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Los 118
Cell Cross. Spain, 17th century.Oil on panel. With back pedestal.Measurements: 88 x 43 x 14 cm. (with pedestal).This representation of the Crucified Christ is a cell cross of excellent quality, of the type that was placed inside the monks' cells. As is usual for this type and time, the cross is of rectilinear sections, unadorned and worked in an illusionist manner, with a typically Baroque painting of tenebrist light and pathetic expression. Christ appears in the centre, with an expressively deformed anatomy that denotes the survival of Mannerism even in the 17th century. The lighting is halfway between Baroque tenebrism and the artificial light of Mannerism, and in any case creates an illusionist play that is very much in keeping with Baroque sensibility. At his feet we see a representation of Adam's skull, and at his sides, near his hands, we see cherubs emerging from the sky among the clouds. Cell crosses are a very common type of devotional work in Spanish and Latin American convents and monasteries in the 17th and 18th centuries. However, it is not common for these crosses to be of such a superior quality in the way the painting is handled, nor in such a large size.The crucifixion of Christ is the central theme of Christian and especially Catholic iconography. Christ was subjected to the suffering that befell slaves who were fugitives or in rebellion, a condemnation that was essentially Roman but of Persian origin. This episode in the life of Christ is the most strictly proven historical fact and is also the main argument for the redemption of Christian doctrine: the blood of God incarnate as man is shed for the redemption of all sins. The representation of the crucifixion has undergone an evolution parallel to the liturgical and theological variations of Catholic doctrine in which we would like to point out three milestones: at first early Christian art omitted the representation of the human figure of Christ and the crucifixion was represented by means of the "Agnus Dei", the mystical lamb carrying the cross of martyrdom. Until the 11th century Christ was represented crucified but alive and triumphant, with his eyes open, in accordance with the Byzantine rite, which did not consider the possibility of the existence of Christ's corpse. Later, under the theological consideration that the death of the Saviour is not due to an organic process but to an act of divine will, Christ is represented, on many occasions, already dead with his eyes closed and his head fallen on his right shoulder, showing the sufferings of the passion, provoking commiseration, as is referred to in Psalm 22 when he says: "My God, my God, why have you forsaken me? (...) a mob of the wicked is near me: they have pierced my hands and my feet (...) they have divided my garments and cast lots for my tunic".
Los 17
Dutch school; 17th century."Portrait of a Lady in an Interior.Oil on panel.It has repainting, restorations and xylophagous remains.It has a board attached to the original support as a reinforcement.Measurements: 24.5 x 19.3 cm; 38.2 x 32.2 cm.It was undoubtedly in the painting of the Dutch school that the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light. As a result of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone in accordance with the new society. Portraits, landscapes and animals, still lifes and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals from almost all social classes and classes of society.
Los 19
Valencian school, 17th century."Tota Pulchra or Immaculate Conception".Oil on glass.Measurements: 44 x 36 cm., 59 x 51 cm. (frame)This is an interesting painting with one of the most mysterious Marian iconographic motifs in Christian art. The so-called "Tota Pulchra" is an iconographic type that is intimately related to the mystery and dogma of the Immaculate Conception. Although it is not known when this representation first appeared in art (possibly around the 15th century), during the 16th century it merged with the types of the Amicta Sole and the Ipsa contedet caput tum.The Virgin Mary is thus depicted dressed in the traditional colours of white and blue with her hands clasped together in a prayerful pose. This rigid way of depicting her (called the Column Virgin) is very common in Valencia, as it derives from the pictorial compositions of Juan de Joanes, who was very popular in Renaissance and Baroque Valencia. Its mantle and outline radiate light, representing the woman clothed in the sun who appears in the Apocalypse of Saint John (the Amicta Sole).Her position on a crescent moon that mercilessly tramples on an infernal being directly links the painting to the traditional Immaculate Conception.All the elements surrounding the Virgin, such as the fountains, the plants and the architectural elements, correspond to the titles of honour glossed in the litanies. The colours used by the painter also respond to a pre-established symbolism: the tunic is in hyacinth, the colour of purity, and the mantle is an intense sky blue, the colour of eternity.Finally, it is worth noting the importance of the dogma of the Immaculate Conception in the territories of the Hispanic Monarchy, a cult so strong that it was exported to the conquests of Latin America and the rest of Catholic Christendom.
Los 52
Spanish school; early 17th century."Crucifixion".Oil on canvas. Re-coloured.It presents damages in the frame.Measurements: 49 x 36,5 cm; 63 x 51 cm (frame).In this representation of the expiring Christ that shows us a torso resolved through a naturalistic language, the cloth of purity and the extremities turned following classical models. Nails and thorns make the blood gush out, the intense red of which stands out against the sallow tone of the flesh tones, in the case of the feet. The tenebrist lighting and chromatic transitions model the body, giving the illusion of perfect volumetry, which testifies to an in-depth anatomical study. The composition, the bold iridescence of light and the rapid brushstrokes are very close in composition and language to Murillo's Christ Crucified in the Museo del Prado. Specialists have pointed to the influence of the Christ that Van Dyck painted for the church of Dendermonde. Dated around 1667 and possibly purchased by the wife of Philip V, Isabella of Farnese, it entered her collection in 1746 and was documented three years later in the Palace of Aranjuez, from where it was transferred to the Prado in 1818. Here, too, the cross is a vertical part of the composition, and the body acquires sculptural volume thanks to the masterly handling of the light. The landscape of Golgotha is reduced to an atmospheric impression, establishing a chiaroscuro dialogue with the suffering flesh tones. Here too, the skull and some of the instruments of the Passion are depicted at the foot of the cross. The stylistic and formal correspondences between these two paintings and others from Murillo's mature period lead specialists to believe that they share the same authorship.Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court.
Los 54
French school, ca. 1700."Male portrait.Oil on canvas. Re-coloured.Size: 76 x 59 cm; 83 x 68 cm (frame).In this canvas we see a gentleman elegantly dressed in the fashion of the time, portrayed half-length in the foreground, on a neutral and dark background from which the figure emerges with illusionism, illuminated directly by a homogeneous light, which leaves behind the excessive and chiaroscuro contrasts of lights and shadows of the previous century. He wears a powdered wig. As with the "couturiers" or couturiers, hairdressers became known by name, and by the 18th century they had become a recognised profession. Wigs were made from human hair, goat's hair, horsehair or vegetable fibres, and were worn by men and women of all classes. His torso is covered by armour, as well as by a cloak of wide, chiaroscuro folds of Baroque heritage, in this case in red.
Los 80
Circle of CARLO MARATTA (Camerano, 1625 - Rome, 1713)."Nativity.Oil on canvas.Re-coloured.Measurements: 66 x 90 cm; 85,5 x 109 cm (frame).Due to its stylistic characteristics, this work is very close to the Marian paintings of Carlo Maratta: the intense contrast between the background and the flesh tones, from which an inner light seems to emanate, is typical of this painter. Likewise, Mary's humble gesture, with her head lowered, gazing at the newborn child, is typical of Moratta's young virgins. The seraphim share this mystical radiance in their plump countenances. Also known as Carlo Moratti, Carlo Maratta was born in Camerano, then part of the Papal States of Rome, where he travelled in 1636, apparently with Taddeo Barberini's secretary, and became an apprentice in Andrea Sacchi's workshop. At this time his style was close to Sacchi's classicism, more restrained and harmonious than the baroque style of Cortona and influenced by Carracci, Guercino, Guido Reni, etc. He carried out numerous commissions for Pope Alexander VII (reign 1655-1667) and, from around 1660, his "portfolio of clients" spread throughout Europe and belonging to the upper classes, which led to the establishment of the main workshop in Rome after Bernini's death in 1680, at which point he became the most important artist in the city.In 1664 he became director of the Accademia di San Luca in Rome, further promoting the study of classical antiquity. He produced works that are preserved in the Palazzo Altieri, Palazzo Pitti in Florence, Santa Maria in Vallicella, the Cybo Chapel of Santa Maria del Popolo, etc. It should also be noted that, in addition to his frequent religious themes, he was highly appreciated as a portraitist, and also for his works on mythological subjects. From the beginning of the 18th century, due to the economic situation, he devoted himself above all to the "pictorial restoration" of works by Raphael Sanzio, Carracci, etc. Works by the master are kept in important private collections all over the world, as well as in institutions such as the Prado Museum in Madrid, the National Gallery in London, the Hermitage in St. Petersburg, the Thyssen-Bornemisza Museum in Madrid, the Getty Museum, the Royal Museums of Fine Arts in Belgium, etc.
Los 83
Italian school; 16th century."The Calvary".Polychrome stucco.Measurements: 75,5 x 56 cm.Italian relief from the 16th century made in polychrome stucco. The relief is on a rectangular base where we can appreciate the technique of the half relief that represents the image of the Crucified Christ as the main character, accompanied by the good and the bad thief. The scene is completed by the presence of a multitude of figures in the lower area. However, the main focus is on the presentation of the Crucifixion, as the artist gives it a greater forcefulness in the dimensions of the figures, as well as placing it in the central area of the scene. The piece faithfully follows the biblical story that alludes to the moment when Christ is Crucified together with Dimas and Gestas, the good thief and the bad thief. This scene is narrated in the Gospel of Luke (Lk. 23, 32-33). "And they led two other thieves to be put to death with him. When they came to the place called Calvary, there they crucified him and the malefactors, one on the right and the other on the left". The scene stands out for its expressiveness, not only because of the chosen theme, but also because of the polychrome chosen by the artist, with strong contrasts. The work, which stands out for its expressiveness, differs slightly from the traditional way of representing Calvary based on Byzantine Deesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred as a narrative scene, and the figure of John the Baptist was replaced by that of John the Evangelist. An image whose conception and form are the result of the expression of the people and their deepest feelings. With the economy of the state in ruins, the nobility in decline and the clergy heavily taxed, it was the monasteries, parishes and confraternities of clerics and laymen who were the driving force behind its development, and the works were sometimes financed by popular subscription. Painting was thus obliged to express the prevailing ideals in these environments, which were none other than religious ones, at a time when Counter-Reformation doctrine demanded a realistic language from art so that the faithful could understand and identify with what was depicted, and an expression endowed with an intense emotional content to increase the fervour and devotion of the people. Religious themes were therefore the preferred subject matter of Spanish sculpture of this period, which in the early decades of the century was based on a priority interest in capturing the natural world, gradually intensifying over the course of the century in the depiction of expressive values, which it achieved through movement and the variety of gestures, the use of light resources and the representation of moods and feelings.
Los 95
DOMENIKO THEOTOKOPOULOS "El Greco" School (Candia, Crete, 1541 - Toledo, 1614); c.1600."Franciscan Saint".Oil on canvas.It presents pictorial losses, jumps in the painting and repainting.Measurements: 151 x 112 cm; 166 x 128 cm.Saint Francis of Assisi (Assisi, 1181/1182 - 1226) was an Italian saint and deacon, founder of the Franciscan Order, of the Second or Poor Clare Sisters and of the third secular order, and was canonised in 1228 by Pope Gregory IX. Although his most common iconography is that of the Stigmata, an event which occurred in 1126 on Mount Alvernia through the apparition of Christ, this is not the only theme of his life depicted, as it is common to show him with a skull, animals, etc. and always in the habit of his order, either brown or grey. In this particular case the figure of the saint is in the centre of the composition, with his hands devoutly crossed on his chest and looking towards the cross on the right, in an attitude of prayer. The scene is completed by the presence of the dove, which is placed next to the face of Saint Francis, symbolising the Holy Spirit.This work shows the characteristic style and conception of the Toledo school, directly influenced by the mark left in the city of the three cultures by the painter Domenikos Theotokopoulos, better known as "El Greco". In this work we can observe several of the identifying aspects of El Greco's style, those which gave his work a totally personal character. At first glance, the treatment of colour stands out above all, reflecting the intense tones of other compositions by the Cretan. El Greco acquired his personal palette during his stay in Venice between 1567 and 1570. From then on he acquired a lively, prominent colour and a loose, agile brushstroke. It is an artificial colour, totally anti-classical and mannerist, purely conceptual. His tones are intensely lightened by the light, especially his metallic greys, which are very elaborate and changeable, as we see here in the background and on the face of the figure. El Greco's style was fully Mannerist, hence the lengthening of the canon, which reaches twelve heads, and the twisting of the anatomies, which are very expressive, even bordering on deformity, albeit based on his knowledge of classical statuary. In this canvas we see a monumental Saint Francis on a nuanced background, whose balanced proportions indicate that it is a later work by the artist, who may not have had first-hand knowledge of the painter, but that the prestige and influence that the Cretan had on 18th-century Spanish painting invited him to follow his guidelines. It also shows a slightly contorted pose (an element that characterises the master's paintings, in which he rejected the classical order and rigorous formal correctness of the Renaissance in favour of a more conceptual and expressive art based on complex forms).
Los 490
Kipling (Rudyard)'The Light that Failed' as published in Lippincott's Monthly Magazine January 1891. With portrait frontispiece. Half calf and marbled boards by Riviere (235 x 155mm) plus Hemans (Felicia) 'The Forest Sanctuary and Other Poems'. John Murray, London 1825. Half calf (boards loose) plus Clough (Arthur H) 'Poems'. No title page. See note on end paper. Small format. Half calf, marbled boards (170 x 110mm) (3) Provenance: From the Estate of Patrick Dockar-Drysdale
Los 14
An Edwardian mahogany and satinwood banded octagonal book stand, with spindle turned divisions, on carved supports, 50.5cm wide Provenance: From the Estate of Patrick Dockar-Drysdale Condition report: Condition: some of the spindles/supports are loose, surface scratches to top. could do with a clean. 'light' ring mark to top. would describe this item as “delicate“ furniture in its design, rather than“club"
Los 160
MINIATURE BOOKS - DAVID BRYCEA fine and extensive collection of miniature books, mostly published by David Bryce & Son of Glasgow, including: --[Qur'an] The 'Mite Koran', photolithographic reduction, printed in Arabic, with facsimile attestation at end, patterned endpapers, red morocco gilt, 27 x 19 mm. [Bondy p.111-2], [c.1900]--'Smallest English Classic in the World': Thomas Gray, An Elegy Written in a Country Churchyard, green roan, 17 x 13mm. [Bondy p.113-4], 1911--The Smallest English Dictionary in the World, later purple goatskin with multiple gilt fleur-de-lys all over design, 29 x 23mm. [Bondy p.107, 'this miracle of of miniature book production... easily readable']--[Qur'an], facsimile of an illuminated manuscript, in Maghribi script, decorative gilt limp leather, 23 x 18mm., [Cairo, c.1930], the last 2 contained in a model wooden school desk--[Chained Bibles] 'Smallest Bible in the World', The Holy Bible, Containing the Old and New Testaments, 2 copies, illustrations, dark and light brown blind-stamped roan respectively, with magnifier in pocket inside front cover, 42 x 30mm., both chained to a model wooden lectern (the first with with printed label on lectern, tear to joint, the second with defective title-page, covers loose and lacking backstrip, chain detached from lectern), [Bondy p.109], [1911]; with another copy of the very small New Testament (see no. 10 below), chained to a small silver-plated model lectern--'The Smallest Bible in the World': The Holy Bible, Containing the Old and New Testaments, illustrations, red gilt-tooled roan, with magnifier in pocket at front (this cover detached), 42 x 30mm., 1896--'Burns Family Bible': The Holy Bible, Containing the Old and New Testaments, illustrations, blind-stamped limp calf and original tartan-covered hinged wooden case, with printed label 'Smallest Bible in the World with Burns' Family Register in the Poet's Handwriting', 45 x 30mm. [Bondy p.110]--'Illustrated Miniature Bible': The Holy Bible, Containing the Old and New Testaments, illustrations, dark purple roan, elaborately gilt with title on front cover, preserved in original metal locket with gilt-lettered red roan front panel and inset magnifier (case worn), 43 x 30mm. --Robert Burns, Poems Chiefly in the Scottish Dialect, reduced facsimile of the first edition, publisher's stiff printed wrappers, 29 x 20mm. [Bondy p.113], Kilmarnock, 1786 [but Glasgow, c.1900]--Golden Thoughts from Great Authors, 2 copies, dark red and dark blue limp calf, 29 x 20mm. [Bondy p.113]--[Midget Library], 12 vol. including The Smallest French and English Dictionary in the World by F.E.A. Gasc [cf. Bondy p.107]; Tiny Alphabet of Animals and Tiny Alphabet of Birds [cf. Bondy, p.72]; The New Testament [cf. Bondy p.111, 'staggeringly small', 20 x 16m.], 1925; Old English, Scotch and Irish Songs with Music [Bondy, p.113] and a Koran, all in red roan gilt (the Koran elaborately so), all housed in original single wooden stand with hinged metal and glass front (metal worn) --Tennyson, [Works], 4 vol., limp green roan, spines darkened, preserved in single open case with embossed metal surround, each 52 x 35mm. --'Finger Post Series for the Pocket': Ambulance Hints; Daily Food for Daily Life, 2 vol., both with double-page title and text, uniform maroon and dark green roan respectively, upper cover with gilt illustration of a signpost and gate, 77 x 25mm. --'The Finger Prayer Book': The Book of Common Prayer, limp blue roan, blue silk endpapers, slightly soiled and worn at spine end, housed in open metalwork carrying case with chain, 90 x 30mm., Oxford University Press and Henry Frowde, [c.1900]--Charles Dickens [Christmas Books], 'Oxford India paper Edition', 5 vol. including a Christmas Carol, limp red roan gilt, spines darkened, preserved in single open case with embossed metal surround, each 52 x 35mm., Henry Frowde, 1904-1906; another set, 5 vol., dark red limp roan, spines faded and rubbed, 50 x 37mm., Henry Frowde, 1904--Walter Scott, [Works], 6 vol., light blue pictorial cloth, spine gilt, housed in tartan-covered wooden box hinged at top and bottom, with inset portrait and illustration to front, 86 x 62mm., New York, F.A. Stokes [D. Bryce on spines]--The Illustrated Pocket Shakespeare, 8 vol., 2 sets, red and blue (larger format) cloth respectively, spines gilt; Burns's Poetical Works, Pearl Edition, 6 vol., blue pictorial cloth; 7 Midget Library volumes (including 3 copies each of the Smallest English Dictionary and Smallest French & English Dictionary, red roan, some spines worn or torn); Rubaiyat of Omar Khayyam, double-page text, decorative green roan, slightly worn; 4 'Thumb Series' volumes (Autograph, Confession, Gazetteer, Book of Bible, cloth); 8 volumes by Scott, cloth; Burns's Poems, tartan cloth; and 2 others, all contained in a glass-fronted bookcase with 3 shelves--Shakespeare, 'The Smallest and Daintiest Standard Set of Shakespeare in the World' (Bryce catalogue), 40 vol., limp roan in various colours, some with spines worn/defective or covers detached, in original sycamore revolving bookcase, c.51 x 34mm. [cf. Bondy p.114-5]Glasgow, David Bryce unless otherwise stated, dates where given; and c.70 other miniature books, mostly published by Bryce (see Condition Report), with one exception all in original publisher's bindingsFootnotes:THE SMALLEST BOOKS IN THE WORLD: AN EXCEPTIONAL COLLECTION OF MINIATURE VOLUMES, mostly produced by the Glasgow publisher David Bryce & Son, often in collaboration with Henry Frowde at the Oxford University Press. In a short space of time Bryce went from the position of a relatively unknown publisher to that of a vastly successful entrepreneur, using the latest printing technologies to produce 'more wee books than the total world production up to that time' (James Henderson, 'David Bryce & Son', The News-letter of the LXIV-mos, no. 11, 15 October 1928). As Bryce wrote in 1876, 'I descended to the miniature, mite and midget size, producing a little dictionary, the smallest in the world, in a locket accompanied by a magnifying glass. I had many a scoff and jeer as to the absurdity of the production, nevertheless it at once appealed... and its sales are now over 100,000.'Some of the books in the collection are housed in original or specially made boxes, cases and other furniture - including two large glass-fronted bookcases which contain some of the largest and smallest volumes. The collection contains many of the books described in the chapter devoted to Bryce in Louis Bondy's Miniature Books, 1981, including the Qur'an, the English and French & English dictionaries, Gray's Elegy (the smallest Bryce book, 'exceedingly rare... at one time said not to exist'), three Bibles chained to model lecterns, the facsimile of Burns' Poems, and several of the sets such as the 'Ellen Terry Shakespeare'.The 'Mite Koran', in its distinctive red, blue or black leather bindings with a circular void in the gilt pattern, was a photolithographic reduction of two different Ottoman editions, and was printed on India paper specially produced for Bryce by Henry Frowde at the Oxford University Press. The two copies of the Qur'an included here are both the variant described by Nick McBurney as the '1871 Bryce', easily distinguished from the '1884 Bryce' (which was based on a different Istanbul edition) by the inclusion of the signatures and seals of ten Islamic scholars at the end. It is often noted that these Qur'ans were issued to Muslim soldiers fighting in World War I, but in fact they were printed on an industrial scale for export to the Arab world, where they were mostly carried as keepsakes rather than used for reading. 'Printed by the thous... This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Los 213
Guy Taplin (British, born 1939)Owl with Worm signed, titled, dated, numbered and stamped with foundry mark 'OWL/GUY TAPLIN/1998/PE/2/12' (to underside)bronze with a light brown and light grey patina18.5cm (7 5/16in) wideThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Los 766
CRICKET, Maurice Allom, Cambridge University, Surrey & England 1926-1938. M.C.C. tour to South Africa 1930/31. Original large sepia photograph taken at the drawn second Test played at Newlands, Cape Town, 1st- 5th January 1931, from the tour on which Maurice Allom was a member. The image depicts the South African opening batsmen, Bruce Mitchell (123) and Jack Siedle (141), walking off the pitch. Handwritten annotations in pencil to verso, possibly in Allom's hand. The photograph measures 13x11.5 in an original mount with hand printed title to lower border, overall 17.5x16.5. Photographer unknown. light soiling to the mount, ow G to VG
Los 14
A rose gold coloured Middle Eastern ring, claw set with a large amethyst coloured stone on a double wire formed shank, 6.69g and a 14k yellow gold, light green three stone ring, the central emerald cut stone flanked by two faceted cabochon stones and four white stone set above the bezel, 5.4g Location: CAB
Los 170
75th Anniv RAF Ascension Island FDC Signed 9 Battle of Britain Pilots crew WRAF1 April 1993 +Barbados First Day of Issue postmark on 75th Anniversary of the Royal Air Force Special Postmark on Ascension Island 75th Anniversary of the RAF Barbados stamps 75th Anniv Royal Air Force. Personally Signed by 9 Battle of Britain Pilots crew WRAF, Dieppe Raid Channel Dash Pilot Sqn Ldr G Leggett?615, 245 and 46 Battle of Britain fighter pilot Alan W Gear 32 Hurricane Sqn, Battle of Britain fighter pilot John Keatings Air Gunner with 219 Sqn Battle of Britain Avis Hearn awarded M M for Bravery during Battle of Britain whilst under stuka attack on poling radar station Aug 1940 Sqn Ldr J G P Millard Nos 1 and 242 Squadrons Battle of Britain fighter pilot. Trevor Gray 64 Sqn Sqn Battle of Britain fighter pilot Plt Off Peter Ayerst who achieved confirmed victories in the Battle of Britain and not eligible for the Battle of Britain Clasp A C Carter CB DSO DFC Nos 103 and 150 Sqn s graduating as a pilot officer in 1932 posted to India on the North West Frontier. Here he flew the Westland Wapiti two seater light bomber biplanes. By 1938 returned to the UK and was in command of DH82 Queen Bee pilotless aircraft unit at Weybourne in Norfolk. During the war he served in Bomber Command as OC 150 Squadron from June to Dec 1941 and was awarded a DFC posted to 103 Squadron as OC in Sept 1942 during the difficult period of conversion from Wellingtons to Halifaxes. A few months later the Squadron converted again from Halifaxes to Lancasters Wg Cdr H E Tappin DFC took part in the Dieppe raid and the Channel dash Flying Instructor Commissioned late 1940 posted to 52 O. T. U. Deben DFC* 3 Sqn 157 Sqn 256 Sqdns. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £7.99, Rest of World from £9.99
Los 432
The Spirit of Alamein by J Lawrence Isherwood signed by Field Marshall Montgomery of Alamein. The full title of this early framed print is The Spirit of Alamein After The Oil Painting by J Lawrence Isherwood FRSA. FIAL. this being number 26 of just 75 published by Henry Donn in 1971. Signed by the artist J Lawrence Isherwood (1917 1989) and an icon of Second World War history, Field Marshal Bernard Law Montgomery (1887 1976), 1st Viscount Montgomery of Alamein, KG, GCB, DSO, PC, DL, nicknamed Monty and The Spartan General, was a senior British Army officer who served in the First World War, the Irish War of Independence and the Second World War. This print has been stored out of natural light for many years and is in. The print is framed and overall in frame measures approximately 70 cm x 63 cm (27. 5 inches x 24. 75 inches). Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £7.99, Rest of World from £9.99
Los 55
Four: Private J. H. J. Mills, Oxfordshire and Buckinghamshire Light Infantry 1914-15 Star (18460 Pte. J. H. J. Mills, Oxf. & Bucks. L.I.); British War and Victory Medals (18460 Pte. J. H. J. Mills. Oxf. & Bucks. L.I.); Defence Medal; together with two Regimental prize medals, the first a large bronze medallion, 58mm, the reverse engraved ‘Pte. J. Mills’; the second an Army Rifle Association silver medallion ‘For Skill with the Rifle’, the reverse engraved ‘Pte. J. H. J. Mills’; together with an Oxfordshire and Buckinghamshire Light Infantry cap badge, very fine (4) £60-£80 --- James Hubert John Mills, a native of Witney, Oxfordshire, attested for the Oxfordshire and Buckinghamshire Light Infantry and served with the 5th Battalion during the Great War on the Western Front from 17 September 1915. He later transferred to the 2nd Battalion, Devonshire Regiment, and was discharged to the Army Reserve on 16 April 1919. He died at Black Bourton, Oxfordshire, in 1978.
Los 33
Four: Second Lieutenant W. A. Young, Oxfordshire and Buckinghamshire Light Infantry, later Lieutenant, Royal Air Force 1914-15 Star (2. Lieut. W. A. Young, Oxf: & Bucks. L.I.); British War and Victory Medals (2. Lieut. W. A. Young); Defence Medal; together with a privately made dog tag crafted from a 1914 George V, penny, the reverse being polished and engraved ‘W. A. Young No. 1566 Bucks. C. of E.’, good very fine (4) £100-£140 --- Walter Arnold Young was born in Oxford on 13 April 1891, and was employed as a bank clerk with the London County and Westminster Bank Ltd. from 1907 to 1914. He attested for the Oxfordshire and Buckinghamshire Light Infantry and served with the 7th Battalion until being commissioned as a Temporary Second Lieutenant in the 3rd Battalion on 18 December 1914, and served with them during the Great War on the Western Front. He was posted to the Royal Air Force on attachment in April 1918, attending No. 4 Training Squadron, No. 25 Training Squadron and No. 5 T.D.S., being promoted to Lieutenant (P) on 12 November 1918. He re-joined his parent unit on 6 June 1919, and relinquished his commission on 26 October 1920.
Los 269
Four: Colour Sergeant T. Hunt, Welsh Regiment Egypt and Sudan 1882-89, undated reverse, 1 clasp, Gemaizah 1888 (2307. Cr. Sgt. T. Hunt. 1/Welch. R.); Army L.S. & G.C., V.R., 3rd issue, small letter reverse (2307. Cr. Sgt. T. Hunt. Welsh R.); Khedive’s Star, undated, unnamed as issued; Army Meritorious Service Medal, G.V.R., 3rd issue (C. Sjt. T. Hunt. Welsh. R.) the first three mounted as worn, the last loose, light pitting and contact marks, very fine (4) £400-£500 --- One of only 6 G.V.R. ‘coinage head’ Meritorious Service Medals awarded to the Regiment. Thomas Hunt was born in Newcastle-on-Tyne in 1863 and attested for the 41st Foot at Pembroke Dock in 1877, aged 14. Promoted Corporal in 1881, Sergeant in 1883, and Colour Sergeant in 1886, he served in Egypt from August 1886 to August 1889, and subsequently in Malta. He was discharged in 1898, and was awarded his Meritorious Service Medal, with Annuity, per Army Order 233 of 1935. He died in Bournemouth, Hampshire, on 14 April 1942.
Los 26
Four: Private T. A. Talbot, Oxfordshire and Buckinghamshire Light Infantry 1914 Star, with clasp (9441 Pte. T. A. Talbot. Oxf: & Bucks: L.I.); British War and Victory Medals (9441 Pte. T. A. Talbot. Oxf. & Bucks. L.I.); Army L.S. & G.C., G.V.R., 2nd issue with fixed suspension (373204 Pte. T. A. Talbot. Oxf. & Bucks. L.I.) nearly very fine (4) £140-£180 --- Thomas A. ‘Ginger’ Talbot attested for the Oxfordshire and Buckinghamshire Light Infantry in April 1911, and served with the 2nd Battalion during the Great War on the Western Front from 14 August 1914, serving as a waiter in the Officers Mess of his battalion for the duration of the War. Following the cessation of hostilities he remained in ‘C’ Company, 2nd Battalion and was awarded his Long Service and Good Conduct Medal in 1928, before being posted to the home establishment in 1929, serving as mobilisation storeman for three years until taking his discharge in April 1932. He subsequently gained some notoriety in the Regimental Journal of March 1937, having won £12,275 on the football pools, for a stake of 3d.
Los 92
Queen’s South Africa 1899-1902, 4 clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901 (5682. Pte. P. Delaney. 1/Oxfd. L:I.) engraved naming, good very fine £120-£160 --- Patrick Delaney was born at Cape Town, South Africa, in 1877 and attested for the Oxfordshire Light Infantry at Reading on 3 June 1898, stating his occupation to be an engine driver. Shortly after attesting he deserted in August 1898, re-joining over a year later, on 23 September 1899. He was tried by District Court Martial and sentenced to 28 days in Military Prison, all prior service being forfeited. His sentence may have been reduced as his battalion was in preparation for embarkation for South Africa. He did serve in South Africa during the Boer War but is recorded as having been accidentally injured, and he died of his wounds at Krugersdorp on 23 June 1901. He is commemorated on the Oxfordshire Light Infantry Boer War Memorial at Abingdon.
Los 744
German Second World War Cavalry Shoulder Boards. 5 shoulder boards. M36 dark green centred slip-on with broken metallic number 7 to the centre, light moth with cavalry yellow silk piping.; Early Reichwehr period light apple green stitch-in shoulder board, embroidered Regiment No. 10 to the centre with cavalry yellow piping; Dark green centred M.36 slip-on shoulder board for an enlisted man, cavalry yellow piped; Mid war period field grey centred slightly longer shoulder board, possibly for a greatcoat with cavalry yellow silk piping; Mid war period field grey centred slip-on nco shoulder board with cavalry yellow wool piping, generally good condition (5) £80-£100
Los 39
Five: Staff Sergeant G. H. Giles, Oxfordshire and Buckinghamshire Light Infantry, later Indian Army Barrack Department 1914-15 Star (8075 L. Sjt. G. H. Giles, Oxf: & Bucks: L.I.); British War and Victory Medals (8075 Cpl. G. H. Giles. Oxf. & Bucks. L.I.); Jubilee 1935; Army L.S. & G.C., G.V.R., 1st issue (S-Sgt. G. H. Giles. Bk. Deptt.) contact marks, nearly very fine (5) £140-£180 --- George Henry Giles attested for the Oxfordshire and Buckinghamshire Light Infantry at Oxford in 1905 and served with 1st/1st (Buckinghamshire) Battalion during the Great War in the Asiatic theatre of War from 5 December 1914. He was awarded his Long Service and Good Conduct Medal for service in the Barrack Department, per Indian Army Order 452 of 31 May 1924, and appears on the 1935 Jubilee Medal Roll (India) as a Sub-Divisional Officer, Bombay.
Los 474
The Indian Mutiny Medal awarded to Major-General C. B. Basden, 61st Bengal Native Infantry, who ‘was attacked by Sowars, cut at by one, thrust in the arm by another, struck at by a Sepoy with his musket, and assailed by a coolie with a bamboo. He rode away only when resistance was hopeless’ Indian Mutiny 1857-59, no clasp (Captn. C. B. Basden 61st. Regt. N.I.) surname officially re-impressed, otherwise good very fine £600-£800 --- Provenance: Jack Wadey Collection, 1968. Charles Brenton Basden was born at Plymouth, Devon, on 22nd January 1823, the son of Rear-Admiral Basden, and was commissioned Ensign on Christmas Day 1840. Posted to the 61st Bengal Native Infantry, he was promoted Lieutenant on 16 July 1842. He served in Bundlecund from November 1843 to March 1845 and was on duty in a column under Major Forbes at the capture of the Fort of Gegahut, in Bundlecund 1844. Promoted Captain on 6 July 1853, Basden was present when the 61st Native Infantry mutinied on 7 June 1857, and ‘received a sabre wound in the arm from a trooper of the 6th Light Cavalry, when endeavouring with Ensigns Hawkins and Durnford, to prevent the men of his regiment (led by a troop of the 6th Light Cavalry) from seizing their arms from the Left Wing Bell of Arms of the Regiment.’ (London Gazette 19 May 1858). Annals of the Indian Rebellion by A. H. Chick gives further information: ‘While these occurrences were taking place at the right wing, Captain Basden, with Lieutenant Hawkins, was less fortunate on the left wing. The former was attacked by Sowars, cut at by one, thrust in the arm by another, struck at by a Sepoy with his musket, and assailed by a coolie with a bamboo. He rode away only when resistance was hopeless.’ Recovering from his wounds, Basden joined the Army of Delhi on 21 September 1857, and served with a column throughout the rest of the campaign. In 1859 he was transferred to the 5th Punjab Cavalry, ands the following year was present with this regiment in the action at Tank when the city was attacked by 3,000 Mahsud Wazirs on 18 March 1860 - the enemy were repulsed, leaving 200 dead on the field. Promoted Major on 18 February 1861, Basden was appointed Commandant of the 36th Bengal Native Infantry in 1864, and the following year joined the 45th Rattray’s Sikhs as Second in Command and Wing Officer. Advanced Lieutenant-Colonel on 10 August 1865, he transferred to the 15th Loodhiana Sikhs as Commandant in 1868, before returning to Command the 45th Rattray’s Sikhs in 1870, and was promoted Colonel on 25 December 1871. He retired on 2 November 1878, being granted the honorary rank of Major-General, and died in Hove, Sussex, on 28 November 1914. Sold with copied research.
Los 455
Pair: Colonel F. E. Lewes, Bengal Horse Artillery, who served in the action against the Mutineers of the 14th Native Infantry at Jhelum on 7 July 1857, in which action Gunner Conolly, also of the 1st Troop, 3rd Brigade, Bengal Horse Artillery was awarded the Victoria Cross; and was Mentioned in Despatches for his services with the Kohat Expedition on the North West Frontier in February 1869 Indian Mutiny 1857-59, no clasp (Lieut. F. E. Lewes 1st. Co. 2nd. Bn. Bl. Arty.) engraved naming; India General Service 1854-95, 1 clasp, North West Frontier (Lieut. F. E. Lewes Ryl. Arty.) light contact marks, good very fine (2) £800-£1,000 --- Provenance: George McIlroy Collection. Frederick Eustace Lewes was born at Secrole, Benares, on 19 July 1836, the son of Colonel C. J. Lewes, 3rd Bengal European Regiment, and was educated at Addiscombe. He was commissioned Second Lieutenant on 8 June 1855 and was posted to the Bengal Horse Artillery, serving with the 1st Troop, 3rd Brigade, Bengal Horse Artillery during the Great Sepoy Mutiny as part of the Peshawar Division under Sir Sydney Cotton. He was present when the 24th, 27th, and 51st Regiments of Native Infantry were disarmed at Peshawar on 22 May 1857, and was wounded in the action with the mutineers of the 14th Native Infantry at Jhelum on 7 July 1857. The Bengal Horse Artillery 1800-61 by Major-General B. P. Hughes gives the following account of the action at Jhelum: ‘There was also trouble in Jhelum, when a detachment of H.M’s 24th Foot, the newly raised Multani Horse, and a half troop of the 1st Troop 3rd Brigade Bengal Horse Artillery were sent to disarm the native battalion there. A badly planned battle took place, first in the cantonments and later in a village outside. Pressing forward over keenly, the 1/3 B.H.A. found itself a bare 100 yards from the mutineers position, when overwhelming fire forced the infantry to withdraw. Both pole horses of one gun were shot down and the same fate befell the relief team which galloped forward to get the gun back. In these actions Gunner Conolly of the 1/3 B.H.A. was twice wounded in the battle in the cantonment in the morning, and once again in the action in the afternoon. In spite of these wounds he remained in action on the gun until he fainted, eventually receiving the Victoria Cross.’ Recovering from his wounds, Lewes subsequently commanded two guns alongside the 87th Foot at Peshawar during the mutiny of the 51st Regiment Native Infantry, and the blowing away of that regiment on 28 August 1857. A Postscript to the Records of the Indian Mutiny by G. H. D. Gimlett gives the following account: ‘The 51st Native Infantry was disarmed at Peshawar on 22 May 1857, together with the 24th, 27th, and 5th Light Cavalry. Though disarmed the sepoys were by no means quiescent, and desertions soon commenced. It was discovered that the sepoys were secretly arming themselves, and on 28 August a search of the lines was made. The sepoys of the 51st resisted; suddenly the whole regiment rose. The 87th Royal Irish, under Colonel Murray, with a squadron of the Peshawar Light Horse and two guns, were drawn up in their own adjacent barrack square. Very soon the main body were in full flight towards Jumrood, hot pursued, they were annihilated. Those captured were tried by drum head court martial and executed on the same and on the following day. Of the 870 men who, on the morning of 28 August composed the 51st B.N.I., within 48 hours fewer than seventy survived.’ Promoted Lieutenant on 14 April 1858, Lewes served with the Peshawur Mountain Division against the Mashood Wazeers in the expedition under Brigadier General Sir N. Chamberlain in April and May 1860 with the Peshawar Mountain Battery. Promoted Captain on 24 January 1865, he subsequently took part in the Kohat expedition of 1869 under Colonel Keyes, and commended a Light Field Battery of two guns at the surprise of the Bezotee village of Gara on 25 February 1869. For his services he was Mentioned in Colonel Keyes’ Despatch, and was specially thanked by the Governor General in Council. Lewes was promoted Major on 21 September 1872, and Colonel on 1 May 1880. He died in London on 26 March 1893. Sold with copied research. For the recipient’s brother’s medals, see Lot 456.
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