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Click here to subscribeGeorge II silver serving spoon, later converted to a large berry spoon, with raised fruit bowl and engraved stem (London 1753) Elizabeth Oldfield, together with a George III Scottish silver tablespoon, later converted to a berry spoon, with raised fruit bowl and engraved stem (Edinburgh 1805) William Marshall. All at approximately 8ozs. Larger spoon 33.2cm overall length.
Three The Royal Mint United Kingdom silver coins, comprising 1990 silver proof five pence two coin set, 2011 'William and Catherine' silver proof five pound coin on cover, and 2014 'SS Gairsoppa Britannia' fine silver quarter ounce coin, together with 2013 'Christening of HRH Prince George of Cambridge' five pound brilliant uncirculated crown, 2003 'Coronation Anniversary' brilliant uncirculated five pound coin on cover, two 2005 'Horatio Nelson and the Battle of Trafalgar' uncirculated five pound coins on cover, and Marshall Islands 1989 silver proof crown
William 'Bill' Marshall (1923-2007)Large bottle vasestoneware, with tenmoku glaze and copper poursimpressed potter's seal mark to the base29.5cm high. Provenance:Tremayne Applied Arts, St Ives, October 2010. Appears in good condition with no damage or restoration. Firing dots and differences to the glaze as you'd expect.
A set of 5 Old English pattern Teaspoons, Newcastle c. 1800, by Thomas Watson, initialed IO, one with torn bowl; four miscellaneous silver Teaspoons, London c. 1824, 1822, 1799, & 1822, three by William Bateman; two Teaspoons, c. 1770, marks worn, both crested; a set of 6 fiddle pattern Teaspoons, Edinburgh c. 1829, by William Marshall, approx. 3 ozs; a set of 6 silver Old English pattern Teaspoons, London c. 1805, by Peter, Ann & William Bateman, initialed FF., one bowl torn on both sides on one teaspoon, approx. 3 ozs; Three Teaspoons, c. 1935/1937, with matching Sugar Tongs with a patrae motif at end of handle, makers mark P. Brothers; five 1927 Sheffield silver Teaspoons with line borders, makers mark CWF, and one 1923 London silver hobnail pattern silver Coffee Spoon. (a lot)
Clan Blair: a small archive Including Simon Fraser of Lovat, Royal signatures and War of the Austrian Succession correspondence Red half morocco ‘autograph’ album containing a large number of laid-down letters and signatures, many relating to the Blair Clan, including:Hamilton, Lady Margaret [wife of William Blair of that Ilk]. 2 letters, signed;Blair, Hamilton. Autograph letter signed, dated 18th December 1746, sent from Walisick[?]: “The Marshall Bathiani is expected this day at [?] to the Hague in order to confer with the Duke of Cumberland on the plan of the ensuing operation…”;idem. Autograph letter signed, dated 22nd June 1747, written whilst stationed near Maastricht: “The longer the campaign lasts the better it is for the Captain if he be lucky for we have twenty six shillings a day extraordinary alow'd us during the time we are in the field…”;George II. Clipped signature;Queen Victoria & Prince Albert. Clipped signatures;Fraser, Simon of Lovat, Colonel. Memorial request signed, entitled: “Extract of the Memory of James Beaty, Angus McDonald, George Munro, Donald Urquhart, William Ross and Dougald Cameron”, to commemorate those who were killed in conflict with “French invaders” on the 27th August 1798;and many others, including notes by the Duc de Conéliano, 1754-1842, Marshall of France; Francois Christophe de Kellerman, 1st Duc de Valmy, 1735-1820, Marshall of France; Alexander Leven, 1st Earl of Leven, 1582-1661Louis Antoine de Bourbon, 1775-1844, son of Charles X of France; Patrick Campbell, 1773-1841, Royal Navy Officer; Philip Charles Durham, 1763-1845, Royal Navy Officer; all contained in one album, covers detached Blair Castle, Ayrshire. Sold in these rooms, The Blair Sale, 14th March 2012, lot 345.
TAYLOR ELIZABETH: (1932-2011) English actress, Academy Award winner. A printed 8vo programme for a performance of The Little Foxes at the Victoria Palace theatre, London, March 1982, signed by Taylor (who portrayed Reigina Giddens in the play) in black ink to the inside cast list, and also signed by each of the nine other cast members to the same page, comprising Novella Nelson (Addie), Hugh L. Hurd (Cal), Sada Thompson (Birdie Hubbard), Nicolas Coster (Oscar Hubbard), William Youmans (Leo Hubbard), Humbert Allen Astredo (William Marshall), Robert Lansing (Benjamin Hubbard), Ann Talman (Alexandra Giddens), and J. D. Cannon (Horace Giddens). Some tears and small areas of paper loss to the left border of the opposite page, featuring an image of Taylor, otherwise VG
After Frank Wootton, (1911-1978), Rocket firing Typhoons at the Falaise Gap Normandy 1944, limited edition print no. 122/850, signed in pencil by the artist and ten others to include Air Commodore W Bill Pitt Brown DFC, Air Commodore C D Kit North Lewis DSO, DFC, Air Commodore J W Frost CBE, DFC, DI, Squadron Leader Percy H Beake DFC, Squadron Leader Geoff Murphy, Flight Lieutenant Roy Crane, Flight Lieutenant George Sheppard, Flight Lieutenant Ken Adam OBE and Flight Lieutenant Ramsay Milne, in card mount, max. 61 x 76cm, together with Operration Desert Storm 1991, limited edition print no. 124/850, signed in pencil by the artist and Air Vice Marshall William Wratten, unframed, 54.5 x 65.5cm. (2)
(India) Five good works Sir Colin Campbell. 'Narrative of the Indian Revolt from its Outbreak to the Capture of Lucknow,' half burgundy morocco with marbled boards and gilt tooled spine, rubbed to extremities, pp.365 to 368 debound with a tear affect text, profuse with steel engravings throughout some being double page, lacks fold out map, somewhat grubby and lightly soild but generally good to vg, George Vickers, London, 1858.Hobart Caunter and William Daniel (illustrations). 'The Oriental Annual, Or Scenes in India,' original full embossed leather with pictorial gilt tooling, text block detached with the first few leaves debound, a clean text block with copious plates (which appear complete), Edward Bull, London, 1834.[R. Montgomery Martin. 'The Indian Empire: Its History, Topography, Government....], vol II only, original publishers orange cloth, somewhat stained spine, lacks title page, heavy spotting to verso and edges of plates, fair to good, [London Printing Office, 1858].Henry Sullivan Thomas. 'The Rod in India Being Hints How to Obtain Sport,' third edition, original maroon cloth with pictorial gilt scene to front board, sun bleached spine, spotting to edge of text block, plates and vignette engravings, good to vg, W. Thacker & Co, London, 1897.Henrietta S. Streatfeild. 'Glimpses of Indian Life,' original red cloth with gilt tooling, light spotting to edge of text block, black and white photographic plates, good to vg, Marshall Brothers, London, [c.1908]. (5)
(Literature) Eleven works E. J. Trelawny. 'Recollections of the Last Days of Shelley and Byron,' first edition, original embossed cloth somewhat sun faded, ex libris label Courtney Library, ink owner signature to half title, tide mark to frontis, some graphite notes to margins, good to vg, Edward Moxon, London, 1858; 'Records of Shelley, Byron, and the Author,' two volumes, original cloth with chips to head of backstrip, ex libris, signature L. Trelawny, vg, Basil Montagu Pickering, London, 1878; William Blake. 'Songs of Innocence,' illustrations by Honor C. Appleton, original green cloth with gilt decorations, ex libris label, spotting throughout, generally good to vg, Simpkin, Marshall, Hamilton, Kent & Co, London, n.d; Emma Marshall. 'Her Season in Bath. A Story of Bygone Days,' half leather with marbled boards, ex libris, ink marks to title page, vg, Seeley and Co, London, 1889; Winston Graham. 'Demelza. A Novel of Cornwall 1788-1790,' first edition, original cloth, lacks dj, textblock loosening from binding, good, Ward, Lock & Co, London, 1946; With five other works. (11)
Miscellaneous antiquarian books, 18th c and later, including politics: [Almon (John)], The History of the Late Minority. Exhibiting the Conduct, Principles, and Views, of that Party, During the Years 1762, 1763, 1764, and 1765, second edition, London: s.n., 1766, contemporary calf, 8vo; [Pyne (William Henry)], The Twenty-Ninth of May, two-volume set, second edition, London: Printed for Knight and Lacey, 1825, volume I with half-title, contemporary quarter-calf over marbled boards, 12mo; Hough (Rev. James), Memoir of an Indian Chaplain, The Reverend Charles Church, MA, on the Madras Establishment of the East India Company, first edition, London: The Religious Tract Society, 1859, original publisher's cloth, 8vo; Plato, Opera, seven volumes only (of 8), Leipzig: Karl Tauchnitz, 1829, contemporary cloth, splits and wear, but text blocks holding, 8vo; Wales, Provincial Nonconformity Periodical: Y Dysgedydd Crefyddol, two annuals bound as one: 1826 & 1827, Dolgellau: argraffwyd gan Richard Jones, in Welsh, contemporary sheep, 8vo; George Wilkins, Archdeacon of Nottingham; Skelton (John Henry), My Book, first edition, London: Simpkin and Marshall, 1837, half-title, original publisher's cloth boards, 8vo; The Ragged School Union Magazine, 1851, quarter-calf, 8vo; etc., (22)
WILLIAM MARSHALL CRAIG (BRITISH CIRCA 1765 - 1834) THE SHEPHERD OF LONG-LE-DALE Watercolour 77 x 69cm (30¼ x 27 in.) In artist's mountProvenance: Probably commissioned by William 'Kitty' Courtenay, 3rd Viscount Courtenay, later 9th Earl of Devon, and thence by descent Exhibited: Exhibited at the Royal Academy, 1794, No. 365 William Marshall Craig (died 1827) was an English painter who exhibited at times at the Royal Academy, from 1788 until 1827. Craig is first recorded living in Manchester, but settled in London in about 1791. He was painter in water-colours to the Queen, and miniature painter to the Duke and Duchess of York. He was the drawing master of the William 'Kitty' Courtenay, 3rd Viscount Courtenay, later 9th Earl of Devon.
Twelve early C19th hand coloured aquatints of London by Augustus Charles Pugin and Thomas Rowlandson, which appeared in 'The Microcosm of London', published by Rudolph Ackermann, 1808-1810, in three volumes, including 'Fire in London', depicting a fire raging at Albion Mills, Blackfriars Bridge, with firefighters and spectators, and St Paul's Cathedral in the background. The Albion flour mill, designed in the neo-classical style by James Wyatt, opened at the foot of Blackfriars Bridge in London in 1786, a symbol of Britain’s rapid industrial progress during the late 18th century. The revolutionary steam engines contained therein were widely resented by millers who still relied on wind or water power, and when, on 2nd March 1791, the mill was entirely destroyed by fire, there were rumours of foul-play. It is thought that poor maintence was the real culprit, but the fire was a sensational event, and many people crowded to the site in the following weeks. The catastrophe became a symbol of the evil of industrial progress and is thought to have inspired William Blake (who lived close-by) to portray his vision of "dark Satanic Mills", now best-known as part of the hymn 'Jerusalem'. Plate size 23 x 27cm, with 11 others from the same work, including Custom House from the River Thames, The Mint, Corn Exchange, Great Hall Bank of England, Fleet Prison, Old Bailey etc, all card mounted in a circa late C19th oblong folio (36 x 50cm) full leather gilt album, inner dentelles gilt, ex libris Sir Horace Marshall, 1st Baron Marshall of Chipstead (1865-1936), English publisher and newspaper distributor and Lord Mayor of London, 1918–1919, with his large gilt monogram "H.M." to front cover
James E McConnell (1903-1995), 'Killer Behind a Badge', gouache on board, signed 'Jas E M'Connell' lower left, original cover artwork for the Corgi Western paperback 'Killer Behind a Badge’, by William Everett Cook, painted October 1960, the book published 1961, image size approx 51 x 34cm, with original acetate overlay. James Edwin McConnell (1903-1995) was a British book and magazine cover artist best known for Western and historical subjects. Born in Northumberland, McConnell worked for a local blockmaker before moving to London where he continued in the same trade whilst studying part-time at St. Martin's School. He went freelance in 1933, working through the Partridge Agency with whom he remained until 1953. McConnell's early freelance work was in advertising and designing book covers. After the Second World War he established himself as one of the leading artists for the burgeoning paperback market. For British readers, his Western covers were the essence of the Wild West, albeit the Hollywood version, with their clean cut, square-jawed cowboy heroes riding through sun drenched landscapes. McConnell was widely employed to tackle other genres, producing covers for Collins Crime Club and Thriller Book Club titles. He was one of the main cover artists on Look and Learn, the educational weekly, where he proved he was the master of any subject his editors required. Over the years, McConnell painted over 1,000 covers and frontispiece illustrations. As he was primarily a paperback cover artist, McConnell has rarely come to the attention of critics, although an exhibition of his Western artwork was held at the Association of Illustrators Gallery in London in 1976. "His clients...came to him because of his exceptional ability to paint people, animals and landscape in a totally convincing way. His hand could conjure the scene imagined in his mind's eye with unnerring speed and accuracy, fixing it in gouache on board for photo-reproduction. This instant visual translation of imagined scenarios was a minor miracle that he achieved on a daily basis, year after year. James McConnell liked to think of himself as an action painter...the kind who could create the illusion of movement in his tableaux. His paintings carry a sense of narrative: the ghost of what has gone before and the hint of what is to follow, movement 'arrested for contemplation' to use a phrase of Marshall McLuhan's. The contemplative gaze of the book buyer and reader was what McConnell's art craved, and the drama of his compositions coupled with the life-like quality of his renderings ensured the sympathetic attention of his audience." Chibnall, S. (2023). ‘Miniature Marvels: The Book Cover Art of James E McConnell’
MILLER, T. Songs of the Sea nymphs, First edition, 16.3 x 10cm, contemp. half-calf, internally bright, contemp. style bookplate front pastedown for Nottingham Reference Library and blind stamp, London: Simpkin and Marshall, 1832._ CRUIKSHANK, George. Illustrations of Smollett, Fielding, and Goldsmith; 16.2 x 10.5cm, highly attractive binding by Bayntun of Bath - full red morocco with decoration and lettering in gilt, all edges gilt, bookplate for Annie Freeman, occasional spot, some cracking in gutter at front end-leaf, comical etchings by Cruikshank, London: Charles Tilt, 1832._ TITMARSH, Mr. M. A. [pseud. William Makepeace Thackery]. "Our Street", First edition,18 x 14cm, attractive full morocco in red with decoration in gilt at boards and dentelles, hand-coloured frontispiece, title page and 14 plates, slight rubbing at spine and corners, London: Chapman and Hall, 1848._ Cowper Illustrated by a Series of Views In Or Near The Park of Weston Underwood Buckinghamshire, contemp. half-calf, attractive engravings of Weston Underwood, no half-title front end paper, illustrated title page and 12 plates, contemp. bookplate for Samuel Abbott, corners bumped/worn, London: Vernor, Hood, and Sharpe, 1810 (4)
Four topographical books on Scotland (4) Four topographical books to include urquhart and glenmoriston olden times by william mackay 1893, historic scenes in perthshire by william marshall 1880, the highland and islands by a r hope moncrieff published by a & c black, fair perthshire by hamish miles and john mcghie first edition, all in cloth bindings condition fair, contents not checked.
A William IV or Victorian Scottish Silver Soup-Ladle, Probably by William Marshall, Edinburgh, Circa 1830 Fiddle pattern, engraved with a crest, with an oval bowl33cm long, 6oz 9dwt, 201grMarked on back of handle. There is some wear to the marks so the maker's mark and date letter are each somewhat indistinct. There is some overall surface scratching and wear, consistent with age and use. The wear is noticeable as a softening to the engraving.
Wither (George) A Collection of Emblemes, Ancient and Moderne..., 4 parts in 1, with initial 'Preposition to this frontispiece' leaf, engraved additional pictorial title by William Marshall, engraved portrait of author, 200 engraved circular emblems after Crispijn van de Passe the elder, with final leaf of two woodcut dials but lacking volvelles (with many pinpricks), a little soiled and stained, X1 and Mm3 with lower outer corners torn away with some loss to text, N4 torn and repaired, engraved bookplate of Richard Howard, later calf, gilt, a little worn, upper cover detached, [STC 25900], folio, by A[ugustine] M[atthewes] for Robert Allot, 1635.
18th / 19th Century English Poetry:-Evans (John) THE BEES: A poem in four books… 1806/8 4to half calf, plus, YEARSLEY (Anne) Poems on Several Occasions (A Milk Woman of Bristol) Cadell London 1785, 127pp, 4to full calf, plus MARSHALL (John) Epistle in Verse between CYNTHIO and LEONORA, Newcastle 1812, 4to half calf marbled boards, splits, plus HAYLEY (William) The Triumphs of Temper; A poem in six Cantos. 4th Ed. Cadell 1785, full calf, bumped, all in used condition (4)
Glasse (Hannah). The Art of Cookery, made Plain and Easy..., new edition, London: W. Strahan, J. and F. Rivington, W. Johnston [et al.], 1770, browning and scattered spotting throughout, modern blind panelled calf, spine faded and few scratch marks to boards, 8vo,Henderson (William Augustus & Schnebbelie, Jacob Christopher). The Housekeeper's Instructor; or, Universal Family Cook: being a full and clear display of the Art of Cookery in all its Branches ... to which is added, The Complete Art of Carving, 17th edition, corrected, revised, and considerably improved, London: printed and sold by J. Stratford, 1811, engraved frontispiece and 11 plates (2 folding), scattered spotting, modern cloth, 8vo, Gouffé (Jules). The Royal Cookery Book (Le livre de cuisine), 3rd edition, London: Sampson Low, Marston, Searle, & Rivington, 1880, contemporary signature at head of title, wood-engraved illustrations, one gathering loosening, cloth hinge repairs to endpapers, contemporary cloth with green morocco spine, lightly rubbed, 8vo,Soyer, Alexis). The Gastronomic Regenerator: A simplified and entirely New System of Cookery..., 3rd edition, London, Simpkin, Marshall, & Co., 1847, engraved portrait frontispiece, few plates and illustrations (two folding, one torn top lower edge), endpapers renewed, original cloth, rebacked preserving original spine, 8vo, Beeton (Isabella). The Book of Household Management..., sixtieth thousand, London: S. O. Beeton, 1863, 12 chromolithograph plates, wood-engraved illustrations, some toning and scattered spotting, modern sheep-backed cloth, thick 8vo,Francatelli (Charles). The Modern Cook; A Practical Guide to the Culinary Art in all its Branches..., 19th edition, London: Richard Bentley, 1870, engraved portrait frontispiece, few wood-engraved illustrations, light toning and minor scattered spotting, endpapers renewed, original cloth, rebacked preserving original spine, some wear to board edges, 8vo, plus 2 other early 20th-century cookery booksQTY: (8)NOTE:1. Bitting p. 189.
[Camden, William]. The Historie of the Most Renowned and Victorious Princesse Elizabeth, Lat Queene of England. Contayning all the important and remarkeable passages of state both at home and abroad during her long and prosperous raigne. Composed by way of annals. Neuer heretofore so faithfully and fully published in English, 4 parts in one volume, 1st edition, London: Benjamin Fisher, 1630, trimmed and mounted portrait frontispiece, engraved by William Marshall supplied from another work, woodcut initials and head-and -tailpieces, small hole in text of 2E1 in second part affecting a few letters, small loss at gutter from insect predation to 2N*2 in third part, occasional small damp stains and light soiling, bookseller ticket, bookplate of Grainger of High Ireby, contemporary calf, rebacked and repaired, covers rubbed, folio QTY: (1)NOTE:Provenance: John Thorowgood (or Thoroughgood), 1645, and John Cole, 1683, ownership inscriptions and small annotations. Possibly Sir John Thorowgood (c. 1595-1675, senior trustee for the maintenance of ministers during the Interregnum (i.e. English Commonwealth period, 1649-1660)ESTC S107164; STC 4500.The first edition in English, translated by Robert Norton from the Latin Annales rerum Anglicarum et Hibernicarum regte Elizabetha, first published in 1615.
A collection of eight Georgian and Victorian silver teaspoons, of Fiddle and Old English pattern, some having initials to terminals and decorative engraving, marks to include London, Dublin and Edinburgh, 1791, 1793, 1805, 1822, 1849, 1862, makers Peter & William Bateman, Francis Higgins II, James & Walter Marshall and James Brady, 129g
WILLIAM MARSHALL BROWN RSA RSW (SCOTTISH 1863 - 1936), FISHERMAN oil on canvas, signedframedimage size 51cm x 41cm, overall size 74cm x 64cm Note: William Marshall Brown was born on the 3rd January 1863 and was educated in Edinburgh. He studied art at the Royal Institute, Edinburgh and the Royal Scottish Academy Life School. He received the Chalmers Bursary and Stewart Prize in 1888 and was elected an Associate of the Royal Scottish Academy in 1909 and a full Member in 1928. He was also made a Member of the Royal Scottish Watercolour Society in 1929. He painted in Scotland, Holland and France and much like the Glasgow Boys he often worked in Cockburnspath and the surrounding area of East Lothian and Berwickshire. Marshall Brown's painting technique in both oil and watercolour was broad and lively. His subject matter was often windswept beaches with workers or sand dunes with children. His work was popular and remains so, with numerous examples of his paintings achieving auction prices above £10,000 in recent years. William Marshall Brown died on the 26th April 1936. Nineteen of Marshall Brown's paintings are held in Scottish and English public collections.
WILLIAM MARSHALL (BRITISH 1923-2007) FOOTED BOWL AND TWO YUNOMI TEA BOWLS each impressed maker's mark, stoneware, two with hakeme decoration the footed bowl: 9cm high, 16cm diameter (3 ½in high, 6 ¼in diameter); the tea bowls: 11cm high and 8.5cm high (4 3/8in high and 3 3/8in high) (3) the footed bowl: Wills Lane Gallery, St. Ives, 1985;the smaller tea bowl: Paul Rice, 1984;Collection of Professor John Chambers.
A collection of 24 40th Anniversary Liberation of Colditz covers, all double signed by Prisoners of War. Features captured date and arrival to Colditz date. Includes Lieutenant-Commander William Lawson "Billie" Stephens, Michael Wynn, 7th Baron of Newborough and Earl Haig OBE, son of Field-Marshall Haig. Some duplicates.
Six Trial pamphlets in one volume: 1- 1680 A Further Discovery of the Plot Dedicated to Dr. Titus Oates - 8PP; 2- The tryalll of Richard Langhorn.. for conspiring the death of the King. 1679; 68pp; 3- The tryal of Nathaniel Reading, esq., for attempting to stifle the King's evidence as to the horrid plot: had before the commissioners of Oyer and Terminer at the Kings-Bench-Barr at Westminster, on Thursday the 24th. of April 1679. 1679. 71pp; 4- The Tryals of Sir George Wakeman baronet, William Marshall, William Rumley, and James Corker, for High Treason, for conspiring the death of the King.. 1679.84pp; & 5- The tryals and condemnation of Thomas White, alias Whitebread; William Harcourt; John Fenwick; John Gavan alias Gawen; & Anthony Turner, all Jesuits and priests; for High Treason, in sonspiring the death of the King. 1679. 95pp. Title page with splashes of ink. Folio, all five bound in one volume, cont. full leather; rubbed and covers detached.
BRITISH ARMYThe 1st King's Dragoon GuardsWhen stationed at Aldershot, on 12 February 1879, the King's Dragoon Guards received a sudden order for service in South Africa. With as little delay as practicable, they were brought up to war strength by volunteers from other corps and the transfer of horses; on 27 February the left wing embarked at Southampton under the command of Major Marter, in the hired transport Spain; the right wing, with Headquarters, followed the next day under Colonel Alexander in the Egypt.Both ships arrived at Durban on 8 April, the men marching to Pietermaritzburg and then on to Dundee where they were joined by the 17th Lancers. On 19 April both regiments began marching towards Rorke's Drift, arriving at the battleground of Isandhlwana two days later; here they attempted to identify and bury the bodies of those who perished almost three months previously.Engaged in reconnaissance for a time thereafter, on 6 June the K.D.G's were involved in a particularly savage exchange at Erzungayan: the Zulus were found strongly posted in a wood which was intersected with dongas, and in front of which was a line of four large kraals and from here they poured a heavy fusillade upon men under the command of Colonel Buller and those of the 17th Lancers under Colonel Lowe. Seeing this, and fearing the Zulus might rush out upon the horses, the K.D.G's formed up on the flank and right rear of the 17th; the Zulus however remained completely concealed in the wood, and General Marshall had little choice but to give the order to retire. Realising their opportunity and following in skirmishing order, the Dragoon's had barely crossed the Upoko, in which there were quicksands, when a brisk fire was opened upon them.Thereafter, the regiment was employed on regular reconnaissance and skirmishing duties, using Fort Newdigate as a staging post; in these raids scores of native villages were destroyed. On the night of 7 August 1879, a detachment marched to Emptonjaneni, twelve miles distant from Ulundi. In the night a fearful storm of wind and rain smashed into the camp and continued until 11 a.m. the next morning. Lightning strikes, shock and the sheer ferocity of the weather left 360 transport bullocks dead in the camp, with approximately 90 more being discovered dead in the surrounding bushes.On 18 August Major Marter marched with a squadron of K.D.G's under orders to establish a chain of outposts to St. Paul's, 40 miles distant, and to keep up communications throughout the line by patrolling day and night, in order to prevent the King from breaking across. The men subsequently joined Clarke's Column and on 27 August the expedition commenced which resulted in the capture of the King.719 Medals were issued to the 1st King's Dragoon Guards, 641 of them with the '1879' clasp.Pair: Troop Sergeant-Major W. McGill, 1st King's Dragoon GuardsSouth Africa 1877-79, 1 clasp, 1879 (2181. Sergt. W. McGill. 1st. Dn. Gds.); Army L.S. & G.C., V.R. (2181. Tp: Sgt: Maj: W. McGill. 1st Dgn. Gds.), very fine (2)William McGill was born at Edinburgh in 1847 and was discharged to pension on 13 May 1890.…
Richard William Hamilton (1922–2011) mixed media 1969 picture of Whitley Bay - frame 23cm x 28cm ~ Original dye-transfer with hand colouring on photographic paper (combination of screen printing inks and Marshall oils) these were produced for the 1969 exhibition at the Robert Fraser Gallery (150 examples were produced)
MIXED LOT: 3 Titles: THE COMPLETE WORKS OF WILLIAM SHAKESPEARE, London, Abbey Library, ND; A C MARSHALL (Ed): NEWS CHRONICLE - EVERYTHING WITHIN - A LIBRARY OF INFORMATION FOR THE HOME, London, George Newnes Limited, ND (upper board very loose and spine cloth detaching); HENRY WADSWORHT LONGFELLOW: POEMS, London, Blackie and Son, ND (3)
ALFRED RUSSEL WALLACE INTEREST: DISTANT, W.L. - 'RHOPALOCERA MALAYANA': A DESCRIPTION OF THE BUTTERFLIES OF THE MALAY PENINSULA published by West, Newman & Co, London, and also D. Logan, Penang, 1882, retaining colour lithographed plates, with ink annotations throughout, believed to be that of Alfred Russel Wallace (1823-1913), the volume also annotated to front flyleaf 'L. Richmond Wheeler….Bound - Chowrata Malay School, Penang, May, 1937', later red half leather bindingProvenance: By repute, purchased from a second-hand bookshop in Southampton (UK) in 1978, along with a copy of Wallace's autobiography 'My Life' (1905) which contained an autographed letter of his (see Lot 169 in this auction). This volume has been inspected by Dr George Beccaloni, Director of the Wallace Correspondence Project. The annotations have been examined by an expert on Wallace's hand-writing who came to the conclusion that the handwriting was "probably that of Wallace.'' Wallace possibly used the book when he wrote a review of it for the journal Nature in 1882 - he was an admirer of Distant and corresponded with him on various issues.Supporting evidence of the date is found in a leaflet included in the book advertising the publication of The Butterflies of India, Burma and Ceylon (Marshall & Nicéville, Calcutta Press 1882) which is a comprehensive guide to butterfly species found in the regions of India, Burma (now Myanmar), and Ceylon (now Sri Lanka). There is also, curiously, a pressed flower inside the back cover of the Distant book, provisionally identified by Sir Ghillean Prance as a species of Poppy, which was almost certainly put there by the British educationalist, philosopher of biology and botanist Leonard Richard Wheeler (1888-1948), into whose hands the book seems to have passed after Wallace's death. We shall never know the exact circumstances, but it seems feasible that Wallace brought this volume back from Malaya and that somehow it passed to Wheeler. Wheeler seemingly took the book to Penang with him where he worked as a Schools Inspector for the British Colonial Service. He has written on the inside cover of the book "L R Wheeler 1936, Bound - Chlororasta Malay School, Penang May.1937". Wheeler returned to Britain in 1945 to avoid the advance of the Japanese forces into Penang.Note: Alfred Russel Wallace (1823-1913) was one of the leading evolutionary thinkers of the 19th century. A contemporary of Charles Darwin, he independently conceived the theory of evolution through natural selection, travelled the world collecting specimens including courageous solo trips up the Amazon and even addressed humanity's place in the universe. William Lucas Distant (1845-1922) was inspired to write a study of natural history on a whaling trip to the Malay Peninsula with his father in 1867. He was editor of the journal The Zoologist and was employed by the British Museum of Natural History between 1899 and 1920, where he worked mainly on bugs (Hemiptera). He also collected many species of insects during a four-year stay in South Africa, many of which were described in his 'Insecta Transvaaliensia' (1900-1911).
CHARLES RENNIE MACKINTOSH (1868-1928) 'BROOKWEED', 1901 pencil and watercolour, signed and inscribed lower right BROOKWEED/ HOLY ISLAND/ JULY 1901/ MT FB C, framed 22cm x 17cm (frame size 44.5cm x 39.5cm) Provenance: William Marshall, GlasgowScottish Private Collection Exhibited: Edinburgh, London, Darmstadt, Zürich, Charles Rennie Mackintosh (1868-1928) Architecture, Design and Painting, 1968, Catalogue number 289, lent by William Marshall, Glasgow1901 was a productive and exciting time for Mackintosh professionally, being the year that he was made a partner in the Glaswegian architectural practice where he worked. Seeking some brief respite from his busy roster of commissions, he and his wife Margaret took a holiday to Holy Island in the month of July, joined by the other members of ‘The Four’: Margaret’s sister Frances Macdonald and her husband Herbert McNair, as well as Margaret and Frances’s brother, Charles.Given the trip was for such a short duration, sketches from this excursion are scarce. Nonetheless, the impact of this visit on both Mackintosh’s artistic and architectural practice was marked. For example, the surviving sketches show that he was deeply absorbed by Lindisfarne Castle. It has been noted that its sweeping, austere curves find echoes in his architectural language, for example in the Glasgow School of Art’s design which was completed in phases between 1896 and 1909. Mackintosh had begun to develop his botanical studies in the 1890s, but the series of works from Holy Island are notable in that they crystallize the format for his botanical drawings thereafter. It is here, for example, that he begins to add his distinctive, almost Japanistic ‘cartouche’, featuring the initials of the companions present at the time of the work’s inception. In the past some have implied that the presence of ‘MM’ on such works suggest that Margaret did the colouring, but this does not fit with what is known of his attitude as an artist. Those close to him, notably Mary Sturrock - daughter of his friend and mentor Fra Newbery - are adamant that Mackintosh would not have let his artwork be added to in such a manner. Further support for this can be found in ‘Brookweed’ and other Holy Island watercolours, some of which feature more than two sets of initials. In ‘Brookweed’ the picture is signed M (for Margaret Macdonald), T (Tosh for Mackintosh himself), F (for Frances Macdonald), B (for Herbert (Bertie) McNair), and C (for Charles Macdonald, Margaret and Frances's brother), which appears to confirm the theory that the inscriptions were more of an aide memoire or dedication to those who were present when the pictures were made. Botanic studies were central to Mackintosh’s artistic practise. Even when he was busy with his architectural business, they remain a mainstay. Mackintosh’s ideology had sprung from the tenets of the Arts and Crafts Movement, in tandem with European Art Nouveau, and it is crucial to understand that his design language, whether that be architecturally or artistically, ultimately found its basis in his belief that nature was the source of beauty. His work across all media is characterised by a sinewy, linear approach to form, the distillation of the essential patterns and design of the natural world. This fascinating, alchemical process by which Mackintosh transforms the organic into design is arguably most tangible in his botanical studies, which perhaps explains their enduring appeal. The drawings vary subtly over the course of time. From naturalistic depictions on Holy Island in 1901, to analytical, almost scientific studies in Sintra in 1908. Ultimately a more wholly decorative interest was developed post-1910, enhanced by the fact he is highly likely to have begun pressing his flower stems in order to more clearly expose the decorative formal possibilities. Finally, there was the explosion of botanical studies in Walberswick in 1914 (40 over a period of approximately 12 months), which marked a move from depictions purely of wildflowers to the inclusion of cultivated blooms.Writing for The Studio in 1897, London critic Gleeson White remarked that the work of the ‘Spook School’, “is singularly free from vulgarity of idea, redundance of ornament, and misapplication of material…”. This sentiment holds across all aspects of Mackintosh’s work, but perhaps most particularly his botanical studies. This meeting of classicism and modernity, precision and invention, the spare and the decorative, goes some way to explain the timelessness of these pieces.
CHARLES RENNIE MACKINTOSH (1868-1928) 'PIMPERNEL', 1901 pencil and watercolour, signed and inscribed lower right PIMPERNEL/ HOLY ISLAND/ JULY 1901/ M T, framed 22cm x 17cm (frame size 44.5cm x 39cm) Provenance: Provenance: William Marshall, GlasgowScottish Private CollectionPencil inscription to verso of frame reads ‘The previous frame’s backboard had written (handwritten) in pencil: ‘The Property of William Marshall/ 45 Cecil Street/ Glasgow (top flat)’Scottish Private Collection
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