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Click here to subscribeRESTITUTION & UNJUST ENRICHMENT -- HEDLEY, S. & M. HALLIWELL, eds. The law of restitution. (2002). Ocl. -- P. BIRKS & F. ROSE, eds. Lessons of the swaps litigation. 2000. Ocl. -- A. JONES. Restitution and European community law. (2000). Ocl. -- F. GIGLIO. The foundations of restitution for wrongs. 2007. Obrds. -- S. DEGELING. Restitutionary rights to share in damages. (2003). Obrds. -- And 2 o. (7).
Three Chinese blue and white ‘floral’ shallow bowls, Qing Dynasty, Kangxi period (1662–1722). Each is heavily potted and painted with floral decoration on both the interior and exterior, with the mouth rim covered in brown glaze and bordered by geometric bands above and below. Two bowls share the same design, while the central one features a slightly different pattern. Approx. 15.5cm each. 清康熙 青花花卉紋臥足碗（共3只）All in very good condition except for a few firing-related imperfections. 整體品相良好，僅見少許燒造瑕疵。
The rare and superb 'Operation Grapeshot' M.B.E., 'Monte Rogno' Virtuti Militi, 'Monte Cassino' Cross of Valor group of nine awarded to Lieutenant-Colonel T. Lipowski, 9th Heavy Artillery Regiment, Polish Army, whose remarkable life story includes a tragic episode during the Fall of Poland which saw him narrowly escape the fate of two of his comrades, who were arrested and murdered during the Katyn MassacreReturning to active service his extreme bravery attached to the 5th (Kresowa) Division in Italy saw him honoured on several occasions and even wounded during the Battle of Monte Cassino, being hit by shrapnel that had already passed through the lung of a brother Officer who stood besidePoland, Republic, Order of Virtuti Militari, breast Badge, 5th Class, silver and enamel, of wartime manufacture by Spink; Cross of Valor, with Second Award Bar; Cross of Merit, with swords, 2nd Type, silver-gilt; Army Medal; Monte Cassino Cross 1944, the reverse officially numbered '33078'; United Kingdom, The Most Excellent Order of the British Empire, 2nd Type, Military Division, Member's (M.B.E.) breast Badge, silver; 1939-45 Star; Italy Star; Italy, Kingdom, Croce al Valore Militare, sold together with an archive including a named cigarette case, portrait and photograph album and the named document of issue for the award of the M.B.E., overall good very fine (9)Virtuti Militari awarded 30 June 1944, the original citation (translated) states:'During the operations 'Adriatyk', he distinguished himself by working in difficult conditions under strong and accurate enemy fire, especially at the Observation Point on Monte Regano. He cooperated perfectly with the infantry, conducting accurate and effective fire, not breaking off observation despite the fire. With his behaviour, he set an exemplary example for officers and privates at the Observation Points, as always. He fully deserves the decoration.'Cross of Valor awarded 6 August 1944, the original citation (translated) states:'At Cassino he organized an Observation Point and stayed there. On May 10-12, 1944, despite heavy enemy mortar and artillery fire, he remained at the Observation Point and continued his work. On May 12, 1944, despite heavy fire, he left the Observation Point to get better information and moved forward. He was wounded, but he did not want to stop his work.'Second Award Bar awarded 1945.M.B.E. London Gazette June 1945, the original recommendation states:'During the period 9th -21st April 1945, this officer worked with the maximum devotion as B.M., F.A. 5th Kresowa Division Artillery, which was in support of the Infantry in their operations against lines of Rivers Senio, Santerno, Sillaro, Gaina and Idice. Major Lipowski made a particularly great effort and showed special dexterity on 19th April and night 19th/20th, when Headquarters 5th Kresowa Division was faced with the task of co-ordinating the fire plans not only of the Divisions Artillery but also Artillery under command of the neighbouring RAK Force (Reinforced 2 Polish Armoured Brigade with 2 British Royal Horse Artillery and 3 Polish Field Regiment in SP). Rud Force (3rd and 4th Polish Infantry Brigades supported by 5th Polish Field Regiment and 7PHA) and AGPA.Major Lipowski's skillful [SIC] Staff work at HQ 5th Kresowa Division Artillery on 19th April and night 19th/20th resulted in the rapid working out and co-ordination of the Artillery fire plans which effectively helped the Infantry and assisted the Armour in breaking down enemy opposition, crossing the Gaina River and approaching River Quaderno.The Staff work at HQ 5th Kresowa Division Artillery had to be completed in a limited time in order to prepare the above Artillery plans and called for great effort and extreme accuracy. Major Lipowski not only directed the Staff work most efficiently but shone as an example of adroitness and devotion to duty.'Note the number of the recipient's Monte Cassino Cross is confirmed upon the roll.Tadeusz Lipowski was born on 29 March 1904, the son of two flour mill owners. His parents were forced to produce food for the German Army during the Great War, whilst the young Lipowski attended the local grammar school. Joining the Infantry Cadet School in 1926 he transferred to the Artillery Cadet School the next year and was commissioned Lieutenant in 1929.September 1939 and escaping to fight againPosted to Bendzen, Lipowski was set to work training new recruits, he was still there when the German Army invaded Poland in September 1939. His Regiment was left in an exposed position and forced to withdraw to avoid being encircled.Lipowski was interviewed post-war and the interviewer wrote a summary of his experiences, this narrative takes up the story:'The regiment was soon split up and within three days it had been officially annihilated although splinter groups had joined other regiments to continue fighting. Tade was able to join the Le Wolf East Polish soldiers on the 21st September and together they had fought their way out of danger or so they thought. Similar situations repeated themselves throughout Poland where the soldiers fought bravely on their own without the support of their planes which had been destroyed during the first day and without the aid of advanced weaponry…'Not long later the Russians invaded as well, tightening the noose around the Polish Army, communications at the time meant that many soldiers were not even aware of the Russian attack. One of these was Lipowski who awoke in a wood one morning to the sight of a Russian soldier on patrol. Unsure of whether this man was a friend or foe he remained hidden as the unsuspecting Russian passed beneath his sights, it was not until later that he discovered how close he had come to disaster.As the Polish defences were overrun, the Regiments began to splinter in small groups either seeking to withdraw to France and carry on the fight or set up resistance organisations. Lipowski, accompanied by two brother Officers, returned to the town in which he had been at school. His sister was living in the town and while they planned their next step she concealed them in her home.His brother came up with a plan to move them to a safer location by dressing the three men in his suits and putting them in the back of a wagon driven by a friendly farmer. Lipowski was forced to borrow a suit by his brother however the two Officers with him refused as the suits were expensive and they didn't want to take them. Instead, they removed their rank pips and took on the appearance of other ranks.During the journey the travellers were stopped by a Russian soldier, the farmer attempted to explain away the soldiers in his cart however this was for naught:'The Colonel could remain silent no longer and admitted to the Russian that they were in fact Officers so that the farmer would not get into trouble. Tadek said nothing but looked straight ahead. These Officers were only two of the many who were shot at Katyn by the Soviet secret police and left to rot in the mass grave, later discovered and dug up by the Germans two years later. Tadek had once again narrowly escaped death by what he called "good luck".' (Ibid)Reaching an underground resistance organisation, Lipowski was concealed by them and on 25 December 1939 dressed as a civilian he set out for southern Poland and the border. At one point he was stopped by a German soldier and asked when he was going, for one heart stopping moment it seemed that he was caught. This was not the case however, and it turned out the German was drunk and looking for someone to share a beer with - Lipowski agreed to a drink and later the soldier even waved him off on the tr…
The Boer War C.M.G. group awarded to Lieutenant-Colonel C. A. Swan, who commanded the 3rd Battalion, Lincolnshire Regiment during the South African War and was one of Lincolnshire's most popular landlords of the timeThe Most Distinguished Order of St. Michael and St. George, Companion's (C.M.G.) neck badge, silver-gilt and enamel, with neck riband; Queen's South Africa 1899-1902, 2 clasps, Cape Colony, South Africa 1902 (Lt: Col: C. A. Swan, C.M.G, Linc: Rgt:); Coronation 1902, silver, in Elkington & Co. Ltd. embossed case of issue, enamel damage to the C.M.G. with some less than sympathetic restoration, minor edge bruising, otherwise good very fine (3)Provenance:Noonans, July 2019.C.M.G. London Gazette 26 June 1902.Charles Arthur Swan was born on 3 October 1854 at Spilsby, Lincolnshire, the son of the Rev. Charles Trollope Swan, J.P. and resided at Sausthorpe Hall in Lincolnshire. Educated at Eton College and later at Magdalen College, Oxford, he married Ethel Conway Gordon in 1885 and together the couple had 3 children: 2 daughters and a son, Major Charles Francis Trollope Swan M.C.. He was a Justice of the Peace in Lincolnshire for 55 years and served as High Sheriff in 1895.As Lieutenant-Colonel he commanded the 3rd Battalion (The Royal North Lincolnshire Militia) 1900-09 and was Honorary Colonel of that Battalion from 17 February 1909. He served in the South African War, where he commanded the 3rd Battalion, Lincolnshire Regiment from 11 April 1902 to 31 May 1902 and was awarded the C.M.G. for his services.Swan generously paid for and donated Sausthorpe Village Hall to the village as well as making several philanthropic donations upon his death. Swan died at Spilsby on 9 January 1941.His obituary which appears in the Lincolnshire Echo of 11 January 1941 recalls:'Colonel Charles Arthur Swan who has died at his home Sausthorpe Old Hall, Spilsby, at the age of 86 was one of the county's most popular great landlords and until a few years ago took a very active part in public life in East Lincolnshire. He had been a Justice of the peace for 55 years and Chairman of the Spilsby Bench from 1919 to 1936. After leaving Oxford he commenced to study for the bar, but in 1882 he joined the Royal North Lincolnshire militia. This later became the 3rd Battalion, Lincolnshire Regiment which he commanded for a time and of which he later became honorary Colonel. The Battalion saw active service in the Boer War and in recognition of its share in the activities its Colonel received the C.M.G.In the last war, Colonel Swan was too old for active service, but he did valuable work for recruiting and for the Soldiers and Sailors Families Association.'…
Military General Service 1793-1814, 3 clasps, Vittoria, Orthes, Toulouse (W. Cook, 20th Foot.), traces of lacquer, very fine, mounted as wornProvenance:Glendining's, September 1987.William Cook was born at Totham, Essex circa 1785 and was a labourer also serving in the West Essex Militia upon his enlisting in the 20th (East Devonshire) Regiment of Foot (Lancashire Fusiliers) at Haslar under a bounty of £5-5-3; a vast sum in that period. At that time he was described as having dark eyes, dark hair and a 'brown' complexion, perhaps being of West Indian heritage whose parents had made it to England.Cook was wounded by gunshot at Orthes. A fine account is offered by Colonel John Hogge, K.H., who commanded the Light Company:'I embrace the first moment I had to spare since the battle of the 27th to let you know I have again escaped one of the most murderous battles that ever I believe the old 20th witnessed. I had three most wonderful escapes, three balls struck me, one entering the glass you bought me in London, when in the act of looking at the troops opposed to us, the ball still remains in but has entirely destroyed the glass. Another entered my jacket near the right breast, was turned by striking a button, passed along my waistcoat, came out and badly wounded a man of my company. A grape shot struck the top of my shoulder, carried away the bugle and most of my right wing but did no other injury except a slight bruise. You will say my dear brother I am a fortunate fellow, I think to myself, for I believe no man ever had narrower escapes, the jacket and spyglass I shall preserve and one day I hope to show you them. I shall now begin to relate what passed on that eventful day confining myself to that part of the tragedy our Brigade acted.The Light Companies of the 23rd, 7th, 20th, and a company of Rifles were in advance about 2 miles, when we came in contact with the advance post of the enemy, we immediately engaged them and drove them about a mile into a village where they had posted, unbeknown to us, a number of men in every part. We attacked it three times but did not succeed, soon after two companies of the 7th reinforced us and we quickly drove them out, took possession and retained it till the Brigade came up, we lost in this affair two Captains and about 60 men out of the light companies of the Brigade, eleven of my company were killed and wounded. It was here I had two escapes. We were then ordered to join our Regts. I found mine just in rear of the village.Soon after an order came to us to advance and support our Portuguese Brigade, as they had just given way about half a mile in front of us. The great bone of contention was a small town [St Böes] and a range of hills just in the van of it, upon which a strong column of French were posted with 6 pieces of Artillery. The main road ran directly through the town, and the heights and all the Artillery commanded it, we fixed bayonets and there the bloody scene commenced. I passed the Portuguese and actually carried the town under a most dreadful fire of grape shot and musquetry, that ever a regiment was exposed to, out of 291, all we had, 126 men and nine officers were killed and wounded. We had two other officers wounded but they were not returned so, being slightly hit. The enemy attempted again to take it from us, they got into the town but we managed to drive them out again. They carried away about 25 of our men and Captain Tovey, they surrounded them. The 7th Division soon came up and the French retreated in all directions. We followed till darkness put an end to the contest.Genl. Moss was wounded but not badly before we took the town. Major Bent who nobly commanded us had first his horse shot and was immediately afterwards killed himself. Three balls entered him. One Captain killed and three badly wounded. Capt Russell commands what few of us are left, he certainly gets the Brevet. Col Ellis, who commands the Brigade, rode into the town after we had taken it and declared that there never was a more gallant thing done by any Regt, and his Lordship sent in soon after to know what Regt it was that had taken the town. It is certain that they had in it double our numbers, posted so as to rake every part of the road leading through the town. Had we not succeeded we should have been cut to atoms, the only chance we had was to charge through it instantly, and after driving them out get under cover of the houses. It was impossible for our men to have stood it for five minutes longer, the grape from the Artillery on the hills cut us down by the dozens at a time. I got off most fortunately with the loss only of a strap. We mustered on parade next day only 144 men and nine officers. Soult may now say he annihilated us.’Cook was in fair shape to share in the action at Toulouse and was discharged on 31 January 1816. …
The unique and outstanding post-war M.B.E., Second World War North-West Europe operations immediate M.M., 'Japan B.E.M.' mounted group of twelve miniature dress medals awarded to Major (Q.M.) A. P. 'Bobby' Joyce, Welsh GuardsIn a remarkable career - spanning active service in Normandy in 1944 to Northern Ireland in the 1970s, the whole with the Welsh Guards - he first came to prominence for his M.M.-winning deeds in March 1945, deeds that reached a wider audience on the front and back pages of The Victor some 30 years later: the comic's colourful depiction of his gallant actions included a scene of him lobbing a grenade into a Spandau position - "Share that with your mates, Fritz"Whether he shared such sentiments with Rudolph Hess remains unknown, but he commanded the former Nazi leader's 'Old Guard' at Spandau Prison in the early 50s, a far cry from his subsequent duties in South Arabia and Northern IrelandThe Most Excellent Order of the British Empire, Military Division, Member's (M.B.E.) Badge, silver; Military Medal, G.VI.R.; British Empire Medal (Military), G.VI.R.; 1939-45 Star; Pacific Star; France and Germany Star; Defence and War Medals 1939-45; General Service 1918-62, 1 clasp, Palestine 1945-48; General Service 1962-2007, 2 clasps, South Arabia, Northern Ireland; U.N. Korea 1950-54; Coronation 1953, mounted court-style as worn, very fine or better (12)His full-size awards were sold in these rooms in April 2019.M.B.E. London Gazette 2 June 1973.The lengthy original recommendation speaks of valuable service as a Staff, Transport and Messing Officer at the Guards Depot in 1972-73, home to some 2,500 soldiers. It concludes:'His devotion to duty and his constant pre-occupation with the well being of the men under his command have earned the respect and regard of every soldier at Pirbright.'M.M. London Gazette 12 July 1945. The original recommendation - for an immediate award - states:'Lance-Sergeant Joyce was in command of the leading section of No. 7 Platoon, the left forward platoon during a Company / Squadron attack on the village of Bonninghardt on 7 March 1945. During the attack his section came under fire from a Spandau dug-in by the side of a farmhouse and another opened up from the house itself, directed at No. 8 Platoon on his right flank.Lance-Sergeant Joyce, realising he was caught in the open, dashed forward with his section and got them under cover close up by the house. His quickness in appreciating the situation, and his determined action in carrying on, caused the enemy gunner to withdraw behind the house. He then single-handed ran across to the house, leaving his section to give him covering fire, and got up to the window where the Spandau was firing, enfilading the platoon to the right. He got up under the window and shot the enemy firer and, after hurling a grenade through the window, he dashed back and brought up his section to consolidate the area of the house.His action enabled the platoon to seize the farm and surrounding buildings, capturing 26 Germans from 22 Para Regiment and enabling his platoon to carry on with the attack in which they consolidated on their objective. The speed, resourcefulness and determination of Lance-Sergeant Joyce's action undoubtedly saved the Company many casualties and largely contributed to the success of the attack.'B.E.M. London Gazette 1 January 1952:'In recognition of non-operational services in Japan in connection with operations in Korea.'The original recommendation - for an M.B.E. - states:'Company Sergeant-Major Joyce has been C.S.M. of a Reinforcement Company in Japan since the formation of 'J' Reinforcement Unit supplying drafts and replacements to the Commonwealth Division in Korea.Throughout his service with the unit, he has devoted himself whole-heartedly to this new task. The well being of his Company has been his constant care and he has shown unabated vigour and achieved outstanding success and follow on from the original. His sound judgment, knowledge of his men, drive and loyalty have been of the greatest assistance to his Company Commander and these qualities have contributed in large measure not only to the smooth working of the Company but also to the efficiency and morale of drafts passing through his hands.'Austin Peter Joyce was born at Wakefield, Yorkshire in November 1923 and originally enlisted in the West Yorkshire Regiment in March 1942. It seems probable that it was in this capacity that he was served in the Pacific theatre of war, prior to transferring to the Welsh Guards in October 1943.Posted to the 1st Battalion - and the subject of rapid promotion - he came ashore as a 19-year-old N.C.O. at Normandy in June 1944. Here, then, the commencement of his part in the Battalion's hard-fought contribution to the campaign in North-West Europe, in which he was advanced to Company Sergeant-Major and won his M.M. He returned to the U.K. in late March 1945 and was embarked for Palestine at the year's end, where he served until April 1948 (Medal & clasp).Having then been awarded the B.E.M. for his valuable services in Japan - in support of the operations in Korea - in the period September 1950 to June 1952, he served in Germany in the following year, with command of the 'Old Guard' to Rudolf Hess at Spandau Prison.Active service resumed with a tour in South Arabia in the period 1956-60 (Medal & clasp) and he was commissioned Lieutenant (Q.M.) in May 1963. Of his subsequent part in the Northern Ireland operations little is known (clasp), but he attained the rank of Major (Q.M.) and was awarded the M.B.E. for his valuable service to the Guards Depot at Pirbright. Having been sent his M.M. and B.E.M., Joyce finally enjoyed the experience of an investiture at Buckingham Palace on 7 November 1973.…
Sold by Order of a Direct Descendant'After some delay...a letter was received on Tuesday from Sir George explaining that the claim of the old Peninsular veteran had been doubly recognised; with the sanction of H.R.H, the Queen has been informed through Sir Henry Ponsonby of Captain Gammell's case, and Her Majesty was so interested in it that she decided to present to the veteran her Jubilee medal, in addition to the Peninsular medal...Those who know what a staunch supporter of the Throne and Constitution he has always been, as well as a brave officer in his younger days, will heartily congratulate him on the double honours he has received, especially his kind recognition by the Queen' (Bath Chronicle & Weekly Gazette, Thursday 28 September 1893, refers)The historically fascinating and unique Peninsular War and Queen Victoria Jubilee pair awarded to Captain J. Gammell, late 59th, 92nd and 61st regiments of Foot, who was almost certainly the last surviving British Officer of the Peninsular War and who claimed his campaign Medal in 1889 - an astonishing 75 years after the battle in which he participated and such a remarkable circumstance that The Queen herself then commanded that he should also be awarded her Jubilee MedalMilitary General Service 1793-1814, 1 clasp, Nive (Ensign, James Gammell. 59th Foot.), this officially named in the style of the Egypt and Sudan Medal 1882-89; Jubilee 1887, silver, unnamed as issued, mounted together upon a silver bar for wear, on their original ribands and contained within a bespoke fitted leather case by Mallett, Goldsmith, Bath, the top lid tooled in gilded letters stating: Presented by Command of Her Majesty Queen Victoria to Capt. James Gammell, late 92nd, 61st and 59th Regiments, when in his 93rd year, 9 March 1889., traces of old lacquer, otherwise about extremely fine (2)James Gammell, second son of Lieutenant-General Andrew Gammell and Martha Stageldoir, was born in London on 3 January 1797. Scion of an old Scottish family, his father enjoyed a long (if undistinguished) military career and appears to have been a personal friend of H.R.H. the Duke of York; it is he who may have been responsible for the elder Gammell's appointment to the socially-prestigious 1st Foot Guards in September 1803.On 29 September 1813, young James Gammell was commissioned Ensign (without purchase) in the 59th (2nd Nottinghamshire) Regiment of Foot (London Gazette, 2 October 1813, refers). The 2nd Battalion of the 59th had already seen its fair share of active service during the Napoleonic Wars, having been in Spain in 1808 and 1809 before being re-deployed on the disastrous Walcheren Campaign. Returning home, in 1812 the unit was sent back to the Iberian Peninsula where they participated in most of the final battles of that campaign including Vittoria (June 1813); Nivelle (November 1813) and the Nive (December 1813). Gammell clearly must have joined his regiment in the summer or autumn of that year, as his single-clasp Medal attests; for his first (and indeed only) major battle he must have seen a significant amount of fighting as the 59th suffered casualties of some 159 men killed and wounded. The regiment returned home at the conclusion of hostilities, and Gammell is next noted as being promoted into the Sicilian Regiment on 27 April 1815 (London Gazette, 6 May 1815, refers).Remaining in the peacetime Army, like many young junior officers Gammell moved through several different units over the next few years. The Sicilian Regiment may have offered the chance for some interesting soldiering, but it is unlikely he ever spent time with them as on 1 June the same year he transferred (still as Lieutenant) into the 61st (South Gloucestershire) Regiment of Foot. Likely with them on garrison duty in Jamaica from 1816-22 on 21 August 1823 he moved again, this time to the 64th (2nd Staffordshire) Regiment of Foot - but again still as a Lieutenant. In 1825 he was promoted to Captain in the 92nd (Gordon Highlanders) by purchase (London Gazette, 14 May 1825, refers) - but yet again he was not destined to remain long in his regiment as a mere five months later the London Gazette carries another entry (dated 22 October) stating that he had retired on 6 October that year.It is quite likely that, in reality, Gammell had no need to be a soldier as he was an independently wealthy man. In 1816, soon after his father's death, his grandfather purchased an agricultural estate for him and, though the two were later to fall out over the subject of Gammell's marriage to a Miss Sydney Holmes, the estate ensured he was to receive a steady source of income for him and his family for the rest of his life. Marrying Miss Holmes on 21 September 1825, the couple went on to have no less than ten children and in 1834 the Gammell family moved to Edinburgh before relocating to Bath in 1856-57 and taking up residence at 16 Grosvenor Place. Here Gammell was to remain until his death on 23 September 1893 at the remarkable age of 96, which makes him quite likely the last surviving British officer to have participated in the Peninsular War - a fact supported by several primary and secondary sources, the latter including a reference in the Journal of the Orders and Medals Research Society (March 2009) and the book Wellington's Men Remembered: A Register of Memorials to Soldiers who Fought in the Peninsular War and at Waterloo. He was interred at Locksbrook Cemetery, Bath, and the occasion included his coffin being conveyed to the site in a closed hearse, covered in a Union Jack, and a wreath stating: 'In kindly remembrance of the last of the Peninsular officers.'However, his story does not end here, as just a few years previously he became the subject of a remarkable tale which led to the award of two medals - the first of which he had earned as a 17-year-old Ensign in the 59th Foot all those years ago. The 'Bath Chronicle' takes up the story:'Captain James Gammell, the only surviving officer of the British Army which fought in the Peninsular War, died on Saturday last at 16, Grosvenor Place, Bath, where he had resided for many years...By his death the work of charity in the neighbourhood of Larkhall loses a generous friend, the Conservative cause one of its most ardent supporters, and the Queen one of the most loyal and devoted of her subjects. His loyalty and attachment to her Majesty was one of the dominant features of Captain Gammell's character and his enthusiasm was evidenced during the celebration of the Royal Jubilee in 1887. Flags were liberally displayed at his residence, and the letters "V.R." in gas jets, with a shield bearing the Royal arms, and the motto "Tria in juncta uno - Quis separabit." ...In March, 1889, the Bath Chronicle thus described how Captain Gammell received the Peninsular medal and the Queen's Jubilee medal: -A curious and gratifying incident has just occurred, which for the credit of all concerned is worth recording. At the latter end of December Colonel Balguy happened to be at the National Provincial Bank, and a casual remark made by him led a venerable gentleman near to say that it was just 75 years ago that he donned the red coat. Surprised at the communication, Colonel Balguy rejoined "You must have been in the Peninsula." "I was at Bayonne in 1814, when the French made their sortie," replied the stranger. "Then you have a medal?" He explained that he never had one nor had he applied for one, and in reply to further questions, stated that he was an Ensign in the 59th Regiment, and retired as a Captain from the Gordon Highlanders in 1825. The conversation again turned upon the medal, and after some hesitation he accepted Colonel Balguy's o…
A fine 1953 A.F.C. and wartime pilot's group of seven awarded to Squadron Leader L. K. Grzybowski, Royal Air Force, late Polish Air ForceA a Pilot in No. 131 Polish Fighter Squadron, he quickly saw action in September 1939 when he was credited with the destruction of two German aircraft, actions for which he was later awarded the Virtuti Militari, 5th ClassSubsequently taken P.O.W. by the Russians, he was released for service in the Polish Army in Russia and the Middle East, prior to reaching the U.K. and undertaking a protracted tour of 56 sorties of a 'Ramrod' nature in Mustangs of No. 306 Squadron in 1944-45, gallant work that won him the Cross of Valour and BarAir Force Cross, E.II.R., the reverse officially dated '1953'; 1939-45 Star; Africa Star; France and Germany Star; War Medal 1939-45; Poland, Virtuti Militari, 5th Class, GR Tech type as issued in late 1944-45; Poland, Cross of Valour, with Bar, mounted as worn, together with his Polish Pilot's Badge, by J. R. Gaunt, embroidered R.A.F. uniform wings and Flying Log Books, generally very fine or better (9)A.F.C. London Gazette 1 January 1953.King's Commendation for Valuable Service in the Air London Gazette 1 January 1952.Leszek Kazimierz Grzybowski was born in Dabrowa Gornicza, Kielce, Poland on 20 December 1915 and entered the Polish Air Force College in August 1935.Duly qualified as a pilot, he joined No. 131 Polish (Fighter) Squadron at Poznan in October 1938 and was likewise employed at the outbreak of hostilities. As cited, he was quickly credited with the destruction of two German aircraft, namely a share in a He111 on 3 September and a Me110 on 9 September. He may also have contributed to the destruction of a Ju86. More certain, however, is the fact he was taken P.O.W. by the advancing Russian Army in the same month and remained behind wire until April 1942, when he was released for service in the Polish Army in Russia and the Middle East.Having then reached the U.K. in February 1943, he undertook a succession of training courses and joined No. 306 (Polish) Squadron in August 1944. Here, then the commencement of a protracted operational tour in which he flew 56 sorties in the unit's Mustangs over Austria, Belgium, Germany and Holland, the majority being of a 'Ramrod' nature and including numerous outings to the Ruhr and one to Arnhem in support of 'Market Garden' in September 1944. But he also flew several 'anti-diver' (V-weapon) sorties off the English coast in March 1945, And his final sortie, flown on 25 April 1945, was a trip to the Nazi playground of Berchtesgaden, home to Hitler's 'Eagle's Nest'.According to records held by the Sikorski Museum, he was awarded the Polish Cross of Valour in April 1945, a Bar in August 1945, and the Virtuti Militari, 5th Class on 25 July 1945, 'for actions in the Polish campaign in 1939, when serving in 131 Fighter Squadron'. He also appears to have been entitled to the Polish Air Medal and 2 Bars.Post-warGrzybowski retained his commission in the R.A.F. after the war and remained on the strength of 306 Squadron until January 1947, when he was posted to the Polish Re-settlement Corps in Framlingham, Suffolk. Several months later he joined a communications unit at R.A.F. Tangmere, about which time he was married to Joan Fleming at Carshalton Beeches, Surrey.Two further stints with the Re-settlement Corps having followed, he joined an instructor's course at South Cerney in early 1949, thereby shaping the future of his R.A.F. career and adding to his laurels the A.F.C. and King's Commendation for Valuable Service in the Air for services in the Central Flying School 'Refresher Squadron' at R.A.F. South Cerney.He continued to fly after his retirement from the R.A.F. in December 1970 and died in Tadcaster, Yorkshire in August 1992.Sold with a quantity of original documentation and photographs, comprising:i)The recipient's R.A.F. Pilot's Flying Log Books (4), covering the periods September 1943 to December 1950, January 1951 to December 1957, January 1958 to November 1970, and June 1971 to January1976, the first with ink endorsement regarding missing Polish Air Force log book and some 500 hours.ii)A small selection of career photographs, including a studio portrait in uniform and a card-mounted group photograph of 'B Flight, No. 4 Squadron' in June 1943, with multiple signatures to reverse.iii)A large selection of wartime and later correspondence, mainly in Polish, and including Red Cross communications from a Polish P.O.W., exchanges with fellow pilots in the U.K., and a reference from a former C.O. at R.A.F. Coltishall, dated 20 May 1947.…
Shanghai Volunteer Corps Long Service Medal, silver, hallmarks to rim, the reverse officially engraved 'B.Q.M.S. J. A. Cheeseman. Act. 1920-1931', good very fineProvenance:Sotheby's, July 1998.James Alfred Cheeseman was born at Reading on 13 August 1893, the son of The Rev. James & Isabella Cheeseman, the sixth of nine children. Young Cheeseman was educated at Chester College School and Paradise Street School in Cambridge before going out east - described as a draper - in 1913. With the outbreak of the Great War, he volunteered with 109 fellows from Shanghai and proceeded to England to join the New Army via the Suwa Maru. Joining King Edward's Horse (No. 894), he served on the Western Front from October 1915 and whilst serving in an Observation Post with 'A' Squadron at La Bourse was wounded by a rifle grenade on 24 March 1916 (1914-15 Star Trio). His daughter later wrote how the wounds effected his lower spine and knee, partially crippling him.Returning to Shanghai in May 1919, he joined the Shanghai Volunteer Artillery Company and the Whizzbangs Shanghai Amateur Football Club. Cheeseman would likely have been called out to share in the actions with his Battery against the Chekiang Kiangsu warlords in 1924-25. Married to Kathleen, he was to face tragedy as she produced a daughter on 16 October 1926 but died the next day, with their infant passing on 20 October 1926. A second marriage several years later (see group photograph) produced another daughter, Dora, who lived until 2015.Awarded his Long Service Medal as per the Shanghai Municipal Gazette of 7 August 1931, the Artillery Battery was disbanded several years after, with Cheeseman joining the Municipal Police Specials from September 1937 - perhaps serving during the emergency. He had also been made Manager of the famous department store Lane Crawford (founded 1862) shortly before its collapse. He thence set up the Textile Import Company, with offices in the Hong Kong & Shanghai Bank Building.Promoted Sub-Inspector in the Specials in November 1939, Cheeseman was living on the Tifeng Road. Following the uncontested invasion of Shanghai by the Japanese on 8 December 1941, life continued comparatively unchanged and the Municipal Police were required to maintain the administration, under the Shanghai Provisional Council of 1941Under considerable pressure from the United States Administration, the foreign Extra Territorial Treaties, which had established the China Treaty ports in the 19th century including Shanghai (except that for Hong Kong), were abrogated on 11 January 1943 by the Treaty Between His Majesty in Respect of the United Kingdom and India and His Excellency the President of the National Government of the Republic of China for the Relinquishment of Extra-Territorial Rights in China and the Regulation of Related Matters - so that at the end of the Japanese War Shanghai, and other occupied treaty ports would be returned to the Chinese Government (KMT) in Nanking.This also had the effect of terminating the Police service contracts in March 1943. That same month, Cheeseman and other expatriate members of allied countries were put into one of the internment camps - described as Civil Assembly Centres. His family went into the Lunghwa Centre. That place held just under 2,000 people and was described thusly:'The camp was large, containing seven concrete buildings, five large wooden barracks (originally built as stables by the Japanese), and numerous outbuildings. There were fifty nine dorms and 127 rooms for families.'In addition to malnutrition, malaria and typhoid were a common problem. A fellow internee was J. G. Ballard who, in his book Empire of the Sun (later made into a Stephen Spielberg film), gives a vivid description of life in this camp. At the end of the Pacific War, when the employees of the Municipal Council, civil servants, Police, Fire etc. came out of the internment camps in August and September 1945, they were unemployed. Some managed to obtain jobs in Shanghai and Hong Kong, which it appears the Cheesemans went to. He arrived back at Liverpool in November 1950.…
'A charming & handsome old man with one arm.So wrote the niece of the gallant Colonel KnoxAn outstanding campaign pair awarded to Colonel K. Barrett, 13th Regiment of Foot (1st Somersetshire) (Prince Albert's Regiment of Light Infantry), a long-served and most gallant officer who served on campaign in the Caribbean, Upper Canada and Burma - having his arm blown off in the attack on the Great Pagoda in July 1825 in the lastMilitary General Service 1793-1814, 2 clasps, Martinique, Guadaloupe (Knox Barrett, Ensn. 13th Foot.); Army of India 1799-1826, 1 clasp, Ava (Bt. Captn. K. Barrett, 13th Foot.), short-hyphen reverse, officially impressed naming, heavy edge bruising, very fine (2)Knox Barrett was born circa 1783, the son of William Barrett, High Sheriff of Sligo, of Culleenamore House. The Sligo Independant of July 1882 gives more detail:' He joined in 1805 from the North Mayo Militia, obtaining an ensigncy in the gallant 13th Regiment of Foot. This regiment, when in India saw much service, and Colonel Barrett, then a Lieutenant, showed much pluck and coolness on the battle field. At Rangoon, when the English army under General Dale fought well and bravely, Colonel Barrett led his Company in the thickest of the fight, and had his right arm shot off. He was specially mentioned by his Colonel, afterwards the great and good General Havelock as being a brave officer. Of course, the loss of his arm obliged him to retire from the Army, and General Havelock, whose friend and companion he was, parted from him with regret. He possessed medals and claps for Ava, Guadeloupe, Martinique, India etc. Since he left the army, he came to reside in Sligo.'Barrett has a remarkable record of service in the Caribbean, North America and in India. Having shared in the actions at Martinique in October 1809, he was present at the capture of Guadaloupe and was then subsequently posted to Upper Canada with his unit. Their Light Company was stationed at le Aux Noix and a detachment went to the blockhouse of Lacolle Mills - when they shared in the famous defence of that place in March 1814.Furthermore, Barrett would have been with his unit when they crossed Lake Champlain to attack Plattsburgh in New York, sharing in the final acts of the War of 1812. They departed the scene in July 1815. He would then share in the events in India, being unfortunate to have his '...arm blown off' during the attack on the Great Pagoda in the First Anglo-Burmese War. On 5 July 1825 the unit also suffered one man killed and seventeen other ranks wounded in action besides Barrett.Retired on account of his wounds, he was provided with a pension of £70 for his wounds. Returned to his native Sligo, he took up various posts, including as Justice of the Peace, Superintendent of the gaol, a member of the Sligo Harbor Commission and sat on the Dispensary Commission. Having married Anne Rice in 1827, the pair had no children but were always known for their generosity to their numerous nephews and nieces. The good Colonel died on 10 July 1882 and is buried in the family tomb at St John's Churchyard. His obituary notice gives the final word:'Our obituary notices of to-day announce the death of this gentleman who lived to a patriarchal age, being nearly a century old when he breathed his last at his residence, Rathanna, near this town. It may be well said that by his death a link connecting the present generation with the past – the long past – a severed, for when many grandfathers of today were leading strings Colonel Barrett was fighting for his King and country on the burning plains of India...In private life he was distinguished for his mildness of disposition and goodness of heart.'…
China 1900 (Pte. A. Lyall. Shanghai Vols.), good very fineProvenance:Spink, July 2004.Archibald Lyall was born on 18 February 1877 at Glasgow and was a member of the Shanghai Volunteers for some three and a half years - including during the Boxer Rebellion (Medal without clasp) - whilst also working as an Assistant in the Drawing Officer of the Potung Works of Farnham, Boyd & Company. He latterly returned to his native Scotland and the Lyall Brothers Company, rivet manufacturers.With the outbreak of the Great War, he was commissioned Lieutenant in September 1914, alongside his brother James Lyall. Both served in the 15th Battalion (1st Glasgow Tramways), Highland Light Infantry and served in France from 23 November 1915 (1914-15 Star Trio). His unit would share in the Somme Offensive and were at Crucifix Corner by 1 July - Archibald with 'B' Company and James with 'D' Company. Archibald was killed in action by a sniper on 3 July 1916, his brother also falling in the action. They are buried alongside one another in Bouzincourt Communal Cemetery Extension. His son, Pilot Officer Pat Lyall, would serve in the Battle of Britain and was killed on 28 November 1940.…
3rd Battalion, 60th Foot (King's Royal Rifle Corps)The unit arrived to join Lord Chelmsford’s Relief Column just in time to fight in the Battle of Gingindlovu on 1 April 1879 and the following relief of the Siege of Eshowe. Following the conclusion of hostilities, the unit was left behind on garrison duty in South Africa, being there when the First Boer War broke out. They would share in the Battle of Ingogo River and also the disastrous Battle of Majuba Hill in early 1881.999 Medals issued to the unit, 964 with the clasp '1879'.South Africa 1877-79, 1 clasp, 1879 (1728. Pte. G. Faulkner. 3/60th. Foot.), nearly extremely fine…
107th (Bengal Light Infantry) Regiment of FootThe unit was raised by the East India Company in 1765 and was re-raised as the 3rd Bengal (European) Light Infantry during the Indian Mutiny. Transferred to the British Army in September 1862, it embarked for England in 1875.As part of the Cardwell Reforms of the 1870s, where single-Battalion regiments were linked together to share a single Depot and recruiting district in the United Kingdom, the 107th was linked with the 35th (Royal Sussex) Regiment of Foot, and assigned to district No. 43 at Roussillon Barracks in Chichester.Just 2 Medals awarded to the unit for the Zulu War, the Medal with clasp '1879' to Captain Cavaye and this award.The South Africa Medal awarded to Private J. Brockhurst, 107th (Bengal Light Infantry) Regiment of FootSouth Africa 1877-79, no clasp (1545. Pte. J. Brockhurst. 107th Foot.), good very fine and extremely rare to an Indian unit…
A beautifully detailed Boehm porcelain figurine featuring a pair of hedgling brown thrashers in a lifelike woodland scene. One bird is captured mid-call, its beak open as if singing, while the other clutches a nut in its beak, poised as if ready to share or savor its find. The expertly hand-painted details highlight the intricate feather patterns and the naturalistic textures of the base, exemplifying Boehm’s renowned craftsmanship. Marked on the underside with the Boehm backstamp.Issued: 20th centuryDimensions: 5.5"L x 5.75"HCountry of Origin: United StatesCondition: Age related wear.
1 Medium size 19th century hand painted pearl dog button. This button from a larger set is incredibly detailed and hand painted in the Vernis Martin style. Vernis Martin paintings were a style of painting in the 18th and 19th century often created on lacquer boxes and furniture and the like. This sporting button of the detailed dogs head is hand painted in that style and most likely was created in France at the time Vernis Martin paintings were popular. This is a rare find in buttons as there are very few buttons we can attribute to this style and artistry. Attached images show a small selection of Vernis Martin paintings in this style from a French magazine. Bruce tells us that he has several boxes in his collection created in this style and would be happy to share images of them if anyone is ever interested. We have also given you here the Wikipedia partial definition or origin of this technique. Vernis Martin is a type (or a number of types) of japanning or imitation lacquer named after the 18th century French Martin brothers: The second photo was taken at an angle so you could see some of the chatoyant color in the pearl base.The coloration in the pearl when turned around in the light changes every whi.ch way you turn and is just exquisite. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Note: Antique buttons may show wear. Significant issues are noted, but shanks and backs on multi-button cards are not guaranteed. Contact us for details.
1 Medium size 19th century hand painted pearl horse button. This button from a larger set is incredibly detailed and hand painted in the Vernis Martin style. Vernis Martin paintings were a style of painting in the 18th and 19th century often created on lacquer boxes and furniture and the like. This sporting button of the Horses head is hand painted in that style and most likely was created in France at the time Vernis Martin paintings were popular. This is a rare find in buttons as there are very few buttons we can attribute to this style and artistry. Attached images show a small selection of Vernis Martin paintings in this style from a French magazine. Bruce tells us that he has several boxes in his collection created in this style and would be happy to share images of them if anyone is ever interested. We have also given you here the Wikipedia partial definition or origin of this technique. Vernis Martin is a type (or a number of types) of japanning or imitation lacquer named after the 18th century French Martin brothers: The second photo was taken at an angle so you could see some of the chatoyant color in the pearl base.The coloration in the pearl when turned around in the light changes every whi.ch way you turn and is just exquisite. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: Note: Antique buttons may show wear. Significant issues are noted, but shanks and backs on multi-button cards are not guaranteed. Contact us for details.
Baltasar de Echave Ibia (Mexico City, New Spain, ¿1583-84? - 1644)"Coronation of the Virgin"Oil on copper.24,5 x 18,3 cm.Baltasar de Echave Ibía was a prominent painter of the early Baroque in New Spain. Ibía, heir to the Mannerist style of his father Baltasar de Echave Orio, is distinguished by his use of a palette rich in blue tones, which earned him the nickname “El Echave de los Azules” (Echave of the Blues). This painting shares similarities with other works by Baltasar de Echave Ibía, as well as with the Seville school, from which the Echave family drew references through engravings by artists such as Francisco Pacheco and Murillo. The balanced composition, supernatural lighting, and detailed treatment of faces reinforce the idea that this work can be attributed to Echave Ibía. One of the most distinctive aspects of Echave Ibía’s style is his chromatic palette, dominated by deep blue tones, especially in the garments of the Virgin Mary. In this painting, the choice of a vibrant blue mantle with golden embroidery is one of the keys to its attribution to this artist. The use of blue in Echave Ibía’s work is both symbolic and aesthetic. From a theological perspective, blue has been associated with the Virgin Mary as a symbol of her purity and divinity. In pictorial terms, Echave Ibía used this tone exceptionally to create contrasts with golden backgrounds or the warm tones of angels and celestial figures. This characteristic feature found in the painting can also be observed in *The Immaculate Conception*, dated 1620, kept in the National Museum of Mexico, where the blue of the Virgin’s mantle stands out against a luminous background of golden radiance. Both paintings share other similarities, such as iconographic elements, enveloping light, and the rich ornamentation of the mantle. Moreover, Echave Ibía’s painting *Saint Paul and Saint Anthony the Hermit*, also kept in the aforementioned museum, shares the treatment given to the background landscape with this one, a background dominated by bluish tones that create a mystical and enveloping atmosphere. Finally, the similarity between the palettes of those paintings and the one we have here reinforces the hypothesis of its attribution to Echave Ibía. This marvelous copper piece shows a masterful use of chiaroscuro, with a light source emanating from the Virgin and Child, who are surrounded by a celestial glow. This light technique is characteristic of New Spanish painting of the 17th century and is particularly visible in the work of Echave Ibía. The modeling of the faces is delicate and detailed, with a tendency toward oval and gentle features, especially in the Virgin Mary and the angels, a hallmark of the artist, contrasting with the robustness and drama characteristic of other New Spanish painters such as Sebastián López de Arteaga. The painting represents a classical iconography of the Coronation of the Virgin, where Mary is depicted ascending to heaven, surrounded by angels, holding the Christ Child in her arms, and crowned in glory. This scene not only reinforces Marian doctrine but also emphasizes the Virgin Mary’s celestial hierarchy as intercessor and Queen of Heaven, a theme highly recurrent during the Counter-Reformation. Marian devotion was venerated by the Franciscans since the 13th century, being of great importance to the order. We can identify the iconographic type adopted by the fathers for the portrayal of the Virgin of the Angels, an image that presided over the church of the convent, known as the Convent of the Discalced. The Virgin of the Angels is a variation of a print that was circulating at the time, created by the Dutch engraver Cornelis Cort (1533/1536–1578) and published in Rome in 1574. It depicts the theme of the *Assumption and Coronation of the Virgin*, showing her figure standing, in a prayerful attitude, and surrounded by two pairs of angels who support and crown her. This composition was successively simplified in 16th-century models, focusing attention on the figure of the Virgin Mary. This small and exquisite copper piece varies slightly from the typical portrayal of the Virgin Mary, presenting her with a scepter as Queen and carrying her Son in her arms, thereby giving her greater prominence. Reference Bibliography:- Arellano, F. (1988). "El arte hispanoamericano". Universidad Católica Andrés Bello.- Burke, M. (1992). "Pintura y escultura en Nueva España: El barroco (Arte Novohispano)". Fondo de Cultura Económica.- Danes, G. (1942). "Baltasar de Echave Ibía. Some Critical Notes on the Stylistic Character of His Art". Anales del Instituto de Investigaciones Estéticas, 3(9), 15-26.- Kubler, G. (1961). "Mexican Architecture of the Sixteenth Century". Yale University Press.- Portús, J. (2016). "Metapintura. Un viaje a la idea del arte en España". Museo Nacional del Prado.- Ruiz Gomar, R. (2002). "La pintura novohispana del siglo XVII: Temas y variaciones". Museo Nacional de Arte de México.- Toussaint, M. (1965). "Colonial Art in Mexico". University of Texas Press.- Tovar de Teresa, G. (1992). "Catálogo de pintores y escultores en la Nueva España". Instituto de Investigaciones Estéticas, UNAM.- Victoria, J. G. (1994). "Un pintor en su tiempo. Baltasar de Echave Orio". Instituto de Investigaciones Estéticas, UNAM.
Sebastián López de Arteaga (Seville, 1610 - Mexico City, 1652)"Our Lady of Villaviciosa".Oil on canvas.104,5 x 83 cm.The painting “Our Lady of Villaviciosa” represents the Novo-Hispanic Baroque work attributed to Sebastián López de Arteaga, a painter originally from Seville who worked in Mexico in the 17th century. Arteaga, trained in the Spanish pictorial tradition, had contact with the great Baroque tenebrists such as José de Ribera and Caravaggio, which strongly marked his style and allowed him to bring pictorial sensibility that emphasized realism, theatricality and visual impact to Latin America. This can be appreciated in Our Lady of Villaviciosa, where the chiaroscuro and expressiveness of the violinist evoke the aesthetics of the great Spanish painters of the 17th century.Sebastián López de Arteaga stands out as a key painter in the transition from Mannerist to Baroque painting within New Spain. The comparison with Arteaga's “Doubting Thomas”, preserved in the Museo Nacional de Arte of Mexico, is pertinent, as both paintings share directed light, with faces emerging from the penumbra and a composition centered on the gestures of the figures. Just as in the painting of St. Thomas, where disbelief is manifested in the intense observation of Christ's wound, in Our Lady of Villaviciosa, the violinist shows an expression of admiration directed at the Virgin, reinforcing the mystical dimension of the scene.Since the sixteenth century, the worship of the Virgin Mary was fundamental in the viceroyalty of New Spain for evangelization and the construction of a Catholic identity. Images of the Virgin Mary, especially those associated with specific advocations such as Guadalupe, Remedios or Villaviciosa, were used as symbols of protection and faith for the indigenous and mestizo population, thus facilitating the integration of local beliefs with European Christianity. The invocation of the Virgin of Villaviciosa has its origins in the Iberian Peninsula, where she is venerated both in Portugal and Spain. Worship of this advocation spread to Latin America through the colonizers and missionaries, who brought with them images and miraculous stories of the Virgin of Villaviciosa. However, the adaptation of this devotion to a Novo-Hispanic context is evident in this painting, where clear signs of syncretism and cultural reinterpretation are observed, incorporating elements of indigenous and mestizo iconography.This is reflected, for example on the mestizo features of the Virgin and Child, with clearly darker skin. The chromatic palette, which presents more vibrant and warmer colors than those found in European paintings, reflecting the influence of the local environment and the access to indigenous pigments.Most notably, there are decorative elements that integrate indigenous symbols in an attempt to make the image more accessible to local worshippers.For example, the floral ornaments and jewels that decorate the Virgin's clothing present a mixture of European motifs with indigenous stylistic elements. The flowers used have a design closer to Mexican flowers, such as cempasúchil (Mexican marigold) and other species native to Mexico, suggesting a local reinterpretation. These flowers have a cultural and spiritual significance in indigenous traditions, especially in festivities such as the Day of the Dead.Other curious decorative elements are the two ornaments in the shape of eagles that appear on the upper part of the Virgin's mantle, which seem to have a red plume, a detail that could refer to Mexican traditions, where the eagle was a symbol of power and a sacred figure for the Mexicans, representing the god Huitzilopochtli.Finally, one of the most remarkable details in the painting is the hanging jewel on the lower part of the Virgin's dress, which shows an unusual design related to the tradition of the "flying stick", an indigenous ceremony practiced in the Totonacapan region of Mexico. The design of this jewel is reminiscent of the structure of the flying stick ritual, where participants spin around a pole in a ceremonial dance.In this painting, beyond the technical treatment, the iconography reinforces its devotional function. The presence of the violinist and the bull in the foreground introduces an everyday scene that enriches the pictorial narrative. These elements refer to a pastoral scene, in which the music and the presence of the animals suggest a miraculous manifestation of the Virgin in a humble context.On the other hand, it is worth mentioning the parallelism between this painting and the Virgin of Loreto by Juan Correa, which allows us to contextualize the evolution of this type of iconography in Novo-Hispanic art. Although Correa adopts a more decorative style, the similarity in the chromatic choice and in the structure of the mantle suggests a continuity in the way of portraying the Marian invocations in Mexico.In conclusion, the painting can be dated to the second half of the 17th century, within the period in which Arteaga consolidated his work in Mexico. Its comparison with Doubting Tomas and with Correa's Virgin of Loreto reinforces its importance as one of the paintings that most represents the adaptation of Spanish Baroque in New Spain. Provenance:-House of Albornoz, Extremadura, Spain, and also established in New Spain, Mexico.-By family descent over centuries to Mrs. Blanca Carrillo de Albornoz Muñoz de San Pedro. Spain.-Private collection Spain acquired from the above family through the art trade in 2019. Reference bibliography:- Arroyo Lemus, E. M. (2004). "Pintura novohispana: Conservación y restauración en el INAH: 1961-2004". Instituto Nacional de Antropología e Historia (INAH).- Brading, D., Buxó, J. P., & Lafaye, J. (2004). "El Pegaso o el mundo barroco novohispano en el siglo XVII". Ediciones Turner.- Burke, M. (1992). "Pintura y escultura en Nueva España: El barroco (Arte Novohispano)". Fondo de Cultura Económica.- Rodríguez Gutiérrez de Ceballos, A. (1990). "Sebastián López de Arteaga (1610-1656): Un pintor sevillano en Nueva España". Fundación Universitaria Española.- Rodríguez Prampolini, I. (1994). “Sebastián López de Arteaga y la introducción del tenebrismo en Nueva España”. Anales del Instituto de Investigaciones Estéticas, UNAM, 59(17-34).- Sepúlveda, C. (2010). "El arte novohispano. Nueva Escuela Mexicana". Secretaría de Educación Pública.
Bernardo Rodriguez (active in Quito, Ecuador, circa 1770)"Saint Raymond of Penyafort"Oil on copper.21 x 16,5 cm.Attributed to the renowned painter Bernardo Rodríguez, an emblematic figure of the 18th-century Quito School, this work reflects his technical and artistic mastery and is executed in oil on copper. The precision of details and delicacy of brushwork suggest the piece probably dates to the mid-18th century.The artist’s draftsmanship is exceptional, evident in the composition’s impeccable organization and meticulous treatment of details.We compare this copper painting to other depictions of saints like Jerome and Augustine, also attributed to Rodríguez, which, alongside works of Saints Ambrose and Gregory the Great, form the series of the Four Fathers of the Church at the Museo de San Agustín in Quito (Ecuador). Such comparisons highlight Rodríguez’s skill in gilding and his ability to infuse artistic grandeur into even small-format compositions, as seen here. The portrayal of Saint Raymond of Peñafort adds unique dynamism through its maritime narrative and subtle landscape details.Similarly, the painting “Saint Anthony of Padua and the Miracle of the Resurrection” at Quito’s Museo Convento de San Francisco enriches this comparative analysis due to stylistic and compositional parallels with the depiction of Saint Raymond we have here. Though Saint Anthony is painted on canvas and lacks gilding, both works share remarkable precision in rendering the saint’s figure and a focus on spiritual depth. The treatment of facial features, posture, and drapery reveals evident similarities, pointing to stylistic coherence within the Quito artistic context.This context was deeply shaped by the expansion of Christian faith in Latin America and the use of art as an evangelizing tool. Such narratives were especially relevant in viceregal territories, where missionaries faced similar challenges. The Quito School, in this regard, adeptly adapted European influences into a visual language that responded to local spiritual and cultural needs.As noted by the Cervantes Virtual Center, “Bernardo Rodríguez, a muralist and painter, was a highly distinguished master among religious motif practitioners in viceregal Quito.” Supported by the Church throughout his career, he “enjoyed privileged opportunities to create canvases now admired in Quito Cathedral, the Museo de Arte Colonial, and the Casa de la Cultura Ecuatoriana.” His impeccable craftsmanship was inherited by disciples like Quito’s Antonio Salas (1795–1860).Saint Raymond, clad in a Dominican habit brought to life through dynamic fabric folds, dominates the center of the composition. The marine backdrop, rendered in subtle blue and white brushstrokes, evokes serenity and depth. Distant ships reinforce the narrative of the miracle, while the gilded halo and reflections on the saint’s cloak showcase the painter’s flawless mastery of materials, achieving a luminosity that elevates the painting’s spirituality—a radiant “small window to heaven” brimming with vibrant color and light.The artwork depicts Saint Raymond of Penyafort (Vilafranca del Penedès, 1176–Barcelona, 1275), a 12th-century Dominican friar and canon lawyer, experiencing the miraculous event that occured in his life. King James I, who sought his counsel, once took him on a journey to Majorca, secretly accompanied by a woman with whom the king had an illicit relationship. Upon learning this, Raymond urged the king to dismiss her, threatening to leave otherwise. The king failed to comply, and responded by ordering that no ship carry Raymond home. Undeterred, the saint spread his cloak upon the water, transforming it into an improvised vessel to cross the Mediterranean to Barcelona—a testament to how true faith can calm even the stormiest waters.A Doctor of Canon and Civil Law, Raymond was acclaimed and chosen to teach at the University of Bologna, where his students were primarily nobles and scholars. After experiencing a vision of the Virgin Mary, he co-founded the Mercedarian Order with Saint Peter Nolasco to redeem captives from Muslim rule. Summoned to Rome by Pope Gregory IX, he served as confessor, chaplain, and penitentiary. He played a role in establishing the Inquisition in Aragon and compiled five volumes that became the most organized collection of church law until the 1917 Code of Canon Law. After a decade of writing, he was elected head of the Dominican Order, succeeding Saint Dominic, and retired at nearly 100 years old. He is the patron saint of canon lawyers, jurists, and legal institutions. He died on the 6th January 1275 and was canonized in 1601 by Pope Clement VIII. Iconographically, the elements in the painting hold profound symbolism. The outstretched black cloak alludes to the miracle, while the maritime landscape, with its expansive horizon and traversing ships, adds narrative depth, situating the saint within a context of triumph and hope.Though rare, other depictions of Saint Raymond in Latin America include the portrait at Tlacochahuaya’s San Jerónimo Church in Mexico and the Convent of Santa Rosa de Lima in Santiago de Chile. In essence, this small copper painting brims with life, movement, and perspective, its lapis lazuli blues and mastery of gilding and pointillism perfecting the saint’s figure. An 18th-century scalloped and gilded frame rounds off the composition, Bibliographic References:- Centro Virtual Cervantes. (s.f.). “Bernardo Rodríguez”. https://cvc.cervantes.es/artes/ciudades_patrimonio/quito/personalidades/brodriguez.htm- Herrera, Lizardo. (2010). “La canonización de Raimundo de Peñafort en Quito. Un ritual barroco entre la exhibición y el ocultamiento (1603)”. Procesos, 32, II semestre 2010, pp. 5-32. - Stratton-Pruitt, Suzanne. (2011). “El arte de la pintura en Quito colonial”. Saint Joseph’s University Press, Filadelfia.
Jose Avitavilli (Peru, late 16th century - early 17th century)“Salus Populi Romani”, also known as ‘Our Lady of the Snows’.Tempera on linen canvas.127 x 95 cm.This *Our Lady of the Snows* is a significant testament to the development of religious art in the Viceroyalty of Peru during the late 16th and early 17th centuries. Its Marian iconography, technique, and composition place it in a transitional phase between the Mannerism introduced by the Society of Jesus and the consolidation of Andean Baroque, influenced by European artistic traditions and local aesthetic particularities.A stylistic and technical analysis of the painting allows us to associate it with the production of the circle of Bernardo Bitti (1548–1610), an Italian Mannerist master whose work had a decisive impact on the development of Peruvian viceregal painting. More specifically, we attribute this piece to José Avitavilli, his disciple and one of the principal exponents of Cuzco Mannerism, based on stylistic and documentary comparisons.José Avitavilli, one of Bernardo Bitti’s closest disciples in the Viceroyalty of Peru, is mentioned in colonial documents as an active collaborator in the restoration and production of Mannerist works in Cuzco and Upper Peru. His work has been documented in the decoration of Jesuit churches and convents, and his style reflects clear influences from Bitti but with a distinctive refinement in the execution of faces and the treatment of color. Historical sources indicate that Avitavilli worked on Marian themes, particularly in Cuzco and Potosí, where he is known to have painted pictures of the Virgin Mary that combine Mannerist elements with a polished technique.The painting we present coincides with his other work in several key aspects, such as the delicate modeling of faces with Italian influences, the use of tempera instead of oil—a distinctive feature in some of his works—and the balance between gilded ornaments and a sober composition, typical of late Mannerism.One of the most significant aspects of this painting is its close iconographic relationship with the "Our Lady of Antigua", preserved in Lima Cathedral and considered to be one of the first Marian images introduced to Latin America. Both paintings share fundamental characteristics, such as the frontal arrangement of the Madonna and Child, the use of the rose as a symbol of purity, the treatment of the face with delicate oval features, and the presence of an ornamental background with geometric and gilded elements.However, "Our Lady of the Snows" introduces Mannerist variations characteristic of the late 16th century, such as the stylization of the figures and a greater softness in contrasts between light and dark. The influence of Bernardo Bitti is evident in the delicate modeling of the faces, with a subtle use of light and shadow to create volume—a technique he learned in Rome before moving to the Americas.The fact that the "Virgin of the Antigua" was one of the first Marian images in the viceroyalty reinforces the idea that *Our Lady of the Snows* represents a more advanced reinterpretation of this model, with technical refinement and an aesthetic more influenced by Mannerism. Perhaps the version by Bitti at the Museo Convento de los Descalzos in Peru is the earliest example of this evolution.All this evidence allows us to propose José Avitavilli as the artist who painted this artwork, consolidating him as a key figure in the transition between Italian Mannerism and early Andean Baroque.One of the most unusual aspects of this painting is the use of tempera on linen canvas, rather than the traditional oil on canvas. The tempera technique, more common in mural painting and European altarpieces, involves mixing pigments with binders such as egg or animal glue, allowing for a more delicate application and a matte finish, less glossy than oil. This method was widely used in European Renaissance art, but its application on canvas is much less frequent.Linen as a support is also a particular choice, as most viceregal production was painted on cotton fabric or wood. This material provides a finer texture and allows for more precise details in drawing, which is reflected in the exquisite execution of the faces of the Madonna and Child. The state of preservation suggests that the tempera technique has contributed to the stability of the painting, avoiding the typical cracking seen in older oil paintings.An elegant and stylized version of the famous *Salus Populi Romani* (Protector of the Roman People), better known as Our Lady of the Snows, a name given in the 19th century to the Byzantine icon of the Virgin with the Child in her arms, traditionally attributed to early Christians.This iconographic composition designates this type of painting as "Theotokos", meaning etymologically “Mother of God,” or more literally, “the one who gave birth to God.” The Virgin Mary is depicted with a light blue mantle edged in gold. In her right hand, she holds a circular flower, the mystical rose with which she seals her covenant with the Roman people. Though she does not wear a crown, the halo of sanctity speaks of her distinction and benevolence, a holy woman full of light, shown as the "Regina Caeli". With her left hand, she tenderly embraces her son, offering him to the world, while the Christ Child rests, appearing as the Pantocrator. With his right arm slightly raised, the Child makes a gesture of blessing and holds in his left hand the orb or globe of the world, which he blesses and supports, unlike the original icon where he carries the Book of Life, the Word.Both Mother and Child appear against a curtained background that emphasizes the importance of the image. They look directly at the viewer, making us participants in their presence, gaze, and transformation. The red curtain in the background reinforces the sacredness of the moment and creates a theatrical frame that recalls the liturgical theater of the Counter-Reformation. This type of composition follows European models of Italian and Flemish influence, adapted to the viceregal context. The use of gilding in the embroidery and trim of the Virgin’s mantle, though restrained compared to 18th-century paintings, anticipates the taste for brilliance and ornamentation that would characterize later Cuzco painting.Bibliographic References:-Mesa, José de, y Gisbert, Teresa. Holguín y la pintura altoperuana del Virreinato. La Paz: Librería Editorial Juventud, 1977. -Gisbert, Teresa, y Mesa, José de. La tradición bíblica en el arte virreinal. La Paz: Librería Editorial Juventud, 1982. -Querejazu, Pedro. “La ‘Madona del pajarito’ de Bernardo Bitti: tratamiento de conservación y restauración”. Conserva, n.º 5, 2001, pp. 85-94. -Coello de la Rosa, Alexandre, y Abejez, Luis J. “Bernardo Bitti y Diego Martínez: dos protagonistas de la pastoral de la imagen en el Virreinato del Perú”. Archivum Historicum Societatis Iesu, vol. 92, n.º 183, 2023, pp. 5-30. - Stratton-Pruitt, Suzanne L. *The Virgin, Saints, and Angels: South American Paintings 1600-1825 from the Thoma Collection*. New Haven: Yale University Press, 2006.- Museo Convento de los Descalzos, Lima, Perú.
Attributed to Diego de la Puente (Mechelen, Belgium, 1586 - Lima, Peru, 1663)‘Infant Jesus of Passion’ Oil on canvas.41,5 x 32,5 cm.Diego de la Puente, born in Mechelen (Belgium) in 1586, is a European painter who developed his career in the Viceroyalty of Peru from 1620, after training in the workshop of Flemish masters in Europe, such as Joos van Cleve and Gossart. His arrival in Peru coincided with the expansion of European artistic influence in South America, where the Jesuits and other religious orders were looking for artists to decorate their churches and missions. The artist is a sublime example of the use of great mastery of Flemish art to introduce the evangelizing message to the Andean world.Diego de la Puente worked intensely for the Society of Jesus, producing a series of religious artworks that were distributed throughout various regions of the viceroyalty, including Lima, La Paz and Santiago de Chile. Likewise, explains historian and curator Teresa Villegas de Aneiva, he was “one of the key figures in the training of the local schools in Trujillo, Lima. Ayacucho, Cuzco, La Paz, Potosí and Chuquisaca, cities to which he was assigned by his superiors of the Jesuit Order during the period 1620-1662, the year he died in Lima.”This painting has stylistic and technical characteristics that we find in signed and documented works by Diego de la Puente.The most evident is the treatment of the faces. The Child is depicted with a delicate and serene face, with an elongated and soft structure, typical of the Flemish style that De la Puente brought to Latin America. It is similar to the face of the “Archangel St. Michael”, currently in the National Museum of Art of Bolivia. These paintings, in fact, share “a very personal style, characterized by a rapid brushstroke, rich palette and a choice of shades ranging from cold green to warm brown”, this is how Villegas de Aneiva describes the Archangel and we would use the same words to describe this Child.De la Puente uses light to highlight the central figure of the composition, creating a contrast with the darker background, which emphasizes the spiritual aspect of the scene. This technique is common in the Baroque, and De la Puente handles it with skill, adapting it to Christian iconography in the Peruvian context.As far as iconography is concerned, in this canvas we see the Christ Child carrying the instruments of the Passion, based on an engraving by the Flemish artist Hyeronimus Wierix (1563 - pre 1619). The Christ Child travels along a path full of thorns, holding the Cross and carrying a small basket with the instruments of the Passion. These engravings or prints became famous and possibly one of them fell into the artist's hands, inspiring this small devotional painting. It reflects an apocryphal, unreal and timeless situation of the iconography of the Passion Child, immersed in the crude and terrible reality of a joyless childhood, but theologically founded according to Thomas Aquinas, “the first thought be for the Cross”: a “Pensative Child” whose dream is the Cross. That Child becomes tangibly humanized “descending and walking” at our side, he offers himself to the viewer carrying his inexorable and distant end, he offers himself to a society that, since the Middle Ages and the Baroque, lived preparing for death. The art of that time engendered an attraction for the macabre and morbid that resulted in small and genuine artistic creations, like this one, the image of the Child, presenting his fatal destiny, and that is a fair comparison with the feeling of impotence and frustration of the baroque people before the uncertainty of every day. A small painting that devoutly encloses the thought of the 17th and 18th centuries of anguish, disillusionment, fear and the need for hope that flooded the mood and consciousness of a society with a fetishistic religiosity close to magic. The cross he carries on his right shoulder reads in Latin and gold: “OPUS EIVS, CORĀ ILLO” (“His work, it is / resides in that heart”).Reference bibliography:- Gisbert, Teresa. (1980). “Iconografía y mitos indígenas en el arte”. Editorial Gisbert y Cía.- Mesa, José de y Gisbert, Teresa. (1982). “Historia de la Pintura Cuzqueña”. Fundación Augusto N. Wiese.- Schmidt, Klaus. “Pintura Colonial en Bolivia”. (1978). Editorial Amigos del Libro.- Tauro del Pino, Alberto. (2001). “Enciclopedia Ilustrada del Perú”. PEISA.- Villegas de Aneiva, Teresa. (s.f.). “El retorno de los ángeles”. https://www.bolivian.com/angeles/asmiguel.html
Newmarket, Suffolk.- Newmarket Public Subscription Room, 8 vol., manuscript list of signatures, numerous pp., pages ruled in red, original vellum, some marking and staining, gilt morocco labels on upper covers, 1 vol. spine defective, folio, 1858, 1869, 1872-73, 1880, 1886 & 1892. *** Plans for a subscription room in the 19th century were formulated by William Henry Hyett, a Member of Parliament candidate at the time, who began to attract subscriptions of £50 a share towards the new building and its construction site. In the first year of the new building opening, a number of successful events are recorded, including a political dinner party attended by 520 guests as well as a circus on the forecourt. The public rooms became the centre of the town’s social and intellectual life and notably the building was utilized during both World War periods.
Eyres SIMMONS (1872-1955) Coastal Cottage View and another work Each watercolours, signed, 17.5cm x 25cm, 36cm x 43.5cm framed. Together with war-time cardboard placards verso, one reading 'You are always standing your friends a smoke, Put Tommy's in the Slot, Surely He deserves his share'. For distribution among all the troops in the town and guaranteed to reach the soldiers by Arthur W. Chard, Mayor.
Vibrant and expressive, this limited edition digital print on canvas by celebrated Brazilian artist Romero Britto reimagines Rene Magritte's The Son of Man through the lens of Britto's signature pop art and neo-cubist style. Titled Mr. Magritte, this 2020 work captures the surrealist theme of the hidden self while infusing the composition with bold geometric patterns, swirling lines, and glittering embellishments. The apple-faced figure, clad in a vivid mosaic-like suit and hat, is surrounded by a whimsical, color-rich background featuring expressive hearts, clouds, and playful curvilinear forms. Executed in a limited edition of 100, this piece is hand-signed by the artist and numbered 34/100. Accompanied by a certificate of authenticity from Britto Studios, this work exemplifies Britto's signature visual language of joy, hope, and optimism. Romero Britto is a Brazilian artist known for his distinctive fusion of pop art, cubism, and graffiti-inspired aesthetics. Born in 1963 in Recife, Brazil, Britto displayed an early passion for art, drawing inspiration from the vibrant culture and colorful energy of his homeland. He later moved to Miami, where he gained international recognition for his bold, cheerful works that often depict themes of love, happiness, and hope. His instantly recognizable style, characterized by bright colors, dynamic patterns, and thick black outlines, has earned him worldwide acclaim, leading to collaborations with major brands, corporations, and charitable organizations. Britto's works have been exhibited in prestigious museums and galleries around the globe, and he is regarded as one of the most licensed artists in history. Through his Happy Art Movement, Britto seeks to inspire positivity and social good, reinforcing his belief that art is too important not to share.Artist: Romero Britto (Brazilian/American b. 1963)Issued: 2020Dimensions: 39.50"L x 49.50"HCountry of Origin: Brazil/United StatesCondition: Age related wear.
Three Chinese blue and white ‘floral’ shallow bowls, Qing Dynasty, Kangxi period (1662–1722). Each is heavily potted and painted with floral decoration on both the interior and exterior, with the mouth rim covered in brown glaze and bordered by geometric bands above and below. Two bowls share the same design, while the central one features a slightly different pattern. Approx. 15.5cm each. 清康熙 青花花卉紋臥足碗（共3只）All in very good condition except for a few firing-related imperfections. 整體品相良好，僅見少許燒造瑕疵。
Ephemera, a selection of approx. 70 early to mid 20thC items to include receipts bill heads, share dividend warrants etc. to include The Royal College of Veterinary Surgeons, The Didcot, Newbury and Southampton Railway, The Bengal-Nagpur Railway Co Ltd, The Forth Bridge Railway Co, Benskin's Watford Brewery, The Renong Tin Dredging Co, The Rickmansworth Gravel Co, The Aldershot Gas, Water and District Lighting Co, several Canadian Railway companies, BBC Radio Circle membership card and more (gen gd)
Great Britain: Leamington & Warwick Tramways & Omnibus Co. Ltd., share certificate for £10 share, 1881, No.10393, scrollwork at left, black, perforated CANCELLED. Registered in 1880, the horse line ran from Warwick, outside the Lord Leycester Hospital over the river Avon into Leamington Spa, terminating at the railway station. Company bought by Brush Electric in 1900 and electrified, the line being rebuilt by 1905. About extremely fine.
Heartwarming Nao by Lladro porcelain figurine depicting a mother tenderly embracing her child as they share a quiet moment together. The child, dressed in a soft blue gown, holds a beloved teddy bear while resting in the mother's arms. Handcrafted in Spain, this beautifully detailed piece is marked on the underside with the Nao by Lladro backstamp and model number 1429. A touching representation of maternal love, perfect for collectors or as a sentimental gift.Issued: 20th centuryDimensions: 8.5"HCountry of Origin: SpainCondition: Age related wear.
Four bolts of vintage Isle of Skye tweed, woven by award winning Portnalong weaver, Ewen MacLeod, in unique and rare colour ways. Measurements as follows: Pea Green: 70x52 inches, Turquoise & Dark Olive: 58x36 inches, Caramel & Brown plaid: 144x29 inches, Dark Green with Blue & Brown plaid: 168x29 inches. Accompanying literature reads: 'Mr MacLeod was a skilled weaver and won several awards for his work at exhibitions in Glasgow. ... Tweed has been associated with Portnalong since just after World War I when the Department of Agriculture acquired the land. In 1923 a number of families moved there from the overcrowded islands of Lewis, Harris and Scalpay to the more fertile and on the western shore of Loch Harport on Skye. Each family was given 15 - 20 acres of land, 3 cows and a share in a common sheep pasture of 4,000 acres. They were also given a corrugated iron house and shed to accommodate a loom. The people were mainly weavers and by combining crofting, fishing and weaving they were able to improve their standard of living.'
Original antique poster for The Russian General Oil Corporation / Societe Generale Naphthifere Russe featuring share certificates with share warrant of 25 shares of 1£ sterling each. Horizontal. Fair condition, folds, creasing, tears, some paper stickers, large paper loss cut out, paper skimming, staining, ink stamps, blind embossed stamps, signed by hand, double sided. Country of issue: France, designer: Unknown, size (cm): 39x51 (unfolded) 39x26 (folded), year of printing: 1912.
MARCEL GROMAIRE (1892-1971) | HANDWRITTEN LETTER (FRANCE / FRENCH) | 1965 | profession: Painter | country: France | signature: Original signature | size: 310 x 260 mm (size of the pad) | technique: Personal letter | Lot information |"Sir, Thank you for your letter, but I have not received the Hollar copy. I therefore regret that I cannot share my opinion on your article, and I can only express my regret that it does not match your original text. Please accept the assurance of my best regards. M. Gromaire" Original French text: "Monsieur, Je vous remercie de votre lettre, mais je n'ai pas recu l'exemplaire de Hollar. Je regrette donc de ne pouvoir vous dire ce que je pense de votre article, et je ne peux que deplorer qu'il ne soit pas conforme a votre texte original. Veuillez agreer, l'assurance de mes meilleurs sentiments. M. Gromaire" This personal letter from Marcel Gromaire, a renowned French painter and graphic artist, was written in 1965 as a response to an article sent to him, expressing his disappointment over the differences between the original and published text. The letter is written in meticulous handwriting and reveals the artist's attention to detail in his professional communication.
David Wood (Cumbrian, mid to late 20th Century)"Lakeland Giants", a vast, atmospheric landscape portraying the rugged nature of the Langdale fells, oil, signed, label bearing title and Up Front Gallery receipt dated 2009 verso, in double card mount and silvered frame under glass, 61 cm x 80 cm overall[Wood was born in Suffolk and moved to Cumbria in 1975 following his military service in India, the south coast and the Shetlands. After retiring in 1986 his wife gave him a box of paints to keep him busy in his newly found free time, and so he began to discover "the joy and frustration of painting in various forms". He aims to share the beauty that he sees in nature and the world around him with others through his paintings.]
Hilary Heron (1923-1977) Lady of the Rocks (1953) Walnut, 82cm high (32¼") Signed with initials and dated 1953 Provenance: Collection of Sir Basil Goulding, thence by descentExhibited: Dublin, Irish Museum of Modern Art, Hilary Heron: A Retrospective May - Oct 2024; travelling to Banbridge, Co Down, F.E. McWilliam Gallery, Nov 2024 - Feb 2025One of the most unique and pioneering artists of her generation, Hilary Heron (1923-1977) was born in Dublin in 1923. The daughter of a banker, the family moved to Derry and later New Ross in Wexford before Hilary returned to Dublin to study in the National College of Art in 1941. After winning a travelling scholarship from the IELA in 1947, Heron lived in Paris for several months after which she returned to Dublin and began exhibiting with Victor Waddington at his gallery in South Anne Street.Lady of the Rocks is one of several large figurative works Heron created in 1953. Carved in walnut wood, the slender head, neck and torso are raised above a series of six coarse, oblong, disc-like carvings which form the bottom half of the sculpture and are reminiscent of the cap stones on Irish Celtic Dolmens. The top half of the figure is more refined and feminine. It has features that recur in her slightly earlier works such as Adam and Eve (1951). The head features two pigtails, a playful motif which can also be seen in Girl with Pigtails (1950) and in a more abstract form in Figurehead dating to 1952.An important piece from the artist’s cannon of work, Lady of the Rocks was one of several of Heron’s sculptures included in the Irish exhibit at the Venice Biennale in 1956. Shown alongside paintings by fellow artist Louis le Brocquy (1916-2012), the tactile nature of Heron’s work is wonderfully offset by the figurative neo-romantic cubism of the paintings. Lady of the Rocks shows the influence of Surrealism and a strong pinch of Giacometti. Although Heron’s work is never derivative in nature, she clearly had a great knowledge of her international contemporaries.The work also features in one of the best-known photographs of Heron, which depicts her sitting outside, with Lady of the Rocks lying against one leg, while the sculptor carves one of the stonelike strata using a chisel and mallet. All the while a lit cigarette is hanging slightly precariously from her mouth.In 1958 Heron would move to London and share a studio with her friend and contemporary Elizabeth Frink, who would have a great influence on her work from 1959-1960. Heron then married David Greene in 1959 and moved to Dalkey in 1961, where she continued to work and exhibit with the IELA. She held her final solo exhibition at the Waddington Gallery, London in 1964 before sadly passing away in 1977 aged just 53.The recent retrospective in IMMA and accompanying publication will without doubt help restore Heron to her deserved prominence amongst Irish artists.Adam Pearson, March 2025
Breitling. A limited edition gold automatic perpetual calendar chronograph wristwatch with moon-phases, Ref. H2936212/B754, Breitling for Bentley, Mulliner, circa 2010. Movement: cal. 2892A2, automatic, 21 jewels. Dial: black, applied baton indexes, engine-turned subsidiary dials for constant seconds combined with date and season, 30-minute register with month and leap year, 12-hour register with day and 24-hour indication, weeks of the year and aperture for moon-phases, slide rule scale. Case: 18ct gold, screw-down back and crown, bidirectional rotating bezel, no. 780938, 18ct gold folding clasp. Signed: case, dial, movement and clasp. Dimensions: diameter 49mm. Accessories: certificate, chronometer certificate, and presentation case. £8,000-£12,000 --- Breitling’s partnership with Bentley has always been a celebration of the values they share, with a dedication to world-leading performance, luxury and innovation. The Breitling Bentley Mulliner limited editions are a reflection of another significant partnership, that of Bentley and the famous coach builder, Mulliner. Mulliner, the famous coach builder that can be traced back to 1559, have been working with Bentley Motors for decades. They established themselves as a leader in their field with a tradition of bespoke craftsmanship. In 1923 Mulliner crafted a bespoke 3 litre Two-seater for Bentley and then in 1952, they built the revolutionary R-Type Continental. Today they operate as Bentley’s personal commissioning division. Condition Report Movement: running and chronograph operating at the time of cataloguing. Dial: in good condition. Case: in good condition. Gross weight: 204.7gms. Please note that the above condition report is a statement of opinion only and may not specify all mechanical replacements or imperfections. Watches are opened to examine the movements, no warranties are made that the watches are water-resistant. The watch has not been tested for the accuracy of its time keeping and would benefit from a service at the buyer’s expense. *Please note: In some circumstances we are unable to ship the watch with its strap due to certain import restrictions regarding material derived from endangered or protected species.
Isabel Rawsthorne, British 1912-1992 - Baboon; oil on canvas, signed with monogram lower right, 77 x 52 cm (unframed) (ARR) Provenance: Private collection and thence by descent Note: the artist was known variously as Isabel Nicholas, Isabel Delmer and Isabel Lambert. This work relates to the 'Baboon and Child, c.1964’ now in the Tate Collection and reflects the unique language of figurative painting Rawsthorne developed alongside her friends Francis Bacon and Peter Rose Pulham in the Post-War period. Bacon and Rawsthorne would go on to share an exhibition at the Hanover Gallery in 1949 and their relationship was a major feature of the recent exhibition 'Francis Bacon: Human Presence' at the National Portrait Gallery. Rawsthorne had made sketches at London Zoo throughout her life and in 1947 was elected Zoological Society of London Fellow. Like Bacon she was drawn to the baboon as a reflection of man's animalistic nature, here the vigorous yet delicate brushwork evoking a tension between physicality and fragility. Rawsthorne returned to the theme in the 1960s as a result of her experiences working at the Zaria Art School in Nigeria. Alongside her painting, Rawsthorne is celebrated for her position in European cultural circles across the 20th century, being associated with and depicted by figures including Jacob Epstein, Alberto Giacometti and André Derain.
A rather special 1949 Land Rover Series I 80'' that looks as though it has lived a life and is all the better for it. An original November 1949 Series I from 24 years current ownershipMatching engine and chassis numbers. Original 1.6-litre engine and believed to be the original gearboxEx-MOD, the original registration number was BOA 629A and one of those plates accompany the carSome chassis restoration work, brakes all round, new rear springs, engine (bored and sleeved) and gearbox reconditioned during current ownership Some history. Driven by our vendor to our offices to photograph and he reported that it started on the button and that he enjoyed the driveLooking like a 75 year old Land Rover should, sporting the scars of a few farmyard skirmishes, with its fair share of 'laughter lines', but reliable and mechanically good. To restore or not to restore? That is the questionSpecification Make: LAND ROVER Model: SERIES 1 Year: 1949 Chassis Number: R06103288 Registration Number: FFZ 494 Transmission: Manual Engine Number: 06103411 Drive Side: Right-hand Drive Odometer Reading: 52624 Miles Make: RHDClick here for more details and images
Abby Cocovini Bubblegum and a bag of Salt & Vinegar, 2024 Oil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About One of Abby Cocovini's favourite past-times is people-watching and, lucky for her, she lives in London so is surrounded by a population of over 9 million. She's the person staring at you from across the café, train carriage or waiting room, wondering what your story is, what you're thinking, and why are you wearing those shoes and your hair that way? And your features, what is it about them that is unique to you? We all share the same two eyes, a nose and mouth yet even identical twins look different if you look at them closely enough. Whether in a portrait or a painting of people on the underground, Abby makes sure she's always looking, finding new ways to bring stories to life through her use of colour, composition and ways to use paint. Education Glasgow School of Art 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.
Angelina May Davis Untitled, 2025 Gouache and pencil crayon on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Angelina May Davis is a contemporary painter and member of Contemporary British Painting. Her paintings are fabrications, plundering imagery from childhood TV and art history. She is interested in what shapes us, using the transformative act of painting to reflect on history and culture as well as her own sense of belonging. She has been restoring the English Elm as depicted in remembered films, archival footage and English landscape painting as a metaphor for loss and longing, recalling a nostalgic and insincere past. Her paintings are claustrophobic worlds in which there is ambiguity, artifice, and the possibility of things just out of view. Education 2020-2022 Turps Correspondence Course 1996-1998 MA in Fine Art University of Central England 1985-1988 BA Fine Art Coventry Polytechnic Solo Exhibitions 2024 Model Village, United Reformed Church, Long Buckby 2022 PAL, Division of Labour, Salford, Manchester Coming up for Air, Oxmarket Gallery Chichester 1993 Living on the Ceiling, MAC, Birmingham 1992 Behind Closed Doors, City Gallery, Leicester Lanchester Gallery, Coventry Polytechnic Group Exhibitions 2024 Stop the Chaos, Turn the Page, Paradise Works, Manchester Librarian Services, Manchester Contemporary, Manchester Cassart Finalists Exhibition, Copeland Gallery, London Scrit, Terrace Gallery London Jackson's Shortlist Exhibition, Bankside, London Assembly, Contemporary British Painting, Rye 2023 Leaf and Tree, Division of Labour, Salford, Manchester Plein Air A site for resistance and remedial action, Pitt Studio, UOW 'X', Contemporary British Painting, Newcastle Contemporary, Newcastle Unnatural Women, Curated Rowena Easton, WIA Fair, Mall Galleries, London New Worlds with Daisy Collingridge, DOL and TJ Boulting Art Brussels 2022 Catalyst, Turps Banana Painters, Oriel Canfas, Cardiff Fare Share Fare, Whitworth Gallery Manchester P U L P, Pitt Studio, The Art House Worcester 2021 Bloomberg New Contemporaries, Firstsite Colchester Bloomberg New Contemporaries, South London Gallery Without Borders Touring Exhibition, Elysium Gallery, Swansea Ikon for Artists, Ikon Gallery Birmingham 2020 BEEP, Elysium Gallery, Swansea Hinterland 3, Birmingham Artspace, Medicine Gallery, Birmingham 2017 Elsewhere, Lanchester Gallery, Coventry University 2017 Hinterland 2, Rugby Gallery 2016 Elsewhere, Rugby School Bourne, Stryx Gallery, Birmingham 2015 Hinterland, Birmingham Art Space, Telsen Centre, Birmingham Coventry Drawing Prize, Rugby School Drawing Parallels, Eagle Works, Wolverhampton 1991 Secret Life of Objects, Ikon Gallery, Birmingham Awards Bloomberg New Contemporaries 2021 Outstanding Water Colour Award, Jackson's Art Prize, 2020 Gallery Representation Division of Labour, Manchester, UK Public Collections Government Art Collection, London and Manchester UK Manchester Art Gallery, Manchester, UK Isaac Newton Collection, Cambridge University. Statement about AOAP Submitted Artwork Tattered ribbons hang from a bright upright tree, a TV set is on in the corner, and fragments of landscape are contained, framed and slide out of view in what is probably an artist's studio. Painting allows me to think about ideas simultaneously and constructed landscapes provide the settings for me to ruminate about history, pop culture, and my own sense of belonging. 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.
Molly Burrows Rolling Hills, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Molly Burrows (b. Munich, 2002) is an artist and workshop facilitator based in South London. Her practice uses abstraction as a means of accessibility; by breaking down the human form into simplified shapes-panels of paint, clay, ink, or paper-she is able to tell stories through body language and share her techniques with others. Her work depicts individuals who are content amongst their natural environments, often blending into and becoming a part of their backgrounds. Her commitment to accessibility extends beyond her practice and workshops- she creates resources for exhibitions and galleries in order to make contemporary art spaces more welcoming. These booklets offer insight into artists' processes and practical advice for entering the art world. Education 2021-2024 BA Fine Art: Painting, Camberwell College of Arts, University of the Arts London 2020- 2021 Foundation Diploma in Art and Design, Trowbridge College Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST Gallery, The Levinsky and MIRROR Plymouth, Plymouth, UK Camberwell College of Arts Degree Show, London, UK 2023 Secret Postcard Auction 2023, Royal West Academy of England, Bristol, UK Drawing in Social Space, Drawing Room, London, UK Window Shopping, Satellite Store, London, UK That's All, AMP Gallery, London, Uk 2022 Unheard Voices, Spiral Galleries, London, UK Statement about AOAP Submitted Artwork A series of mountainous characters, colour studies for larger works. 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.
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