We found 75534 price guide item(s) matching your search
There are 75534 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
75534 item(s)/page
Lot 109
Annie Barnett (19th/20th Century) 'Untitled study of a young girl', oil on panel, unsigned, label to the reverse stated 'Painted by Annie Barnett, Macclesfield, 1903', in gilt frame, 19cm x 14cmNote: Annie Barnett was a student of Adolphe Valette, and was painted by him in 1917, this painting is now in the collection of the Manchester Art Gallery.Overall wear, losses and crazing to the frame. The painting itself has an unusual texture to the surface, but we cannot see any signs of restoration.
Lot 113
Pierre Adolphe Valette (1876-1942) 'Farm workers on a hillside' oil on canvas - board, signed lower left, 11.5cm x 16cmProvenance: With Christie's stencil stock number to the reverse. Previously lot 169 at Christie's South Kensington 19th September 1991 "Modern British and Continental Paintings, Watercolours, Drawings and Sculpture - Including a collection of works by Adolphe Valette."Minimal scuffs and minor losses to the frame. The painting is under glass and we have not removed it from the frame. Slight marks and very faint foxing to the mount. This does not seem to have affected the picture. From what we can see the painting looks ok.
Lot 276
Corden (William, 1795-1867). Portraits of Cornelius Birch Bagster (1815-1893) and his wife Susanna Maria née Aitken (1815-1873), 1860, a pair of oval head & shoulder portraits, the first of a bearded gentleman half-profile to right, wearing a black coat, signed and dated in red to left margin, oval aperture 49 x 49 cm, stretcher 64.7 x 54.5 cm, the second of a lady with dark ringlets, half-profile to right, wearing a black dress with white lace collar and a black lace stole on her head, oval aperture 58.5 x 49 cm, stretcher 61 x 51 cm, each relined, matching gilt oval mounts and frames (77.5 x 68 cm), together with:English School. Portrait of George Bagster (1739-1819), circa 1800, oil on canvas, half-length portrait of a gentleman wearing a wig and a navy blue coat over a striped waistcoat, seated in a carved wooden chair with red upholstery, before a desk covered in a green cloth bearing papers and an ink well with quills, some superficial marks, relined, 89.5 x 69.5 cm, gilt moulded frame (109.7 x 89 cm), with old manuscript label on verso 'The Rev: Canon & Mrs Jolly, The Vicarage, Kidderminster, Worcester' QTY: (3)NOTE:Cornelius Birch Bagster was the son of publisher Samuel Bagster (1772-1851). He married Susanna Maria Aitken on 22nd November 1843 on Prince Edward Island (now a Canadian province).George Bagster was the father of publisher Samuel Bagster (1772-1851).William Corden trained as a porcelain painter at the Derby Porcelain Works before turning to portrait painting, producing large-scale works in oils as well as miniature likenesses on porcelain, enamel and ivory. In 1829 Corden executed an oil portrait of Mr Batchelor, one of King George IV's pages, as well as a portrait of Admiral Sir Edmund Nagle for the King, and in the 1830's the artist moved to Windsor. In 1838 he painted a watercolour of Queen Victoria on the East Terrace of Windsor Castle, and the Queen subsequently employed Corden to produce oil copies of many portraits in the Royal Collection. In 1844 he was commissioned to paint '7 pictures of the Duchesses, Princes and Princesses of Saxe-Coburg'; for this undertaking he travelled to Coburg with his son, William Corden the Younger (1819-1900), and was paid the then princely sum of £112 5s.
Lot 346
Attributed to William Frederick Settle (1821-1897). Ships in low water, chalk on paper, unsigned, 22 x 32cm (8.75 x 12.5ins), mount aperture, framed and glazed, together with a marine oil painting attributed to William Adolphus Knell (1801-1875), Shipping at Dawn, oil on canvas, unsigned, relined, 28 x 42cm (11 x 16 1/4 ins), fine quality elaborate rococo-style gilt gesso frameQTY: (2)NOTE:Provenance: Private collection, Monmouthshire, England, thence by descent.William Settle (1821-1897) was born in Hull, a nephew and pupil of John Ward. He painted for the Royal Yorkshire Yacht Club and executed many views on the Humber and Solent. Settle moved to London in 1863 and was commissioned by Queen Victoria to draw nautical ephemera.
Lot 440
A collection of black and white photographs, each depicting various subjects to include motorcycles at the Isle of Man TT, scenes around Derbyshire and Nottinghamshire, rural scenes, cottages, Peak District, etc., some pieces awarded prizes from The Mansfield & District Photographic Society, oil painting of a boat initialled NC, prints, etc.
Lot 354
Pictures, to include oil painting depicting a young woman in a green dress, 24 x 16cm, framed, contemporary print depicting a cafe scene, 42 x 31cm, framed and glazed, nineteenth-century watercolour (possible a hand-coloured print) depicting British soldiers in India, 32 x 49cm, framed, with other miscellaneous pictures. (9)
Lot 218
Charles Elder (1821-1851) Portrait of Donald Nicoll esq. Sheriff of London, oil on canvas, framed, 90cm x 64.5cm; together with Sydney Marks, portrait of Donald Nicoll, engraving, framed and glazed, 58cm x 38cm (2)Oil painting with bubbling and roughness to the canvas, frame with chips; engraving discoloured particularly to the mount, with chips to the frame
Lot 395
A 19th century English school head and shoulder portrait of a young girl with long hair reclining in bed, oil on board, unsigned, 46cm x 29cm (shaped)Some bubbling to the surface, particularly in the black shades above the girl's head; the painting overall possibly just a sketch; the painting set in a gilt frame in need of replacement or restoration.
Lot 220
Late 18th/19th C. European School Monumental Painting of Infant St. John the Baptist with a Lamb in a landscape. Oil on canvas. Appears to be unsigned. After Bartolome Esteban Murillo (1617 - 1682). Provenance: Important Private North Carolina collection. Sight Size: 65 x 43 in. Overall Framed Size: 69 x 47 in.
Lot 261
David K. Stone (American, 1922 - 2001) "USS Reuben James Sunk" Original Oil painting on Masonite. Signed lower right. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Republic of the Marshall Islands 30c USS Reuben James stamp issued October 31, 1991. On October 23, 1941, the USS Reuben James departed from Newfoundland to join five other American destroyers serving as convoy escorts for British merchant vessels. In the early morning hours of October 31, a surfaced German U-boat spotted the convoy and transmitted the news of its find to other subs in the area. Ordered to locate the source of the transmissions, the Reuben James increased speed and swerved to port -- just as the U-562 fired two torpedoes. One sped harmlessly aside; the other caught the venerable destroyer below the bridge, splitting the ship in half and igniting the forward magazine. The vessel sank within five minutes, and one hundred fifteen men -- two-thirds of its crew -- perished. The USS Reuben James thus became the first American warship lost in the Battle of the Atlantic. Image Size: 27 x 19.5 in. Overall Size: 27 x 24 in. Unframed. (B13152 / B13153)
Lot 276
J. Craig Thorpe (American, B. 1948) "Illinois Locomotive" Signed lower left. Original oil painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Legendary Locomotives of the 50 States Illinois Commemorative Cover postmarked September 11, 1995. The Chicago & Alton Railway -- known for building and operating the first Pullman sleeping car -- was also noted for its fabulous "Red Train." The Alton Limited, running between Chicago and St. Louis, was a daylight train distinguished by its luxurious accommodations as well as its distinctive maroon and red exterior. Throughout the six-hour journey between St. Louis and Chicago, passengers on the Red Train had the use of handsomely appointed smoking cars, dining cars and even observation-parlor cars, where afternoon tea was served by Japanese maidens dressed in traditional attire. Introduced in 1899, the Alton Limited was re-equipped in 1905 and again nearly 20 years later. On September 11, 1924, the newly-refurbished Red Train was put on display in the Windy City. The public was encouraged to tour the luxurious train, including the impressive observation car appropriately dubbed "Chicago." Such an exhibition was intended to drum up business on a route where the competition for riders had long been fierce. The Chicago & Eastern Illinois, the Wabash and the Illinois Central all vied with the Alton for a share of the Chicago-to-St. Louis business. Displayed here is engine No. 659, a 4-6-2 Pacific type built in 1913 by the American Locomotive Company. It has been handsomely portrayed pulling the famed red-colored cars through a stretch of Illinois farmland. Image Size: 14 x 12 in. Overall Size: 18 x 15 in. Unframed. (B15164)
Lot 277
J. Craig Thorpe (American, B. 1948) "Italian 691 Passenger" Signed lower right. Original Oil on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands First Day Cover for the 55c Italian 4-6-2 stamp issued August 23, 1996. From 1928 to 1933, the Italian State Railway or Ferrovie dello Stato (FS) constructed the Group 691s, the largest Italian passenger locomotives ever built Group 691s were also among the last Italian steam engines constructed, since none were built for domestic use after the 1930s. Group 691 boilers were interchangeable with those of Group 746 freight engines and the sandbox was located around the steam dome -- a common feature of Italian locomotives. Though powerful, a 19 ton axle-load limited the 691's range to a few main lines including Venice to Rome and Venice to Udine. Although Italy was among the first countries to use diesel and electric locomotives due in part to abundant hydro power and Italy's proximity to oil supplies -- steam locomotives continued to play an important role in that country well into the 1970s. Only 33 Group 691s were built and their longevity is a testimony to the simple and efficient design. Image Size: 10 x 13.25 in. Overall Size: 13.5 x 18 in. Unframed. (B15345)
Lot 278
J. Craig Thorpe (American, B. 1948) "New Jersey Locomotive" Signed lower left. Original Oil painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original which appeared on the Fleetwood Legendary Locomotives of the 50 States New Jersey Commemorative Cover postmarked July 14, 1995. In 1820, physician Jonathan Pitney envisioned New Jersey's Atlantic City, and the eight-mile-long Absecon Island on which it is located, as an ideal spot for a summer resort. He later headed a group that persuaded the Camden & Atlantic Railroad to make the city its eastern terminus -- a move that eventually led to the realization of Pitney's dream. In 1888, many visitors made the day trips from Philadelphia to Atlantic City by train on one of the competing lines. This entailed a short ferry ride and a 55-1/2-mile rail trip that could be made by the fastest trains of the day in 85 minutes. By 1896, the travel time had been shaved to 70 minutes. However, in April of that year, the Baldwin Locomotive Works built engines 1026 and 1027 -- two "camel back" locomotives with the cab astride the boiler that were guaranteed to slash the running time by another 10 to 20 minutes. Convinced that these engines would give it the lion's share of passenger business, the Atlantic City Railroad assigned them to its Boardwalk Flyer. In 1897, from July to August, No. 1027's performance was carefully documented. And on July 14, the 4-4-2 attained an average speed of 71.6 miles per hour -- setting the railroad world abuzz and making this the fastest scheduled train of its time. The Pennsylvania Railroad -- successor to Camden & Atlantic and by now the Atlantic City Railroad's keen competitor -- was so inspired by that remarkable performance it built three engines that were similar in size and design to the 1027. Image Size: 14 x 12 in. Overall Size: 17 x 14.25 in. Unframed. (B14785)
Lot 279
J. Craig Thorpe (American, B. 1948) "Nebraska Locomotive" Signed lower left. Original Oil painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood Legendary Locomotives of the 50 States Nebraska Commemorative Cover postmarked May 24, 1995. In the years between 1881 and 1887, the railroad industry saw its greatest period of expansion, as more than 56,000 miles of track were added to America's rail network. The Chicago, Burlington & Quincy (CB&Q) was particularly suited for rapid growth, for in 1881 it was enjoying the highest revenues in its history. By the summer of '81, the Burlington's directors had authorized construction of an extension to Denver, despite competitive threats by financier Jay Gould, controller of the Union Pacific, Missouri Pacific and Wabash railroads. Rapidly moving through Nebraska, CB&Q construction crews were putting down more than a mile of track a day by the middle of November. By the end of the year, they had reached the Colorado border, and at that point the decision was made to also start laying track eastward from the "Mile High City." On May 24, 1882, the two crews met about 11 miles east of Denver at Carr City, where the final spike was driven. When the extension opened on May 29, three months ahead of schedule, the Burlington became the first railroad to offer uninterrupted service between Chicago and Denver. One of the locomotives that steamed to Denver through the "Cornhusker State" is Burlington's engine No. 125, a Class H-1 type shown here. Built by the CB&Q's Aurora Shops in 1888, this 2-6-0 was successfully used by the Burlington for passenger runs, even though this type of locomotive was typically a freight hauler. Image Size: 14 x 12 in. Overall Size: 18 x 15 in. Unframed. (B15026)
Lot 282
Jack Fellows (American, B. 1941) "1939 Heinkel He 178" Signed lower right. Original Oil painting on Masonite painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover of the Heinkel He 178 from the 100 Year of Powered Flight Collection. German aircraft designer Ernst Heinkel wished to get into the engine business, and knowing that piston-engine manufacturing was out of the question because of the expense and time involved, opted for the efforts of young Dr. Hans Joachim Pabst von Ohain in March 1936. Ohain was developing ideas on jet propulsion, and by September 1937, had a jet engine running, using hydrogen as fuel. The He 178 was a tiny aircraft, with a wingspan of just over 23 feet, and weighing less than 5,000 pounds. It was purely for research, although Heinkel already had fighter followon projects in mind. On August 27, 1939, Erich Warsitz became the world's first jet pilot by lifting the He 178 off the field at Marienehe, making a quick circuit, with landing gear extended, and then landing. Image Size: 16.5 x 14 in. Overall Size: 18 x 15.5 in. Unframed. (B17196)
Lot 286
Mel Crawford (Canadian, B. 1925) "Congressman Getting Mail" Original Oil painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day Cover for the U.S. 15c Letters Shape Opinions stamp issued February 25, 1980. The Congressman sits back in his chair, smiling as his secretary stacks more boxes of letters near his desk. From the general tone of the letters he has read so far, his stand was the right one to take. And, although many of his fellow Congressmen oppose the issue, he now has the full support of his constituency and can point to their letters as further proof that the reform bill is indeed a good one. He has felt strongly about this particular bill from the very beginning and, although he knew his stand could have been unwise politically, he courageously took his case to the people. In a press conference the week before, he had explained the new reform bill as best he could and asked for feedback from his home state. He also had expressed his own strong views on the subject, but stated he would change his vote if the people so commanded. Several days later, the letters came pouring in. The voters did not let him down. Some suggested changes, a few that might well be incorporated into the final bill, and some might be offered as compromises if objections got too strong. But he is more than pleased to see that most of the letters agreed with his stand and respected him for having taken it. Some letter writers even sent facts and figures that will certainly be useful in making his case even stronger, should the need arise. As he sits back in his chair again, he is gratified to know that the people are still behind him. Image Size: 14.25 x 11.75 in. Overall Size: 14.5 x 12 in. Unframed. (B06032)
Lot 303
J. Craig Thorpe (American, B. 1948) "British LNER "Mallard" 4-6-2" Signed lower right. Original Oil on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands First Day Cover for the 55c British Liner "Mallard" 4-6-2 stamp issued August 23, 1996. Only 34 British A4s were built, from 1935-1938, by Doncaster Works for the London and North Eastern Railway. One of these, the Mallard, achieved the distinction of attaining the fastest authenticated speed in the world by a steam locomotive. In a special test run, Number 4468 earned ever-lasting fame on July 3,1938 when it reached a speed of 126 mph. Designed by Sir Nigel Gresley, the Mallard's streamlined shell gave it a unique appearance. Streamlining a new concept in locomotive design and was construction after independent wind-tunnel tests indicated that a savings of 97 horsepower at 80 mph and 138 horsepower at 90 mph could be obtained. The front of the Mallard was designed in the shape of a horizontal wedge, forcing air up and over the engine rather than out the sides like a conventional locomotive. The Mallard has been preserved at the National Railway Museum in York, England. Image Size: 10 x 13.25 in. Overall Size: 13.5 x 18 in. Unframed. (B15328)
Lot 304
J. Craig Thorpe (American, B. 1948) "Spanish Renfe 2-4-2 Express Messenger" Signed lower left. Original Oil on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands First Day Cover for the 55c Spanish Renfe 4-8-4 stamp issued August 23, 1996. Only 10 Class 242s were built for Spain's Rede Nacional de los Ferrocarriles Espanoles (RENFE). Constructed by La Maquinista Terrestre y Maritima of Barcelona in 1955 to 1956, they were finished in resplendent green -- the only RENFE locomotives to wear this color. Class 242s were used on express passenger trains between Medina and Avila and on non-electrified portions of the run from Madrid to Irun at the French border. They burned oil portions rather than coal and were wide-gauge engines -- the Spanish gauge being 5 feet 6 in instead of the more customary 4 feet 8 1/2 in. Rolling on 75-inch spoked driving wheels, 242s exceeded 200 tons and were intended for climbing hills. They could run at speeds of 84 mph while carrying loads of 480 tons. Class 242s were among the last steam locomotives built in Western Europe and were the last European express locomotive class built. Image Size: 10 x 13.25 in. Overall Size: 13.75 x 18 in. Unframed. (B15329)
Lot 305
J. Craig Thorpe (American, B. 1948) "German DB Class 01" Signed lower left. Original Oil on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands First Day Cover for the 55c stamp issued August 23, 1996. The German DB Class 01 steam passenger express locomotive was constructed by AEG and Borsig of Berlin between 1925 and 1937. Designed by Richard Wagner, 01s emphasized ease of maintenance, durability and a minimal level of stress to both locomotive and track. The Class 01s had a single smokestack, since detachable smokestack extensions and low power requirements dispensed with the need for double smokestacks. Round-topped copper fireboxes were standard and the engines had bar frames rather than plate. Many 01s were built in the 1950s with new and larger welded boilers. In the 1950s, Class 01s were commonly running 150,000 miles annually. Many converted the 1970s. Class 01s were Wagner's best-known design in the interwar period and were considered the epitome of the successful passenger locomotive. Image Size: 10 x 13.25 in. Overall Size: 13.5 x 18 in. Unframed. (B15330)
Lot 306
J. Craig Thorpe (American, B. 1948) "British "Evening Star"" Signed lower left. Original Oil on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands First Day Cover for the 55c British Railways 2-10-0 stamp issued August 23, 1996. In 1948 Great Britain's four large railways were nationalized to form a single, government-owned network called British Railways. BR then implemented a series of standardized designs for steam locomotives. The heavy freight design was the Class 9. Two hundred and fifty-one were built from 1954 to 1960. Primarily intended to transport heavy goods, Class 9s were sometimes used for fast passenger transportation at speeds up to 90 mph. Probably the most famous of the Class 9s, the Evening Star was the last steam locomotive built in Britain. The Evening Star, recently restored to operating condition to pull excursion trains, is now the pride of the National Railway Museum in York, England. Although rugged and versatile, the Evening Star appropriately conveyed the impending twilight for the era of steam locomotives. Image Size: 10 x 13.25 in. Overall Size: 13.5 x 17.75 in. Unframed. (B15420)
Lot 349
George Waller Parker (NY, MA, 1888 - 1957) Oil on canvas painting of a wooded landscape, possibly southeast Asia. Parker studied art at Brown University, at the Art Student League in New York City, and at the Grande Chaumiere and Academie Colarossi in Paris, France. He traveled extensively throughout Indonesia, including Bali, to Japan, Canada, and Mexico. Parker was a member of the Salmagundi Club, Portland Society of Artists, Allied Artists of America, Artists Fellowship, Audubon Artists, Societe Coloniale des Artistes Francaises, Fine Arts Federation of New York, American Artists Professional League, and Grand Central Art Galleries. Size: 24 x 29 in. Unframed.
Lot 5
Marcel Dyf (France, 1899 - 1985) "Roses et Godetias" 1975 Still life painting. Oil on Canvas. Signed lower right. With original Frost and Reed label verso. This piece is registered in the Marcel Dyf's archives as stated below, has been confirmed by Claudine Dyf.("Roses et godetias" HST SBD 55X46 Cm. I975 5Frost and Reed Gallery, Londres, No. ID 721) Sight Size: 21 x 17.5 in. Overall Framed Size: 29 x 25.5 in.
Lot 53
John Maynor (1948 - 2016) "St Lucie River, FL Highwayman" Signed lower right. Oil on upson board. Inscribed verso on board. John Maynor must be considered one of the giants of the Highwaymen. This painting exhibits his signature reflection of trees, birds, and dramatic sky setting over the marsh. Mr. Maynor adopted much of A. E. Backus' style, which took more time but lent a sophistication and unique appeal. He used particularly heavy palette knife strokes to lend depth to oils in his own distinctive style. Sight Size: 24 x 30 in. Overall Framed Size: 29 x 34.5 in.
Lot 437
Impressive Portrait Painting Attributed to Captain Edmund Butterworth 3rd Royal Lancashire Militia Painted by E Greenwood (1808-74) in 1851, the oil on canvas portrait shows Butterworth in full military dress uniform with high collar, single winged epaulette, white cross belt with regimental cross belt plate to the centre and regimental pattern coatee buttons. Painting shows the subject as a young man. Housed in a gilt decorative frame. No visible signature, but not been inspected outside of the frame. Details of the sitter and the artist are inked to the reverse of the canvas. The canvas measures 64 x 76cms, frame 84 x 98cms. Painting shows evidence of conservation and has a receipt to confirm this. We are unsure of the age of this painting, we advise all interested parties to arrange personal viewing to satisfy themselves as to the age and condition. Due to size the item is sold as seen. We are not able to offer in house post and packing on this lot, specialist shipping required or personal collection. At the time of going to press, we have only been able to find one record of Edmund Butterworth’s service and that is his appointment as a Captain in the 3rd Royal Lancashire Militia. It would appear that he did not serve in any other regiments and was not involved in any overseas service. More detailed research required. See the proceeding lot for a portrait of his brother Lieutenant Henry Butterworth 32nd Regiment of Foot.
Lot 438
Impressive Portrait Painting of Lieutenant Henry Butterworh 32nd (Cornwall Light Infantry) Regiment of Foot Grenadier Company, Veteran of the Peninsular War and the Battle of Waterloo Where He Sustained Three Wounds But Refused to Leave the Battlefield, a fine quality oil on canvas portrait painting of Henry Butterworth in full scarlet dress coatee uniform with white high collar, grenadier company winged epaulettes, cross belt plate with Grenadier Company regimental shoulder belt plate and proudly wearing his medals for Waterloo and Military General Service medal with six bars. Painting shows him as an elderly gentleman with well detailed features to the face. Does not appear to be signed, similar work can be found of this officer believed to have been painted by Edwin Greenwood (1808-74), this painting possibly copied from this work. Housed in a gilt work frame. Painting shows evidence of conservation and has a receipt to confirm this. Canvas measures 64 x 76cms, frame 84 1/2 x 96cms. We are unsure of the age of this painting, we advise all interested parties to arrange personal viewing to satisfy themselves as to the age and condition. Due to size the item is sold as seen. We are not able to offer in house post and packing on this lot. Specialist shipping or collection required. An obituary for Lieutenant Henry Butterworth gives the following information, “Henry Butterworth Esq, of Heybrook, near Rochdale, a magistrate of the county palastine of Lancaster. In the year 1805 he obtained a commission in the 1st Royal Regiment of Lancashire Militia, from which he volunteered for the regular army, and on the 25th of August 1807, was appointed to the 32nd or Cornwall Regiment of Foot, taking with him 32 men (the same number as the regiment he joined) from the 1st Royal Lancashire. Shortly after joining the 32nd Regiment he was ordered to the Peninsula, and was in the battles of Roleia, Vimiera, Talavera, Salamanca (where a musket ball passed through his body), Pyrenees, Nevill, Nive and others; also at the lines of Torres Vedras, and in several minor affairs, for which he received the Peninsula medal with eight bars. Served also in the campaign of 1815, and was at the battle of Waterloo, for which he also received a medal, and, although there wounded three times, did not quit the field. For 12 years he was a Lieutenant in the 32nd Regiment, nine years in actual service, and during that period he was wounded seven times, three being severe body wounds.” The obituary also sates that 14 veterans of the Waterloo and Peninsula campaign attended his funeral wearing their medals. Interesting to note that some old records state entitlement to eight clasps for the Military General Service medal, but the roll only states the six clasps he is wearing in this painting. The Book “Wellington’s Men Remembered” gives the following details about his severe wound during the battle of Salamanca, “He was well liked by his men and he when he was severely wounded at Salamanca, one of his men, Private Ashbridge from Smallbridge carried him to find medical assistance”. See previous lot for portrait of his brother in the 3rd Royal Lancashire Militia
Lot 698
Oil Painting of Royal Air Force Officer in Full Parade Dress, fine oil on canvas painting of a RAF officer wearing his full dress uniform with pilots wing above medals for WW2 service. Housed in a period frame. Reverse of the canvas inked “Air Cdre C H Simpson painted as a Group Captain before award of C.B.E. In old full RAF Dress as A.A to Sweden 1946-48”. 65 x 54cms.
Loading...-
75534 item(s)/page