Collection of Cricket signed programmes and photographs: to incl. 1992 England v Pakistan programme (Oval), signed by each player to their player portrait profiles, to incl.: Neil Mallinder (2), Salim Malik (3), Graham Gooch (2), David Gower (4), Robin Smith (3), Mike Atherton (2), Waqar Younis (2), Mushtaq Mohammad, Dickie Bird, David Shepherd, Chris Balderstone, Chris Lewis (3), Devon Malcolm, Tim Munton, Derek Pringle, Mark Ramprakash, Phil Tufnell, Alec Stewart, Khalid Mahmood, Javed Mianded, Aamir Sohail, Aqib Javed (3), Asif Mujtaba, Ata-ur Rehman, Mushtaq Ahmed, Naved Anjum, Ramiz Raja, Rashid Latif, Shoaih Mohammad, Zahid Fazal, plus Clive Lloyd and Brian (Johnners) Johnston. In all (30), plus a Surrey Cricket team photograph signed by A. Sandham and M. C. Allom and a. n. other, both mounted (3).
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1931 Australian Rugby Union team individual players portrait photographs: for the tour to New Zealand comprising 23 x Official Wallaby Studio Portraits of each player wearing his Australian kit by The Crown Studios, Wellington c/w embossed studio logo to the bottom right of each photograph and also stamped onto the back along with the copyright. Each one has the name of the player in pencil on the back to incl. the Captain - S J Malcolm, plus team members P B Judd, E W Love, L Palfreyman, F Wyatt, M C White, B Palmer, J Perrin, H Primrose, F Reville, J Ritter, Dr A W Ross, J Steggall, H Tolhurst, C H Towers, W G Bennett, E Bonis, O Bridle, J Clark, P Clark, D L Cowper, W H Heminway and N Herd. Each photograph measures approximately 6" x 8" (23) Scarce collection of significant importance with regards to the inaugural match for The Bedisloe Cup. Note: The first The Bedisloe Cup which is still competed for annually commenced in 1931/32 depending whether you`re an Australian or New Zealander.
1939 Rugby/Cricket signed Certificate Awarded to J. Matthews: presented by the News Chronicle and signed by J. B. Hobbs for the best batting performance during the week ending May 13th 1939, the certificate is decorated with a portrait of Jack Hobbs. Cricket bat, wickets, ball and seal, and signed in pen J. B. Hobbs - Surrey and England XI`s, overall 13.75"x16.5". Note some minor tears to the border and creases.
1938 Wolverhampton Wanderers FA Cup signed football players postcards: 11x b&w portrait postcards by A. E. Magna, Pen Road Wolverhampton; each card is signed in pen to the front to incl. Stan Cullis, J. Maguire, F. Taylor, R. A. Scott, S. Burton, Westcott, W. Morris, McIntosh, Dorsett, Gardiner and Galley - all members of the FA winning cup team.
1940s/50s Wolverhampton Wanderers football team photographs: to incl. 2x album pages signed by the full squad of 21 players from the late `40s to incl. Les Smith, Billy Wright, Jimmy Mullen, Bill Shorthouse, Peter Broadbent, Johnny Hancocks et al, plus 2x portrait personality leaflets signed by 14 of the players incl. Swinbourn, Bert Williams, John Short et al.
* SEREBRIAKOVA, ZINAIDA 1884-1967 Self-Portrait signed and dated 1938, also stamped twice by Z. Serebriakova`s atelier and numbered "20F/2248" on the reverse Oil on canvas, 73.5 by 60.5 cm. Provenance: The Serebriakova Foundation. Anonymous Sale, Sotheby’s London, November 2001, Lot 120. Related literature: For similar works, see V. Kruglov, Zinaida Serebriakova, Zolotoi Vek, St Petersburg, 2004, pp. 65, 101, 190. Serebriakova produced a great many self-portraits in her time. They reflect the artist’s life and offer an account of her feelings and thoughts, creative pursuits and objectives, as well as of a love for her children and a penchant for games and dressing up. The work offered for the auction represents an important turning point in the artist’s oeuvre. It was executed soon after the closing of a large exhibition of Serebriakova’s works in the gallery of J. Char pentier which despite its impressive contents did not yield material success. The artist was clearly painfully aware of her separateness from the artistic life of Paris which had only intensified over the years, but she had no wish to change herself. Alongside commissioned and non-commissioned portraits and still-lifes, she increasingly began to resort to painting self-portraits, with which she attempted to seize the transience of time and track its imprints not only on her appearance, but also on her growing skill and in the changing of her own outlook. A letter written in May 1938 to her children who had remained in Leningrad, is a testimony to how Serebriakova assessed the quality of her self-portraits: “But what rubbish my ‘self-portrait’ has turned out to be yet again!! I never knew that I was capable of producing such a mediocrity! My dear children, I implore you to destroy it…” In painting the self-portraits, Serebriakova is clearly setting herself different objectives. From an artistic viewpoint, the 1938 Self-Portrait is outstanding: in it, we no longer see the young, carefree woman of the self-portrait At the Dressing Table, or the romantic young lady of the Young Woman with a Candle. Rather, we face a mature artist. Serebriakova depicts herself at work, with paint-brushes in her hand. There is nothing deliberate in her choice of setting or her dress; moreover, paraphernalia neither underscores the exclusiveness of her craft, nor diverts the viewer’s attention from the artist’s radiant and serene expression. The portrait attracts with its immediate, captivating simplicity of feeling, its lyricism and tranquillity of a human being living in spiritual inner piece. In this self-portrait, Serebriakova achieves the confluence of the material and the ideal, a feature that distinguishes a true masterpiece. Dmitry Sarabyanov wrote that Serebriakova “is quite unique in her distrust of the mirror. It is of no concern to her that her left hand in the mirror becomes her right, and that it is her left hand…that holds the paint-brush. Serebriakova paints as she sees it. For her, the reflection of objects in the mirror is not an illusion, not a vacillating ephemeral phenomenon hovering on the boundary between reality and imagination, but a reality that is just as legitimate as that of the items themselves… Serebriakova never placed her own personality at the centre of the universe, did not impose her ideas about the world or her lifestyle upon anyone, and certainly did not pride herself on her features or her body. A self-portrait for her was simply a sign of one’s own existence in a world of nature, people and things – in a world of equivalencies. For the artist, it was the most ‘immediate’ manifestation of the existence of reality. The idea behind her self-portraits is surprisingly simple: it could even be interpreted as foolishly naïve, if this simplicity had not expressed the truth. In the second decade of the 20th century, the artist startled her contemporaries by reminding them how the truth could be expressed through simple words and acts without the need to resort to contrivances and subterfuge. Yet she was able to do this – and, moreover, she did this so naturally, without any particular effort. All she had to do was strive towards a conduct that would not dissipate what had purely and simply been conferred upon her by nature.”
* SYCHKOV, FEODOR 1870-1958 Best Friends signed and dated 1938 Oil on canvas, 71 by 92 cm. Authenticity certificate from Vladimir Petrov. The theme of “the friendship of little girls’ hearts”, as the artist described it, was one of the greatest achievements of Feodor Sychkov’s work. He created a whole series of folk images of children that captivate with the spontaneity of feeling and spiritual beauty. Sychkov’s “female friends” are depicted in a variety of settings and pursuits: now sitting on a fence, with a sunflower and a twig in their hands; now leaning against a fence on a winter’s day; now cosily standing shoulder to shoulder, dressed in their national costume; and now hugging one another under a tree in springtime. Village kids adored the artist. As soon as he appeared on the street, a whole horde of children would immediately surround him. For every single one of them the artist had a kind word or a lolly, as well as a minute for a short sketch. The artist’s images of children had already brought him huge popularity by the early 1900s. Unlike many salon artists who would from time to time produce clear fabrications of folk life, Sychkov succeeded in preserving a balance between beauty and reality and in avoiding sentimentality and deception. Critics observed that Sychkov “improved Salon painting by attempting not to depict his ‘girls’ as pretty models, but rather to discern certain character types in them”. His works were highly sought after all over Russia. They were purchased by the intelligentsia, grand princes, rich industrialists, famous collectors (for example, S.M. Tretyakov, brother of the famous founder of the Tretyakov gallery), renowned architects and artists, the imperial court and foreign museums. After the Revolution, Sychkov returned to his native Mordovian village of Kochelayevo, fleeing the turmoil of Petrograd, where his studio had been pillaged. There, he focused fully on portraying children and adolescents, particularly girls. During this period he mainly created versions or copies of his early, pre-Revolutionary works: The Little Friends (1920), Spring (1926), The Holiday (1927), The Holiday. Friends. Winter (1929), and a series of other works. However, even against a background of such benchmark canvases, the work Best Friends (1938) stands out as a clear triumph for the artist in terms of both composition and colour. Two pretty, slightly mischievous girls in their bright shawls and weather-beaten sheepskin coats are standing in the middle of a street as if they have only just torn themselves away from the Maslenitsa festivities in which the rest of their fellow villagers are engaged – those of noisy games, ice skating, and skiing. The girl in the centre in a red dressy shawl, her smiling friend to her left who is tilting her head coquettishly, the crowd of young peasant women in national dress who have poured into the street, and the little lad tottering on skis – everything on the painting captivates with the blossoming vigour of youth and sheer joy of human existence. We see before us the artist’s favourite subjects – strongly built, ruddy, and smiling peasant girls gazing upon the viewer teasingly, with unconcealed curiosity, sincerity and openness. This was Sychkov’s ideal, which may be far from perfect beauty; however, the artist was looking for something else in his models: that internal fire and buoyant love for life that lights up the faces of his heroines with an invariably merry smile. This work reveals the talent of the artist, who as a painter of everyday life of the Russian countryside knew not only how to depict bright folk characters but also how to embody his ideal of national and physical beauty in the images of common rural people. Sychkov preferred to paint Russian villagers during their holidays, and his understanding of the beauty and joyfulness of folk life brings him close to such painters as Bogdanov-Belsky, Surikov, Maliavin and Kustodiev. Each portrait was preceded by a lot of studies. Fellow villagers of Kochelayevo remember how Sychkov’s girl models who were posing for him outside in the freezing cold would have to run into their houses every quarter of an hour to warm their numb hands on the stove and then get back to the artist who would in the meantime be waiting for them impatiently, eager to make use of every minute of a short winter day. As the painting took shape, expressiveness of the sketches which manifested the artist’s delight at engaging with people and places so dear to his heart, would become more subtle and subdued. This impulsiveness and spontaneity in executing a composition which looks so real, truly reveals Sychkov’s talent and artistic distinctiveness. The artist masterfully sculpts the girls’ faces with patches of light and shadow, whereby their images are revealed with a particular reverence. Winter landscape, so skilfully depicted by the artist, also plays a crucial part here. The girls’ images merge harmoniously with the image of Russian winter, with its pure white snow, or bluish shadows cast by the blazing sun. Best Friends is in a sense the creative credo of the artist, who believed that “In life, there must be as much joy as possible. Joy is the sign of happiness of the people. It is the source of liveleness, energy and health. It is the first aide in labour big and small, cure for each ailment and ally in each misfortune.”
HARLAMOFF, ALEXEI 1840-1922 Girl with a Pearl Necklace signed and dated 1881 Oil on canvas, 66 by 51 cm. In the 1870s, alongside works of the domestic genre and portraits, Harlamoff began working on his so-called “heads” and their related genre compositions, which became predominant and now represent the bulk of the artist’s creative legacy. This proved to be an astonishingly lucrative enterprise for the artist, which to a large extent explains why he painted so many of these compositions. It is true that Harlamoff struggled financially during the first few years of his sabbatical. The funds sent to him by the Academy were scarcely enough to support even the most modest lifestyle. Ilya Repin wrote that “The Academy’s scholarships were sufficient to enable the recipients to get to some town or other and then sit there doing nothing in some cheap cramped room”, barely making ends meet. So Harlamoff, to quote Repin, “for two or more years could only afford to dine in cheap eating houses; then, after he received fifteen hundred roubles for a copy, he started painting items for sale for the first time and is now selling little heads ...”. Among the buyers of these “little heads” were members of Russian and European nobility and royals, including Empress Maria Fedorovna and Queen Victoria. Harlamoff ’s early “heads” included his Head of a Gypsy Boy, which was painted before the artist’s trip to Belgium. Subsequently, in the 1870s, after returning to France, he created his Mordovian Girl (the Radishchev Saratov Museum), Little Italian Girl and Gypsy Girl (both held by the State Russian Museum), A Head (Penza Picture Gallery), and Portrait of a Girl (Perm Museum of Art), amongst others. These seem to have been painted by Harlamoff so as to invoke associations with the works of Italian artists of the 17th century. What distinguished Harlamoff ’s “heads” genre from the multitude of other portraits of the same period? One of the artist’s contemporaries wrote that “the head and the study [for the head] are nothing other than ‘uncommissioned’ portraits, portraits under which not only do the first name and surname of the original artist not appear, but we do not have even the inevitable X., N. or Z. The artist executes his head and the study from life in exactly the same way as that in which he paints a portrait from life. However, his choices are not diffident ones, and that is the reason all his heads are beautiful ...” To put it succinctly, this approach provided the artist with a rare opportunity to freely juxtapose his ideal of beauty against real life. The unrivalled master of this genre was considered to be Leon Bonnard, Harlamoff ’s teacher in Paris. However, despite the fact that such works were integral elements of the works of the Paris Salon, only a few artists managed to reach the standard of the master’s work. Harlamoff, who in his works provided his own unique interpretations of the achievements of Russian artists of the first half of the 19th century – most notably Bryullov, Kiprenskiy, and Moller, amongst others – was one such artist. Girl with a Pearl Necklace is one of the artist’s best “heads”. In his delicate, thoughtful image of a young girl, Harlamoff attempts to express certain psychological characteristics. The canvas as a whole contains a brownish “museum-like” colour spectrum; at the same time, however, Harlamoff is not afraid of providing a combination of resonant, “pure” white and red colours in the model’s clothing, and this was characteristic of his work in the late 1870s through early 1880s. The style of her simple dress – a blouse and a sarafan [Russian peasant tunic dress] – creates the impression that there is something Russian about the portrait, despite the fact that the painting was executed in France. The model for Girl with a Pearl Necklace was possibly one of the many female pupils of Pauline Viardot, with whom Harlamoff was very friendly in Paris. In any case, she can by no means be described as incidental to the artist’s work, as we certainly know of a number of works which had as their subject the same model as Girl with a Pearl Necklace. Moreover, one of them – The Girl with Brown Eyes – is virtually an exact copy of the composition of Girl with a Pearl Necklace, with the same angle of the head, the same cloak, and the same hands crossed on the chest. Diverse stylistic trends are interwoven in both of these canvases. Here, as in many of Harlamoff ’s other portraits, we have romantic or even sentimental reminiscences (it was not for nothing that his contemporaries remarked upon their “daydream” origins), features of realism, and, finally, allusions to the paintings of the “old masters”. After all, in the majority of his works Harlamoff continues to be a good colourist and a master who has a marvellous command of painting techniques. According to the recollections of the artist E.K. Liphart, who was one of Harlamoff ’s and Bogoliubov’s friends amongst the community of Russian artists in Paris, “everyone considered it to be an honour to pose for Harlamoff. In his strikingly similar portraits, what was important to him was the overall effect of the painting, and the details did not interest him – for example, if – as a result of being lit from above – an eye appeared to be sunken into the deep shadow of the eye socket, Harlamoff would satisfy himself with a half shadow, which would allow the pupil to be seen together with the vivid expression of the model’s gaze”. It was precisely this intense interweaving of light and shadow, as a contemporary artist noted, that created a certain sense of intrigue and mystery in Girl with a Pearl Necklace.
SOMOV, CONSTANTINE 1869-1939 Portrait of a Boy signed, inscribed ``25. Bernard N." and dated "24.8.37" Colour pencils and pastel on paper, 40.5 by 24.5 cm. Provenance: Private collection, France. Related literature: For similar works, see The Somov Collection, Christie`s, November 2007, pp. 82-85.
* § TSELKOV, OLEG B. 1934 Smoker signed, titled in Cyrillic and dated 1969 on the reverse Oil on canvas, laid on panel, 100 by 152.5 cm. Provenance: Acquired directly from the artist by the present owner. Private collection, USA. Authenticity has been confirmed by the artist. Literature: Oleg Tselkov, Le Grandi Monographie, Turin, Fabbri Editori, 1988, p. 67, illustrated. Roger Pierre Turine, Oleg Tselkov, Bonfi, Moscow, 2002, p. 33, illustrated. Related literature: For similar works, see Roger Pierre Turine, Oleg Tselkov, Bonfi, Moscow, 2002. The image of the “pipe smoker” became one of the most important in Tselkov’s creative oeuvre during the second half of the 1960s. Evolving from the still life of 1964, in which a grey, large-toothed face, two long smoking pipes and a burning candle form the traditional vanitas composition, evocative of the “nature morte” of African totems and of ancient Latin American art, to the self portrait of 1969, and the suite which is made up of several impressive compositions of the same name, the image of “the smoker” grows, not only in relation to scale, but also in terms of meaning. This represents one of the allusions, which can occasionally be found in Tselkov’s works, to classical museum art - “the smokers”, a popular subject for painters, beginning with the Dutch and Flemish school of the 17th century, and continuing up to the time of Cezanne and Gris that became the darlings of the 20th century. Yet, Tselkov’s smoking monsters are merely a fragment of a classical painting, the spatial and compositional structure of which, containing references to well known iconographic motifs and traditional subjects, is merely a trick, a theatrical effect, designed to emphasise the alien nature of Tselkov’s world. Before us we do not see real people, whether in the form of a self-portrait of the artist or a canvas presented at the auction, but a world of simulacrums, in which genuine existence is wholly impossible. There is, therefore, no visible distinction between the genuine and the surrogate, nor is there any real difference between the mask and the face. The large toothed and toothless “Tselkov mugs”, which have been painted in the traditional palette of various shades of red, apathetically and, for no apparent reason, inhale and exhale clouds of grey and violet smoke. This smoke has poisoned everything that surrounds them: the yellow featureless towns and the spatial dimensions of life, squeezed into a frame and suspended by a nail. At the same time, Tselkov’s works contain no hint of the pathos of a Soviet poster calling for the battle for a better world; rather, what is at issue here is the metaphysical death of modern man and his urban world, in which, to use the words of the artist himself, no trace of “the face of god” remains. A student of the legendary theatre designer Nikolai Akimov, from his early days Tselkov was fascinated by experimenting with the “Jack of Diamonds” style of painting. However, the artist’s present-day fame has come about thanks to his so called “ugly mugs”: his bright, almost surrealistic canvases depicting round-headed creatures, which resemble humans with flabby bodies, blank eyes and large, glossy mask-like faces. Painted in bright, sparkling colours, usually against a black background, these “poster-like” garish images became a popular symbol in the West, as early as the 1970s, of the Soviet artistic underground: a caricature, in a sense, of Homo Soveticus. Tselkov himself stated that “I painted a portrait, so to speak; not a portrait of any individual subject, but, rather, a universal portrait of every human being, synthesised into one face, and one which is horribly familiar… This face is the face of modern humanity as a whole. I did not set myself the task of ‘ripping off the mask’: rather, I saw neither ‘good’ nor ‘bad’, but something which was more real, more than skin-deep. And it is what we all are under the skin that brings all of us closer together. I cannot make any specific accusations against any particular person, but I am making more than a specific accusation against the large numbers of people who degrade one another, torment one another, and do away with one another. I am entitled to make such charges in relation to the past, the present and the future …” Tselkov was forced to leave for the West in 1977, where his work was compared to that of Fernand Leger, Francis Bacon and Fernando Botero, and occasionally to the later work of Kazimir Malevitch. As a result of Dovlatov’s famous story, the artist himself became a semi-mythical hero of underground art. Since that time, Tselkov’s works have found their way into museum collections on both sides of the Atlantic; as well as into public and private collections in Russia, the United States, France and Japan. Solo exhibitions of his work have been held in the Russian Museum and the Tretyakov Gallery, and the value of the artist’s works has risen in proportion to the increasing size of the paintings, which between the 1980s and 1990s, reached truly gigantic, mural-like dimensions.
ZVEREV, ANATOLY 1931-1986 Female Portrait signed with initials and dated 1958 Gouache on paper, 51.5 by 42 cm. Provenance: Acquired directly from the artist by the father of the present owner. Thence by descent. Private collection, Sweden. Exhibited: Anatoly Zverev, Kouros Gallery, New York, July–August 1986. Anatoly Zverev, University Art Collection, Göttingen Museum, Germany, 1993. Anatoly Zverev, The Pushkin State Museum of Fine Arts, Moscow, 1994.
SIR JOHN LAVERY R.A., R.S.A., R.H.A., H.R.O.I., L.L.B (IRISH 1856-1941), HALF LENGTH PORTRAIT OF BETTY, Signed, inscribed verso `To Betty with `The President`s` compliments and good wishes`, S.Cromwell Rd, Sept. 1910, oil on canvas, 60cm x 41cm (23.5in x 16in). Exhibited:London, Goupil Gallery, Oil Paintings by John Lavery RSA, RHA, 1908, no 10 (?) as Betty. Note:Lavery would often begin a portrait by working on a small scale - experimenting with poses and colour schemes. On occasions he also produced a swift head study to familiarize himself with a sitter`s features. Long experience had taught him to act quickly if he wished to capture the essence of a personality. In an age when high aesthetic value was placed upon the fleeting glimpse, he was rubbing shoulders with the likes of Sargent, Blanche and Boldini, the masters of what Sickert dubbed `wriggle and chiffon` painting. There is however, no coy `come hither` posturing in the present study of a woman who holds the painter`s eye with calm concentration. Delicate modelling of the eyes and mouth is complemented by staccato notation of the sitter`s dress and lace collar. Unfailingly generous, Lavery would frequently present his sketches to friends, clients and sitters, often inscribed on the reverse with personal dedications, as mementoes of what were sometimes chaotic experiences. The painter`s busy work room, if RB Cunninghame Graham is to be believed, was sometimes filled with animated chatter `… scents, noise, confusion …` as dealers, framers, friends and fellow artists came and went. With his model posed on a dais, or `throne`, Lavery practiced his craft oblivious to the throng. In the present case, both the identity of the sitter and the meaning of the inscription remain obscure. One other portrait of this particular model is known, primarily from Walter Shaw Sparrow`s monograph on the painter. Up to this point, it has been assumed that this picture, Betty - A Portrait Study, was that shown at the Goupil Gallery in 1908. However with the appearance of the newly discovered Betty, this must now be questioned. An extensive search of the portraits of the period has yet to tell us with certainty who she was. It is possible that she too was a painter - Betty Fagan, an artist who exhibited at the Royal Society of Portrait Painters of which Lavery was a prominent member. In May 1910 he had hosted the society`s council meeting in his studio at 5 Cromwell Place, when JJ Shannon was voted in as its new president. It is possible that, despite his reluctance, Betty Fagan had been campaigning on Lavery`s behalf. He was currently the subject of a major retrospective at the 1910 Venice Biennale and had been collecting international honours for a number of years and since 1902, a campaign had been waged in the press to secure his admission to the Royal Academy. Although he was not immune to flattery, it is unlikely that a presidency would have appealed to him at this point. In 1910, Lavery`s reputation abroad was greater than that at home. Prominent sitters` commissioned portraits were clearly named and accounted for in exhibition reviews. Models and friends, `Mary`, `Idonea`, `Phyllis` and in this instance, `Betty`, are often only identified by a single Christian name. Dropping into the studio they were seized from the melée, placed on the `throne` and painted. We are grateful to Dr Kenneth MConkey for his help in the preparation of this entry.
English School early 19th Century Portrait of a gentleman wearing blue Oval in a brass frame 60 x 45mm With an oval miniature of a gentleman c.1840 and an oval miniature in watercolour of a gentleman in an ebonized frame (3) ++1. Good 2. Some surface blemishes and cracking to the gum arabic 3. stained and faded
English School 18/19th Century Portrait of a Judge possibly Lord Norwood Three quarter length seated in an interior wearing judicial robes Oil on copper (stamped HUNTER in all four corners verso) in a frame surmounted with a Coronet on a cushion 43 x 36cm; 17 x 14in Inscribed indistinctly on the frame verso Lady (?) Norwood and also: this belongs to my daughter ..... Browne ++Some flaking on the margins scuffs and blemishes
Philip Wickstead (died circa 1790) A portrait of the family of James Henry of Jamaica (1732-1787) and his wife Elizabeth née Jones their six children James John William Edward Elizabeth and Josiah their maternal grandmother Catherine Jones and their tutor All full length seated in an interior a view of their estate called Southfield in St Ann’s Bay Jamaica beyond Oil on canvas in the original 18th Century Jamaican frame 123 x 99cm; 44½ x 39in This impressive family group is undoubtedly one of the most elaborate works that Wickstead produced in his career and certainly one of only a few on this scale to have survived from his time in Jamaica. He was there for 17 years and unfortunately much of his work from this time was destroyed in the great hurricane of 1780. It has been in the collection of the Henry family and their descendants since it was painted. Wickstead trained under Zoffany however his work is closer in style to that of Arthur Devis who also specialised in the conversation piece and who often depicted similar slim elegant sitters. He went out to Jamaica in 1773 with the landscape painter George Robertson under the patronage of William Beckford of Somerley who owned large sugar plantations in Westmoreland Parish. He stayed in Jamaica for the rest of his life and in the 1780’s after a failed attempt at being a planter he took to drink and died around 1790. The Henry’s were Lowland Scots who became prosperous merchants. After the Jacobite Rebellion in 1745/6 James Henry a surgeon and physician by training depicted on the right of the picture set out for the New World. He is recorded as living in Jamaica by 1767. He married the daughter of a wealthy widow and he accumulated considerable wealth. His eldest son James Henry shown seated at the left hand end of the table was a Captain in the St. Ann’s Militia Regiment at the time of his father’s death in 1787. He was the only one of the four brothers to marry and produce heirs and it is through his line that the picture has been passed down through the generations. Provenance: James Henry (1732-1787) James Henry (1765-1807) James Henry (1802-1877) James Henry (1836-1916) Elsie Beatrice Sharp neé Henry 1879-1952) Basil Telford Sharp (1917-1988) who gave it to the present owner a direct descendant of the Henry family ++In good condition
An oak cased eight day longcase clock the 12 inch arched brass dial signed `R Midgley, Halifax` with centred date aperture and moon phases within a silvered chapter ring and pierced corner spandrels under a portrait disc to the arch, the four pillar eight day movement striking on a single bell the oak case later carved in the 17th century style the hood with pagoda top over an arched hood door between turned front corner hood pilasters over a leaf carved arched trunk door on a carved box base with later skirting plinth, 215cm high
A Crimean War Naval Brigade Al Valore Militare group of six awarded to Captain J. G. Courtenay-Everard, Royal Navy; his ships mascot Timothy the Tortoise survived until 2004 Crimea 1854-56, 1 clasp, Sebastopol, unnamed as issued; China 1857-60, 1 clasp, Taku Forts 1858, unnamed as issued; Legion of Honour, Knights breast badge, silver, gold and enamels, fitted with silver ribbon buckle, enamels chipped and damaged; Order of the Medjidie, 5th Class, silver, gold and enamel; Al Valore Militare, Spedizione DOriente 1855 1856 (Lieut. J. G. C. Evered, Nl. Bde.); Turkish Crimea, Sardinian issue, unnamed, fitted with silver ribbon buckle, unless otherwise stated, good very fine or better and a rare group (6) £3500-4000 Only 30 Al Valore Militare awarded to the Royal Navy for the Crimean War. The citaition states: Served with the Naval Brigade upwards of eight months. Was present at every bombardment except the first, and on one occasion was wounded. John Guy Courtenay Evered was born in 1830 and passed his examination in May 1852. For his services as Senior Mate of the Queen 116, Captain Frederick Thomas Mitchell, in the attack of 17 October 1854 on the sea-defences of Fort Constantine, Sebastopol, he was promoted to the rank of Lieutenant, 9 November following (Crimean and Turkish medals, Sebastopol Clasp, Knight of the Legion of Honour, 5th Class Medjidie). He was afterwards employed on shore for eight months in the Naval Brigade in the Crimea as Additional of the Britannia 120 and Royal Albert 121, bearing the flags of Admirals Deans Dundas and Sir Edmund Lyons, and as Lieutenant of his former ship the Queen. He was present at every bombardment of Sebastopol but the first, and was once wounded (awarded the Sardinian Medal for services in the Naval Brigade before Sebastopol). He returned to England in the Queen under the command of Captain Robert Fanshawe Stopford in 1856. From 1857 until 1859 he served in the Princess Charlotte 104, Captain George St. V. King, Fury steamer 6, Captain Charles Thomas Leckie, and Nankin 50, Commodore Hon. Keith Stewart, on the coast of China, where he took part as Lieutenant of Fury in the operations of 1858 including the capture of the Taku Forts (China Medal and Clasp, Taku Forts). He married, 24 August 1859, Gertrude Eliza, only daughter of T. Hay Nembhard, and had at least 8 sons and 2 daughters, with whom he appears to have emigrated to New Zealand, where they settled at Te Puke in about 1880 with a farm of some 200 acres. In 1887, he succeeded his father to the Barford Park estate, near Bridgewater in Somerset, and returned home to take charge. In 1904 he changed his name to Courtenay-Everard, before dying at the age of 100 in 1931. Shortly after his death The Times published an account of his remarkable life called A Centenarians Memories, form which the following extract is taken: During the War with Russia, he served as senior mate of this vessel [Queen] in Crimean waters. He was present in the attack on Fort Constantine, and in other operations, as well as being landed with the Naval Brigade before Sebastopol. It was while he was in the Queen that he was promoted to lieutenant on November 9, 1854, and reappointed to the ship. ôI was given my lieutenants commission,ö he said on one occasion, in an interview, ôfor saving some women from the Cossacks. My captain told me to take two boats and such men as I wanted, and do our best. It was a tough job getting the women away from those rascals. They blazed away at us, and we had to lower the women into our boats by the hair of their heads in some cases. But we brought them safely away.ö Captain Everard used to recall having met Florence Nightingale, ôas good a woman as any living or dead,ö when she one day, with a little band of followers, came up to the battery he commanded. Also sold with a copy of Timothy the Tortoise - The Remarkable Story of the Nations Oldest Pet, by Rory Knight Bruce, which chronicles the life of a tortoise taken from a Portuguese man of war by Captain Evered prior to the Crimean War. Timothy, who later turned out to be female, served with Evered as a ships mascot throughout the wars in the Crimea and China until Evered emigrated to New Zealand in about 1880, when he was passed to Captain Edward Rutherford R.N., finally living out his life at Powderham Castle in Devon where he died in 2004, aged about 160 years. The book also reproduces a small portrait of Everard in later life wearing his medals.
A well-documented Coastal Command pilots Second World War campaign group of four awarded to Flight Lieutenant F. Hughes, Royal Air Force Volunteer Reserve, who completed around 50 operational sorties in Sunderlands and Swordfish of Coastal Command 1943-45, in which period his aircraft attacked U-Boats on at least two occasions - he was subsequently killed in a flying accident 1939-45 Star; Atlantic Star, clasp, France and Germany; Defence and War Medals 1939-45, in their original addressed card forwarding box, extremely fine (4) £340-38 Frederick Hughes, who was born in Prestwich in October 1916, volunteered for the Royal Air Force in June 1939 and was embarked for training in Canada and the U.S.A. in February 1942. Commissioned as a Pilot Officer in early 1943, he returned to the U.K. and, on qualifying as a 2nd Pilot in Sunderlands of Coastal Command, was posted to No. 228 Squadron at Pembroke, in which unit he would fly operationally over the Bay of Biscay until June 1944, mainly in the crews of Flight Lieutenants Squire or Bowie. His Flying Log Book records some 30 anti-submarine patrols in this period and at least two attacks, one on a U-Boat off Brest on 4 January 1944, when Squadron Leader Bailey was shot down, and another on 5 June 1944. So, too, other notable events, including sighted F.W. Kurrier who tried to attack on 31 December 1943 and the loss of Flight Lieutenant Grimshaws Sunderland in flames on 17 January 1944. Qualifying as a 1st Pilot and advanced to war substantive Flight Lieutenant in January 1945, Hughes returned to the operational scene in No. 119 Squadron, another Swordfish unit, and completed at least another 20 sorties off the Dutch and Belgium coasts, largely on the prowl for further U-Boats. Post-war, while employed in 1693 Communications Flight, a unit of the British Air Forces of Occupation (B.A.F.O.), Hughes was killed in a flying accident on 25 June 1946 when his Anson struck a hill near Osnabruck. Sold with a large quantity of original documentation, including the recipients original Flying Log Book (R.C.A.F. type), covering the period April 1942 to November 1945 - two or three opening pages absent and his earliest entries undated, but April would appear to be the likely month in which his training commenced; together with his Buckingham Palace memorial scroll in the name of Flight Lieutenant F. Hughes, Royal Air Force; R.A.F. identity card; assorted wartime period photographs (approximately 30), among them several portrait photographs and scenes from his funeral service and burial, and much besides, including official correspondence, training notes, mess invoices, telegrams, letters and postcards.
An extremely rare Second World War O.B.E. group of seven awarded to Captain H. H. Golding, Merchant Navy, one of a handful of recipients of the Southern Railway Companys M.S.M - for his gallant deeds as Master of the S.S. Isle of Sark in St. Peter Port, Guernsey in June 1940, when his ship came under attack while embarking evacuees The Most Excellent Order of the British Empire O.B.E. (Civil) Officers 2nd type breast badge, silver-gilt, in its Royal Mint case of issue; British War Medal 1914-20 (Hervy H. Golding); Mercantile Marine War Medal 1914-18 (Hervy H. Golding); 1939-45 Star; Atlantic Star, clasp, France and Germany; War Medal 1939-45; Southern Railway Companys Meritorious Service Medal, silver-gilt, the reverse officially engraved, H. H. Golding, in its fitted Royal Mint case of issue, the Great War awards slightly polished, otherwise generally good very fine and better (7) £4000-5000 O.B.E. London Gazette 3 January 1945. Southern Railway Companys M.S.M.: Delayed the departure of the S.S. Isle of Sark from Guernsey, during intense bombardment of the Island on 28 June 1940, in order that as many passengers as possible might be embarked. The Southern Railway Companys M.S.M. was instituted by the Companys directors soon after the outbreak of hostilities, 18 awards being presented at a ceremony held on 16 August 1940 and thereafter just six further awards. Hervy Hardinge Golding was born in Tongham, near Farnham, Surrey in October 1887, and sailed out of Greenock as an apprentice aboard the Samoena, a threeðmasted ship, and for four years survived the life, sailing and the dreaded Southern Ocean, learning the skills that would one day enable him to join that exclusive society of men ð the Cape Horners (The Evening Echo, Bournemouth, 22 June 1974 refers). Having passed his 2nd Mates examination in London in November 1908 and his 1st Mates examination in Hong Kong in November 1910, Golding was next employed in vessels of the British Steam Navigation Company and Seang Line, trading routes from Rangoon to China. In April 1914, he entered the service of the London & South Western Railway fleet as a 2nd Officer in the Bertha (afterwards merged with the London, Brighton & South Coast Railway, and the South Eastern & Chatham Railway companies to form the Southern Railway Company). Actively employed in the Mercantile Marine in the Great War, he was employed on the Southampton-Le Havre run, latterly in the Normannia and Hantonia. And he stayed in the Companys employ for the remainder of his career, his otherwise peaceful voyages to France and the Channel Islands coming to an abrupt end on the renewal of hostilities. Evacuation of Guernsey ð June 1940 On the renewal of hostilities, Golding was in command of the Isle of Jersey, shortly to be refitted as a hospital carrier, but in early 1940 he was given command of the Isle of Sark, which appointment led to his part in the evacuation of the Channel Islands. The ships matter of fact official log entry for 28 June 1940 states: 6.55 p.m., St. Peter Port, Guernsey: At time and place stated, while passengers were beginning to embark, enemy planes appeared and commenced a bombing and machine-gun action on harbour and shipping. A wireless transmission message was transmitted and acknowledged. The attack was maintained for an hour, during which no damage was done to the ship. Vessel sailed for Southampton at 10.15 p.m. according to schedule. A more extensive account of events that evening at St. Peter Port was later published in the Great Western Railway Magazine: On 28 June 1940 enemy bombers attacked in earnest. About 7 oclock in the evening a number came over, flying at about 3,000 feet. Diving lower, they then machine-gunned the jetty and its vicinity, and bombed the harbour very intensely. As it was low tide, the area under the jetty provided reasonably good shelter for those who were able to get there, but casualties were nevertheless considerable. Three of the Companys staff were among the wounded who were taken to a hospital in the Island. The jetty itself was soon ablaze with burning lorries, and at the end of the raid the scene was an inferno, and passage from any one point to another was not an easy matter. It is now clear to the Companys staff that it was high time to leave. There were three vessels in the harbour, which had been kept in steam in readiness for just such an emergency. They each had some guns for defensive action, and had succeeded in keeping hostile aircraft far enough away to prevent any direct hits. The vessels sailed for England at 9.30 p.m. the same evening, the Companys staff, as had already been stated, being on the last boat to leave. Of the 49 Great Western and Southern Railway joint staff at Guernsey, 38 sailed to England, three are known to have been left behind wounded, and eight remain unaccounted for. Most of the wives and families of the men had sailed for England at an earlier date. It is understood that the island of Guernsey was occupied by German troops on Sunday 30 June. And a glowing portrait of Goldings calmness under fire was later published in the Bournemouth Daily Echo, from which the following extract has been taken: The ship had some near misses and there were very heavy casualties among the people on the quay. A large number of lorries caught fire. The bombing and machine-gunning went on for about an hour. The quay was a shambles with 50 killed, 200 wounded and over 100 lorries burning. Many of the women and children passengers were unaccompanied by men, and with the large number of people on the ship and on the quay a panic with grave consequences might easily have commenced. Captain Golding issued orders from the bridge and then walked along the decks keeping everybody as calm as possible. His presence was felt immediately wherever he went, and in my judgment he was largely responsible for the steadiness of the crew, the passengers and the people on the quayside. As soon as he felt the people aboard were steady, he walked across the quayside to telephone to the Naval Authorities, then returned calmly to his bridge, although concentrated machine-gunning and bombing were going on. When the bombing had finished, he had to make important decisions. How many people he would take aboard from the number who were clamouring to come; the best time to leave in view of the fact that he would be unescorted and so on. It must also be remembered that he had a very tired crew. They had been working at top pressure for many weeks. Captain Golding remained on duty the whole of the day as he had on every other day when in Guernsey. During the bombing and afterwards, he was absolutely calm and imperturbable, and tireless in stimulating and encouraging his crew. The Isle of Sark was in fact the final ship to depart St. Peter Port before the German occupation, with 647 passengers embarked, and but for the light A.A. and Lewis gun fire she put up at the attacking Heinkel IIIs, casualties may well have been higher ð on Goldings recommendation, Able Seaman G. Mace, also received the Companys M.S.M. for manning the ships gun on the same occasion. Having been actively employed elsewhere, Golding was not able to attend the first investiture of the Companys M.S.M. in August 1940, but shortly afterwards, he received his award at Southampton from the Docks and Port Manager, in the presence of many officials and staff ð the gathering also included the Flag Officer i./c. Naval Operations, Southampton, the Garrison Commander and the Principal Sea Transport Officer (Southern Railways Journal refers). Golding returned to his old command, the Isle of Jersey, in December 1940, by now a fully fitted-out hospital carrier attached to the Home Fleet at Scapa Flow, and in which capacity he remained in command until the Wars end. During the Normandy landings, the Isle of Jersey steamed south and served off Gold and Juno Beaches, bringing home nearly 2000 patients in a matter of weeks. He was awarded the O.B.E. and returned in triumph to St. Peter Port in October 1945. He finally retired in late 1947, after 33 years with the Southern Railway Fleet, latterly having served as Commodore of the companys Southampton Section ð and having completed 4,800 Channel crossings. He died in December 1982, aged 94 years. SOLD WITH THE FOLLOWING RELATED MEMORABILIA DOCUMENTATION Ordinary Apprentices Certificate of Indenture, dated 9 September 1904, for 4 years to the John Clink Line at Greenock. A privately compiled ships log covering the recipients time in the Samoena circa 1906-08, large cloth bound volume with leather spine. A quantity of competency reports (or ôFlimsiesö) in respect of the recipients pre-Great War service out in the Far East in ships of the British Steam Navigation Company and Seang Line, circa 1910-13, together with a run of related discharge certificates. Certificate of Competency as Master of a Foreign Going Ship, Board of Trade, dated 18 July 1913. Board of Trade correspondence relating to the award of the recipients British War and Mercantile Marine Medals 1914-18, including forwarding letter dated 4 May 1921; together with Ministry of Transport forwarding certificate for his 1939-45 campaign awards. A series of privately compiled ship log books (15), with details of individual voyages, many with Southern Railway label to front cover bearing the recipients name and relevant dates, and covering the periods January 1918 to December 1922; January 1923 to December 1928; 22 June 1927 to 31 August 1929; 2 September 1929 to 23 October 1930; 23 October 1930 to 2 July 1932; 4 July 1932 to 29 May 1934; 29 May 1934 to 3 August 1935; 3 August 1935 to 22 July 1936; 23 July 1936 to 9 August 1937; 10 August 1937 to 11 June 1939 (re. Isle of Jersey); January 1939 to December 1936; 3 November 1937 to 15 April 1939; 12 June 1939 to July 1946; a separate folder entitled Isle of Jersey ð Account of All Movements 24 August 1939 to 11 July 1945; 20 July 1946 to 11 September 1947; and another up to September 1947, but with earlier entries from January 1937; together with Goldings Guernsey and Jersey Pilots log books and notes. Goldings official Dock Permit (No. 21067), for permission to enter Southern Railway Companys docks at Southampton, dated 8 May 1940; and three letters of appreciation from passengers he brought out of St. Peter Port a few weeks later, citing his calmness under fire and the steady conduct of his crew. A fascinating scrap album, with numerous newspaper reports, many dealing with events at St. Peters Port in June 1940, together with some official reports and correspondence, the latter including a letter from the Manager of Southern Railway congratulating Golding on his courage and resource, and Ministry of War Transport letter of notification regarding the award of his O.B.E. The recipients original O.B.E. warrant, dated 1 January 1945, framed and glazed. The recipients Imperial Merchant Service Guild membership certificate, brown leather folder with gilt title His Minister of Shipping Continuous Certificate of Discharge (R218098). A hand-illuminated retirement certificate, the upper inscription reading, We the undersigned Ships Officers of the Marine Department of the Southern Railway at Southampton hereby place on record our esteem and good wishes to Captain H. H. Golding, O.B.E., on his retirement from the service after 43 years at sea and wish him a long and happy enjoyment of his well earned rest, with 50 signatures (some faded), 30cm. by 26cm., framed; together with an assortment of related retirement telegrams and letters. A box containing as large quantity of ôCape Hornersö documentation, membership and otherwise. A file containing assorted letters of condolence and cards (approximately 25); and much further documentation, including pocket diaries, marriage certificate, wills, insurance policies and further family-related papers. PHOTOGRAPHS An image of the Officers and Apprentices of the Samoena, circa 1907, 37cm. by 32cm., framed and glazed; another from same period, or slightly later, by local photographer Chueng Kulan, Amoy, 43cm. by 36cm., framed and glazed; and a pair of smaller group images from his days in the Glengogle in the Far East, both framed; an image of the Isle of Jersey, the mount captioned, H.M. Hospital Ship ôIsle of Jerseyö. Refitted by The Grangemouth Dockyard Co. Ltd, October 1941, 30.5cm. by 25cm., framed and glazed; a display of 14 wartime images, mainly of Isle of Jersey interest, framed and glazed, and two further images of Golding, his ships officers and matrons from the same period, framed and glazed. Photograph albums (8), with several hundred images in total, covering his time in the Far East, 1911-13, with excellent ship views and captioned crew images; inter-war service and various ôfamilyö travel and holiday scenes in the U.K. and abroad, together with a postcard album. A large selection of other photographs, dating from the late Victorian era through to the 1950s (approximately 400 images), quite a few on card mounts, many of nautical interest but others of family subject matter, the former including numerous scenes from the Isle of Jersey in the 1939-45 War. PICTURES A water colour of H.M.H.C. ôIsle of Jerseyö at sea, initialled J. D. A. and dated 1945, 30.5cm. by 20cm., framed and glazed. A water colour depicting a ship in distress approaching rocks, unsigned, 19cm. by 13.5cm., framed and glazed. NAUTICAL MEMORABILIA Captain Goldings sea chest, the exterior green painted, the plain wooden interior with two large and one smaller raised compartments, and the inside of the lid with hand-painted signal flags, rope handles, 87cm. by 43cm. by 39cm. A portable ships compass, by Mahier, Le Havre, in wooden, part-glazed carrying case. A telescope, by Ross, London (No. 47449), retailed by Murray, Calcutta, leather grip. Captain Fields improved parallel rule, antique boxwood, brass hinges; together with a whistle, pocket compass and stop-watch. A selection of ships pennants and flags (5), including large yellow flag emblazoned with an Imperial Chinese dragon, this latter, as described in an accompanying newspaper article, flown from the foremast of his last deep sea command, plying the China Seas and visiting ports all over the Far East. A portable signal kit, by Woolf, Southampton, with individual pockets containing 20 pennants, and lower pockets for burgee, signal book and ensign, the whole contained in a folding brown canvas case, with ties; together with a smaller kit of nine pennants in a white linen container. A selection of items relevant to the ôCape Hornersö, including brass and enamelled car bumper badge, a glass ashtray, two blazer patches and two lapel badges; Merchant Navy ôMNö lapel badge and two similar tie-pins; the recipients silver identity bracelet, inscribed ENN221818 H. H. Golding, Ewshott, Brockenhurst, together with his bullion embroidered cap badge, three similar company badges, and a large quantity of Merchant Navy uniform buttons. A bag containing several expended .303 shell cases and a piece of shrapnel, these latter souvenirs of events at St. Peter Port in 1940. A bullion and embroidered uniform epaulette of Queen Alexandras Royal Naval Nursing Service, mounted on card, with ôH.M.H.C. Isle of Jerseyö inscribed above, and accompanied by five signatures of nursing staff who served in her, dated 1944-45, framed and glazed. A presentation silver salver, hallmarks for Birmingham 1940, with central inscription, To the Captain, September 1947, with ten engraved autographs around, 24.5cm. See lots 219 and 220 for brothers medals.
A good Great War D.C.M. group of four awarded to 2nd Lieutenant W. V. Hunter, Gordon Highlanders, afterwards a Deputy Chief Constable in Scotland Distinguished Conduct Medal, G.V.R. (235409 Sjt. W. V. Hunter, 8/10 Gord. Highrs.); British War and Victory Medals (235409 Sjt. W. Hunter, Gordons); Coronation 1937, in its card box of issue, together with a Great War period gilt-bronze circular locket, with coloured portrait of the recipient, very fine and better (4) £600-800 D.C.M. London Gazette 3 September 1918: For conspicuous gallantry and devotion to duty in action when commanding a platoon holding a strong point, which he defended until almost encircled by the enemy. After inflicting heavy losses on them, he withdrew gradually, taking up successive positions, and thus allowing his company to be withdrawn. He showed the utmost disregard of danger, continually exposing himself while encouraging his men, and his superb example and fine leadership inspired all ranks with him. William Vail Hunter was commissioned as a 2nd Lieutenant in the Gordon Highlanders in March 1919. The 8/10th Battalion, Gordon Highlanders arrived on the Somme in early August 1916, and, in an attack east of Ginchy on 15 September, assisted at the capture of Martinpuich, while in January 1917, the Battalion executed a particularly successful raid on the Butte de Warlencourt, taking a number of prisoners and destroying ammunition dumps and trench systems - the whole while attired in white as camouflage against the snow. Having been recalled from another attack in May 1917, owing to heavy enemy artillery fire hitting the assembly area, the Battalion lent valuable support after the Spring Offensive of 1918, not least as part of the 15th Scottish Divisions attack on Buzancy in July, when, though forced to retire as a result of a devastating enemy counter-attack, the Germans failed to break through on the Marne, thereby permitting the commencement of the Allied advance to victory. By this stage of the War, the 8/10th had been absorbed into the 5th Battalion. Sold with original commission warrant, dated 10 May 1919, and Buckingham Palace certificate for the Coronation Medal 1937, this last in the name of Deputy Chief Constable William Vail Hunter, D.C.M.
A rare Great War M.M. group of twelve awarded to Sergeant A. Belsan, a Czech Legionnaire who served in the elite 1st Independent Striking Battalion, and was again decorated in the 1939-45 War for his gallant deeds in the Prague Uprising in the final days of the conflict Czechoslovakia, Bravery Medal 1939; War Cross 1918; Revolutionary Medal 1918; Victory Medal 1918, official type 2; F.I.D.A.C. Medal for Veterans of the Great War; Zborov Commemorative Medal 1917-47; Brachmac Commemorative Medal 1918-48; 4th Regiment Commemorative Medal 1918-48; Medal for Fidelity 1918-38, bronze emblem on riband; Brno Volunteers Medal 1918-19; Great Britain, Military Medal, G.V.R., unnamed as issued; Russia, St. George Medal for Bravery, Nicholas II, 4th Class, the reverse numbered No. 22868, together with a small 20th anniversary commemorative badge for the Battle Of Zborov 1917-37, the last heavily polished and with replacement ring suspension, fine, the remainder generally very fine or better (13) £800-1000 Abbot and Tamplin estimate some 320 M.Ms were bestowed on Czech Legionnaires. Augustin Belsan was born in Hresihlavy in the district of Rokycany, south-west of Prague in August 1888, and was employed as head of a workshop in a locomotive factory in Kladno prior to the outbreak of hostilities. Recruited into the Austro-Hungarian Army in October 1914, he attended an N.C.Os course and was posted in the rank of Corporal to the famous 28th ôPragues Childrenö Regiment, going into action on the Eastern Front in March 1915, where he was wounded in the following month and taken prisoner by the Russians at a Field Hospital near Regetow. Forced labour followed but with news of the formation of the Czech Legion in July 1916, he was appointed a Sergeant in the 1st Regiment of ôMistr Jan Husö and participated in the Battle of Zborov, winning his Russian decoration on the same occasion. In January 1918, Belsan was transferred to the elite 1st Independent Striking Battalion and fought against the Germans at Bachmac that March, in addition to numerous clashes with the Bolsheviks, including the actions at Kljukvenaja, Krasnojarsk, Niznyj Udinsk, Beli, Kultuk, Irkutsk, near Bajkal Lake, and on the Uralsk and Samara fronts, but most probably won his British M.M. for the critical defence of the Trans-Siberian railway, in which he was twice wounded. Indeed his elite unit, which numbered around 800 men of whom 120 were killed in action, was regularly ordered to where the fighting was heaviest, finally covering the retreat of the Czech forces to Vladivostok, where Belsan and his comrades arrived in April 1920. He remained in the Army for another two years, latterly as part of the 6th Border Battalion (a.k.a. the ôSiberian Strikersö) in Domazlice, from which he took his discharge to take up employment as an Inspector of Price Control at the Land Government Office in Dejvice, Prague. And it was here, in the final days of the last War, that he won his prestigious Czech Bravery Medal for gallantly manning the barricades in the uprising of May 1945. Sold with two of the recipients original Czech Legion identity cards (ôClenska Legitimaceö), one with a portrait photograph and assorted stamps, and the other with front cover number No. 7529; and around a dozen Great War period photographs, including a fine portrait in uniform wearing some of his Honours & Awards, this with his handwritten dedication to a niece or nephew on the occasion of his 50th birthday.
Queens South Africa 1899-1902, 4 clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901 (8509 G. Glen, 19th Coy. 6th Impl. Yeo.), last clasp unofficially riveted, very fine £150-200 Graham Glen, a well-known Scottish portrait artist who was active in the years 1897-1925, was born in Edinburgh and enlisted in the Imperial Yeomanry in January 1900, aged 22 years. Posted to the 19th (Lothian and Berwickshire) Company, 6th Battalion, he served in South Africa from February of the same year until June 1901, and was discharged on his return to the U.K. in the following month; sold with copied service record which verifies the above described Medal & clasps.
A Second World War D.S.M. group of four awarded to Able Seaman R. C. Such, Royal Navy, for services aboard the frigate H.M.S. Affleck, in which ship he witnessed the destruction of no fewer than four U-Boats, including U-392 in March 1944 which resulted in the award of his decoration Distinguished Service Medal, G.VI.R. (A.B. R. C. Such, P/JX.187683); 1939-45 Star; Atlantic Star; War Medal, extremely fine (4) £1200-1400 D.S.M. London Gazette 15 August 1944: Able Seaman Ralph Coyston Such (Croydon). For leadership, skill and determination in H.M. Ships Affleck, Brecon, and Forester and H.M. Canadian Ships St Laurent, Swansea and Owen Sound in operations against U-boats. The official recommendation states: Working in co-operation with a Catalina aircraft and other forces H.M.S. Affleck made a good attack which probably destroyed a German submarine on 16th March 1944. This operator has, during our previous two successes, shown a most admirable proficiency in the presence of the enemy. On this occasion he found, classified and held a genuine contact until relieved by the H.S.D. under the very difficult circumstances usually obtaining in the Straits of Gibraltar, with other Escort Vessels leaving their wakes in the vicinity of the enemy. In addition to the award of the D.S.M. to Able Seaman Such, the Commander, First Lieutenant, and two ratings from H.M.S. Affleck were mentioned in despatches. Sold with a contemporary news cutting with small portrait of Able Seaman Such, titled He Helped ôKillö U-Boats - Croydon sailor wins D.S.M. It goes on to state: When Mr H. C. Such, of Burdett road, Croydon, was informed by a Croydon Times reporter that his 24-years-old son, Able Seaman Ralph Coyston Such, had been awarded the Distinguished Service Medal for leadership, skill and determination in operations against U-boats, he was pleasantly surprised. His son had not spoken of his work while on leave. Able Seaman Such, who was educated at Tavistock School, Croydon, is the only son of Mr. and Mrs. H. C. Such. He joined the Royal Navy in 1940 and was posted to the destroyer H.M.S. Janus, in which he served for three years. He has seen active service in South African waters and took part in the evacuation of Greece and Crete. Early this year Able Seaman Such was transferred to the frigate H.M.S. Affleck, which has taken an active part in the anti-submarine campaign. In May this year, the frigate sank two U-boats in one night. When the frigate arrived at Belfast, the Prime Minister of Northern Ireland, Sir Basil Brooke, was there to congratulate the crew. During her World War II service Affleck figured in the destruction of four U-Boats; U-91 on 25 February 1944, in company with H.M. Ships Gore and Gould; U-358 on 1 March 1944, in company with Gore, Gould and Garlies; U-392 on 16 March 1944, in company with the long range escort vessel Vanoc and three U.S. Catalina flying boats from VP-63; and U-1191 on 25 June 1944, in company with H.M.S. Balfour.
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