing 7” single) EX, Radio Blast EP (BANG 4 private pressing 7” EP single) EX, Clubland (P-1505X Japanese, no picture insert) EX, Pump It Up (RAD 17 168, German pressing) VG+ / EX, (I Don;t Want To Go To Chelsea (ADA 3, UK) VG++, An Interview With Elvis ‘C’ x 3 copies (CHAT 2, private pressing numbered and limited to 1000 copies, these are numbered 0139, 0172, 0196) Ex
Lot 131
English School, 19th century 'Homeward Bound' and 'Home Sports', a pair of studies on the River Thames, one depicting a steamboat towing a sailing ship before the Old Royal Naval College, Greenwich, the other a boat race, probably Oxford v Cambridge, before the Royal Chelsea Hospitaloil on boardeach 13 x 17cm
Lot 732
Bill Waugh Handsigned 33x24 Colour Print titled 'Royal Dornoch-The 10th, Fuaran. Chelsea Green Editions Stamp. Limited Edition 178/850. Signed in pencil. Print Shows the 10th hole at Dornoch Golf Course. Two small tears less than 1cm visible. Come creases. fantastic print. Printed in Great Britain.
Lot 285
oil on board, signed and dated '15 mounted, framed and under glass image size 27cm x 21cm, overall size 48cm x 42cm Note: Born in Volgograd (formerly Stalingrad), Russia, in 1966. Graduated as an Architect in 1989. Moved to Moscow, worked as an Architect until the beginning of Gorbachev's Perestroika, then worked as an interior designer. Moved to Glasgow, UK, in 1996. Worked at the Royal Bank of Scotland and as a manager at Austin Reed , Glasgow. Then, following the sell-out at my first Art show in aid of Age Concern Charity, decided to become full-time artist. Self-taught, although studied arts as part of degree as an Architect. Exhibited at the Royal Glasgow Institute, Paisley Art Institute and Aspect Prize Annual exhibitions. Represented by established galleries at the Art Fairs in London, Battersea, Glasgow, Edinburgh, Chelsea, Birmingham, Aberdeen, Ireland etc, and self-represented at the Oxford international Art fair February 2016 and the Aberdeen Art Fair, September 2016. I have works in private and corporate collections throughout the UK, Australia, USA, Greece, Germany, Spain, Sweden and Russia. There were a number of articles in local and national press concerning my work and images had appeared in the TV Channel 4's Grand Design. Works exhibited in established galleries throughout the UK. My style-quirky witty figurative, somewhat humorous, somewhat realistic but always colourful. Growing up under the authoritarian Soviet regime, when ordinary Russians had to wear that drab look of obedience and self-suppression, I had always wanted to escape from that total uniformity and find the way to express my vision of events reflecting happier, lighter take on everyday life. We busy ourselves with tedious tasks that like it or not, need to be done, and forget to simply be happy. I reflect everyday events in a slightly exaggerated way to take off the heaviness and seriousness, there is plenty of both in real life-and I believe in surrounding yourself with things that make you feel better. The important thing after all is to be happy and not to be important. My subjects are loosely based on own experiences and observations - and are therefore recognisable, which often provokes a laugh (much desired effect). My subjects (although at times seemingly emotionally isolated, even when they are clustered in groups) are not lacking emotions, they only express them in their own way. They do not take themselves too seriously, they just go about their business as if no-one is looking. Their self-sufficiency is their freedom... Sometimes my characters might look quite realistic and recognisable, but their grotesque figures make them look ironic-we see one thing but they tell us another. Like many things in life-things are not always the way they seem. In other words, I try to reflect life as we see it but don't always notice. To finish, I'll quote: "Artist must think when he feels and feel when he thinks". At first, these two statements are mutually exclusive. If an artwork is created without this in mind, the end result will inevitably lack the energy and that "something" that makes us want to look at a work of art. How to combine the two? This is something that cannot be taught but is inborn. Russians are guided by their emotions, not by common sense, and this has an effect on all my work (whether I am paying myself a compliment here, I am not sure...). I'm interested in people and interactions between them, what makes us tick, what makes us human. Recent exhibitions include: Royal Glasgow Institute of Fine Art, RGI Kelly Gallery; Paisley Art Institute and Aspect Prize; Home and Interiors Exhibitions, SECC Glasgow; Affordable Art Fairs London, Battersea, Glasgow (GAF), Chelsea, Birmingham, Aberdeen, Oxford; First Contemporary Art Fairs Edinburgh; Karen Tailor Contemporary Fine Art, Twickenham, London; Colomb Art Gallery, Marylebone, London; Enid Lawson Gallery, London; Off The Wall Gallery, Cardiff; Stirling Fine Art Gallery, Stirling; Tony Haig Gallery, Kelso; Hullabaloo Restaurant, Dumfries, solo; Regent Gallery, Somerset; Rowan Gallery, Drymen, Loch Lomond and Helensburgh; Christo's Gallery, Glasgow; Arteries Gallery, Glasgow; ArtForum Gallery, Milngavie, Glasgow; The Annan Gallery, Glasgow; McGregor Fine Art, Glasgow; Scotlandart.com, Edinburgh and Glasgow; The Sun Gallery, Newburgh, Fife; Hanover Fine Art, Edinburgh; Westminster Gallery, London; Laurel Gallery, Edinburgh; Gallery Luti, Callander; Tolquhon Gallery, Aberdeenshire; The Jerdan Gallery, Crail; Alpha Art, Edinburgh; Daisy Frame Gallery, Biggar; Dancing Light Gallery, West Linton; Fotheringham Gallery, Bridge of Allan; Devorgilla Gallery, Dumfries; The Storm Studies Gallery, Moffat; High Street Gallery, Kirkcudbright; Frameworks Gallery, Troon; Macmillan Cancer Relief Charity Exhibition, Glasgow and Edinburgh; Hancel Foundation Art Auctions; Retail Trust Charity Exhibition, Glasgow; Marie Curie Cancer Relief Charity Auction; The Preshal Trust Charity Auction; Children's First Charity Auction; University of Glasgow CHAS and Cancer research Charity Exhibition and Auction; Auction Sale in Aid of Yorkhill Childrens' Hospital; Castle Gallery, Inverness; Sable & Ox Gallery,York; Frames Gallery, Artesan Gallery, Perth, and Perth Festival; Central House of Artists, Moscow, Russia; Tracey McNee Fine Art, Glasgow; The Queens Road Gallery, Aberdeen; e-gallery, Bearsden; Spring Art Fair, Sweden.
Lot 244
This exceptional Royal Doulton large character jug is a unique prototype featuring a rare colorway. Designed as a tribute to the esteemed veterans residing at the Royal Hospital Chelsea, this jug reflects the rich heritage and craftsmanship of Royal Doulton. The jug showcases the Chelsea Pensioner in his iconic uniform, complete with a detailed tricorn hat. The handle features a series of medals, honoring military achievements, including the Victoria Cross. The color palette of this piece deviates from standard production, making it an exclusive collector's item. The underside of the jug is marked with the Royal Doulton backstamp and includes a label from The American Toby Jug Museum, further attesting to its rarity and provenance. As a prototype, this jug was not part of the general production line, adding to its desirability among collectors.Artist: Stanley J. TaylorIssued: 1990sDimensions: 6.75"HCountry of Origin: EnglandCondition: Age related wear.
Lot 159
This rare Royal Doulton figurine titled Chelsea Pair Woman (HN577) is a delicate and finely modeled piece designed by Leslie Harradine. Issued between 1923 and 1938, it features a graceful woman in 18th-century attire with a bonnet and full floral gown, rendered in a charming pastel palette. Part of the Chelsea Pair series. Marked on the base with the Royal Doulton backstamp, this early figure is a collector's favorite due to its elegant form and limited production period. Measures approximately 6"H.Artist: Leslie Harradine Issued: c. 1920sDimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.
Lot 262
Produced by Coalport as part of the London Heritage series, this porcelain figurine depicts a Chelsea Pensioner seated on a stone-style base, wearing the traditional red uniform and black cap marked "RH." The figure is detailed with medal decorations and features a hand-painted finish. Coalport backstamp.Dimensions: 6.5"HCountry of Origin: EnglandCondition: Age related wear.
Lot 1320
Assorted Costume Accessories comprising, pair of Regent brown leather brogues, Russel and Bromley chelsea boots, pair of Stylo Matchmakers red and white golf shoes, pair of light tan suede desert boots, two pairs of walking boots, and two pairs of black leaher army boots, a pair of Reebok basketball boots, various tweed flat caps by Phoenix Classic, a Burberry baseball cap and others including John Deer, Virgin Atlantic etc, and a German black felt trilby style hat (two boxes)Shoes mainly size 8 and 8.5
Lot 1196
A collection of boxed Coalport lady figures to include command performance, midsummer dream, Brighton promenade, Mandarin Crescent,Evening Promenade , Sweet Surprise, Montpellier Walk,Summer Gala,, Moonlight Rendezvouz, Chelsea Reception, Victoria Garden, First Waltz, Royal Innovation, Operetta, Chiwick Walk, Afternoon Matinee, Evening Debut, Magnolia Parade, , all in good condition , some with boxes.
Lot 804
EDWARD ARTHUR WALTON RSA PRSW (SCOTTISH 1860 - 1922), PORTRAIT OF ROBERT EDWARD WORTHINGTON oil on canvas, signedframed image size 67cm x 53cm, overall size 81cm x 66cm Note: Edward Walton was one of twelve children of Jackson Walton, a Manchester commission agent and a competent painter and photographer. Some of Edward's siblings were well known in their time - his brother George Henry Walton (1867-1933) was a noted architect, furniture designer and stained glass designer, Constance Walton was an acclaimed botanical painter, while Helen Walton, born 1850, was a decorative artist who studied at the Glasgow Government School of Design and was artistic mentor to the family. Walton enjoyed his art training at the Kunstakademie Düsseldorf and then at the Glasgow School of Art. He was a close friend of Joseph Crawhall - Walton's brother Richard having married Judith Crawhall in 1878 - George Henry and James Guthrie and lived in Glasgow until 1894 where he became part of the Glasgow School or Glasgow Boys, all of whom were great admirers of Whistler. Their favourite painting haunts were in the Trossachs and at Crowland in Lincolnshire. In 1883 Walton joined Guthrie, who had taken a house in the Berwickshire village of Cockburnspath. He also produced a remarkable set of watercolours in Helensburgh in 1883, showing the affluent suburb and its decorous people. These images are regarded as some of the finest of the Glasgow School and praised for their clarity, colour and strong decorative sense. Carrying out portrait commissions became Walton's main source of income. In the 1880s and 1890s he painted murals in the main building of the Glasgow International Exhibition of 1888 and other buildings in the city. Walton also attended painting classes at the Glasgow studio of W. Y. Macgregor, one of the central figures of the Glasgow School. Walton exhibited from 1880 in both Glasgow, at the Royal Glasgow Institute of Fine Arts, and Edinburgh, at the Royal Scottish Academy, being elected an associate of the Academy in 1889 and a full member in 1905. He was in London from 1894 until 1904, living in Cheyne Walk in Chelsea, and a neighbour of Whistler and John Lavery. While in London, Walton often painted in Suffolk, spending summers at the Old Vicarage in Wenhaston. Here he painted pastoral scenes in oil and watercolour, the latter often on buff paper with creative interplay between paper and paint. He used extensive underpainting in his oils, thereby creating subtle effects. In 1907 he accompanied Guthrie on a painting trip to Algiers and Spain and in 1913 worked in Belgium. The World War I years led to his discovering Galloway and he became a frequent visitor to the area. From 1915 he served as President of the Royal Scottish Water Colour Society. Walton's use of oil was reserved largely for important portraits in the Whistlerian manner. Walton married the artist Helen Law (née Henderson) after becoming engaged on 29 November 1889. Helen gave up her painting career in order to tend to their family. Their son John (1895-1971), became Regius Professor of Botany at the University of Glasgow. Their daughter Cecile (1891-1956), was a successful painter, sculptor and illustrator in Edinburgh. Their youngest daughter Margery married William Oliphant Hutchison in 1918. Sixty eight of his paintings are held in UK public collections including Glasgow Museums & Galleries.
Lot 740
JAMES ELDER CHRISTIE NEAC (SCOTTISH 1847 - 1914), THE WOODCUTTERS oil on canvas, signed, titled versoframedimage size 61cm x 35cm, overall size 82cm x 56cm Label verso: Louise Kosman, EdinburghNote: James Elder Christie was a portrait and genre painter. Christie received his artistic training at art school in Paisley and South Kensington. He became known for his portraits, paintings of children, moral allegories and illustrations to the poetry of Robert Burns. He won two gold medals at the Royal Academy in 1876 and 1877. In the 1870s Christie attended life classes in M. Barthe's studio in Limerston Street, in Chelsea, classes which Whistler also attended at this time. On 9 November 1882 he was elected an artist member of Glasgow Art Club, resigned on 15 February 1889. In 1893 he moved back to Glasgow, and was re-elected to the Club on 20 December 1894, and finally elected as an honorary member on 29 December 1913. Following a period in Paris, Christie joined the New English Art Club. Forty-five or his paintings are held in UK public collections.
Lot 725
ROBERT E GROVES (BRITISH 1868 - 1948), MIDDLE EASTERN MARKET oil on board, signed and dated 1918framed and under glassimage size 29cm x 24cm, overall size 50cm x 45cm Note: A marine and landscape artist in pencil, watercolours, gouache and oils, Robert Emmanuel Groves, was born in Richmond, Yorkshire on the second of December 1868, the son of Thomas Groves and Lavinia (nee Medd), he was the eldest of seven children. The family had a brewery business in the Manchester area trading under the name “Groves and Withnell” and would spend the Summer month in Ramsey – Isle Of Man. Aged just 12, he was living with his parents in Leicester in 1881, but at 24, was apparently living in Bohemian Chelsea in 1893. His addresses in that period were believed to have been 50 Tedworth Square and 42 Paultons Square. He studied art under Albert Strange in Scarborough, Yorkshire in the early 1890s, and exhibited his first works at the Royal Academy in 1893, exhibiting five works there during the period 1893-1903 from around 15 works exhibited there overall. He was living in St Albans by 1894, teaching at the Art School of the St Albans School of Science and Art, taking the first of a number of trips to the Western Highlands with a trip to Iona, off the coast of Mull, in 1897, resulting in works like The Iona Ferry, 1897. Marriage to Mary Hall Keir Cameron took place in Glasgow in 1894, and they had a daughter Sheila on October 16th 1901. He was heavily involved in the St Albans pageant of 1907, designing a series of historical postcards, published by printer Raphael Tuck, to be sold to raise funds for the event. He was still at St Albans in 1910 when he was complimented by a visiting American scholar, Mr Charles A. Bennett, when he wrote up his experiences in St Albans for an article in Manual Training Magazine (Vol XII, No. 1, Oct 1910) of which he was editor. As a practising Bohemian, Groves was a lover of life – and women. It is known he had at least one long running extra-marital relationship, with Jessie Smith, with whom he had five children : John (1925), Jessica (1928), Donald (1931; who died in infancy), Seonaid (1934) and Robert (1936). Becoming a member of the HumberYawl Club in 1904, no doubt shortly after committing to the building ofSheila, he made the first of many trips to the Western Highlands in her and the later Sheila II, writing of his experiences cruising in a small yacht, many stories of which were published in the HYC journals and in the Yachting & Boating Monthly. An early and prolific contributor to Yachting Monthly, in the pre-WWW1 under its original founder/editor, Herbert Reiach, Groves’ produced many fine pencils sketches of yachts and marine subjects, and his contributions were especially valued. It is understood his exploits in a small yacht (only 2 ½ tons) were unusual at the time, and his articles taken from his logs, encouraged others to emulate them and paved the way for the sport of ‘yacht cruising’ more generally. By 1908 he had made his first visit to North Africa, writing of his experiences in The Studio (Vol XLV, 1908, p25) and writing Morocco as a Winter Sketching Ground for The International Studio (Vol XXXVI, No. 141, Nov 1908). He is thought to have returned in 1918, painting a series of oils and pencil works of various landscapes, including : In the souk; Horseshoe arch, Morocco; and Powder play in the Running Ground Square, Mogador, Morocco, 1918, the latter held by the Art Gallery of NSW. It is believed these trips to Mogador (now Essaouira) inspired the name of his St Albans home, ‘Mogador’. In 1919 he had again returned to the Western Highlands, where he painted a number of seascapes including West Highland Lobster Fishermen (1919). A keen amateur ornithologist, Groves especially loved the seabirds and waders of the Western highlands, and spent many happy holidays there, observing, sketching and painting, usually with one of his beloved yachts in the picture. An ardent theatre-goer and thespian, Groves was heavily involved in local theatre, including various pantomimes and such works as ‘The Beggar’s Opera’, his production of which is believed to have toured the Midlands in 1926. He retired to Lymington, Hampshire, on the shores of the Solent Estuary, to The Old Coast Guard House in the early 1930s, where he spent the rest of his life, including the WWII years when he was, in his seventies, a member of the Home Guard.
Lot 813
Audrey Durnan for Chelsea PotteryTiledecorated with a purple flowersigned with initials25 x 25cm; and a Continental tile of two deer (2). Flower has a few/two or three small nicks to enamel at edges and a few surface scratches otherwise ok. Dear - has crazing to glaze. Hairlines. Chip to back bottom corner and few other smaller edge chips, otherwise ok.
Lot 865
A pair of 19th Century English porcelain Figures, Chelsea, of Poseidon and Aphrodite, each of colourful decoration, and mark, each approx. 33cms (13") high (some damage.) (2) Provenance: Purchased by the family of the present owner at Carton House Dispersal Sale on behalf of the Dukes of Leinster in the late 1940's.
Lot 906
William IV, c1830, oversized slope-top Rosewood Davenport Desk, Attributed to Gillows of Lancaster. With Provenance to Oscar Wilde. This high quality oversized slope-top Davenport desk is crafted in richly figured rosewood and attributed to the celebrated firm of Gillows of Lancaster. The desk is fitted with a roll-forward upper writing section that elegantly glides outward when in use, with a generous working surface and satinwood lined interior. The desk has a retractable and pivoted rear section sleeve drawer, designed to hold inkwells: it can be pulled outward and then hinged forward beside the desk for convenient access while writing. The writing slope retains its original Moroccan leather surface—albeit heavily worn, deeply patinated, and richly evocative of long and meaningful use. Structurally, the desk contains four functioning drawers to each side. Within one of these drawers is an inscription in ink, reading: ‘FROM M. MENPES, 1938, OSCAR WILDE'S WRITING DESK’. To the underside of a smaller drawer in the top section is a more personal dedication, inscribed: ‘This desk, A gift from my dear friend – MORTIMER MENPES godfather of Vyvyan Beresford Holland 1938, Lin? – it being his father's desk. OSCAR WILDE. Library C.A.L.’ This historic piece stood in Wilde’s study (or ‘den’ - as referred to, in a Newspaper Article c. 1890, which briefly describes the layout of the house) at 16 Tite Street, Chelsea, and is believed to have been the desk at which he wrote during his most prolific period. It was removed from the house shortly before the court-ordered auction of Wilde’s possessions, held “by order of the High Sheriff” following his trial and imprisonment in 1895. Along with a French bed once belonging to Wilde’s mother (also in this sale), the desk was rescued from Wilde’s London home, by Mortimer Menpes, the noted artist and close associate of Wilde. The auction catalogue of the contents of 16 Tite Street offers a stark and telling glimpse into the aftermath of Wilde’s fall, revealing that the house had been largely purged of its furnishings prior to cataloguing. Many rooms are listed with little or no furniture, a silent testament to the efforts of Wilde’s loyal friends—such as Mortimer Menpes—to quietly remove treasured items before they could be sold under the order of the High Sheriff. This indicates, that Wilde’s friends not only offered him financial support during his decline, but also quietly removed and safeguarded personal possessions of value—acts of discretion and loyalty intended to preserve what they could from public sale. The catalogue presents a striking contrast to earlier descriptions of the house, which depict it as overflowing with objects and richly furnished. The collection ultimately offered for sale consisted largely of books, china, pictures, etc., among which was Lot 122: "An etching of a Lady, by Menpes, after W. Graham Robertson..."— a reminder of the long standing friendship between Wilde and Menpes. The presence of Lot 171, an antique mahogany writing table formerly owned by historian Thomas Carlyle (catalogue entry: AN ANTIQUE MAHOGANY WRITING TABLE, with 2 flaps, rising slope, and draw-out desk, formerly the property of Thomas Carlyle, the Historian), alongside newer items in the sale, suggests that the collection was a blend of both antique and more contemporary pieces—highlighting how an 1830s Davenport desk would have fit comfortably within the overall assemblage. Note: the entry for Lot 171, the Carlyle desk, is notably more detailed than most others in the catalogue, which offer only minimal descriptions or scant information about the items listed. After assisting Wilde financially during his difficult years, Mortimer Menpes took possession of the desk—transforming it from Wilde’s personal writing surface into a cherished item within Menpes’s own collection. Menpes installed the desk (and bed) first at his London address, 25 Cadogan Gardens, and later at his country home, Iris Court, Pangbourne, Berkshire. It remained there, in his private collection until his death in 1938. The dedications within the desk affirm not only its provenance but the enduring personal ties between Wilde and Menpes. Menpes was godfather to Wilde’s son, Vyvyan Beresford Holland, born 1886, (after John Ruskin, declined the offer, declaring that, at age 67, he was too old, to take on such responsibility), and clearly considered this desk a treasured heirloom.Imposing in scale, rich in literary and aesthetic history, and distinguished by its mechanical ingenuity, this desk represents a unique convergence of fine furniture craftsmanship and cultural legacy—an exceptional relic of one of the most celebrated figures in literary history. Provenance: By direct descent to the present vendor. Mr. Edmund Joyce 2025
![[Battle of Waterloo Interest] - Lieutenant George Woodberry Journals, 1813-1815 Two manuscript journals beginning on the 18t](https://cdn.globalauctionplatform.com/d513a767-6004-41c6-bd0d-b2eb00ff2aaf/bf20cf2d-6e2a-44a4-a606-b2eb010000fb/468x382.jpg)
Lot 45
[Battle of Waterloo Interest] - Lieutenant George Woodberry Journals, 1813-1815 Two manuscript journals beginning on the 18th January 1813 and finishing on the 16th July 1815, comprising 436 manuscript pages about Lieutenant George Woodberry's experiences in the 18th Hussars, including a detailed three-and-a-half page description of the Battle of Waterloo, volume 2 including hand-drawn and coloured illustrations of a Basque man and woman, and a family in Chapel de Haspare, the neatness and absence of erasures in these journals means that it is possible they are copies of original notes made in the field, each bound in diced calf, 16 x 24cm, volume 1 pp.107-8 has a small tear with loss to a few words, Mid-September – December 1813 do not seem to be included but a large number of blank leaves are present in place of these dates, in volume 2 pp.41-42 (13th-14th February 1814) has been cut out, pp.135-6 are missing, and pp.225-6 damaged with lower section torn, no loss to text (2) Bookplate of George Woodberry to the second volume (appears to have been removed from the first]; and thence by descent. Originally published in French in 1896, then in English by Gareth Glover (Pen & Sword, October 2017) as With Wellington’s Hussars in the Peninsula and at Waterloo, The Journals of Lieutenant George Woodberry, 18th Hussars, 1813-15. According to a letter from Oxford University Press, dated 1964, it appears the OUP considered publishing the journals around this time but this seems not to have come to fruition. One manuscript copy of the journal, covering January-September 1813 (the first volume of this journal) is held in the National Army Museum in Chelsea. It is possible that this copy is that used by Georges Helie for his French edition in 1896.George Woodberry was born in April 1792, probably in Worcester, England. He appears to have been an intelligent and articulate young man and presumably received a good education. He joined the army, aged 20, in January 1812. In January 1813, with six troops of the 18th Hussars, George departed for Portugal to join the Duke of Wellington's Army at the Portuguese border. The intention was to wait for the spring before attempting to drive the French Army out of the country. George provides a detailed description of his travels, encounters with locals and the battles he participates in. From the beginning, his descriptions contain a sense of excitement:23rd January at the Bay of Biscay:“two women on board very ill, one boy Lt up on deck in a very fainting state, gave them some of my Brandy & grits. One of them this evening attempted to throw herself overboard:- all bustle and confusion. – an American privateer chasing us and we are to windward of the fleet. But we sail too fast for the Yankees…”And Olite, Friday 16th July 1813:“…I visited the Nunnery this afternoon. The Nuns gave me a Cup of Chocolate and some sweet cakes: they informed me that about 2 years ago a Nun escaped with a French Officer, but he was obliged after a very short time to give her up to the Convent where she was condemned directly to the punishment of immuring: and she survived only a fortnight: - what greater punishment can there be on Earth than to be confined between four narrow walls only open at the Top and thence to be half supported with Bread and Water…” He provides detailed descriptions of battles in which he participated, such as the Battle of Vitoria on 21st June 1813:“The action commenced at Nine O'Clock in the morning and the Enemy were quickly driven from the height of Pueblo [sic.] by the Comps[?] under Sir Rowland Hill, the Action became very severe and the Enemy were driven down the heights…”In the second volume of his journal, Woodberry crucially devotes a whole 3.5 pages to the Battle of Waterloo:“We remained in our Bivouac till 10 o’clock when the Bugle sounded and we turned out:- we expected the Army were going to advance in concert with the Prussians under Blucher – but judge our surprise when we arrived on the Position (our place being the extreme of the Left) we beheld several strong Columns of the Enemys advancing to the Attack, and to find our Piquets assailled [sic.] by the Enemies Cavalry, which drove ours in some distance…the Battle commenced and continued with the most frightful Carnage…"He continues with a description of the set-up and positions of the armies:“The Nassau troops soon abandoned their post but the Enemy met with such resistance from the Guard in the house they were compelled to desert from their enterprise on this side leaving a great number of Killed and Wounded on the spot…”“…The Enemy opened a horrible fire of Artillery from more than 200 pieces under cover of the Smoke of which Buonaparte made a General attack with the Cavalry and Infantry in such number that it required all the Skill of Wellington to post his Troops & all the good qualities of the latter to resist the Attack – …““…The French Army was defeated. Every one must admire the Gallantry shown by the Enemy’s Cavalry…”“…the Charge was sounded and the most dreadful havoc commenced and the most glorious of all Victories closed the 18th June…”Literature: Glover, Gareth, editor, With Wellington's Hussars in the Peninsula and at Waterloo, the Journals of Lieutenant George Woodberry, 18th Hussars, 1813-15. Pen & Sword, 2017Ibid. https://www.garethglovercollection.com/george-woodberry-19th-hussars/
Lot 43
Manuscripts Large and diverse collection of historical letters and documents, 17th-early 20th century Including: [Slavery interest]. Group of 3 precepts of clare constat in favour of Thomas McQuistin Angus, ‘son of the deceased Charles Angus merchant in Liverpool’, 1822, respectively by Doctor James Home (1760-1844), ‘Professor of the practice of Physic in the University of Edinburgh’, Sir James Steuart Denham of Coltness and Westshiel, Baronet (1744-1839), and Doctor James Hamilton Junior (1767-1839', ‘professor of Midwifery in the University of Edinburgh’, each a vellum bifolium, respectively signed on each page by Home, Denham and Hamilton; [Indian Mutiny interest]. Letter of attorney appointing Robert Ainslie W.S. factor to ‘David Alexander Gordon Esquire, Lieutenant in Her Majesty’s Rifle Brigade at present serving with my regiment in India', 1858; [India]. Printed wedding invitation addressed to ‘Miss Percival’ by His Highness Tukhtusingjee Thakore of Bhownuggur, possibly relating to the 1874 quadruple marriage of the Thakore of Bhownuggur, signed at foot in Devanagari script, presumably by Thakore; [English Jewry - crime and punishment]. Pencil and wash profile portrait captioned ‘a Jew doctor who was hanged for murder comitted [sic] at Chelsea about 1771’, possibly depicting Dr Levi Weil; [First Carlist War]. British Legion general order, headquarters, St Sebastian, 18 May 1836, single foolscap bifolium, engraved arms of the British Legion upper left, the order concerning officers going absent without leave, apparently a draft and also including register of promotions; Paul III Anton, Prince Esterhazy (1786-1866). Document (passport) signed as Austrian ambassador to the United Kingdom, 1825; Earl of Mar, 2 autograph letters signed, Alloa House, 1827-33 ('If you enquire of Scotch as to me, I feel very certain you will very seldom hear a good opinion of me from them;' because I do not praise their nonsense & because I was educated in England'); and several hundred similar documents, mainly Scottish interest, including: various probate and similar documents relating to the Angus family, 1820s (see above); numerous documents and letters relating to the Marjoribanks family (Dumfries interest; these early 20th century); Francis Baily (1774-1844), astronomer, autograph letter signed; Walter Francis, 5th Duke of Buccleuch, signed document on vellum, 1839; Charles Home, 6th Earl of Home (d.1706), document signed ’Home', 1699, on paper, tape-repairs at foot; approx. 20 further documents on vellum; miscellaneous letters, and ephemera including receipts, accounts, lists of rentals, etc. (1 box) Thomas McQuistin Angus (1804-1825) was the son of Liverpool slave-trader Charles Angus (1767-1820), who was also the accused in a sensational 1808 murder trial. The Centre for the Studies of the Legacy of British Slavery gives Charles's Scottish address as Turnberry or Turnberry Lodge, Ayrshire. Thomas himself died in Jamaica in 1825.
Lot 773
A collection of sixteen Halcyon Days and other modern enamel boxes with an architectural theme, the Halcyon Days examples including the dome of St Paul's Cathedral, height 7.5cm, a limited edition drum shaped box 'To Commemorate the Tercentenary of the Foundation of the Royal Hospital, Chelsea by King Charles II 1682-1982', no.245/500, Glyndebourne, Canterbury Cathedral, Queen's House, Greenwich, Shakespeare's Globe, Kensington Palace, Restormel Castle, Cornwall, Halcyon Days shop window, limited edition Wesminster Abbey 750th Anniversary 1245-1995, no.164/250, Pusey House, Oxfordshire and Apollo Theatre, Oxford, the remaining three comprise two from The Royal Crescent Hotel, Bath and a Bilston & Battersea Enamels St. Paul's Cathedral Appeal box, no.312 (16 in total, 14 in wooden box and two in boxes)
Lot 1397
SARGENT JOHN SINGER: (1856-1925) American artist, considered the leading portrait painter of his generation. A brief A.L.S., John S. Sargent, to the recto of a correspondence card, Tite Street, Chelsea, n.d. (´Saturday´), to [Francis] Derwent Wood. Sargent writes, in full, ´The enclosed explains itself. I am sorry´. Some light age wear, VGFrancis Derwent Wood (1871-1926) British sculptor.
Lot 1399
JOHN AUGUSTUS: (1878-1961) Welsh painter. A good A.L.S., Augustus John, two pages, 8vo, Mallord Street, Chelsea, 10th October 1919, to [Catherine d´Erlanger] (´Dear Baroness´). John states that it was kind of the Baroness to have invited him to Shooter´s Hill, and he regretted not being able to come, continuing ´I have so much to get done just now that I cannot very well get away. As soon as I am freer I want to get on with the picture of Miss Jellybrand (sic) and your daughter. But first I want to get clear of my "official" work - after that I shall feel more like an artist........´ and concluding by remarking ´I should like to show you my things some day´. With blank integral leaf. VGCatherine d´Erlanger (1874-1959) Baroness Marie Rose Antoinette Catherine de Robert d'Aqueria de Rochegude. French patron of the arts and Hollywood nightclub owner, known as ´The Flame´ (La Fiamma) owing to her hair colour.Baba d´Erlanger (1901-1945) French style icon and model of the 1920s, daughter of Catherine d´Erlanger.Paula Gellibrand (1898-1986) English society beauty and mannequin, one of the favourite models of Cecil Beaton.Baba d´Erlanger and Paula Gellibrand (whose surname is amusingly misspelt by John in the present letter) were lifelong and inseparable friends known as ´The Twins´. John´s 1921 portrait of the two ladies, entitled Baronne Baba d’Erlanger and Miss Paula Gellibrand was begun at Deauville in 1919 whilst John was engaged as the official artist at the Paris Peace Conference. The fine art dealer Richard Green wrote that John considered it ´Much more fun to portray two young women´ and of the painting itself that ´despite their contrasting styles of beauty – Baba dark and intense, Paula shimmering and golden, John responds not only to their superb good looks but to the zeitgeist – their marcel-waved hair and simple dresses have a classical unfussiness that ushers in the Jazz Age, the Roaring Twenties. The brushwork has the witty fluidity of a foxtrot, while the composition is organized around bold blocks of colour: red, gold and deep sapphire´.
Lot 1176
MILNE A. A.: (1882-1956) English author, creator of Winnie-the-Pooh. A fine A.L.S., A. A. Milne, one page, 8vo, Mallord Street, Chelsea, London, 11th July 1932, to [Maurice] Evans. Milne writes a warm letter to the actor, evidently in anticipation of an opening night, in full, ´Good luck, and, in advance, Thank you. I feel very happy about your performance to-night, and have felt so since your first rehearsal, however unhappy you may have been about yourself from time to time. The cooperation of a "fashionable and distinguished auduence" (including my parlour maid and boy friend) will give you all you want - to give me all I have ever hoped for´. A letter of good content and association. Together with David Ffolkes (1912-1966) English costume and set designre for numerous stage productions and films. A.L.S., David, one page, 8vo, York Buildings, Adelphi, London, n.d. (annotated in another hand as received on 30th September 1935), to John Homery Folkes, evidently a relative, stating, in part, ´I forgot to send you this - a letter from A. A. Milne to Maurice some time ago at the 1st night of "To See Ourselves". I think the play was written by A.A.M.....´. With blank integral leaf. Accompanied by the original envelope hand addressed by Folkes. VG, 2Maurice Evans (1901-1989) English actor known for his interpretations of Shakespearean characters, although perhaps best remembered for his role as Maurice, Samantha’s father, in in the American fantasy sitcom television series Bewitched (1964-72). In 1956 Evans made a recording of stories from Winnie-the-Pooh. David Ffolkes (later Folkes) came to the United States of America as a set designer with Maurice Evans´Shakespeare Compnay before World War II.
Lot 145
A Chelsea porcelain 'silver-shaped' dish, c.1750s, of rococo shell shape, decorated with a floral spray, sprigs and gilt scrolls, the underside with a gilt anchor mark,25cm longProvenance: A private collection, Upper East Side, New York, and a London apartment.Condition ReportOverall the dish is in good condition with only minor traces of age and wear. Very slight rubbing to some of the decoration. Some light surface scratches. Hairline glaze crack to rim.
Lot 776
A GROUP OF TEN PORCELAIN DOLLS, comprising from The Hamilton Collection, 'Chelsea', sculpted by Connie Walser Derek, No. 4420F, (marks on clothes and face, one shoe has material coming away), 'Amy' sculpted by Jane Zidjunas, together with a wooden rocking horse, tag on the wrist (rocking horse head is loose, discoloration on the face, no certificate), 'Kimberly' by Jane Zidjunas, No. 0168, (visible marks to the clothes), 'Jennifer', sculpted by Jane Zidjunas, No. 2166, (visible marks to the face and clothes), 'Christina', tag on her wrist, sculpted by Laura Cobabe, (slight marks to sleeves no certificate), from The Ashton-Drake Galleries 'Wrapped up in Christmas' No RX-7881-A, (dogs leg is missing), 'Little Bo Peep', with her sheep, by Wendy Lawton, No. 9040FF, (sheep would benefit from a clean, visible marks to hat and apron), 'My little Ballerina' by Kathy Barry-Hippensteel, No. 3484-C, 'Mary, Mary, Quite Contrary', with wheelbarrow, by Wendy Lawton, No. 8692FB, by Edwin Knowles, 'Lisa', No. 5568A, all have boxes and certificates unless otherwise stated, (10), (Condition Report: see main description for detailed damage etc., all would benefit a clean, some boxes and certificates are a little worn, but overall ok condition)
Lot 948
FIVE BOXES OF ASSORTED CERAMICS to include a group of Royal Worcester 'Evesham Vale' tea wares comprising a tea pot, cups, saucers etc, a group of egg coddlers, floral Duchess tea wares, a box of assorted water jugs and pitchers to include manufacturers Laura Ashley, Whittards of Chelsea, etc, oven dishes, storage jars, a collection of Next 'Emily' dinner wares (5 boxes) (s.d)
Lot 847
SEVEN FRANKLIN MINT FOR THE VICTORIA AND ALBERT MUSEUM 'TEAPOT COLLECTION' ORNAMENTS comprising 'Tournay,' 'Chelsea-Derby,' 'Worcester,' 'Chinese,' 'Furstenberg,' 'Hochst,' and 'Bow,' some have tent cards included, six boxes included (7 + boxes and cards) (Condition Report: wear to the boxes, ornaments appear in fair condition)
Lot 1021
ROCK / PROG - LP COLLECTION. A collection of approx 52 x LPs. Artists/ Titles include Nico - Chelsea Girl (2353025, Ex/VG+), Pink Floyd inc Ummagumma, Atom Heart Mother, A Saucerful Of Secrets and Relics, Syd Barrett - The Madcap Laughs/ Barrett, Fairport Convention - Unhalfbricking, Liege & Lief, The Doors - Waiting For The Sun, Weird Scenes Inside The Gold Mine, Full Circle, Live At The Hollywood Bowl, The Best Of The Doors, Amon Duul II, Gong, Groundhogs, Buffalo Springfield and Budgie. The condition is generally VG to Ex+.
Lot 993
ROCK / POP / PUNK - 7" COLLECTION. A collection of approx 95 x 7" and 1 x cassette. Artists/ Titles include David Bowie - The Prettiest Star (original pressing, MF1135, G), The Laughing Gnome, Genesis - Happy The Man, Tyrannosaurus Rex - By The Light Of The Magical Moon, Chinese Rocks - Born To Lose, The Users, The Damned - New Rose (BUY 6, early RE, Ex+/VG), Ski Patrol, Chelsea, Neville Staples AKA Judge Roughneck, Talk Talk, Depeche Mode, U2, The Beatles - Long Tall Sally, Stevie Wonder, The Animals, The Zombies, Yardbirds and Hawkwind. The condition is generally VG to Ex+.
Lot 1081
PUNK/ WAVE/ ALT - 7" COLLECTION. A collection of around 77 7". Records are generally VG+ to Ex+, sleeves are VG to Ex, displaying varying levels of minor mould dusting/ minor water damage. Artists/ titles include The Rezillos - I Can't Stand My Baby, Roky Erickson - Bermuda, The Addix - Too Blind To See, Battle Of The Bands (GOT 7, inc poster), Alternative TV, Action Time Vision, Heartbreakers - One Track Mind, Hammersmith Gorillas - You Really Got Me, Fist - Name Rank & Serial Number, The Cortinas - Fascist Dictator, Chelsea - Right To Work, The Pirates - You Don't Own Me. The Drones, File Under Pop, Blat Furnace Christina, Be Bop Deluxe, Simple Minds, Tangerine Dream, The Users, The News, Vibrators, The Stranglers, The Wasps, XTC, 999.
Lot 1073
PUNK/ WAVE/ ALT - 7"/ LP COLLECTION. A timeless collection of 5 LPs/ 12" & 41 7". Artists/ titles include Elvis Costello inc Punch The Clock (XXLP 19), My Aim Is True (SEEZ3, red text sleeve), This Years Model (RAD3). Bauhaus inc Mask (BEGA 29) & Telegram Sam (AD17T). 7" artists/ titles include Johnny Curious & The Strangers - In Tune, Bauhaus inc Dark Entries, Spirit (pic disc). Elvis Costello (x3), Ramones, Crass (flexi), X-Ray Spex (x2), Squeeze (x3), Stiff Little Fingers (x2), Undertones, Buzzcocks, Chelsea, The Beat, The Adverts (x3), The Specials, Jilted John, Dexy's Midnight Runners (x2), Rich Kids (x3), Magazine, The Chords, The Boomtown Rats (x3), Pretenders, Everything But The Girl, Lene Lovich, Modern Lovers and The Kursaals. Condition is generally VG to Ex+.
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