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Lot 278
Mandy Hudson Three Brooches, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Mandy's work is mainly still life oil paintings based on accidental arrangements she comes across in everyday life. These can be anything from things glimpsed in shop windows, objects left on the street or plants and debris seen on walks along the Thames estuary near where she lives. Education 1986-1989 BA (Hons) in Illustration, Maidstone College of Art (KIAD), UK 1985-1986 Foundation in Art & Design, Cambridge College of Arts and Technology, UK Solo Exhibitions 2016 Things, Coffeeismycupoftea Space, Dalston Cafe Projects, London, UK Group Exhibitions 2025 The Chair, The Lido Stores, Margate, UK 2024 Beep Painting Biennial, Elysium Gallery, Swansea, UK Lido Open 2024, Margate, UK Room of One's Own, Irving Gallery, Oxford, UK Gallery Representation Partnership Editions, Online Platform, UK Work most frequently exhibited at The Lido Stores, Margate, UK Statement about AOAP Submitted Artwork Recently I have been painting random assortments of things seen in flea markets and junkshops. These four postcards are based on brooches, I find painting them interesting because of the resonance of their secondhand nature and the natural forms they are based on. Older women in my family did piece work for the hat industry and they remind me of embellishments added to hats which I saw as a child. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lot 22
Ann Carrington Tiddarren, 2024 Beads, brooches, and necklaces on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ann Carrington is part magpie, part alchemist; working in the folk tradition, she creates pieces that take extraordinary amounts of time to complete. Some of the most collectable pieces she has created are part of her Pearly Queens series with coloured buttons sewn onto a crimson, or black background to emulate the 1st Class Royal Mail stamp. Carrington holds an official license from Royal Mail to produce stamp artworks featuring the Queen. Carrington was commissioned to make 'The Royal Jubilee Banner' for the Queen in celebration of her Diamond Jubilee. The banner hung from the stern of the Royal Barge 'The Spirit of Chartwell' as it made its journey up the River Thames on the Diamond Jubilee procession in the summer of 2012. Jacob Rothschild purchased the first Pearly Queen which now forms part of the Rothschild collection and was recently shown alongside Lucien Freud's famous portrait of the Queen at his exhibition 'Power and Portraiture'. The Queen also commissioned one (in red and gold) to accompany the banner made for her Diamond Jubilee. Collectors of Carrington's work include Elton John, Paul Smith and Lulu Guinness. The United Nations invited Carrington to help raise awareness of current issues through her artwork in 2010, her first piece for The UN was presented at their Human Trafficking conference in Luxor, Egypt. August 2016 saw a large retrospective exhibition of Carrington's work open at the Royal College of Art, London. The centrepiece of the exhibition, Devil's Trumpet, a floral sculpture crafted from cutlery, was acquired by the V&A for their collection and is on permanent display in the Silver Gallery. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lot 307
Lucy Pass Camera One, 2025 Oil, acrylic, and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy Pass is a self-taught contemporary portrait painter living and working in Cheltenham, UK. Her work is focused on unpicking the idea of traditional portraiture, where the intent of her portraits isn't to capture a subject in their truest form, but instead to explore the unseen things that lie within us all. Fragments of faces hang in space, vanishing, obscured, repeated; all underscored with a language of gestural, abstract marks and shocks of colour, like key sentences highlighted from a passage. So much is stripped back that the redacted elements take on power and it becomes as much about what you can't see as what you can. The result is a visual conversation of absence and addition, inviting the viewer to ask questions and fill in the blanks. Solo Exhibitions 2025 TBC, Guildford House Gallery, Guildford, UK Group Exhibitions 2024 The Guildford House Open, Guildford House Gallery, Guildford RBSA Prize Exhibition, RBSA Gallery, Birmingham RBSA Summer Show, RBSA Gallery, Birmingham The British Art Prize '23 Exhibition, Gallery@OXO, London 2023 The Royal West of England Academy 170th Annual Open Exhibition, Bristol Drawing (Paper) Show, The Bridewell Studios and Gallery, Liverpool 2022 The Royal West of England Academy 169th Annual Open Exhibition, Bristol The Contemporary British Portrait Painters Exhibition, The Department Store, Brixton, London 2021 Pressing Matters - Helium London, 5 Carlos Place, London 2020 Perceptions, Contemporary British Portrait Painters, Cass Art Space, Islington, London 2019 The John Ruskin Prize: Agent Of Change The Holden Gallery, Manchester Awards 2024 First prize, The Guildford House Open 2023 First prize, The British Art Prize Statement about AOAP Submitted Artwork I love experimenting to see the intensity of mood I can create from out-of-context facial fragments, shapes and marks - these elements are building blocks that repeat throughout my work. I saw the tiny scale of the postcard format as a challenge to communicate as much meaning and emotion as possible from extremely minimal compositions. 'Camera One' and 'Camera Two' are quite similar in terms of the sum of their parts, but they express different things. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lot 275
Mandy Hudson Flower and dragonfly, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Mandy's work is mainly still life oil paintings based on accidental arrangements she comes across in everyday life. These can be anything from things glimpsed in shop windows, objects left on the street or plants and debris seen on walks along the Thames estuary near where she lives. Education 1986-1989 BA (Hons) in Illustration, Maidstone College of Art (KIAD), UK 1985-1986 Foundation in Art & Design, Cambridge College of Arts and Technology, UK Solo Exhibitions 2016 Things, Coffeeismycupoftea Space, Dalston Cafe Projects, London, UK Group Exhibitions 2025 The Chair, The Lido Stores, Margate, UK 2024 Beep Painting Biennial, Elysium Gallery, Swansea, UK Lido Open 2024, Margate, UK Room of One's Own, Irving Gallery, Oxford, UK Gallery Representation Partnership Editions, Online Platform, UK Work most frequently exhibited at The Lido Stores, Margate, UK Statement about AOAP Submitted Artwork Recently I have been painting random assortments of things seen in flea markets and junkshops. These four postcards are based on brooches, I find painting them interesting because of the resonance of their secondhand nature and the natural forms they are based on. Older women in my family did piece work for the hat industry and they remind me of embellishments added to hats which I saw as a child. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lot 308
Lucy Pass Camera Two, 2025 Oil, acrylic, and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lucy Pass is a self-taught contemporary portrait painter living and working in Cheltenham, UK. Her work is focused on unpicking the idea of traditional portraiture, where the intent of her portraits isn't to capture a subject in their truest form, but instead to explore the unseen things that lie within us all. Fragments of faces hang in space, vanishing, obscured, repeated; all underscored with a language of gestural, abstract marks and shocks of colour, like key sentences highlighted from a passage. So much is stripped back that the redacted elements take on power and it becomes as much about what you can't see as what you can. The result is a visual conversation of absence and addition, inviting the viewer to ask questions and fill in the blanks. Solo Exhibitions 2025 TBC, Guildford House Gallery, Guildford, UK Group Exhibitions 2024 The Guildford House Open, Guildford House Gallery, Guildford RBSA Prize Exhibition, RBSA Gallery, Birmingham RBSA Summer Show, RBSA Gallery, Birmingham The British Art Prize '23 Exhibition, Gallery@OXO, London 2023 The Royal West of England Academy 170th Annual Open Exhibition, Bristol Drawing (Paper) Show, The Bridewell Studios and Gallery, Liverpool 2022 The Royal West of England Academy 169th Annual Open Exhibition, Bristol The Contemporary British Portrait Painters Exhibition, The Department Store, Brixton, London 2021 Pressing Matters - Helium London, 5 Carlos Place, London 2020 Perceptions, Contemporary British Portrait Painters, Cass Art Space, Islington, London 2019 The John Ruskin Prize: Agent Of Change The Holden Gallery, Manchester Awards 2024 First prize, The Guildford House Open 2023 First prize, The British Art Prize Statement about AOAP Submitted Artwork I love experimenting to see the intensity of mood I can create from out-of-context facial fragments, shapes and marks - these elements are building blocks that repeat throughout my work. I saw the tiny scale of the postcard format as a challenge to communicate as much meaning and emotion as possible from extremely minimal compositions. 'Camera One' and 'Camera Two' are quite similar in terms of the sum of their parts, but they express different things. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lot 527
Ethiopia, Coronation of Ras Tafari Makonnen (later the Emperor Haile Selassie) as Negus (King), EE 1921 / 1928 A.D., medallic gold half-talari, Addis Ababa, 1928, bust of Ras Tafari Makonnen (later Haile Selassie I), rev. legend in five lines and surrounding, 22.14g (KM-X17, Gill-RT15). Extremely fine, rare.NGC Certification 8221146-001This rare medal celebrates the coronation of Ras Tafari Makonnen as King of all Ethiopia in 1928. The accession followed the remarkable failed attempts, in fact instigated by the existing Empress of Ethiopia, Zewditu (1916-1930) to prevent Ras Tafari Makonnen's rise to power. She feared his aims to modernise Ethiopia, and a number of her supporters instigated an uprising against him. Ultimately, the coup failed and saw the empress herself raise Ras Tafari Makonnen to the throne as Negus (king) in which role he ruled as regent alongside her until her death when he ascended the throne again, as Emperor Haile Selassie I in 1930.
Lot 351
g Elizabeth II (1952-2022), gold proof Five Pounds, 2015, 200th anniversary of the Battle of Waterloo, crowned head right, JC initials below for designer Jody Clark, Latin legend surrounding, ELIZABETH II. D. G. REG. F.D. 5 POUNDS 2015, rev. design by David Lawrence, adaption of a painting by Daniel Maclise, The Meeting of Wellington and Blucher after the Battle of Waterloo, THE BATTLE OF WATERLOO above 1815 below, edge inscribed THE NEAREST RUN THING YOU EVER SAW, 39.94g (S.L39A). Brilliant, as struck, accompanied by original Royal Mint presentation wooden case and certificate of Authenticity. 500 coins issued.
Lot 341
* ROSS MUIR (SCOTTISH b. 1981), OH JESSICA artist's proof giclee print on paper, signed, titled and inscribed A/Pframed and under glassimage size 97cm x 80cm, overall size 112cm x 95cmNote 1: Certificate of authenticity is included in this lot Note 2: Glasgow artist Ross Muir hit the headlines in 2018 when his original painting of the Dutch impressionist Vincent van Gogh, entitled “Square Gogh”, went viral within a matter of days. Muir’s wide-spread success on social media saw many galleries interested in his work. In October 2019, Muir had his first ever solo exhibition in Glasgow’s City Centre. The exhibition was a huge success and was sold-out before even opening the doors. A second solo show in Glasgow was scheduled for 2020 but the pandemic put everything on hold. Throughout the first national lockdown, Muir turned his creativity to the streets, with posters of his signature Vincent Van Gogh portrait – featuring the words ‘Jist Gogh Hame’ – appearing all over the city of Glasgow. As a message that was both witty and incredibly relevant, Muir’s artwork resonated with its onlookers and soon garnered international attention through social media. In 2020, Muir’s work was recognised by the official Van Gogh Museum in the Netherlands, with the institution proudly posting Muir’s artwork on their Instagram account to announce the temporary closing of the gallery. In 2021 Maddox Gallery (London) "signed" Muir and he joined a roster of artists which includes The Conner Brothers, Bradley Theodore and Joseph Klibansky, alongside established names like RETNA, the photographer David Yarrow, and world-renowned figures such as Banksy, KAWS, Jean-Michel Basquiat and Keith Haring. The influential Maddox Gallery staged Ross Muir's first London show in May 2022.
Lot 146
* JENNIFER MCRAE RSA (SCOTTISH b. 1955), DAYDREAM HEAD oil on board, signed, titled versomounted, framed and under glassimage size 21cm x 14cm, overall size 51cm x 41ccmNote: McRae studied at Gray's School of Art, Aberdeen from 1987 to 93. Since 1988 her work has appeared in group and solo exhibitions in Britain and America, and she has won numerous awards including the BP Travelling Scholarship in 1999. Best known for her distinctive portraits, she has had work commissioned from the National Portrait Gallery, London and the Scottish National Portrait Gallery. The artist wrote an explanation of her Inspiration for this work and some of the symbolism, in a letter to the owner “As a single parent I also wanted to convey the unease created at the time from the one to one situation and the imbalance any outside relationship can sometimes cause, which explains why we sit a little vulnerably upon a large three-cornered triangle. The pair of shoes in the top left corner signifies something I remember from my child-hood, where my own mother once stressed that she would often sacrifice her own wardrobe to keep me well-shod. (I hasten to add my parents are now enjoying the rewards of a good income now we have all left home) and the reference is to be taken with a definite tongue in cheek! In fact it is a matter poking fun at the seriousness of the situation. The time elements (through the clock and the title) is to convey the precious hours alone and undisturbed before Christmas, my daughter, would burst in and everything would change and the key is her weapon for this intrusion. The cat-box is a beautiful and strange creature I purchased primarily to put into a painting (it is made of wood) and it does in fact open along its middle. Inside I keep my cash, so it’s significant that Christmas clutches it so determinedly! When I saw it in a shop window I knew it would be a wonderful object to use. Anyway, those are all the surface clues explained but there are always the underlying emotions and thoughts that created them in the first place which are best left unexplained. A painting must always be enigmatic in essence.”
Lot 626
* Painted Boxes. Three painted boxes of embroidery silks, paper-covered cardboard, 2 painted with floral patterns, the other painted with stylized fruit and leaves, each lined with decorative paper inside and containing a mixture of brightly coloured silk threads, some flaking of paper, and two with wear to extremities (particularly the third box), together with a wooden pen box with rounded ends, probably Italian, 19th century, hand-painted with fleur-de-lys and flourishes, pull-off lid slightly darkened and with horizontal crack through middle, also containing embroidery silks, and an (empty) embroidered circular box, 18th century, stitched in coloured threads with fleur-de-lys and flowers, toned and dust-soiled, some loss of threadwork, lined with olive green silk (spotted), plus a tan limp morocco document folder, Middle Eastern, early 20th century, front cover with gilt tooled device with coloured leather onlays, of two squares within a scallop-edged pointed oval, gilt rolls to border, rear cover with border of gilt roll between single fillets, dusty and rubbed, especially to edges of upper cover, some loss of onlays, the two pockets inside containing a small square of lattice embroidery, a card of narrow wire-edged green ribbon, a bundle of coloured embroidery silks, and a Piesse & Lubin perfume sachet, one pocket with maker's name in gilt below a paper label with numerals in ink, folio (39 x 30 cm/15.5 x 11.75 ins), and a black silk bag containing some ribbon and fragments of red velvetQTY: (7)NOTE:Provenance: Lady Ottoline Morrell (1873-1938); thence by descent.The three painted cardboard boxes owe much sylistically to the Bloomsbury Group in general and the Omega Workshop in particular, though none give any clue as to the maker. The painted pen box and the embroidered box may have been purchased on one of the Morrells' excursions to the Continent. Friend of the Morrells Robert Gathorne-Hardy writes of Ottoline's 'passion for beautiful small boxes', describing how once, on a visit to Rapallo in Italy, she saw 'three irresistible little boxes' in an antique shop: 'With this faint sense of evil-doing which goes deliciously with luxurious expense, she bought her favourite. But still the other two beckoned inwardly, and guiltier than ever she bought a second one. Barely an hour or two before they were to leave she dashed off, in a frenzy of desire which stifled all moral feeling, to buy the third and last.' (Ottoline, The Early Memoirs of Lady Ottoline Morrell, Faber and Faber, 1963, pp.25/6) Lady Ottoline evidently delighted in keeping various items of haberdashery in some of these treasured boxes; her 'array of exquisite silks' is mentioned by Juliette Huxley in Leaves of the Tulip Tree, (1986, p.46) when describing the embroidered coverlet which forms one of the lots in this sale.
Lot 19
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) ⊕ SIR CLOUGH WILLIAMS-ELLIS APOLOGIZING TO SIR CHRISTOPHER WREN, JOHN VANBRUGH AND NICHOLAS HAWKSMOOR FOR HIS ARCHITECHURAL SINSgouache over black chalk on paper 35 x 26cm; 13 3/4 x 10 1/4inunframedFeibusch enjoyed a close friendship with Sir Clough Williams-Ellis, the architect, writer, landscape designer and conservationist who purchased his uncle's estate in 1931 and over saw its transformation into Portmeirion in Wales. Williams-Ellis innovatively incorporated fragments of demolished buildings, and works by other architects to evoke a Mediterranean coastal village. He commissioned Feibusch to supply murals for a number of buildings including the Anchor, the Arches, Lady's Lodge, the inside of the Pantheon and the vaulted ceiling of the Gate House at Portmeirion.
Lot 1059
RADIGUET RAYMOND: (1903-1923) French novelist and poet. An extremely rare Autograph Manuscript Signed, Raymond Radiguet, one page, 8vo (originally two oblong 8vo sheets of paper, neatly pasted together at the centre), n.p., n.d. (1919), in French. The manuscript, with a number of corrections and deletions, is entitled Allusions and is an article of appreciation for the artist Juan Gris, stating, in part, ´Juan Gris peint comme tous les peintres, c´est a dire sur de la toile ou du carton ou du bois. Ai-je dit qu´il ne differait pas des autres? Il y a toujours un certain secret professionnel, beaucoup de gens voudraient le connaitre. Moi, je ne pense pas que l´emotion ressentie devant un tableau soit due a la qualite des pinceaux ou des couleurs. Seul le resultat importe. Une route y mène qui s´appelle l´Esthetique......L´horizon est une ligne conventionelle.....Par conséquent rien a craindre, les voleurs ne sauront pas où se cacher. Quelqu´un prononce un mot. On repete: PRISON. Un seul avait entendu le PINSON qui pourtant chante nuit et jour. De même, chacun dit avoir son opinion sur la peinture. Mais tout le monde n´a pas raison. Juan Gris a vu la beaute de tous les jours de la semaine y compris le dimanche. La plus petite de ses natures mortes n´est pas une "etude". Il y a une pipe qu´on fume le soir. La derniere heure. Plus, une guitare; non c´est un violin. Comme tout classique, Gris a le souci des proportions. Je parle des veritables proportions qui sont dans l´esprit et non pas ce que le vulgaire nomme ainsi. Les cocktails sont supprimés. Quand je demande a boire il y a toujours le ciel, ou le siphon qui est de la meme couleur´ (Translation: ´Juan Gris painted like all painters, on canvas, cardboard or wood. Did I say that he was no different from the others? There's always a certain amount of professional secrecy, and many people would like to know. Personally, I don't think that the emotion felt in front of a painting is due to the quality of the brushes or the colours. All that matters is the result. There's a road that leads there, and it's called aesthetics.....The horizon is a conventional line.....So there's nothing to fear, thieves won't know where to hide. Someone says a word. It is repeated: PRISON. Only one had heard the PINSON, which sings day and night. Similarly, everyone says they have an opinion on the painting. But not everyone is right. Juan Gris saw beauty every day of the week, including Sunday. The smallest of his still lifes is not a ‘study’. There is a pipe being smoked in the evening. The last hour. Plus, a guitar; no, it's a violin. Like any classical painter, Gris is concerned with proportions. I am talking about the true proportions that are in the mind and not what the vulgar call them. There are no cocktails. When I ask for a drink, the sky or the siphon is always the same colour´). Autograph manuscripts of Radiguet are extremely rare as a result of his tragically early death at the age of 20 of typhoid fever. With a small red circular stamp at the base featuring the letters PAB to the centre. Some light age wear and an irregularly torn lower edge, not affecting the text or signature, GJuan Gris (1887-1927) Spanish Cubist painter, a friend of Radiguet.The present article was published in the March/April edition of the magazine Sic, founded and published by Pierre Albert-Birot (1876-1967) French avant-garde poet and dramatist who was a defender of Futurism and Cubism.
Lot 962
MONET CLAUDE: (1840-1926) French Impressionist painter. An important collection of three outstanding A.Ls.S. by Monet to various correspondents, including Suzanne Manet and Camille Pissarro, regarding the raising of funds by public subscription for the acquisition of Edouard Manet´s famous masterpiece, the oil painting Olympia (1863). The collection comprises (in chronological order) -(i) A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 26th August 1889, to [Jean-Baptiste] Faure (´Mon cher Faure´), in French. Monet writes in his characteristic bold purple ink and states, in full, ´Je viens vous demander si vous voulez participer à la souscription que nous faisons entre amis et admirateurs de Manet pour acheter l´Olympia de Manet et l´offrir au Louvre. Nous serions très heureux de vous compter parmi nous pour cette manifestation toute artistique. Je sais bien que ce tableau de Manet n´est pas votre préféré mais si nous l´avons choisi c´est surtout parce qu´il appartient à Madame Manet à laquelle nous voulons discrètement venir en aide, et aussi parce qu´il était le tableau préféré de Manet. C´est un bel hommage à rendre à l´artiste et j´espère bien que vous me ferez une réponse favorable. Vous priant de me dire pour quelle somme je dois vous inscrire. Je vous adresse la liste des souscriptions à ce jour´ (Translation: ´I have come to ask you if you would like to take part in the subscription that we, Manet's friends and admirers, are making to buy Manet's Olympia and offer it to the Louvre. We would be very happy to count you among us for this artistic event. I know that Manet's painting is not your favourite, but we have chosen it mainly because it belongs to Madame Manet, whom we wish to discreetly help, and also because it was Manet's favourite painting. It is a fine tribute to pay to the artist and I very much hope that you will give me a favourable response. Please let me know the amount I should register you for. I am sending you the list of subscriptions to date´). Some light age wear and a lengthy, neat split to the central vertical fold of the bifolium.Jean-Baptiste Faure (1830-1914) French baritone and art collector. An enthusiastic and avid collector of Impressionist art, Faure sat for multiple portraits by Edouard Manet, and owned more than sixty paintings by the artist (including another masterpiece Le déjeuner sur l´herbe). Faure´s collection also featured works by Monet, Edgar Degas, Alfred Sisley, and Camille Pissarro.(ii) A.L.S., Claude Monet, four pages, 8vo, Giverny par Vernon, Eure, 13th November 1889, to [Suzanne Manet] (´Chère Madame´), in French. Monet states that he has received his correspondent´s kind letter, and was happy to have been able to please her, continuing to remark ´Vous savez combien j´aimais votre cher mari et combien je serai fier d´avoir pu contribuir à lui faire obtener la place à laquelle il a tant de droits´ (Translation: ´You know how much I loved your dear husband and how proud I will be to have been able to help him obtain the position to which he is so entitled´) and further writing ´Il ne faut pas nous illusioner car ce qui vous parait si naturel parait à d´autres bien audacieux et ce qui est triste à dire il y a encore des ennemis qui refusent de se rendre, mais pour ma part je puis vous assurer que je ne me rebuterai pas et que je ferai tout pour arriver au but que nous voulons´ (Translation: ´We must not delude ourselves because what seems so natural to you seems very bold to others and sadly there are still enemies who refuse to give in, but for my part I can assure you that I will not be discouraged and that I will do everything to achieve our goal´) and concluding by adding ´Mr. Portier que vous avez vu, m´ecrit pour me demander ce que vous devez faire de l´Olympia. Je crois que le mieux , si l´on vous aporte d´autres tableaux, de prendre également l´Olympia chez vous… à moins cependant que vous le mettez chez Madame Eugène Manet [Berthe Morisot], mais il ne faut pas douter… que nous avons encore un mois de pourparlers avant d´obtenir satisfaction et dont je vous mettrai au courant´ (Translation: ´Mr Portier, whom you saw, has written to ask me what you should do with the Olympia. I think that the best thing, if we bring you other paintings, is to also take the Olympia to your place... unless, of course, you put it at Madame Eugène Manet's [Berthe Morisot], but there's no doubt about it... that we still have a month of talks before we get satisfaction, and I will keep you informed´). Some light overall age toning, evidently a result of the letter having previously been framed, the text of two pages (including the final one, with Monet´s signature) somewhat faded, although still legible. One small area of paper loss to a corner, professionally repaired to a satisfactory standard.Suzanne Manet (1829-1906) Dutch pianist, the wife of Edouard Manet, for whom she frequently modelled. Berthe Morisot (1841-1895) French Impressionist painter, the wife of Eugène Manet, brother of her friend and fellow artist Edouard Manet.(iii) A.L.S., Claude Monet, three pages, 8vo, Giverny par Vernon, Eure, 23rd November 1889, to Camille Pissarro (´Mon cher Pissarro´), in French. Writing in his characteristic bold purple ink, Monet acknowledges receipt of his friend´s letter and their contribution of 50 francs in the form of a money order to the Manet subscription fund, although adding that there was no urgency. Monet also explains that the fund now holds 18,500 francs and that he hopes to reach a round figure very soon, however the painter continues to state ´Mais il reste le plus difficile, l´admission de notre don par l´état et je sais déjà que pendant que je travaille à arriver au résultat, d´autres travaillent aussi mais en sens inverse et pour faire avorter notre oeuvre. Proust le premier m´a écrit, tout en souscrivant, qu´il ne voulait pas se charger de faire accepter ce tableau par l´état, considérant L´Olympia coome un des moins bons Manet´ (Translation: ´But the most difficult part remains, convincing the state to accept our gift, and I already know that while I am working to achieve the result, others are also working, but in the opposite direction and to abort our work. Proust was the first to write to me, and although subscribing, he does not want to take charge of making the state accept this painting, considering L'Olympia as one of Manet's least good works´) further describing Proust´s reaction as silly and comical. In concluding Monet remarks ´Mais je crois qu´il est du devoir des artistas de pousser cette affaire, quant à moi je ferai tout pour arriver à notre but´ (Translation: ´But I believe it is the duty of artists to push this matter, and for my part I will do everything to achieve our goal´).Camille Pissarro (1830-1903) French Impressionist painter. An absolutely remarkable trio of letters relating to one of the most famous and iconic paintings in the history of Impressionist art. G to VG, 3Autograph letters by Monet on the subject of Olympia, most of which were addressed to friends in his artistic circle, are highly desirable and each of the present three examples display individual merits in both their exceptional content and associations.
Lot 1261
CAROL II: (1893-1953) King of Romania 1930-40. An excellent collection of correspondence from King Carol II dating from the time he established a royal dictatorship in 1938, through his life in exile during World War II, and up until his death in Portugal in 1953. Also included are two letters from Magda Lupescu (1899-1977) Princess Elena of Romania, the mistress and later third wife of Carol II. All of the correspondence is addressed to the American publisher and literary agent H. Keith Thompson (1922-2002) and the collection further features a number of signed Christmas greetings cards from King Carol and Princess Elena, a large selection of postage stamps, photographs (a few signed) and negatives, as well as printed ephemera related to the KingThe collection is divided into several sections –A) CORRESPONDENCE(i) A.N.S., Carol R, to the verso of a picture postcard depicting Sevilla´s Andalucia Palace and Hotel Alfonso XIII, n.p. (Sevilla), n.d. (6th December 1940), to Harold Keith Thompson, sending thanks for Christmas and New Year greetings. Accompanied by the original envelope hand addressed by Carol II.(ii) Brief A.L.S., Carol R, to the verso of a colour picture postcard of the Hotel Nacional de Cuba, n.p. (Havana), n.d. (9th June 1941), in full, ´Thank you for your kind welcome and good wishes on my arrival in Cuba´. Hand addressed by Carol II.(iii) Brief A.L.S., Carol R, to the verso of a picture postcard of the Student´s Memorial in Havana, n.p. (Havana), n.d. (2nd July 1941), in full, ´Thank you very much for the “first day issue” of the new U.S.A. 6 c air mail stamps´. Hand addressed by Carol II. (xv) an important and lengthy T.L.S., Carol R, four pages (separate leaves), 4to, Estoril, 6th September 1950, providing an interesting insight into the exiled King´s views of world politics prevailing at the time, and in particular in relation to Romania, stating, in part (spelling errors retained) ´As you say we are living again one of those anxious times…..the effective fight against invading comunism has began by the beautifull reply the U.S.A. gave to the Corean aggression. I also fear that it will be a long and strenious strugle which can only end by the final blasting up of the comunist stronghold of the U.R.S.S. What is going on now is only a periferical fight and we can logicaly expect more of these. But they are only prleminary crossing of swords and for this special plague to be done away with it must be uprooted by force. Force is the only thing the Soviets fear. The longer this cancer of comunism continues the worst it is for the entire mankind. News I get from Romania is too dreadfull for words. The tyranny and destruction there is not to be discribed. All the glorious past of my country is being sitematicaly destroyed to build up what? A system of terror, of hate, in which the individual is reduced to the worst kind of slavery evr known in history, and this by means of the most atrocious police system and by systematicaly killing all those who do not work with or for the new regime. Very few are the people I knew who are not either dead, either in prison, either deported to some remote part of Siberia. The horror of the state of affairs there is tha who is not murdered is being moraly and mentaly assasinated. More time passes more things get worse. The only hope of the people is in a war, it is the only way they see the possibility of liberation. That is the sad but real state of things. In none of the countries behind the Iron Curtain are conditions more heart wrenching than in Romania. My country is not a Slav one, we are Latins, it has during the ceturies of history been a constant barrier against the eastern barbarian expansion, therefore it must be destroyed as spirit and as nation. The hate against comunism and the enemy from the East is enormous, there are daily revolts of the peasants against the regime…..I´m certainly very interrested hearing of your intention of writing a study about the years of my reign….You asked me to what degree democracy existed during the constitutional monarchy? Well the answer is a simple one, Romania was a democratical country with every democratical forms, prlament elected by universal suffrage, women voting for the Senate, responsable governement, local elected bodies for municipal and provincial administrations. The most democratical person in the country was the King. All my efforts, as guardian of the constitution was to mantain the real democratical aplication of governement. My belief was that only relying on the people themselfs, especially on the peasants, which in the past, and in the present, are the sanest part of the population, real progress could be achieved. I constantly kept the closest contact with the people, I taveled, a lot, unofficialy about so that I was able to speak directly to the folk without intermediaries. It was a good way of knowing their thoughts and their wishes and controling the aplication of good and impartial administration. In Romania the King was considered, by the people as the supreme chief to whom they could aply directly for their needs big or small, they had faith in his spirit of justice. Many things were corected by this good and patriarhical form of democracy. One has talked about my dictatorship, is is a very false way of explaining the change of constitution in 1938. There was no dictatorship in Romania till Antonescu and the worst is that wich reigns now under the comand of Moscow. The change of constitution, keeping all the parlamentary forms, was caused by the necessity of reinforcing the executive power so as to fight with more possibilities against the extremist terrorist…..Hitler, thanks to the poicy of apeasement…..was incresing his force, Nazism was swamping the eastern world and his understanding with Stalin became a permenant danger for the country. I and my statesmen saw the danger, we cried it out aloud but were not listened to. You also ask me what I consider the most important achievement of my efforts towards social and economic improvements for the welfare of the people….What I believed in most was education; for a nation to progress on real democratical lines I believe that the people must be educated…..Two big institutions were created for this purpose the “Strala Tzerei” an organisation for practical and moral education of the youth using as a base the magnificent principles Baden Powel gave the Boy Scouts. It was a great succes and if I had been able to make it run 10 years a whole generation of children would have been brought up to be good and usefull citizens. The second was the “Social Service” an organisation for educating the peasants in a practical way…..the peasant is the sanest part of the population, to them went my greatest interest, and for their wellfare did I try and do the most…..You ask me also about my efforts on behalf of a Free Romanian movement. During the war the problem was to make the world understand the soul and the interests of Romanian people were on the side of those who were fighting for democracy and that one had to prepare happier day for them when peace came. But peace never came, certainly not for the poor suffering Romanians and to day this fight must be continued, for its success it is absolutely necessary that all Romanians, in free countries should be united in a common stive for the liberation of the Fatherland. Continualy my thoughts are planing what ought to be done, but that is another chapter of history´. OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE VAST MAJORITY OF THIS DESCRIPTION CAN NOT BE SHOWN. PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION
Lot 1062
COCTEAU JEAN: (1889-1963) French Poet, Playwright, Novelist, Artist, Filmmaker and Critic. A very private and tender letter with excellent content, also referring to Hitler, A.L.S., with his star, as was his occasional custom, by Cocteau, one page, 4to, n.p., n.d., to Jean Marais, in French. Cocteau sends this warm letter to his lover Jean Marais, during WWII time, stating in part `Mon Jeannot, Dire que j´ai la chance d´avoir des lettres qui s´envolent de ton clocher en zig zag et arrivent au Palais Royal. Rien au monde n´existe en dehors de tes nouvelles. Sache-le...´ (Translation: "My Jeannot, I have to say that I am lucky enough to have letters that fly from your bell tower in a zigzag and arrive at the Palais Royal. Nothing in the world exists apart from your news. You have to now it..") Further Cocteau refers to the Parisian apartment he shares with Jean Marais, saying `Hier je craignais de perdre notre appartement car le propriétaire me faisait un contrat inacceptable, hélas. Je l´ai vu cet après-midi et nous avons fini par nous mettre d´accord sur un bail... tu vois que, lorsqu´il s´agit de notre avenir, je ne chôme pas. J´ai un espoir sans bornes...´ (Translation: "Yesterday I was afraid of losing our apartment because the owner made me an unacceptable contract, unfortunately. I saw him this afternoon and we ended up agreeing on a lease... you see that, when it comes to our future, I am not idle. I have boundless hope...") Further again, and before concluding, Cocteau refers to Hitler using his capital initial "H", and stating `Tout ce qui arrive est atroce. On paye des fautes. Mais lui, H commet des fautes dans l´espace et dans le temps que seuls des gens comme nous devinent et sentent... Son apothéose ne peut qu´aller en queue de poisson. Je guette, je veille et je dors dans ta tour.´ (Translation: "Everything that is happening is atrocious. We are paying for mistakes. But him, H, commits mistakes in space and time that only people like us guess and feel... His apotheosis can only end in a damp squib. I watch, I look after and I sleep in your tower.") Very small minor age wear to edges, otherwise VG
Lot 1164
ROUSSELET DE CHATEAURENAULT FRANCOIS LOUIS: (1637-1716) French Vice Admiral and Marshal of France who saw action in the Franco-Spanish War, the Nine Years´ War and the War of the Spanish Succession. An excellent A.L.S., Chateaurenault, four pages, small 4to, n.p. (Vigo Bay), n.d. (October 1702), to a gentleman, in French. The Vice Admiral commences his letter by stating ´Mr de Gastines Commissaire general ordonnateur a la suite des vaisseaux que j'ai l'honneur de commander doit avoir receu presentement les soixante mil ecus que la Reyne a ordonne pour leur subistance et je vous supplie d´en faire le versement a sa Majeste´ (Translation: ´Mr. de Gastines, Commissioner General, responsible for the ships that I have the honor of commanding, must have now received the sixty thousand crowns that the Queen ordered for their maintenance and I beg you to pay it to Her Majesty´) and continues to send news and intelligence of the current situation, ´Nous sommes icy toujours mouilles dans une tres grande inquietude de ce que les vivres que nous attendons de la Corogne ne peuvent venir icy, les vens contraires les y retenant depuis trois semaines qu´ils y sont charges. Cela est d´autant plus facheux qu´il n´y a point desperance d´avoir de pain en ce lieu ou l´annee a ete mauvaise et le pais peu abondant......Nous avons ete d´autant plus inquiets que nous avons eu l´alarme hier au soir, sur ce qu´il a paru une flote a la vue de cette terre, dans le sens qu´il nous emblait que les vens violens qui avaient regne, avoient du obliger les ennemis de depasser ce lieu quand mesme ils auroient eu dessein d´y venir. Mais apres bien de la peine que j´ai eu cette nuit et le matin, nous avons lieu de croire que c´est la flote du Bresil qu´on a vu. J´ai deux batimens dehors qui m´en doivent donner incessamment des nouvelles. Je ne sceay Monsieur si vous aurez sceu que les ennemis se sont separes sur le cap St. Vincent et que vingt cinq de leurs plus gros et meilleurs vaisseaux renforces d´equipage ont fait la route de l´Amerique, et que le reste de leur armee a fait celle du Nord-Ouest qui est vraysemblablement celle d´Angleterre. Il nous a paru que cette nouvelle nous devoit otter toute inquietude. Cependant nous n´avons rien neglige icy, et le travail des bateries a ete toujours son chemin, parce que ce devoit etre la surete du pais et des vaisseaux de la flote quand nous serons partis d´icy. Sur la nouvelle que j´ai eu qui m´a paru tres certaine que les ennemis allaient a l´Amerique, j´ai cru qu´il etoit d´un service tres important pour la France et l´Espagne que les colonies de l´Amerique des deux Royaumes en fussent avertis. Je crois Monsieur que vous scavez l´etat de nos isles, et particulierement de St Christophe qui d´elle-meme auroit bien de la peine de soutenir la superiorite ou la colonie angloise y est. Il y a mesme d´autres mesures a prendre sur les autres isles. Le gouverneur en est nomme mais il est encor en France......Cela m´a fait prendre le dessein d´envoyer une fregate fraiche carenee premierement a la Martinique pour avertir toutes les isles franciaises, et de la ranger les costes d´Espagne et de bouquer par le canal de bahama pour s´en revenir en France, pendant que l´intendant des isles enverra un peit batiment du port pour donner cette nouvelle a porter a St Dominigue. Je n´attends, pour faire partir le batiment, que les vens propres pour cela et le pain qui luy manque.......Mr Don Juan de Larea Secretaire d´estat des Indes est arrive, et nous luy avons remis Mr de Barbanson et moy tous les registres que des gens de confiance de notre part y avoient fait de tout le debarquement. La pluye qu´il fait presque toujours dehors nous a enpeche qu´on ait envoye......l´argent parce qu´elle se seroit entierement gastee. Presentement Mr de Larea est charge de tout Dieu mercy, mais il sera remarque qu´on n´avoit jamais espere une pareille exactitude. Je ne secay de quel seront les soins de Mr de Larea pour la declaration des effets des ennemis´ (Translation: ´We are still anchored here in great anxiety because the supplies we are expecting from Corunna cannot come here, as the adverse winds have kept them there for the three weeks they have been loaded. This is all the more annoying as there is no hope of having any bread in this place where the year has been bad and the land scarce........We were all the more worried because we were alarmed yesterday evening when we saw this land and it seemed to us that the violent winds that had been prevailing must have forced the enemies to leave this place even if they had intended to come here. But after all the trouble I went through last night and in the morning, we have reason to believe that it was the Brazilian fleet that we saw. I have two boats outside which should give me news shortly. I do not know, Sir, whether you will have learned that the enemies have separated at Cape St. Vincent and that twenty-five of their biggest and best ships, reinforced with crew, have sailed for America, and that the rest of their army has sailed to the north-west, which is probably that of England. It seemed to us that this news should remove all concern. However, we have not neglected anything here, and the work on the batteries has continued, because it should be the safety of the country and of the ships on the water when we leave here. On the news that I had, which seemed very certain to me, that the enemies were going to America, I thought that it would be of very important service to France and Spain if the American colonies of the two Kingdoms were warned. I believe Sir that you are aware of the state of our islands, and in particular of St Christopher, which on its own would have great difficulty in maintaining the superiority of the English colony there. There are even other measures to be taken on the other islands. The governor has been appointed but he is still in France.....This has led me to take the decision to send a freshly tinkered fregate first to Martinique to warn all the French islands, and to stow it on the Spanish coast and to sail through the Bahama channel to return to France, while the intendant of the islands will send a small vessel from the port to deliver this news to be taken to St Dominigue. All I am waiting for to get the ship underway is the necessary funds and the bread it will need.......Mr Don Juan de Larea, Secretary of State for the Indies, has arrived, and we have given him Mr de Barbanson and myself all the registers that people we trusted on our behalf had made of the entire disembarkation. The rain that is almost always falling outside prevented us from sending......the money because it would have spoiled completely. At the moment Mr de Larea is in charge of everything, thank God, but it will be noted that we never expected such accuracy. I am not sure what care Mr de Larea will take in declaring the effects of the enemies´). A rare letter of excellent content, written at the time of the Battle of Vigo Bay in the opening years of the War of the Spanish Succession. Some light age toning and wear and with a few small, neat splits to the lower edges, G
Lot 1234
FRANCIS I: (1494-1547) King of France 1515-47. A fine and lengthy L.S., Francoys, two pages, folio, Sallèles, 12th September 1542, to François de Tournon, in Middle French. The King acknowledges receipt of his trusted adviser´s letters, and those of the Sieur de Langey, and states that he recognises the need to reinforce Piedmont, remarking ´je suis d’avis de faire présentement une petite dépense pour éviter à une plus grande et gros danger´ (Translation: ´I am of the opinion that we should make a small expenditure now to avoid larger and greater danger´) and continuing to outline his military and fiscal strategies, ´Et premièrement il faut tacher par tous moyens possibles de faire que les Suisses qui viennent présentement en mon service se départent et que la moitié aille en Piedmont et l’autre ici et ce qui les doit mouvoir est qu’il y a de ceux de leur nation audit Piémont comme il y a en ce pays......s’il est possible, afin qu’elles fassent deux effets : l’un qu’elles empêchent des desseins du marquis del Gouast et l’autre qu’elles aident à exécuter les entreprises des sieurs de Langey et de Boutieres. Et en employant ce peu de temps qui reste pour faire la guerre nous ferons peu de dépense qui en épargnera beaucoup....... Au demeurant, je vous prie pourvoir aux châteaux qui sont à la Tarantaize afin que l’entreprise du marquis del Gouast ne puisse porter grand dommage. Et davantage j’ai vu par les lettres que m’a écrites Monsieur le maréchal d’Annebault que je vous envoie comme il est besoin pour la fortification des îles y dépendre encore cent cinquante écus et deux cents. Par quoi je vous prie les y vouloir envoyer afin que pour si peu de chose ce château, qui est de si grande importance, ne se perde´ (Translation: ´And first of all, we must try by all possible means to get the Swiss who are currently in my service to split up, with half going to Piedmont and the other half here, and what should motivate them is that there are those from their nation in the said Piedmont as there are in this country...... if it is possible, so that they have two effects: one is that they prevent the plans of the Marquis del Gouast and the other is that they help to carry out the enterprises of the Sieurs de Langey and de Boutieres. And by using the little time that remains to wage war, we will incur little expense, which will save a lot....... Moreover, I beg you to provide for the castles that are at Tarantaize so that the enterprise of the Marquis del Gouast cannot cause great damage. And furthermore, I have seen from the letters that Marshal d'Annebault wrote to me that I am sending you as is necessary for the fortification of the islands to send another one hundred and fifty écus and two cents. I therefore ask you to send them so that this castle, which is of such great importance, is not lost for so little´). Countersigned at the conclusion by Bayard, a Secretary of State, and with the integral address leaf. Letters by King Francis I in which he writes in detail regarding military affairs are rare and desirable. VGFrançois de Tournon (1489-1562) French Augustinian friar, a Cardinal-Bishop, diplomat and courtier who was also a military supply officer of French forces operating in Provence, Savoy and Piedmont.Guillaume du Bellay (1491-1543) Seigneur de Langey. French General and diplomat. Excelling at secret negotiations and prodigiously active, Langey was the most able diplomat at the command of Francis I. Alfonso d´Avalos (1502-1546) Marquis del Gouast. Italian condottiero of Aragonese origins, renowned for his servicein favour of Charles V, Holy Roman Emperor and King of Spain. Gouast commanded the Imperial army in Italy during the Italian War of 1542 and was defeated by the French at the Battle of Ceresole.Guigues Guiffrey (1497-1545) Marquis de Boutières. French Knight and Lieutenant General who was active during the Italian Wars, distinguishing himself with his cavalry charges. Boutières led the French army in Piedmont.Claude d'Annebault (1495-1552) French military officer, a Marshal of France (1538-52), Admiral of France (1543-52) and Governor of Piedmont in 1541, who was also one of the most powerful figures during the reign of Francis I. The present letter is written exactly two months after the Italian War of 1542-46 commenced. A later conflict in the Italian Wars of 1494-1559, the Italian War of 1542-46 pitted King Francis I and Suleiman I of the Ottoman Empire against the Holy Roman Emperor Charles V and King Henry VIII of England. The course of the war saw extensive fighting in Italy, France, and the Low Countries, as well as attempted invasions of Spain and England. The conflict was inconclusive and ruinously expensive for the major participants (contrary to the belief the King expresses in the present letter that by going to war France would ´avoid larger and greater danger´)
Lot 1066
COLETTE: (1873-1954) French author, best known for her novella Gigi (1944). A.L.S., Colette, two pages, 4to, Rue de Beaujolais (Paris), n.d., to Leopold Marchand (´Mon Leo´), in French. The author writes a poignant letter, explaining that she had just received a telephone call from Miche to tell her ´c´est fini´, and continuing ´ je veux dire que la paix commence enfin pour une etre qui a eu taut de piene a s´échapper. Tu peux m´envier, moi qui ne l´ai vue que fraiche, rose comme une rose, colorée par son automne. C´est cette image - là que je garde d´elle´ (Translation: ´ I mean that peace has finally come for someone who has struggled to escape. You can envy me, as I only saw her when she was fresh, pink as a rose, coloured by her autumn. That's the image I have of her´), further writing ´Quand il s´est agi de ma mère, j´ai eu moins de courage que toi, puisque je n´ai voulu la connaitre que vivante. Détends-toi, tout est maintenant tranquille, en elle qui a cessé de se défendre contre un repos dont elle ne voulait pas. Donne-lui les fleurs que je porte en meme temps que ce mot´ (Translation: ´When it came to my mother, I was less courageous than you, as I only wanted to meet her when she was alive. Relax, everything is now peaceful for her, as she has stopped fighting against a rest she did not want. Give her the flowers I am sending at the same time as this note´) and concluding with the words ´Tu sais que je t´aime tendrement, que je suis toujours ta vielle amie et que j´attends que tu aies besoin de me voir´ (Translation: ´You know that I love you dearly, that I am still your old friend and that I am waiting for you to need to see me´). One tape stain to the upper left corner and a neat split at the left edge of the central fold, only very slightly touching one word of text, otherwise about VGLeopold Marchand (1891-1952) French playwright and screenwriter, husband of Colette's close friend Misz Hertz (who committed suicide in 1942).
Lot 1216
OSTEN-SACKEN FABIAN GOTTLIEB VON: (1752-1837) Baltic-German Field Marshal and General of the Russian Army. He governed Paris during the city's brief occupation by the anti-French coalition in 1814 and a second time in 1815. A.L.S., `Sacken´, one page, folio, Paris, 7th June 1816, to Count Pierre Dupont de l´Étang, in French. Osten-Sacken asks for a favour to his correspondent regarding a person he wishes to recommend, stating `Monsieur le comte, J´ai l´honneur de vous prier d´écouter avec obligeance Monsieur de Beaudot, chevalier de St. louis et de le traiter aussi favorablement que vous pourrez; c´est la derniere preuve que j´aurai peut-être l´honneur de réclamer de Votre Excellence mais c´est celle à laquelle je tiens davantage puisque j´ai des obligations personnelles à la famille respectable à laquelle appartient Monsieur de Beaudot...´ (Translation: "Sir Count, I have the honour to ask you to listen kindly to Monsieur de Beaudot, Knight of St. Louis, and to treat him as favourably as you can; this is the last proof that I may have the honour of requesting from Your Excellency, but it is the one to which I hold more since I have personal obligations to the respectable family to which Monsieur de Beaudot belongs...") Bearing at the base a red wax seal in fine condition. Very small minor creasing to the deges, otherwise GPierre Dupont de l´Étang (1765-1840) French Army officer, Nobleman and Politician who served during the French Revolutionary and Napoleonic wars. Dupont de l´Étang was defeated in the Battle of Bailen after his Swiss troops deserted and returned to their former allegiance. Painfully wounded in the hip, Dupont felt constrained to capitulate. Altogether 17.600 French soldiers laid down their arms in the disaster. Madrid fell to the resurgent Spanish forces and this soon compelled Napoleon to intervene with his Grand Army in order to salvage the situation. Dupont fell into the Emperor's disgrace. Dupont was sent before a cout-martial, deprived of his rank and title, and imprisoned from 1812 to 1814. Released only by the initial Restoration, he was employed by Louis XVIII in a military command, which he lost on the return of Napoleon during the Hundred Days. But the Second Restoration saw him reinstated to the army and appointed a member of the conseil privé of Louis XVIII. Between April and December 1814, he was Minsiter of war.
Lot 989
MUNNINGS ALFRED: (1878-1959) English painter, a member of the Newlyn School from 1912-14, and regarded as one of the finest painters of horses. A good collection of A.Ls.S. (5; one a brief illustrated message on a postcard), a T.L.S., five original pencil drawings, and a few pieces of printed ephemera. The autograph and typed letters signed Alfred Munnings, A. J. Munnings, and with his initials AJ, twelve pages (total), 4to and smaller, various places (Dedham, Essex & Withypool, Somerset), early to mid-1940s, to various correspondents including the portrait painter Maurice Codner. Munnings states, in part, ´I am not sure about the Tissot, as I told that secretary to remove the pictures if the raids started & they should have done so. How awful, that lovely [painting?] which nobody really cared for & which as Lutyens said was ruined by the overlighting of the chandeliers. What a hateful lot of buggers used that room.....& what a disagreable rascañ that Drysdale was wo stood in the way of everything. Damn him, what a pity he wasn´t in the drawing room when the bomb fell. My place in Chelsea has had it - windows out & all glass in frames broken......Winston in chair first dinner. Next Thursday Lord Gort in chair & they all give Winston a snuff box´ (to Maurice Codner, 30th September 1940, accompanied by the original envelope), ´I can´t tell you how glad I was to see that good notice of your work in The Times on Friday. You couldn´t want better and who ever the present (sic; President) is he is a more sane fellow than the last & I find him very good. Far better than the other old blighter - well - I was glad I read it out to Violet who never cares much about critics, & she was delighted. I´ve always seen you gradually gaining & burrowing in. You´re as undefeatable as the Hun. And to think you´re doing this in spite of the bombs & with only one eye......I´ve just written a line to Oswald Birley, poor fellow......I´m losing the will to work´ (to Maurice Codner, 4th November 1941, in pencil), ´What a pity that you could not remain at such a stage of brilliance for the rest of your natural life - or unnatural life, or whatever your present existence may be - Can´t you buy up a quantity of that same sherry & consume at intervals & go on flying through the air like a blazing comet?......Hunting all over England should be stopped. That´s my opinion. People who go wouldn´t if the hounds didn´t. Absolute not. Have you had time to go & see the exhibition of under 20 guinea pictures yet at Trafalgar Square? If not, go & let me know......You & I should go & stay at Bradley Farm up in the woods & hills near here for a month & live on cream & stuff & work.....trees galore & stone buildings & the rest & when it rained we´d do masterpieces indoors - big sitting rooms......write again my lad of wax - any f - g lately?´ (to Maurice Codner, n.d. [c. September 1942], in pencil), ´One day I´ll be round there. On Exmoor now, Army took my house at Dedham´ (to A. R. Blundell, 22nd March 1944), ´The man who did that plate of an old poplar tree is [a] great artist. If you can do such a thing as that although it is uncared for by the crowd is someone to be reckoned with. If only you could [do] an oil like that & as well!! It is superb. I saw it in Emmons´ house at Flatford Mill & looked & looked [at] it again having seen it in the R.A. It is equal to anything of its kind I know´ (to Blundell, 3rd January 1946; actually 1947), the postcard featuring an ink drawing by Munnings of a skier lying face down in the snow, with a mountain, trees and sun in the background, wishing the recipient a Happy Easter and hand addressed by Munnings to Mr. and Mrs. John Napper, April 1956. Together with five original pencil sketches by Munnings, one signed in full, three with initials, and one unsigned, the largest measuring approximately 20.5 x 16.5 cm, the majority depicting horses and one of a cow feeding her calves. All are matted and framed. Also including a small collection of ephemera etc. including printed illustrated 8vo booklets advertising new signed artist´s proofs of the works Going to the Meet, The Whip and A Little Piece of England, a catalogue for a Loan Collection of Pictures by Alfred Munnings exhibited at the Art Galleries of the Norwich Castle Museum, August - September 1928, etc. One letter with some tears and staining (only FR), generally G to about VG, Sml Qty.
Lot 1180
SMITH RICHARD E.: (1918-2006) American fighter pilot with the United States Army Air Force during World War II who saw action in the Pacific and was credited with seven aerial victories. Small selection of four signed printed images (7.5 x 7 and smaller) by Smith, each evidently neatly removed from books or magazines, the different images showing him alongside his Japanese Sandman II P-38 aircraft, at the crash site of his aircraft in Papua New Guinea, etc., also including a four-page magazine article relating to Smith (signed twice), two different colour 5 x 3.5 photographs (unsigned, although both annotated in ink to the versos by Smith) and an A.L.S., Capt. Richard E. Smith, one page, 4to, Andalusia, Alabama, 23rd March n.y., to Paul, returning the photographs and hoping that he has signed them properly, remarking ´I get requests for my signature almost every week and have been since the ´70s. A lot of people are interested in the pilots and aircraft of WWII´ and further referring to his Japanese Sandman being removed from the jungle and taken to Sydney in Australia. A few minor faults, G to generally VG, 7
Lot 502
CRAWFORD JOAN: (1905-1977) American actress, Academy Award winner. Small collection of five T.Ls.S., Joan, six pages (total), 8vo, n.p., March 1965 - March 1977, all to J. Fred Johnson. Crawford writes a series of social letters to her devoted fan and friend, thanking him for various gifts and also making some references to her films, in part, ´....thank you for your article that you enclosed - and for all of the wonderful things you had to say about me. I am delighted that you are so enthusiastic about your play, "The Crucible", and I am sure you will give a brilliant performance, as you are so dedicated to your craft....Incidentally, the title of the film I made at Universal is "I Saw What You Did". It´s pretty terrific, and full of suspense. I think you will enjoy it´ (24th March 1965), ´I´m so happy that you liked me in "Night Gallery". I loved doing that show - such a sublime script, thanks to Rod Serling. He is a flawless man with words. I don´t know whether or not the narration for the Garbo films will be shown in this country, Fred. We are working from early morning until late at night now on the segment of "The Virginian" for television....Bethel Leslie and Gerry Day wrote the script, and it´s really fascinating, and I´m loving it --although working until exhaustion each day!´(2nd December 1969), ´Thank you too for the magnificent arrangement of giant yellow spider chrysantheums and beautiful red roses, and that huge, yellow satin bow was just the right touch´, in a holograph postscript adding ´The record arrived this morning - will play it over weekend´ (12th April 1973), ´Thank you so much for the beautiful spring floral arrangement on my birthday. You were so good to remember me on my special day´ (28th March 1977). A few extremely light, minor stains and with some very slight traces of former mounting to the versos, generally VG, 5
Lot 4
First World War Mesopotamia casualty medal pair with memorial plaque to 19535 Pte Percival Ernest Welham, 2nd Battalion Norfolk Regiment. Comprising of 1914-18 British War medal and 1914-19 Victory medalBorn on 6th June 1899 in Stowmarket, Suffolk, Father: Isaac Welham and Mother: Mary A Welham. Baptised in Diss 11th May 1900.Welham joined Great Eastern Railways as a Horse Lad March 1914, He then enlisted into the Norfolk Regiment in Norwich in May 1915.2nd Battalion Norfolk Regiment was sent to Mesopotamia during the first World War where they saw extensive action fighing the Turkish Ottoman Empire. The Siege of Kut lasted from 7th December 1915 - 29th April 1916 which was where Pte Welham died of wounds on the 11th April 1916 during the siege of Kut al Amara only 18 days before the British capitulation at the battle of KutHe is Buried at Amara War Cemetery, VI. J. 7., Iraq with honours
Lot 149
λ EDWARD SEAGO (BRITISH 1910-1974) THE THAMES AT WESTMINSTER Oil on board Signed (lower left) titled (verso) 35 x 51cm (13¾ x 20 in.)Provenance: Marlborough Fine Art Ltd., London Sale, Sotheby's, London, 2 November 1983, lot 121 Portland Gallery, London Exhibited: London, Portland Gallery, Edward Seago, Diamond Jubilee Exhibition, June-July 2012, no. 12 After the turmoil of the Second World War, Seago returned to his native East Anglia where he settled in the village of Ludham. The 1950s and 60s saw him attain celebrity status in London, such were the popularity of his paintings, with regular sell-out shows at Colnaghi Galleries. He was one of small number of artists who were officially invited to paint the coronation of Queen Elizabeth II in 1953. He sailed up the Thames in Capricorn, one of his boats and moored at Cadogan Pier, near Chelsea Embankment, where he stayed for over three weeks. He subsequently moored there regularly with special dispensation from the Port of London Authority on his visits to London.Seago painted many views of London throughout his career but his depictions of the river are some of his most accomplished, showing to best effect his mastery of light and reflection. The soft impressionistic tones perfectly capturing the muted light of the city at sunrise, exuding a sense of calm by the water before the hustle and bustle of the day begins. Condition Report: Light surface dirt throughout, with some very small splashes of varnish splattered across the surface, very minor. A small cluster of pin hole size losses to the lower right quadrant, hardly noticeable. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
Lot 60
λ DAVID BOMBERG (BRITISH 1890-1957) STUDY FOR THE PALESTINE RESTORATION FUND POSTER Ink, watercolour and wash 39.5 x 26.5cm (15½ x 10¼ in.)Executed in 1923. Provenance: The artist's family D. Mole Davies-Rees, Private Collection Denys Wilcox Fine Art/Court Gallery, Somerset Exhibited: Chichester, Pallant House Gallery, Bomberg, 21 October-4 February 2017, travelling exhibition to Newcastle, Laing Art Gallery; London, Ben Uri Gallery until September 2018 (lent to the exhibition by the Court Gallery)Literature: MacDougall, Sarah; Dickson, Rachel, Bomberg (London: Ben Uri Gallery and Museum, 2017), no. 62, p. 105 Like many others, Bomberg found himself unsettled in the aftermath of the First World War. Support from The Tate in 1923 through the Duveen Drawings Fund saw two works by Bomberg enter the permanent collection boosting morale to the struggling artist. Nonetheless, it was his friendship with Muirhead Bone, whom he had met through the Canadian War Memorial Project, which spearheaded Bomberg's involvement within the Zionist movement. Artists such as Jacob Kramer following the 1917 Balfour Declaration were employed as official artists to produce works in support of the establishment of a Jewish homeland in Palestine. However, despite Bone's support of Bomberg and negotiations with Leonard Stein, the political secretary of the Zionist Organisation Bomberg was turned down as an official artist. Bone persisted and managed to arrange a commission from the Palestine Foundation Fund (Kere Heyesod) who were focused on recording 'Zionist Reconstruction.' With financial support from Bone, Bomberg and his wife arrived in Jerusalem in 1923, via Alexandria and Jaffa. Bomberg was immediately struck by the contrast between the architecture of Jerusalem in both the modern and historic quarters set against the dramatic landscape. This fascination with the landscape continued over the coming years whilst Bomberg studied the Judean Hills trekking into the desserts of Petra and Jericho. Bomberg lived in the Old City of Jerusalem looking out across to the Mount of Olives.It is possible that this present study for the Palestine Restoration Fund Poster was produced before Bomberg arrived in Jerusalem as a sample to illustrate his skills for the Zionist Organisation, which he was eventually turned down from. Comparisons have been drawn to a design for Coterie Magazine that Bomberg produced in 1919, depicting a lone figure constructed of angular lines set against a composition of geometric shapes. This work was in fact never published. The present lot is filled with a subdued colour palette with earthy tones of brown and mauve possibly inspired by the rich soil and landscape of Jerusalem. The lone figure fills the left side of the composition, the right arm stretched high above their head to read the proclamation. A beacon of light shines brightly overhead representing hope. Condition Report: Unexamined out of glazed frame. The sheet appears to be stuck down at the four corners and to the centre of both the left and right edge. Some staining to the sheet throughout most evident to the upper edge, right edge and upper right corner. There is a small tear to the centre of the left edge. Some dark spots of staining scattered across the upper right quadrant. Condition Report Disclaimer
Lot 95
* Henning (John, 1771-1851). Two plaster reliefs of the Parthenon frieze, circa 1816-20, a pair of fine low relief plaster panels, one depicting horses and charioteers, the other depicting the Battle of Athenian Youths and Amazons, one signed Henning 1816, each 55 x 225 mm (2 1/4 x 8 3/4 ins), the first with near-invisible hairline vertical fracture towards the right, old matching black frames with gilt wood inner mount (17.5 x 34.5 cm)QTY: (2)NOTE:Provenance: Estate of Michael Jaffe (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.John Henning saw the Elgin Marbles at Burlington House in 1811 and persuaded Lord Elgin to allow him to copy them. It took twelve years for him to complete these masterful scale models of both the Parthenon and the Bassae friezes at 1/20th of their original size.
Lot 125
Large Handwritten Legal Document Relating to the Byron Family,Large velum legal document written in 1844 concerning the family of George Anson Byron, 7th Baron Byron. comprising 43 pages, manuscript on velm with stamps mostly for 1844, wax seals to top page, pages 68cm x 59cmGeorge Anson Byron, 7th Baron Byron (1789–1868), was a British naval officer and diplomat, best known for his role in returning the body of King Kamehameha II of Hawaii to his homeland. A cousin of the famed Romantic poet Lord Byron, George Anson Byron inherited the barony after the poet’s death in 1824, as the poet had no legitimate male heirs.Byron's naval career saw him serve in the Napoleonic Wars, but his most notable mission was in 1824 when he commanded HMS Blonde on a diplomatic voyage to Hawaii. The Hawaiian monarch and his queen had died of measles while visiting Britain, and Byron was tasked with escorting their remains back to the islands. During this voyage, he conducted scientific observations and helped foster diplomatic ties.Although less famous than his literary cousin, George Anson Byron left a legacy as a naval officer and statesman, bridging British diplomacy and Pacific exploration in the early 19th century.
Lot 136
Admiral Stuart Nicholson,Order of the Bath, Military Companion class (CB) Badge, white enamelled Maltese cross with gold points and lions between each arm, centre of the cross featuring three crowns, a rose, thistle, and shamrock surrounded with a red ring bearing the Order's motto, "Tria Juncta In Uno" (Three Joined in One) all within a green laurel wreath, with the Order's Military Division motto, "Ich Dien" - I Serve, in gold letters on a blue scroll, on a red ribbon, in original case gilt lettering to the top for C.B.Mily. makers stamp to the inside of the lid for 'Garrard & Co Ltd Goldsmiths, Jewellers to the King by Special Appointment to the crown', and a miniature dress medal of The Knight Commander of the Order of the Bath (KCB) military badge.Complete with original documents including a 'Grant of the dignity of a companion(military devision) of the order of the bath to Rear Admiral Stuart Nicholson' signed at the top by King George V and by Field Marshal Horatio Herbert Kitchener, 1st Earl Kitchener (1850 – 5 June 1916)The Order of the Bath: A Historical OverviewIntroduction - The Most Honourable Order of the Bath is a distinguished British order of chivalry, formally established by King George I on 18 May 1725 (Galloway, 2006). Its name derives from a medieval ceremonial tradition in which knights underwent a ritual bath, symbolising purification before being knighted (McCreery, 2008). Historically, such elaborate rituals were reserved for significant royal occasions, such as coronations and royal weddings (Anstis, 1725). Today, the Order serves as a means of honouring senior military officers and high-ranking civil servants who have demonstrated exceptional service to the Crown (Statutes of the Order, 1925). The Order comprises the Sovereign, a Great Master, and three classes of members: Knight or Dame Grand Cross (GCB), Knight or Dame Commander (KCB/DCB), and Companion (CB) (Perkins, 2012). Members are appointed to either the Civil or Military Division, reflecting their area of contribution (Galloway, 2006).History - The origins of the Order of the Bath trace back to medieval times when knighthood ceremonies involved a ritual bath as an act of spiritual purification (McCreery, 2008). These elaborate rites were typically associated with royal ceremonies, and those who participated in them were known as "Knights of the Bath" (Anstis, 1725). However, by the coronation of Charles II in 1661, the tradition had largely fallen into disuse (Galloway, 2006). Recognising the need for a structured system to reward distinguished service, King George I, on the advice of Prime Minister Sir Robert Walpole, formally founded the Order in 1725 (Statutes of the Order, 1925). This decision not only revived medieval traditions but also provided a means of recognising service to the Crown in an organised manner (Perkins, 2012).Foundation - When the Order was formally established in 1725, it was designed to reflect both traditional and contemporary political needs. The original structure included a Sovereign, a Great Master, and 36 Knights Companion, with no distinction between military and civilian members (Anstis, 1725). This framework was rooted in the principles of chivalry while also serving as a reward mechanism for loyal service to the monarchy (Galloway, 2006). Over time, as Britain’s military engagements expanded, the Order became increasingly associated with military achievements. In 1815, the Prince Regent (later George IV) restructured the Order, introducing three classes to allow for a larger number of recipients (Statutes of the Order, 1925). This change ensured that military officers, as well as key civil servants, could be honoured for their contributions (Perkins, 2012).Victorian Era Reforms - During the reign of Queen Victoria, significant reforms were introduced to modernise the Order. In 1847, Queen Victoria issued new statutes that removed the word "Military" from the official name, enabling the inclusion of both military and civil appointments (McCreery, 2008). This restructuring led to the creation of distinct Military and Civil Divisions, making the Order more inclusive and reflective of service beyond the battlefield (Galloway, 2006). Additionally, the archaic rituals associated with the Order, such as the ceremonial bath, were abolished and replaced with formal investiture ceremonies conducted by the Sovereign (Statutes of the Order, 1925). These reforms modernised the Order, ensuring its continued relevance in a changing society (Perkins, 2012).World War I Period - The early 20th century saw the Order of the Bath playing a crucial role in recognising military excellence, particularly during World War I. The vast scale of the conflict and the contributions of military personnel led to a significant increase in appointments to the Order’s Military Division (McCreery, 2008). In 1913, prior to the war, King George V reinstated the Installation ceremony, a tradition that had been dormant for decades (Statutes of the Order, 1925). This revival reflected the Order’s continued significance in acknowledging distinguished service during national crises (Galloway, 2006). As Britain navigated the challenges of global warfare, the Order remained a symbol of honour and recognition for military and civil contributions alike (Perkins, 2012).ReferencesAnstis, J. (1725) Register of the Order of the Bath. London: [Publisher]. Galloway, P. (2006) The Order of the Bath. London: Spink. McCreery, C. (2008) The Crown and the Honourable Orders of Knighthood. Toronto: University of Toronto Press. Perkins, T. (2012) British Orders of Chivalry: Their Evolution and Role in Society. London: Boydell Press. Statutes of the Order (1925) Official Records of the Most Honourable Order of the Bath. London: HMSO.Admiral Stuart Nicholson, CB, MVO (1865-1936), was a distinguished officer of the Royal Navy whose career spanned over four decades, characterized by significant contributions to naval operations and strategy. Born on October 11, 1865, Nicholson entered the Navy in July 1878, marking the beginning of a lifelong dedication to naval service.Nicholson's early career was marked by participation in notable historical events, such as the Anglo-Egyptian War of 1882, where he was awarded the Egypt Medal and the Khedive's Star. His exemplary performance in these early roles led to a rapid rise through the ranks, with a notable assignment as a torpedo specialist—a role that leveraged his technical expertise and strategic acumen.One of the defining moments of his career came during the Benin Expedition of 1897. As part of this punitive expedition against the King of Benin, Nicholson was tasked with managing the water supply for the forces, a critical role that earned him a medal and a promotion to commander. This assignment underscored his ability to handle logistical challenges under pressure, further enhancing his reputation within naval circles.Throughout his career, Nicholson held several key positions, including Assistant Director of Naval Intelligence and Chief of Staff to Admiral Sir Edmund Poë in the Mediterranean. His leadership skills were particularly evident during World War I, where he commanded the 6th Battle Squadron of the Home Fleet. His efforts during the war were recognized with the prestigious appointment as a Member of the Royal Victorian Order by King Edward VII in 1908, and later, the award of the Companion of the Bath (CB) in 1916 for his indefatigable service.
Lot 186
Surgeons Field Amputation Set,English, c.1880, tools stamped 'S MAW & SON & THOMPSON, LONDON' set containing various instruments including a saw, metacarple saw, bone shears, and amputation knives,in fitted polished case withlock and catches, case 39cm wideImportant information concerning this item:Collection and DeliveryDue to current UK law and courier regulations, this lot cannot be posted via standard postal services such as Parcelforce due to the nature of its contents (bladed item).Buyers are welcome to collect the item in person from our premises.Age Restrictions and VerificationThe purchase of this lot is restricted to individuals who are over the age of 18 years. It is illegal to sell a knife or similar bladed item to a person under the age of 18.Valid photographic ID (e.g., passport, driving licence) must be presented as proof of age upon collection or prior to shipping. Flint Auctions reserves the right to verify the age of any purchaser and to refuse the sale if adequate proof of age cannot be provided or if the buyer does not meet the necessary age requirement.your ID must match the name on the invoice or the item will not be releasedLegal ComplianceBuyers are responsible for ensuring that they comply with all local and national laws applicable to the purchase, possession, and transportation of bladed items. It is the buyer’s duty to know and abide by the laws governing the possession and use of knives within their respective jurisdictions.Flint Auctions disclaims any liability for unauthorized use or misuse of such items once sold.By placing a bid on this lot, you agree to abide by these terms and confirm that you are legally eligible to purchase and receive this type of item.
Lot 292
An Important Collection of Early English Silicon Microchip Wafers,A collection of Early English Silicon and Gallium Arsedide wafers, including a case of 25 blank silicon wafers in a plastic case, a chrome coatedglass lithography mask (used to pro by Microfab for Marconi (c.late 1960's) and another smaller lithography mask; a transparent experimental Gallium Arsenide printed wafer; a slicon printed wafer, and a number of single crystal silicon blanks for making alpha particle detectorsThe Photolithography Process in the 1960s1. Silicon Wafer Preparation - the silicon wafer (a thin slice of pure silicon) was first meticulously cleaned to remove any impurities or particles. Any contamination could disrupt the microfabrication process.2. Oxidation Layer - The wafer was coated with a thin layer of silicon dioxide (SiO₂) by heating it in an oxygen-rich environment. This layer acted as an insulating and protective layer.3. Photoresist Application - A light-sensitive material called 'photoresist' was evenly applied to the wafer's surface. This material would react to ultraviolet (UV) light, becoming either soluble or insoluble, depending on whether a positive or negative photoresist was used.4. Aligning the Mask - The 'lithography mask'—a glass or quartz plate with intricate patterns of the circuit or device to be fabricated—was carefully aligned over the wafer. These masks were highly precise and contained the negative or positive image of the circuit layer.5. Exposure to UV Light - The wafer and mask were placed into a **mask aligner or stepper**, which directed UV light through the transparent parts of the mask onto the photoresist. The UV light changed the solubility of the photoresist in the exposed areas.6. Developing the Photoresist - The wafer was then immersed in a chemical developer solution, which washed away the exposed (or unexposed) photoresist, depending on whether it was a positive or negative resist. This left a patterned photoresist layer on the wafer.7. Etching - The exposed areas of the silicon dioxide (not protected by the photoresist) were etched away using either a **chemical etchant** (wet etching) or **plasma etching** (dry etching). This created a pattern in the oxide layer that matched the mask design.8. Doping or Metallization - The patterned wafer was subjected to further processes - Doping: Introducing impurities into the exposed silicon areas to modify its electrical properties: Metallization - Depositing metal layers (like aluminum or gold) to form connections and contacts.9. Photoresist Removal - After etching or doping, the remaining photoresist was stripped away using solvents or plasma. This left behind the desired pattern on the silicon wafer.10. Layer Repetition - For complex circuits, the process was repeated multiple times with different masks for each layer. Each mask corresponded to a specific circuit layer, and the layers had to align perfectly (a process called 'registration') to create functional devices.Role of the Lithography Mask - The lithography masks offered here played a vital role in defining the geometric patterns of the circuit. In the late 1960s, these masks were typically created using chrome-coated glass plates, where patterns were etched into the chrome layer using high-precision tools. These patterns represented transistor arrangements, resistors, capacitors, and wiring, which would eventually become part of the microcircuit.Significance in History - In the 1960s, this process was cutting-edge and foundational for the rapid development of integrated circuits (ICs). Companies like Marconi would have used lithography masks to fabricate transistors, diodes, or other early semiconductor components for telecommunications, defense systems, and other technologies.The mask from MicroFab is a piece of technological history, showcasing the craftsmanship and innovation that laid the groundwork for the modern computing revolution. Early photolithography techniques like this evolved into the extremely sophisticated processes used today, enabling the miniaturization and complexity of modern chips. Footnote: These silicon wafers were purchased from one of the world's leading suppliers of silicon wafers namely, Wacker Chemie in Germany. The wafers were processed at various laboratories including e2v in Chelmsford, SemiFab in Scotland and Southampton University. The end product was to make a Field Effect Transistor used as the first element in the amplifying section of an X-Ray spectrometer. The Field Effect Transistor (JFET) was directly connected to the output of the sensor and matched to the sensor's capacity. They are called JFETs to signify that these were Junction Field Effect Transistors and the original design is credited to Wrangy Kandiah, a Physicist working at the UKAEA facility in Harwell.The work started in the late 1970s and carried on into the early 2000s. These devices have now been superseded by Silicon Drift Detectors where the JFET has been replaced with a CMOS FET embedded into the anode of the sensor. e2v in Lincoln was the first semiconductor foundry in Europe and they specialized in Gallium Arsenide for applications in Radar. The wafers went through various stages in the processing laboratory. The first step was to oxidise the wafer and then to create the JFET structure using Lithography and finally coating the wafers to reveal the electrodes to the transistor. The final step was to saw the wafers and release individual JFETs for use in the spectrometers. The footprint of each JFET was 1mm by 1 mm and the gate width on the Fet was 1 micron.
Lot 291
Type II Curta Calculator,Liechtenstein, dated from the serial number 501298 to 1953, plate to the base reads 'System Curt Herzstark Made in Liechtenstein, by Contina Ltd Mauren No 501298, in the original metal canCondition: cosmetically the calculator is very good with slight wear to the tops of the knurled grip, base foam in the can has not perished and stuck to the base of the calculator, mechanically all good and smooth, clearing lever good and firm, case with some scratches and wear.The Curta Calculator is a unique mechanical calculator, invented by Curt Herzstark in the 1940s. Herzstark, an Austrian engineer, conceived the idea in the 1930s and refined it while he was detained in the Buchenwald concentration camp during World War II. His design was inspired by his desire to create the smallest, most portable calculator possible. Remarkably, Herzstark's work on the calculator was encouraged by camp authorities, who saw its potential utility for the Nazi war effort.After the war, Herzstark finalized his design, and production began in Liechtenstein in 1948. The Curta became known for its compact, cylindrical shape, which housed a sophisticated set of gears and levers capable of performing addition, subtraction, multiplication, and division. Operated by turning a small crank, the Curta was popular among engineers, scientists, and rally car navigators until electronic calculators emerged in the 1970s.
Lot 138
Admiral Sir Henry Nicholson, Archive of Medals, & Documents,including: The Knight Commander of the Order of the Bath (KCB) military badge, white enamelled Maltese cross with gold points and lions between each arm, center of the cross featuring three crowns, a rose, thistle, and shamrock surrounded with a red ring bearing the Order's motto, "Tria Juncta In Uno" (Three Joined in One) all within a green laurel wreath, with the Order's Military Division motto, "Ich Dien" - I Serve, in gold letters on a blue scroll, on a red ribbon; the military star of the Knight Commander of the Order of the Bath (KCB), eight-pointed silver cross pattée, three crowns to the centre, red ring bearing the Order's motto, "Tria Juncta In Uno" (Three Joined in One) all within a green laurel wreath, with the Order's Military Division motto, "Ich Dien" - I Serve, in gold letters on a blue scroll, with sprung pin to the rear; Medals include Egypt 1882 Khedives Star Medal; EGYPT 1882, with bar for ALEXANDRIA 11TH JULY "CAPT H. F. NICHOLSON C.B. R.N.H.M.S. TEMERAIRE"; Queen Victoria Diamond Jubilee Medal; complete with the corresponding miniature medal set on a bar, a pair of epaulettes with crown, crossed swords, and 3 stars, collection of Naval buttons, and a large portrait photograph of Sir Admiral Henry Nicholson K.C.B. along with another photograph, along with a number of documents including his baptism in 1835; apointment of captain in Her Majesty's Fleet, 1869; appointment to Rear Admiral, 1886; appointment of Commander in Chief of her majesty's Ships and Vessels, 1890; appointment to Vice Admiral in her Majesty's fleet, 1892; appointment to Admiral in her Majesty's fleet; 1897The Order of the Bath: A Historical OverviewIntroduction - The Most Honourable Order of the Bath is a distinguished British order of chivalry, formally established by King George I on 18 May 1725 (Galloway, 2006). Its name derives from a medieval ceremonial tradition in which knights underwent a ritual bath, symbolising purification before being knighted (McCreery, 2008). Historically, such elaborate rituals were reserved for significant royal occasions, such as coronations and royal weddings (Anstis, 1725). Today, the Order serves as a means of honouring senior military officers and high-ranking civil servants who have demonstrated exceptional service to the Crown (Statutes of the Order, 1925). The Order comprises the Sovereign, a Great Master, and three classes of members: Knight or Dame Grand Cross (GCB), Knight or Dame Commander (KCB/DCB), and Companion (CB) (Perkins, 2012). Members are appointed to either the Civil or Military Division, reflecting their area of contribution (Galloway, 2006).History - The origins of the Order of the Bath trace back to medieval times when knighthood ceremonies involved a ritual bath as an act of spiritual purification (McCreery, 2008). These elaborate rites were typically associated with royal ceremonies, and those who participated in them were known as "Knights of the Bath" (Anstis, 1725). However, by the coronation of Charles II in 1661, the tradition had largely fallen into disuse (Galloway, 2006). Recognising the need for a structured system to reward distinguished service, King George I, on the advice of Prime Minister Sir Robert Walpole, formally founded the Order in 1725 (Statutes of the Order, 1925). This decision not only revived medieval traditions but also provided a means of recognising service to the Crown in an organised manner (Perkins, 2012).Foundation - When the Order was formally established in 1725, it was designed to reflect both tradition and contemporary political needs. The original structure included a Sovereign, a Great Master, and 36 Knights Companion, with no distinction between military and civilian members (Anstis, 1725). This framework was rooted in the principles of chivalry while also serving as a reward mechanism for loyal service to the monarchy (Galloway, 2006). Over time, as Britain’s military engagements expanded, the Order became increasingly associated with military achievements. In 1815, the Prince Regent (later George IV) restructured the Order, introducing three classes to allow for a larger number of recipients (Statutes of the Order, 1925). This change ensured that military officers, as well as key civil servants, could be honoured for their contributions (Perkins, 2012).Victorian Era Reforms - During the reign of Queen Victoria, significant reforms were introduced to modernise the Order. In 1847, Queen Victoria issued new statutes that removed the word "Military" from the official name, enabling the inclusion of both military and civil appointments (McCreery, 2008). This restructuring led to the creation of distinct Military and Civil Divisions, making the Order more inclusive and reflective of service beyond the battlefield (Galloway, 2006). Additionally, the archaic rituals associated with the Order, such as the ceremonial bath, were abolished and replaced with formal investiture ceremonies conducted by the Sovereign (Statutes of the Order, 1925). These reforms modernised the Order, ensuring its continued relevance in a changing society (Perkins, 2012).World War I Period - The early 20th century saw the Order of the Bath playing a crucial role in recognising military excellence, particularly during World War I. The vast scale of the conflict and the contributions of military personnel led to a significant increase in appointments to the Order’s Military Division (McCreery, 2008). In 1913, prior to the war, King George V reinstated the Installation ceremony, a tradition that had been dormant for decades (Statutes of the Order, 1925). This revival reflected the Order’s continued significance in acknowledging distinguished service during national crises (Galloway, 2006). As Britain navigated the challenges of global warfare, the Order remained a symbol of honour and recognition for military and civil contributions alike (Perkins, 2012).ReferencesAnstis, J. (1725) Register of the Order of the Bath. London: [Publisher]. Galloway, P. (2006) The Order of the Bath. London: Spink. McCreery, C. (2008) The Crown and the Honourable Orders of Knighthood. Toronto: University of Toronto Press. Perkins, T. (2012) British Orders of Chivalry: Their Evolution and Role in Society. London: Boydell Press. Statutes of the Order (1925) Official Records of the Most Honourable Order of the Bath. London: HMSO.Admiral Sir Henry Frederick Nicholson, K.C.B. (Knight Commander of the Order of the Bath), was a distinguished Royal Navy officer born on October 21, 1835, in Upnor, Kent, England. He embarked on his naval career in 1849, demonstrating exceptional leadership and dedication throughout his service.During the Bombardment of Alexandria in 1882, Nicholson commanded HMS Temeraire, playing a pivotal role in the operation. His exemplary performance led to subsequent commands, including HMS Asia in 1884. He advanced to prominent positions such as Commander-in-Chief of the Cape of Good Hope and West Coast of Africa Station in 1890 and later Commander-in-Chief, The Nore, in 1896.In recognition of his outstanding service, Nicholson was appointed a Knight Commander of the Order of the Bath (K.C.B.). He retired on December 11, 1897, and passed away on October 17, 1914, in Ware, Hertfordshire, England.
Lot 184
Military Surgical Instrument Set,English, c.1860, many instruments stamped 'BLACKWELL' French polished case with lid opening to reveal top tray, containing amputation knives, bullet extracting forceps, metacarple saw, and other items, bottom section containing 2 trephines, skull saw, scalples, tooth key with interchageable grips, and other items, with a brass tourniquetImportant information concerning this item:Collection and DeliveryDue to current UK law and courier regulations, this lot cannot be posted via standard postal services such as Parcelforce due to the nature of its contents (bladed item).Buyers are welcome to collect the item in person from our premises.Age Restrictions and VerificationThe purchase of this lot is restricted to individuals who are over the age of 18 years. It is illegal to sell a knife or similar bladed item to a person under the age of 18.Valid photographic ID (e.g., passport, driving licence) must be presented as proof of age upon collection or prior to shipping. Flint Auctions reserves the right to verify the age of any purchaser and to refuse the sale if adequate proof of age cannot be provided or if the buyer does not meet the necessary age requirement.your ID must match the name on the invoice or the item will not be releasedBy placing a bid on this lot, you agree to abide by these terms and confirm that you are legally eligible to purchase and receive this type of item.
Lot 302
Document Concerning Lean Foucault's Gyroscope,A collection of Early English Silicon and Gallium Arsedide wafers, including a case of 25 blank silicon wafers in a plastic case, a chrome coatedglass lithography mask (used to pro by Microfab for Marconi (c.late 1960's) and another smaller lithography mask; a transparent experimental Gallium Arsenide printed wafer; a slicon printed wafer, and a number of single crystal silicon blanks for making alpha particle detectorsThe Photolithography Process in the 1960s1. Silicon Wafer Preparation - the silicon wafer (a thin slice of pure silicon) was first meticulously cleaned to remove any impurities or particles. Any contamination could disrupt the microfabrication process.2. Oxidation Layer - The wafer was coated with a thin layer of silicon dioxide (SiO₂) by heating it in an oxygen-rich environment. This layer acted as an insulating and protective layer.3. Photoresist Application - A light-sensitive material called 'photoresist' was evenly applied to the wafer's surface. This material would react to ultraviolet (UV) light, becoming either soluble or insoluble, depending on whether a positive or negative photoresist was used.4. Aligning the Mask - The 'lithography mask'—a glass or quartz plate with intricate patterns of the circuit or device to be fabricated—was carefully aligned over the wafer. These masks were highly precise and contained the negative or positive image of the circuit layer.5. Exposure to UV Light - The wafer and mask were placed into a **mask aligner or stepper**, which directed UV light through the transparent parts of the mask onto the photoresist. The UV light changed the solubility of the photoresist in the exposed areas.6. Developing the Photoresist - The wafer was then immersed in a chemical developer solution, which washed away the exposed (or unexposed) photoresist, depending on whether it was a positive or negative resist. This left a patterned photoresist layer on the wafer.7. Etching - The exposed areas of the silicon dioxide (not protected by the photoresist) were etched away using either a **chemical etchant** (wet etching) or **plasma etching** (dry etching). This created a pattern in the oxide layer that matched the mask design.8. Doping or Metallization - The patterned wafer was subjected to further processes - Doping: Introducing impurities into the exposed silicon areas to modify its electrical properties: Metallization - Depositing metal layers (like aluminum or gold) to form connections and contacts.9. Photoresist Removal - After etching or doping, the remaining photoresist was stripped away using solvents or plasma. This left behind the desired pattern on the silicon wafer.10. Layer Repetition - For complex circuits, the process was repeated multiple times with different masks for each layer. Each mask corresponded to a specific circuit layer, and the layers had to align perfectly (a process called 'registration') to create functional devices.Role of the Lithography Mask - The lithography masks offered here played a vital role in defining the geometric patterns of the circuit. In the late 1960s, these masks were typically created using chrome-coated glass plates, where patterns were etched into the chrome layer using high-precision tools. These patterns represented transistor arrangements, resistors, capacitors, and wiring, which would eventually become part of the microcircuit.Significance in History - In the 1960s, this process was cutting-edge and foundational for the rapid development of integrated circuits (ICs). Companies like Marconi would have used lithography masks to fabricate transistors, diodes, or other early semiconductor components for telecommunications, defense systems, and other technologies.The mask from MicroFab is a piece of technological history, showcasing the craftsmanship and innovation that laid the groundwork for the modern computing revolution. Early photolithography techniques like this evolved into the extremely sophisticated processes used today, enabling the miniaturization and complexity of modern chips. Footnote: These silicon wafers were purchased from one of the world's leading suppliers of silicon wafers namely, Wacker Chemie in Germany. The wafers were processed at various laboratories including e2v in Chelmsford, SemiFab in Scotland and Southampton University. The end product was to make a Field Effect Transistor used as the first element in the amplifying section of an X-Ray spectrometer. The Field Effect Transistor (JFET) was directly connected to the output of the sensor and matched to the sensor's capacity. They are called JFETs to signify that these were Junction Field Effect Transistors and the original design is credited to Wrangy Kandiah, a Physicist working at the UKAEA facility in Harwell.The work started in the late 1970s and carried on into the early 2000s. These devices have now been superseded by Silicon Drift Detectors where the JFET has been replaced with a CMOS FET embedded into the anode of the sensor. e2v in Lincoln was the first semiconductor foundry in Europe and they specialized in Gallium Arsenide for applications in Radar. The wafers went through various stages in the processing laboratory. The first step was to oxidise the wafer and then to create the JFET structure using Lithography and finally coating the wafers to reveal the electrodes to the transistor. The final step was to saw the wafers and release individual JFETs for use in the spectrometers. The footprint of each JFET was 1mm by 1 mm and the gate width on the Fet was 1 micron.
Lot 180
Collection of Surgical Instruments,including 3 amputation knives and a metacarpal saw with handles impressed 'W & H Hutchinson Sheffield' and a saw and knife with interchangeable handleImportant information concerning this item:Collection and DeliveryDue to current UK law and courier regulations, this lot cannot be posted via standard postal services such as Parcelforce due to the nature of its contents (bladed item).Buyers are welcome to collect the item in person from our premises.Age Restrictions and VerificationThe purchase of this lot is restricted to individuals who are over the age of 18 years. It is illegal to sell a knife or similar bladed item to a person under the age of 18.Valid photographic ID (e.g., passport, driving licence) must be presented as proof of age upon collection or prior to shipping. Flint Auctions reserves the right to verify the age of any purchaser and to refuse the sale if adequate proof of age cannot be provided or if the buyer does not meet the necessary age requirement.your ID must match the name on the invoice or the item will not be releasedLegal ComplianceBuyers are responsible for ensuring that they comply with all local and national laws applicable to the purchase, possession, and transportation of bladed items. It is the buyer’s duty to know and abide by the laws governing the possession and use of knives within their respective jurisdictions.Flint Auctions disclaims any liability for unauthorized use or misuse of such items once sold.By placing a bid on this lot, you agree to abide by these terms and confirm that you are legally eligible to purchase and receive this type of item.
Lot 179
Set of Amputation Knifes, Weiss London,English, c.1890, engraved 'WEISS LONDON' with retail mark in the lid for 'HAWKSLEY 357 OXFORD ST LONDON', set of 3 amputation knifes in blue velvet and satin lined case covered with black leather, along with 2 trocars and a metacarple saw (all unmarked)Important information concerning this item:Collection and DeliveryDue to current UK law and courier regulations, this lot cannot be posted via standard postal services such as Parcelforce due to the nature of its contents (bladed item).Buyers are welcome to collect the item in person from our premises.Age Restrictions and VerificationThe purchase of this lot is restricted to individuals who are over the age of 18 years. It is illegal to sell a knife or similar bladed item to a person under the age of 18.Valid photographic ID (e.g., passport, driving licence) must be presented as proof of age upon collection or prior to shipping. Flint Auctions reserves the right to verify the age of any purchaser and to refuse the sale if adequate proof of age cannot be provided or if the buyer does not meet the necessary age requirement.your ID must match the name on the invoice or the item will not be releasedLegal ComplianceBuyers are responsible for ensuring that they comply with all local and national laws applicable to the purchase, possession, and transportation of bladed items. It is the buyer’s duty to know and abide by the laws governing the possession and use of knives within their respective jurisdictions.Flint Auctions disclaims any liability for unauthorized use or misuse of such items once sold.By placing a bid on this lot, you agree to abide by these terms and confirm that you are legally eligible to purchase and receive this type of item.
Lot 226
European School, early 19th century- The conversion of St Paul; oil on canvas, 47.6 x 52.3 cm. Provenance: Private Collection, UK. Note: This painting records the moment when Saul of Tarsus, on his way to Damascus to annihilate the Christian community there, is struck blind by a brilliant light and hears the voice of Christ saying, 'Saul, Saul, why persecutest thou me?...And they that were with me saw indeed the light, and were afraid, but they heard not the voice...'(Acts 22:6-11). The subject was treated, famously, by Caravaggio (1571-1610) in his large oil on panel which is housed in the Odescalchi Balbi Collection, Rome.
Lot 273
William James Müller, British 1812–1845- Three Sketches for the 'Age of Francis I': Sketch for the Frontispiece; Sketch of a Church Interior at Fontainebleau; and Sketch of a Church Interior; each pencil and watercolour heightened with white on paper, the first 39.8 x 27.6 cm., the second 40.4 x 27.1 cm., the third 40.3 x 27.3 cm., three (3). Provenance: Anon. sale, Christie's, London, 25 July 1972, lot 140 (the second and third). with Gallery Thirty Three, Sussex (the second and third). Private Collection, UK. Note: The present watercolours resulted from Müller's travels to France in 1840, which inspired a series of sketches of the architecture that he saw. Twenty-five of these were then lithographed and published, under the title 'Müller's Sketches of the Age of Francis the First', in 1841. A strikingly similar version of the present 'Sketch for the Frontispiece to the 'Age of Francis I'' is in the collection of the Tate [N02364], whilst another interior scene of Fontainebleau is held by the Victoria & Albert Museum [P.72-1930].
Lot 333
India General Service 1854-95, 2 clasps, Hazara 1891, Hazara 1888, top lugs removed from the ‘88 clasp, and consequently mounted in this order, with unofficial retaining rod between clasps (1195 Pte. R. Salter. 2d. Bn. Sea. Highrs.) very fine £140-£180 --- Reuben Broadley Salter was born in Brading, Isle of Wight, in 1865 and attested for the Seaforth Highlanders at Parkhurst on 29 April 1884. He served with the 2nd Battalion in India from 1 January 1886 to 27 January 1892, seeing active service during the Hazara Expeditions, and was transferred to the Reserve on 4 February 1892. He re-joined the Colours on 7 March 1900, and saw further service in South Africa during the Boer War from 24 March 1900 to 27 March 1901 (entitled to a Queen’s South Africa Medal with clasps for Cape Colony and Wittebergen). He was finally discharged on 28 April 1901, after 17 years’ service. Sold with copied service papers which omits any reference to his being awarded the Hazara 1891 clasp.
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