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Los 1231
Shorts FC v Norwich City 1940-41 a never seen before programme for a match played at Shorts ground, Strood, Rochester, as the highlight of Medway Towns War Weapons Week, where they were trying to raise £450,000 to build a large Destroyer, the editorial of this fine 16 page programme makes interesting reading. Good condition with light handling marks to covers and some staple rust.
Los 1419
Rare 1930 New Zealand v Gt Britain (Lions) rugby programme: 4th Test played at Wellington on Sat 9th August – with very light pocket wear hence overall (G) – extremely rare programme never seen at auction before – note the front cover gives no indication that it`s a test game let alone a British Lions match programme there`s no date, venue etce!!– I wonder how many collectors have passed this programme without looking!! Illus.
Los 114
* KALINOVSKI, GENNADI 1929-2006 The Satan`s Ball. Illustration for "The Master and Margarita" by Mikhail Bulgakov signed, inscribed and dated 1989 Pencil, black ink and watercolour on paper, 34 by 51.5 cm. Literature: Mikhail Bulgakov, Master i Margarita, St Petersburg, Vita Nova, 2001.In 2002 Kalinovsky was named Artist of the Year at the XV Moscow International Book Fair for his illustrations for The Master and Margarita."… At last they regained the platform where Koroviev had first met Margarita with the lamp. Now her eyes were blinded with the light streaming from innumerable bunches of crystal grapes. Margarita stopped and a little amethyst pillar appeared under her left hand."Mikhail Bulgakov, The Master and MargaritaGennadi Kalinovski was perhaps the most brilliant exponent of Moscow book illustration from the 1960s to the 1990s, the period of its real blossoming. Moscow took over from Leningrad which, from the late 1920s to the early 1940s, had led the way in book design. But by the time of Khrushchev’s Thaw, the Northern Capital hardly produced any new names, while in Moscow talented young book illustrators in the persons of Ilya Kabakov, Valery Alfeevsky, Anatoly Kokorin, Erik Bulatov, Eduard Gorokhovsky, Oleg Vassiliev and many others moved into action.Even in such prestigious company, Kalinovski was unique. Read any work illustrated with Kalinovski`s watercolours, and you cannot imagine those characters outside the world proposed by the artist. It was only possible to create such masterpieces by totally renouncing any secondary considerations which might impede the artistic sacrament. This is explicitly confirmed by Kalinovski himself: ‘I can only work when I am entirely shielded from the pressures of life. I would even shut all light from my studio, blocking up the windows and avoiding communication with others almost entirely, lying for long days and weeks, half dreaming and half in the real world, running through images of different types, one after the other, which had come to me from, as I understand it, some kind of reservoir which we know as the subconscious.’
Los 309
* ROERICH, NICHOLAS 1874-1947 Commands of the Teacher signed with a monogram, also numbered "N4", dated 1927 by the artist and further numbered "RM697" by the Roerich Museum on the reverse Tempera on panel, 35 by 78 cm. Provenance: Roerich Museum, New York, 1927–1935. Nettie & Louis Horch collection, USA, from 1935. Dr Carlos Giro collection, USA. Acquired from the above by the present owner. Exhibited: Roerich Museum, New York (permanent collection), 1927–1935, no. 697.Literature: The Mystic East Inspires Nicholas Roerich`s Paintings, New York Times Mid-Week Pictorial, October 29, 1927, illustrated. Roerich Museum Catalogue, 8th ed., New York, Roerich Museum, 1930, p. 29, no.697. V. Ivanov, E. Gollerbach, Roerich, Vol. 1, Riga, 1939, p. 106, illustrated. Commands of the Teacher is one of the paintings that Nicholas Roerich completed while staying in the Mongolian capital Ulaanbaatar. From September 1926 until April 1927, he was preparing for the journey to Lhasa where he intended to meet the Dalai Lama. This expedition, which involved the incredible feat of crossing Mongolia and Tibet from north to south, was the culmination of Roerich’s serious interest in Buddhism as a philosophical and moral teaching. The whole family was deeply involved in Buddhist studies at that time: his wife Helena wrote and published Foundations of Buddhism (in Ulaanbaatar, in 1927) and his son George was already making a career as an oriental scholar by publishing several works on Buddhist subjects. Not surprisingly, Roerich’s most important paintings from this period, including the present one, have Buddhist connotations. Before leaving for Lhasa, Roerich sent his works to New York, and in October, New York Times Mid-Week Pictorial had a full page report on their arrival with several reproductions, including Commands of the Teacher. The article said that "the artistic record of the Roerich expedition to Asia headed by Nicholas Roerich, an artist of international reputation, has been enriched by the recent arrival of more than 100 paintings by Professor Roerich, which have come back from the heart of Mongolia. The paintings recently reached the Roerich Museum in New York after a lengthy journey from Ulan Bator Khoto, Mongolia, across the world to America. They will be added to the present collections of the Roerich Museum and will be opened to the public for the first time on Nov. 17, 1927, the fourth anniversary of the foundation of the museum." (The Mystic East Inspires Nicholas Roerich’s paintings, Mid-Week Pictorial, October 29, 1927.) The five paintings reproduced therein were undoubtedly chosen by Roerich himself, and the inclusion of Commands of the Teacher testifies to its significance. The painting presents a Buddhist disciple reading from a xylograph on the shores of a mountain lake. The scenery is somewhat suggestive of Lake of Nagas and Nagarjuna, the Conqueror of the Serpent, two other paintings with Buddhist elements from 1925. The disciple himself is a highly advanced adept and has achieved a Buddha’s enlightenment, which is indicated by the ushnisha, the supernatural cranial protuberance. The deer pasturing at his feet are another reminder of Buddhahood, which allows for the miraculous power of taming wild animals. The title of the painting helps us to understand the main idea of this panel: though a Buddha in his own right, the adept has a teacher, someone even more advanced than himself. Roerich was very fond of the idea of endless spiritual growth by virtue of an unbroken, hierarchical line of Masters. The concept of "commands" reveals the active nature of the master-disciple relationship. Instead of associating the teaching with abstract metaphysical postulates, Roerich invokes the idea of practical down-to-earth tasks, in line with the Buddhist principle that the path to enlightenment is first and foremost the path of serving humanity. There is a later variant of this painting entitled Book of Life (c. 1930s), in which the whole scene is moved from the ground level up into the high mountains. The adept and animals are distanced from the viewer and enclosed in a translucent, eerie light. By contrast, the original painting is a more direct and forceful interpretation. Executed on a rough panel with holes and several nails still intact (it must have originally served as construction material), the work has an unfinished feel, as if the artist lost interest in polishing the details as soon as his idea came alive. The expressivity of the lines and overall roughness emphasizes the "action-rather-than-meditation" message of the artist. At the same time, the recipient of commands maintains his intense mental focus despite the wild undulations of blue and orange rocks behind him. While his body seems to be almost of the same quality as the surrounding rocks, his mental presence commands the surroundings. We are thankful to Gvido Trepša, Senior Researcher at Nicholas Roerich Museum, New York, for providing catalogue information.
Los 313
* FECHIN, NIKOLAI 1881-1955 The Little Cowboy signed Oil on canvas, 76 by 51 cm. Provenance: Stendahl Galleries, Los Angeles, label on the reverse. Property from the Estates of Walter and Sonja Caron Stein. Private collection, Europe.Authenticity has been confirmed by the expert V. Petrov.Related Literature: For similar works, see G. Tuluzakova, Feshin, Zolotoy Vek, St Petersburg, 2007, pp. 134 and 162.The Little Cowboy is one of Nikolai Fechin’s most brilliant portraits of childhood dating from his time in the USA. Painted in 1940 it is — like Fechin’s early masterpiece, the portrait of Varya Adoratskaya (1914) — not only an expression of the credo of this artist, arguably the best painter of children of the 20th century, but also in its way an act of escapism, a conscious retreat from the harsh reality of two world wars, day-to-day hardships and various social cataclysms. Fechin was especially fond of children’s portraits. Even with all the problems of working with child models, quickly tiring and constantly fidgeting, the artist was able to assemble a whole gallery of childhood images, executed with an unequalled lightness of touch and effortlessly communicating the essence of his models and, at the same time, notable for the depths revealed in the subject portrayed. Even the commissioned, formal portraits which were the artist’s bread and butter in America are without any trace of mawkishness or sentimentality and distinguished by the highest draughtsmanship and technical virtuosity. It is worth noting that the image of the little cowboy is not just a tribute to the local colour of Fechin’s American environment. He had lived for several years in the little township of Taos, in upstate New Mexico, at the foot of the Sangre de Cristo Mountains, and knew at first hand the life of the farmers and cowboys who inhabited this picturesque mountain terrain and would from time to time sit for the artist. Even later on, after he had moved in 1934 to a permanent home in Los Angeles, he often took the journey — beneficial for his tuberculosis-damaged lungs — south-westwards, to where the rancheros of Arizona and New Mexico as well as the local Indians would continue to model for him. The artist was especially happy to paint such portraits en plein air, under the hot sun, often placing his model against the light, filling the expanse of the canvas with a golden heat haze, and almost always preserving the "study-like" nature of his sweeping, virtuoso painting style. However, this image of the little cowboy is characteristic not only of this free technique: it also offers a striking contrast, with a clear distinction between the painting method adopted for the face, with light, almost invisible brushstrokes, and the impasto rendering of clothes and background. Despite the preparatory sketch-lines in the boy’s face being delicately worked to convey the young equestrian’s composure and concentration, it seems likely that Fechin painted the portrait in a single sitting, given the integrity and the immediacy with which he captures the pose and the child’s passion for horse-riding, and the vivacity and temperament of the painting technique. The spontaneous artistic freedom of the image structure and the precisely conveyed and idiosyncratic riding position of the wiry figure of the child give the portrait an inner dynamism. Yet we do not see the horse itself, nor a wagon — for despite all the child’s preoccupation and the tightly clenched reins the lad, seated by the artist on the corner of a chair or a chest, is only, it seems, playing at horse-riding. But the authenticity of the "cowboying" is of no concern to Fechin, for it merely provides the composition of the portrait and the fundamental reason for that childish seriousness, the boy’s concentration on some distant point. The artist is utterly and completely focused on the image of the boy. He delights in the gentle face, chubby lips, brown eyes and the flush of those apple cheeks. The precise balance between the areas of colour, with the boy’s denim dungarees and red cowboy scarf providing vivid flashes against a subdued grey background, tells us a lot about Fechin, a refined and sophisticated colourist, who can derive from three basic colours a wealth of shades vibrating with light. The Little Cowboy is not only an outstanding example of Fechin’s masterly painting skill but also an expressive image of childhood, the seriousness and gentleness of which embody the authentic lyricism inherent in the very best of this artist’s childhood portraits.
Los 320
* AIVAZOVSKY, IVAN 1817-1900 Moonlit Night on the Dnieper signed and dated 1887, also further numbered "14271" on the stretcher on the reverse Oil on canvas, 47 by 60 cm. Authenticity has been confirmed by the expert V. Petrov.Authenticity has been confirmed by the expert N. Ignatova. No less than the great shipwrecks and storms, it was quiet, dreamy moonlit nights to which Aivazovsky owed his fame. The intimate work Moonlit Night on the Dnieper, now offered for auction, full of details of daily life, is among the most peaceful and serene works of this group. Without highly-coloured effects, and built on very delicate gradations of a restrained dark blue-green tonality, this work is absolutely characteristic of the 1880s in the oeuvre of this renowned painter of sea views. In the picture Moonlit Night on the Dnieper, alongside subjects which are familiar from other landscapes by this artist — the water surface with a sailing boat, silhouettes of buildings on the opposite bank just visible in the distance, there is an everyday scene, here poeticised but prosaic by daylight, of a ferry crossing. The hilly banks, illuminated by the moon and stars, are full of pulsating life, surprising for such a late hour. At the jetty, people are awaiting the approaching sloop, with its large white sail, and the passengers are unhurriedly loading up. At the water’s edge a cart, yoked with oxen, waits patiently for its driver. A few more oxen, horses and their owners, crowded together, wait by the water. This organic co-existence of elements of genre and landscape painting, and the delicate and emotional colour choices, serve to express the harmony of the simple, natural way of life.A single window in a little cabin by the shore shines with a warm light, a reddish point against a background of cold, spectral moonlight, transforming the familiar, real colours and forms, betraying one of the artist’s favourite devices, the contrasting combination of "two lights: the warm light of lamps in a human abode and the noble, greenish light of the night." Aivazovsky himself acknowledged that he considered such colour effects to be extremely expressive and important. "I believe," he wrote, "that my works can be distinguished, not only when compared to each other but also to many by other artists, by the potency of the lighting, and those paintings in which the main potency is the light of the sun, the moon etc., and also the waves and sea spume, must be considered the best." Thanks to the wealth of details and detailed features, the present picture can safely be attributed to Aivazovsky’s Dnieper landscapes. It is known that the artist had immortalized this great Ukrainian river on several occasions throughout his life. In 1857, he creates the iconic work Reed on the Dnieper near Alioshka, a composition of which he subsequently paints several variations with sailing boats on the banks of the Dnieper. Not long before creating Moonlit Night on the Dnieper, Aivazovsky returns to the theme of Ukrainian landscapes, always including elements of Ukrainian genre scenes. He painted Chumaks in Little Russia, the endless Ukrainian fields with windmills, as well as views of the Dnieper with the typical barges, oxen and huts on the riverbanks.His visual memory, supplemented by his lively imagination, allowed the artist to create in his pictures, without naturalistic accuracy, all the diversity of the emotional states of nature which he had never seen. Aivazovsky acknowledged that, "inspired by the sight of a picturesque location, with striking lighting or in stormy weather, I retain those memories for many years…" Repeating, in its most general lines, a landscape motif from his memory, but adding into it imagined genre scenes, and lighting and mood effects, Aivazovsky often shunned literal verisimilitude. According to Grigory Goldovsky, the author of many publications and catalogues about this artist, "it was his artist’s flair which allowed him to sense the relative significance — of what was crucial and what secondary — in his pictures. Crucial were the striking effect of light, the very particular rhythm. The union of light and air — this is the `keynote`, the mainstay of all his canvases. Superficial authenticity, perspective, the distribution of light, the elaboration of certain parts of the composition — these are secondary." The artist did not vary this principle throughout his life, and Moonlit Night on the Dnieper is the best corroboration of this.
Los 329
* ROERICH, NICHOLAS 1874-1947 Rocks and Cliffs, from the series "Ladoga" signed with a monogram, also numbered "N19" by the artist, and further numbered "164" by the Roerich Museum, with an old label on the reverse, c. 1917-18 Oil on panel, 32.5 by 40 cm. "Provenance: Roerich Museum, New York, 1924–1935. Nettie & Louis Horch collection, USA, from 1935. Private collection, USA. Private collection, Europe. Authenticity certificate from the expert O. Glebova, Senior Researcher at the Roerich Museum, Moscow.Exhibited: The Nicholas Roerich Exhibition, Travelling exhibition in the USA, 1920–1923. Roerich Museum, New York (permanent collection), 1923–1935, no.164.Literature: C. Brinton, The Nicholas Roerich Exhibition, New York, 1921, no.152–172. Roerich Museum Catalogue, 8th ed., New York, Roerich Museum, 1930, p. 16, no.151–164.Nicholas Roerich spent most of 1917 and 1918 in the Lake Ladoga area where he moved his family away from the chaos and destruction unleashed by the Russian revolution. He was also suffering from a chronic lung disease. His letters to friends from this period, especially 1917, reveal a sense of desperation and gloom that he had probably never experienced before, and many of his paintings are detached, somewhat emotionless observations of nature. However, depression was never in the artist`s nature, and his health restored, Roerich soon plunged himself back into social and artistic activity. This painting exhibits a naive, almost excessive optimism in its simple composition and diluted colour patches, as though Roerich wanted to return to an iconic landscape form in order to play with light and shadow in their most abstract manifestations.He included it among the works of the travelling exhibition that visited more than 20 cities in the United States during 1920–1923. After that, it stayed in the Roerich Museum’s permanent collection."
Los 311
Hong Kong Plague 1894, silver issue (Private J. Roden, S.L.I.) nearly extremely fine £1000-1200 James Roden was born in Tredegar, Monmouthshire. A Hawker (or Hanker) by occupation, he attested for the Shropshire Light Infantry at Ledbury on 21 November 1892, aged 21 years, 4 months. With the 1st Battalion he served in Hong Kong, December 1893-December 1894 and India, December 1894-June 1899. Returning to England he was discharged as medically unfit on 11 July 1899 - due to a perforated eardrum and infected external meatus. With copied service papers.
Los 346
Queen’s South Africa 1899-1902, 5 clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901, South Africa 1902 (20150 Pte. E. Evans, 48th Coy. Imp. Yeo.) good very fine £160-200 Ernest Evans was born in the Parish of St. Paul’s, Bath. A Presser by occupation and a member of the 1st Volunteer Battalion Somerset Light Infantry, he attested for one years service in the Imperial Yeomanry at Bath, on 23 January 1901, aged 24 years, 6 months. With the 48th Company, 7th Battalion (North Somerset) Imperial Yeomanry, he served in South Africa, 9 February 1901-4 August 1902. Evans was discharged at Aldershot on 11 August 1902. With copied service papers.
Los 379
British War Medal 1914-20 (8) (383 Pte. T. Byram, R. Lanc. R.; 2460 Pte. B. F. Handford, Devon R.; 150990 Gnr. J. R. Cleminshaw, R.A.; 17954 Sjt. W. R. Rumbelow, R.A.; 116060 Gnr. W. Taylor, R.A.; 73418 Dvr. G. Woodcock, R.A.; 30184 A.S. Sjt. M. Yates, R.A.M.C.; DM2-207927 Pte. R. Bott, A.S.C.) ‘Woodcock’ with slightly bent suspension, some with light edge bruising, generally good very fine (8) £90-120
Los 385
Victory Medal 1914-19 (2) (2 Lieut. C. S. Dowding; Lieut. W. H. L. Sheppard) 2nd with edge bruise, nearly very fine (2) £60-80 Private Charles Stanley Dowding, 1/1 North Somerset Yeomanry, entered the France/Flanders theatre of war on 2 November 1914. Commissioned a 2nd Lieutenant in the 1st Battalion Somerset Light Infantry on 6 March 1918 and was attached to the 2/7th Battalion Devonshire Regiment. Entitled to 1914 Star. With copied m.i.c. Serjeant W. H. L. Sheppard, 1/1 North Somerset Yeomanry, entered the France/Flanders theatre of war on 2 November 1914. Appointed a Lieutenant on 1 July 1917 and was attached to the 3rd Dragoon Guards. Entitled to the 1914 Star and clasp. With copied m.i.c.
Los 422
Royal Navy L.S. & G.C., V.R., narrow suspension (Thos. Cowdrey, Stoker H.M.S. Asia. 22 Yrs.) impressed naming, scarce variety with years of service on edge, good very fine £300-350 Thomas Cowdrey was born on Christmas Day 1836 in the Parish of Brompton, London, and enlisted there for the Royal Marine Light Infantry on 23 April 1855. He was discharged from 63 Company R.M.L.I. on 25 June 1867, at his own request having completed the 12 years service for which he enlisted, during which time he served afloat and on foreign stations for 8 years 247 days. On 12 February 1868, Cowdrey enlisted for a 10 year Continuous Service Engagement in the Royal Navy, to complete time for pension. Rated as a Stoker throughout this period, he was shore pensioned in April 1878 and received his L.S. & G.C. medal on the 7th day of the month following. Cowdrey received his final discharge from the Royal Navy in October 1888.
Los 453
Board of Trade Medal for Gallantry in Saving Life at Sea, V.R., large, silver (Edward Gardner, Wreck of the S.S. “Pelton” on the 26th March 1882) light scratch to obverse left field, otherwise good very fine £400-500 Ex Denham Collection, Sotheby’s 1971. Edward Gardner of the schooner Uzziah was awarded the Board of Trade Gallantry Medal in Silver for his efforts in attempting to rescue the crew of the S.S. Pelton (of 816 tons), of Newcastle. The Pelton, carrying coal from Newport to Le Havre, foundered in a heavy sea off Ilfracombe, Devon in the Bristol Channel on 26 March 1882. The small schooner Uzziah managed to get alongside the wreck and rescue one of the crew, losing one of her own crew in the process. The rescued man was the only one of the Pelton’s 17 man crew to survive. The loss of the vessel was blamed on overloading - coal was even stowed on the bridge deck! With copied research.
Los 459
Royal Humane Society, small silver medal (unsuccessful), (Lieut. C. Home Cockran, R.N., H.M.S. “Valiant” 28 Jan. 1883) solder marks to obverse, suspension refixed, slight contact marks and edge bruising, very fine £200-240 ‘About 7.30 a.m., on the 28th January, 1883, off Tarbet, Andrew Hooper was getting from a steam launch to the Jacob’s ladder, preparatory to coming on board H.M.S. Valiant, when he fell into the water; the man could scarcely be seen owing to the darkness. George Bennett jumped over the stern and supported him. Lieut. Cochrane (sic) observing by the light of a signal that the men were floating astern in the darkness, also jumped overboard and assisted them to the buoy which was hanging over the stern with a great hawser attached. It was blowing a gale of wind at the time with a considerable sea on, and the night was very cold’. (Ref. R.H.S. Case No. 21921). R.H.S. records note that the incident took place ‘Off Tarbert River Shannon’. Stoker Andrew Hooper, R.N., H.M.S. Valiant, was found to be dead when taken out from the water. Both Lieutenant Charles Home Cochran, R.N. and Able Seaman George Bennett, Naval Reserve, both of H.M.S. Valiant, were awarded the R.H.S. Medal in Silver. Charles Home Cochran was born on 22 June 1850, the son of Alexander Cochran of Ashkirk, Hawick. Serving in the Royal Navy, he was awarded the Ashantee Medal 1873-74, the Jubilee Medal 1897 and Coronation 1902. He died on 14 February 1930. With some copied research.
Los 472
Liverpool Shipwreck and Humane Society, General Medal, silver (P.C. 136E John I. Reid, For Stopping a Runaway Horse and Lorry in Regent Rd., 5th Feb. 1897) with Second Award Clasp ‘2nd Service 22 Jany. 1903’, nearly extremely fine £350-450 ‘A Silver General Medal and Vote of Thanks to Police Constable 136E (John I. Reid), for stopping a runaway horse and lorry in Regent Road, on 5th February, 1897’. (Ref: Liverpool Shipwreck & Humane Society Ð 58th Annual Report, year ending 1st July 1897, p.28). ‘Silver Clasp, Vote of Thanks, and 20s. to Police-Constable 136 E (John Reed), and Silver General Medal and Vote of Thanks to Owen Thompson, tobacconist, of 34, Regent Street, Bootle, for pluckily stopping a runaway horse attached to a light float in Regent Road on January 22nd January, at 2-45 pm. Police-Constable Reid already holds the Society’s Silver Medal’. (Ref: Liverpool Shipwreck & Humane Society Ð 64th Annual Report, year ending 1st July 1903, p.41). With copied society report extracts. See the following lot for the medal to Owen Thompson.
Los 473
Liverpool Shipwreck and Humane Society, General Medal, silver (Owen Thompson for Stopping a Runaway Horse in Regent Rd. on 22nd January 1905 at 2.45 p.m.) minor edge bruising, very fine £200-250 ‘Silver Clasp, Vote of Thanks, and 20s. to Police-Constable 136 E (John Reed), and Silver General Medal and Vote of Thanks to Owen Thompson, tobacconist, of 34, Regent Street, Bootle, for pluckily stopping a runaway horse attached to a light float in Regent Road on January 22nd January, at 2-45 pm. Police-Constable Reid already holds the Society’s Silver Medal’. (Ref: Liverpool Shipwreck & Humane Society Ð 64th Annual Report, year ending 1st July 1903, p.41). With copied society report extracts. See previous lot for the medal to P.C. John I. Reid.
Los 501
Castle Mail Packets Company Medal, silver, obverse inscribed, ‘Presented by Sir Donald Currie, K.C.M.G., M.P. to G. Wade, A.B., R.M.S. Norham Castle’; reverse inscribed, ‘For Gallantry in Rescuing the Crew of the Ship “Fascadale” Natal, 7th Feby. 1895’, hallmarks for Edinburgh 1895, minor edge bruising, nearly extremely fine £300-350 Shipwrecked Fishermen & Mariners Royal Benevolent Society Annual Report (and Appendix) 1895/96, states: ‘Emile Robin Award to Captain Robert Duncan, and Chief Officer Frank Preston Whitehead, of the Steamship Norham Castle, of London, for rescue of the Master, Officers, and fourteen of the crew, being eighteen lives, in all, of the Barque Fascadale, wrecked off the Coast of Natal, on February 7, 1895, In the same case, also, the Society`s Silver Medal has been awarded, in recognition of personal gallantry, to Chief Officer Whitehead, and in conjunction with the Pecuniary Reward of £4, to Apprentice Robert Patrick Gordon Ferries, of the Fascadale; the Pecuniary Reward of the Sum of £10 being, further, granted to the five able seamen who manned the boat of the Norham Castle effecting the rescue, under the command of the Chief Officer:- Robert James Hurr, James Luff, Charles Wade, William Fowler and James Benzie’. Statement of Captain Robert Duncan, Master of the Steamship Norham Castle, of London: ‘R.M.S. Norham Castle, February 10, 1895.- Left East London, bound for Natal, on February 6, light north-east wind and moderate sea. At 8 p.m. light breeze and overcast, with continual rain. At 3 a.m. on the 7th instant hard squalls from the south-east, with heavy rain; impossible to see anything ahead, the weather being so thick and dark. Slowed engines, and hauled the ship two points off the land. At 5 a.m. the weather cleared, and daylight coming in, set the engines full speed, and hauled the Norham Castle in towards the land. At 5.50 sighted red-topped hill, North Sand Bluff. At 6.30 sighted a four-masted sailing ship, with all sail set, ashore on the rocks near the south bank of the Impenjali River, lat 30 59 S., lon 30 17 20 E. At 7 a.m. steamed in as close as possible, and stopped the engines. There was a heavy swell from the south-east, breaking clean over the ship, and the crew were observed waving their clothes, some of them clinging to the rigging of the jigger mast, and some to the end of the jib-boom. The Chief Officer, Mr. Whitehead, volunteered to go away in one of the boats and attempt the rescue. Accordingly, a boat was immediately lowered, and proceeded towards the ship, and at 9.30 succeeded, after great difficulty, in taking off eighteen of the crew. It was not until several attempts that a line could be attached and communication made with the ship, which was only effected by the Chief Officer jumping into the sea with a line and swimming towards the ship, being met half way by one of the Apprentices who swam towards him with another line from the ship, when, by joining the two lines in the water, seventeen of the crew were hauled aboard the boat in a very exhausted condition. The Captain of the ship who was washed off the poop, was brought aboard in an exhausted state, his legs being badly bruised, the Chief Officer, Mr. Whitehead, again jumping into the sea and swimming back with him to the boat. A second boat in the meantime had been lowered from the Norham Castle, in charge of the Second Officer, and, transhipping the eighteen rescued men from the first boat, brought them alongside the steamship, while the Chief Officer`s boat continued to try and get off the remainder of the crew, five in number, who were clinging to the jib-boom. But the surf being so heavy, combined with the backwash from the beach and the current, it was not possible to get near them, and the boat returned to the Norham Castle to obtain rockets and a small line with which to endeavour to send a line over the jib-boom. Before, however, she got back to the ship, the five men were either washed off the jib-boom, or dropped into the sea to try and swim ashore, perhaps thinking that the boat might not return to their assistance, and losing heart. Seeing that there was no one left on board the ship, which had parted amidships and was fast breaking up, the middle two masts having gone overboard, the boats returned, and being got aboard and made fast, the Norham Castle proceeded for Natal at 12.50 p.m. Four out of the five men, it is believed, succeeded in reaching the shore, but three of the crew, it is reported were washed overboard and drowned before the Norham Castle arrived on the scene; so that four men were drowned out of a total crew of twenty-eight. The wrecked ship proved to be the Fascadale, Captain R.J. Gillespie, of Glasgow, from Java, with a sugar cargo, bound for Lisbon for orders, the name of the Apprentice who swam from her to meet the Chief Officer Mr. Frank Percy Whitehead, being Robert Patrick Gordon Ferries’. In addition to the pecuniary award from the Shipwrecked Fishermen & Mariners Royal Benevolent Society, Wade was also awarded a medal from the Castle Mail Packet Company. With extracts from L.S.A.R.S. Journal No. 37, p. 24-45, relating to the rescue and awards.
Los 505
‘Wreck of the Valkyr’ Medal, 32mm., ornate silver medal with gold centre, this engraved, ‘W.B.M.’ (?), reverse inscribed, ‘With Gratitude from the Master & Crew of the Swedish Schooner Valkyr, 28/4/1919’, hallmarks for Birmingham 1913, good very fine £100-140 ‘The Valkyr was a Swedish three-masted schooner built in Sweden in 1901 and registered in Gothenburg. She was originally called the Valkyrien. On Saturday afternoon 26th April 1919, she was on her way from Setubal in Portugal to her home port with a cargo of sardines, cork and salt fish. Off Deal she had taken on a pilot who had taken her into the Thames Estuary, presumably to shelter from the gathering storm. The Valkyr was taken up through the Edinburgh Channel and moored close to the Edinburgh lightship, owing to a strong headwind. Later, on the 27th, the pilot moved the ship down the Black Deep and moored by the Sunk Light Vessel. By 6pm that Sunday evening a SE gale was blowing. At midnight the wind suddenly veered NE causing the Valkyr’s two anchor chains to part. The ship was now at the mercy of the gale and the Valkyr struck the Sunk Sand and about an hour later drove over it into deep water, only to find her rudder gone. The vessel drifted all night and crossed several sand banks bumping heavily. On Monday she lost her foremast and afterwards struck the Margate Sands where she was sighted the next morning. The Margate Lifeboat with Coxswain Stephen Clayson which had already been out that night to rescue 9 crew from the Dunvegan of Boston, was launched at 8am. After much difficulty, they succeeded in rescuing the Captain, the 7 crew and the pilot who were all landed at Margate Pier. The shipwrecked men were well cared for by the local agent of the Shipwrecked Mariners Society. Captain Wessburg went to the Gazette offices to thank all who had helped and later he arranged for the lifeboatmen to receive medals. During the night of Monday 28th April, the Valkyr drove across the Margate Sands and drove ashore dismasted and bow up at Minnis Bay where it was totally wrecked. Its cargo was salvaged, although many locals helped themselves to supplies of coal and tinned sardines. ...’ (Ref. Birchington Heritage Trust Newsletter, September 2004)
Los 538
23rd Light Dragoons Regimental Medal 1814, Reward of Merit, silver, 45mm x 37mm, engraved on the edge ‘J. Burke, 1816’, good very fine and scarce £200-250 Ref. Balmer R110. Of the seven recorded examples, five are variously dated 1814, 1815 or 1816, and two are undated. Some have an additional suspension bar inscribed ‘Peninsula’.
Los 608
Army List, 1868-69, London, 1868, 952pp; Hart’s Annual Army ListÉfor 1915, modern 4-volume facsimile reprint, x + 1,648pp; Everson, G.R., The South Africa 1853 Medal, London, 1978, 155pp, dj; Douglas-Morris, K.J., Naval Medals 1857-1880, London, 1994, xxii + 436pp, illustrations in text, casebound; Mitchell, N., and Duckers, P., Presented by the Queen: The Crimea Medal Award Ceremony, 18th May 1855, Oldham, 1996, 76pp; Fevyer, W.H., and Wilson, J.W., The Africa General Service Medal to theÉRoyal Marines, Uckfield, nd, 130pp; Duckers, P., Egypt 1882: Dispatches, Casualties, Awards, London, 2001, vi + 147pp; Dutton, R., Forgotten Heroes: The Charge of the Light Brigade, Oxton, 2007, 417pp, illustrations in text. First in maroon half-leather, ribbed spine, gilt, an attractive copy; others in publishers’ bindings, the Douglas-Morris mint (11) £50-70
Los 617
Jones, H.D., Journal of the Operations Conducted by the Corps of Royal Engineers, Part IIÉto the fall of Sebastopol, September 1855, London, 1859, 638pp, cancelled Wandsworth Public Library stamps; Leary, F., The Earl of Chester’s Regiment of Yeomanry CavalryÉ1797 to 1897, Edinburgh, 1899, viii + 312pp, 12 plates; Huyshe, W., The Graphic History of the South African War 1899-1900, London, 1900, large folio, 107pp, extensively illustrated, inside front cover signed by J.B. Purefoy, 1901; Barrett, C.R.B. (ed), The 85th King’s Light Infantry, London, 1913, xx + 551pp, 42 plates; French of Ypres, Viscount, 1914, London, 1919, xiii + 414pp. Publishers’ bindings; first with spine partly detached and third partly disbound, others in good condition (5) £50-70
Los 717
Pair: Captain W. E. F. Barnes, 3rd Light Dragoons Sutlej 1845-46, for Moodkee 1845, 2 clasps, Ferozeshuhur, Sobraon (Capt. W: E: F: Barnes 3rd Lt. Dragns.); Punjab 1848-49, 2 clasps, Chilianwala, Goojerat (Capt. W. E. F. Barnes, 3rd Lt. Dragns.) the two medals contained in a contemporary fitted leather case, the silk lining printed with battle honours, extremely fine (2) £3000-3500 Maximum medal and clasp entitlement to the 3rd Light Dragoons for the Sikh wars. William English FitzEdward Barnes, the son of the Peninsula and Waterloo General, Sir Edward Barnes, G.C.B., was born in Dominica on 10 April 1810. He was first commissioned as 2nd Lieutenant in the Ceylon Rifle Regiment on 19 November 1829, but transferred as Ensign to the 26th Foot in February 1831, becoming Lieutenant in July 1835. In June 1837 he exchanged into the 3rd Light Dragoons, becoming a Captain in that regiment in May 1845. Captain Barnes served with the 3rd Light Dragoons in the campaign on the Sutlej in 1845-46 and was present at the battles of Moodkee, Ferozeshuhur and Sobraon (Medal and two clasps). He also served in the Punjab campaign of 1848-49 and was present at the affair of Rumnuggur, action of Sadoolapore, and battles of Chilianwala and Goojerat (Medal and two clasps). Captain Barnes retired by sale of his commission on 12 January 1854, and went into business as an importer of Continental wines and liqueurs. He died in Bournemouth on 20 October 1881.
Los 718
Four: Private W. Chalmers, 71st Highland Light Infantry Crimea 1854-56, 1 clasp, Sebastopol (No. 3702 W. Chambers (sic), 71 Hd. Lt. Infy.) engraved naming; Indian Mutiny 1857-59, 1 clasp, Central India (Wm. Chalmers, 71st Highlanders Lt. Iy.); India General Service 1854-95, 1 clasp, Umbeyla (3702 W. Chalmers, H.Ms. 71st Regt.); Turkish Crimea 1855, Sardinian issue (No. 3702 Willm. Chalmers, 71 Hd. Lt. Infy.) fitted with ‘British Crimea’ style suspension, note spelling of surname on first, edge bruising and contact marks, good fine and better (4) £600-700 William Chalmers was born in Whitburn in the County of Linlithgow. A Tailor by occupation, he attested for the 71st Regiment at Edinburgh on 4 February 1854, aged 18 years. Posted to the Crimea, he saw service at the siege of Sebastopol. With the regiment during the suppression of the Indian Mutiny, he saw action at the attack on Fort Mahighur. Later still, during November 1863, as part of the Yusafzai Field Force, the regiment took part in the stiff fighting to retake ‘Crag Picket’. Chalmers was finally promoted to Corporal in April 1872, having been promoted to that rank and then reduced to the ranks twice before in his military career. He was discharged at Netley in 1875, aged 39 years. With a quantity of copied research, including discharge papers, roll extracts and regimental history extracts.
Los 727
Four: Private E. Brien, Royal Irish Regiment, later Royal Irish Constabulary Egypt and Sudan 1882-89, 1 clasp, Tel-El-Kebir (900 Pte. E. Brien, 2/R. Ir. R.); Coronation 1911, Royal Irish Constabulary, unnamed; Visit to Ireland 1911, unnamed; Khedive’s Star 1882, light contact marks, otherwise nearly extremely fine (4) £500-600 Coronation and Visit to Ireland medals not confirmed.
Los 730
Seven: Petty Officer H. C. Paul, Royal Navy East and West Africa 1887-1900, 1 clasp, Gambia 1894 (H. C. Paul, Ord., H.M.S. Raleigh); Queen’s South Africa 1899-1902, no clasp (161933 H. C. Paul, P.O., H.M.S. Redbreast); Africa General Service 1902-56, 1 clasp, Somaliland 1902-04 (H. C. Paul, A.B., H.M.S. Highflyer); 1914-15 Star (161933 H. C. Paul, P.O., R.N.); British War and Victory Medals (161933 H. C. Paul, P.O. R.N.); Royal Fleet Reserve L.S. & G.C., G.V.R. (161933 (Dev.A.6236) H. C. Paul, P.O., R.F.R.) mounted for display, some light contact marks, otherwise good very fine (7) £550-600 Henry Clarence Paul was born at Torpoint, Cornwall, on 25 February 1876, and joined the Royal Navy as a Boy 2nd Class aboard H.M.S. Impregnable on 31 July 1891. He rose to Petty Officer 2nd Class in January 1901, and to Petty Officer 1st Class in April 1901, but, in December 1902 he was deprived of two Good Conduct Badges and reverted to Able Seaman. He became a Leading Seaman in September 1910 and achieved Petty Officer status once again in June 1912. Petty Officer Paul joined the Royal Fleet Reserve in February 1916 and was finally discharged on 25 February 1926, having reached the age of 50 years. Sold with original parchment certificate which confirms the first three campaign medals and R.F.R. L.S. & G.C. medal, and copied medal roll entries.
Los 733
Five: Private J. Harden, King’s Own Scottish Borderers India General Service 1895-1902, 3 clasps, Relief of Chitral 1895, Punjab Frontier 1897-98, Tirah 1897-98 (3575 Pte. J. Harden, 2nd Bn. K.O. Sco. Bord.); King’s South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902 (3575 Pte. J. Harden, K.O. Scot. Bord.); 1914-15 Star (7525 Pte. J. Harden, K.O. Sco. Bord.); British War and Victory Medals (7525 Pte. J. Harden, K.O.S.B.), the first with slack suspension claw and part-wired clasp rivets, otherwise generally very fine (5) £300-350 James Harden first entered the French theatre of war in early December 1914, as a Private in the 2nd Battalion, King’s Own Scottish Borderers, and was therefore likely present in his unit’s front line actions in tenches north of the Wulverghem-Messines road and at St. Jans Capple in the last two weeks of that month - actions that resulted in around 230 casualties; his MIC entry reveals later service in the Highland Light Infantry and that his awards were sent to him at Craigneuk, Wishaw, Scotland.
Los 742
Pair: Private C. Fletcher, Duke of Cornwall’s Light Infantry Queen’s South Africa 1899-1902, 4 clasps, Cape Colony, Paardeberg, Driefontein, Transvaal (5589 Pte. C. Fletcher, 2nd D. of C. Lt. Infy.); King’s South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902 (5589 Pte. G. Fletcher, 2nd D. of C. Lt. Infy.) note different initials, edge bruising and contact marks, otherwise nearly very fine (2) £160-180
Los 753
Three: Private W. McNamee, Highland Light Infantry, who died on 11 March 1940 India General Service 1908-35, 1 clasp, North West Frontier 1935 (3127614 Pte., H.L.I.); 1939-45 Star; War Medal 1939-45, these unnamed, nearly extremely fine (3) £180-220 Private William McNamee, 1st Battalion Highland Light Infantry (City of Glasgow Regiment), died/was killed on 11 March 1940, aged 30 years. He was buried in the Fouquieres Churchyard Extension, Pas de Calais, France. He was the son of David and Hannah McNamee of Motherwell, Lanarkshire.
Los 769
Three: Lieutenant H. R. Pybus, Durham Light Infantry, accidentally killed, 24 July 1916 1914-15 Star (Lieut., Durh. L.I.); British War and Victory Medals (Lieut.) extremely fine (3) £180-220 Harold Robert Pybus was born on 6 May 1891, the third son of Robert Pybus, a Solicitor, of Newcastle-upon-Tyne. Educated at Charterhouse, 1904-07, and Aldenham, 1908-10, he was later employed as a Solicitors Articled Clerk. As an officer in the Durham Light Infantry, he entered the France/Flanders theatre of war on 17 August 1915 and served on the Western Front, 1915-16 and was wounded. As a Lieutenant in the 4th Battalion Durham Light Infantry, he was killed in a motor cycle accident on 24 July 1916. The Times of 25 July 1916 reported, ‘While riding a motorcycle near Seaham Harbour on Sunday night during a fog, Lieutenant Harold Pybus ran into a trap carrying passengers and was fatally injured, he was 25 years, old.’ Lieutenant Pybus was buried in the Newcastle-upon-Tyne (St. Andrew’s and Jesmond) Cemetery. With copied research including m.i.c.
Los 774
Three: Honorary Captain G. B. Lockwood, Royal Air Force, late Somerset Light Infantry and Royal Engineers 1914-15 Star (Q.M. & Lieut., Som. L.I.); British War and Victory Medals (Q.M. & Lieut.) nearly extremely fine (3) £200-250 George Bertie Lockwood was born in Woodlesford, Leeds. A Teacher and Clerk by occupation, he attested for service with the Royal Engineers at Leeds on 17 May 1893, aged 21 years, 9 months. With them he served in Jamaica, October 1897-January 1901, November 1903-May 1905, and for a third time, November 1909-January 1913. Awarded the Army L.S. & G.C. in 1911, he was discharged as an Engineer Clerk Quartermaster Serjeant on the termination of his second period of engagement on 16 May 1914. With the onset of war, he re-enlisted and in October 1914 was appointed Quartermaster & Honorary Lieutenant in 8th (Service) Battalion Somerset Light Infantry. He was appointed Honorary Captain in October 1917. Posted to the Royal Air Force, he was appointed 2nd Lieutenant (Honorary Captain) in April 1918 and Temporary Lieutenant (Honorary Captain) in July 1918. Lockwood relinquished his commission whilst retaining the rank of Captain due to ill health on 15 March 1919. With copied R.E. and R.A.F. service papers, gazette extracts and other research.
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