Pair: Colonel M. A. Tuite, 67th Foot, later Indian Army Afghanistan 1878-80, 1 clasp, Kabul (2nd. Lieut: M. A. Tuite, 67th. Foot); China 1900, no clasp (Major M. A. Tuite, 3d. Mad: Lt. Infy.) first initial officially corrected on latter light contact marks, good very fine (2) £400-£500 --- Mark Anthony Tuite was born in London on 2 May 1858 and was commissioned Second Lieutenant in the 67th Regiment of Foot on 1 May 1878. Promoted Lieutenant on 2 March 1879, he served with them in Afghanistan during the Second Afghan War from 8 April 1879 to 1 September 1880. Transferring to the Madras Staff Corps, Indian Army, on 4 October 1884, he was promoted Captain on 1 May 1889, Major on 1 May 1898, and Lieutenant-Colonel on 1 May 1904. He retired with the rank of Brevet Colonel on 1 May 1907.
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Pair: Farrier Quarter-Master Sergeant T. Fordham, Royal Field Artillery Queen’s South Africa 1899-1902, 1 clasp, Relief of Ladysmith (81082 Farr. Sjt. T. Fordham, 14th Bty., R.F.A.) official correction to rank; Army L.S. & G.C., E.VII.R. (818902 F.Q.M. Sjt: T. Fordham. R.F.A.) light contact marks, otherwise good very fine (3) £180-£220 --- Thomas Fordham was born in the Parish of Sewin, near Hertford, and attested for the Royal Field Artillery in London on 20 October 1890, aged 18 years 1 month, a farrier by trade. He served in India from September 1893 to November 1898, and in South Africa from 23 October 1899 to 3 March 1900. He was wounded at Colenso on 15 December 1899. L.S. & G.C. awarded in Army Order 73 of 1910. Sold with copied discharge papers which confirm wound and both medals.
Pair: Sergeant W. F. Medhurst, Gloucestershire Regiment British War and Victory Medals (20312 Sjt. W. F. Medhurst. Glouc. R.) good very fine Pair: Private A. T. Purrier, Hampshire Regiment British War and Victory Medals (55396 Pte. A. T. Purrier. Hamps. R.) very fine Pair: Private E. Adshead, Wiltshire Regiment, later King’s Shropshire Light Infantry British War and Victory Medals (34419 Pte. E. Adshead. Wilts. R.) in named card box of issue; together with the recipient’s Silver War Badge, the reverse officially numbered ‘B228115’ and additionally privately named ‘E. Adshead, K.S.L.I.’, in numbered card box of issue; the recipient’s Royal Life Saving Society Swimming Proficiency Medal, bronze, the re verse engraved ‘E. Adshead. Oct. 1905.’, in fitted case of issue; and a Dewsbury Amateur Swimming Club Prize Medal, silver, the obverse engraved ‘Won by E. Adshead, 1905’; together with a gold (9ct?, approx. 6g) and enamel Masonic Jewel, the obverse inscribed ‘Presented by Cœur de Lion Lodge No. 120’, the reverse inscribed ‘Abraham Adshead’, about extremely fine Pair: Private W. A. Banks, Royal Army Medical Corps British War and Victory Medals (87905 Pte. W. A. Banks. R.A.M.C.) nearly very fine (11) £140-£180
Five: Private F. Mayhead, Hampshire Regiment, who was three times wounded during the Great War 1914-15 Star (17663 Pte. F. Mayhead. Hamps: R.); British War and Victory Medals (17663 Pte. F. Mayhead. Hamps. R.); General Service 1918-62, 1 clasp, Palestine (5485362 Pte. F. Mayhead, Hamps. R.); Army L.S. & G.C., G.V.R., 3rd issue, Regular Army (5485362 Pte. F. Mayhead. Hamps. R.) edge bruising and contact marks to the Great War awards, these very fine, the GSM and LS&GC extremely fine (5) £160-£200 --- Frank Mayhead attested for the Hampshire Regiment in August 1914, and served with the 2nd Battalion during the Great War in the Balkans theatre of War from 5 October 1915, where he was engaged in various operations in the Suez Canal zone, and suffered a gun shot wound to the head on 28 December 1915. ‘In 1917 he was drafted to the Western Front, and was wounded in action in the third Battle of Ypres, and again during the Advance in October 1918. Later he returned to England, and in 1920 was serving in Ireland’ (National Roll of the Great War refers). He was awarded his Long Service and Good Conduct Medal in October 1933, and saw further service in pre-War Palestine. Sold with copied research.
Four: Warrant Officer Class II D. O’Neill, Royal Engineers, who received a General Officer Commanding-in-Chief’s Commendation for his conduct following the derailment of a military train near Utrecht on 21 November 1960 France and Germany Star; Defence and War Medals 1939-45; Army L.S. & G.C., E.II.R., 2nd issue, Regular Army (3189179 Sgt. D. O’Neill. R.E.) mounted as worn, good very fine (4) £70-£90 --- David O’Neill was born at Ballymena, Ireland, on 14 July 1914 and attested for the King’s Own Scottish Borderers at Jedburgh, Roxburgshire, on 1 September 1939, having previously served in the Territorial Army. Transferring to the Royal Engineers on 1 April 1941, he served during the Second World War in North West Europe from 19 November 1944, and subsequently with the British Army of the Rhine. He received a Commendation from the General Officer Commanding-in-Chief (General Order 10 February 1961) for his conduct following the derailment of a military train near Utrecht on 21 November 1960, and was discharged on 31 August 1961, after 22 years’ service. Sold together with the recipient’s Regular Army Certificate of Service Red Book; the recipient’s original Warrant Document; Passport; letters of congratulations following the award of the Commendation; the recipient’s own account of the train derailment; Second Class Certificate of Education; a large quantity of mainly group photographs; and other ephemera.
Sold by direct family descent. The Great War ‘Western Front’ M.C. and Second Award Bar awarded to Major W. T. Watson, D.S.O., D.C.M., Australian Imperial Force, who served in both World Wars and Commanded the Papuan Infantry Battalion throughout the New Guinea Campaign in the Second World War; an International Rugby Union player, he played eight Test Matches for Australia, and captained the side three times Military Cross, G.V.R., with Second Award Bar, the reverse privately engraved ‘Lieut. W. T. Watson. D.C.M. 2nd F.A. Bde. A.I.F.’, in case of issue, good very fine £800-£1,200 --- D.S.O. London Gazette 7 January 1943: ‘In recognition of gallant and distinguished services in the South West Pacific.’ The original Recommendation states: ‘This officer was Commanding Officer, Papuan Infantry Battalion, New Guinea Force, before and subsequent to the enemy landing at Gona. During the series of actions between Maroubra Force and the enemy, Major Watson used his Battalion to maximum good effect to guide the 39 Battalion, and co-operated by providing flank protection. He saw the command of Maroubra Force change hands four times. At Oivi, on 26 July 1942, when Captain Templeton was killed, he assumed command and, had it not been for his example of sheer bravery and the character of his enforcing order, on this occasion, the entity of Maroubra Force would have suffered. When Lieutenant-Colonel Owen was killed, he again took charge until Major Cameron arrived. Since then he has been an inspiration, a sound adviser, and an active participant in fighting, together with the remnants of the Papuan Infantry Battalion. Too much stress cannot be placed on the value of this officer’s presence with Maroubra Force. His bravery is an epic.’ M.C. London Gazette 1 February 1919: ‘For conspicuous gallantry and devotion to duty at Faucoucourt on 27th August 1918 when he accompanied the attacking infantry as forward observation officer. The enemy offered strong resistance, frequently holding up the advance with machine-gun fire. In one case he worked his way forward several hundred yards in front of our outposts, directing the fire of three batteries which gave great assistance to the infantry by barraging machine-gun nests and strong posts. He showed fine courage and initiative throughout.’ M.C. Second Award Bar London Gazette 8 March 1919, citation published 4 October 1919: ‘For conspicuous gallantry at Nauroy, near Bellicourt, on the night of 2nd/3rd October 1918. His battery was the centre of an enemy bombardment, which continued for over four hours. Though badly gassed himself, he tried to save the life of a wounded officer. He showed great energy and devotion to duty, and stayed with his battery until next day, when it was withdrawn from the line.’ D.C.M. London Gazette 9 July 1917: ‘For conspicuous gallantry ands devotion to duty. He displayed great gallantry and coolness in going to the assistance of wounded men, under heavy fire. He has set a splendid example throughout.’ William Thornton Watson was born in Nelson, New Zealand, to Australian parents on 10 November 1887, his father being Lieutenant Robert Watson, Nelson Rifle Volunteers. Moving to Sydney in 1911, he had a distinguished rugby union career, and played all three Test Matches as a prop forward for Australia on the 1913 tour to New Zealand. Following the outbreak of the Great War Watson enlisted in the Australian Imperial Force, and took part in the operations in 1914 to seize German wireless stations in German New Guinea. The following year he embarked for Gallipoli as a Gunner in the 1st Divisional Artillery, and proceeding to the Western Front was awarded the Distinguished Conduct Medal. Commissioned Second Lieutenant in September 1917, he was awarded the Military Cross for his gallantry as a Forward Observation Officer at Faucoucourt on 27 August 1917, and added a Second Award Bar for his gallantry during the heavy bombardment near Bellicourt on 2-3 October 1918. Immediately following the cessation of hostilities, Watson captained the Australian Imperial Forces rugby XV in the various in the King’s Cup rugby matches against the other Allied Armies, before returning to Australia, where he captained Australia in a further three Test Matches in 1920. Emigrating to Papua New Guinea later that year, he was employed throughout the inter-War years in gold mining and cattle ranching. Following the outbreak of the Second World War he returned to Australia and served initially in the 2nd Australian Garrison Battalion, before being posted to command the Papuan Infantry Battalion, with the rank of Major, where he was able to put his experience of the locality, and his ability to speak the local New Guinea dialect, to good use. Following Japan’s invasion of New Guinea in July 1942, the Papuan Infantry Battalion were the first Australian Army unit to make contact with the Japanese, and for his bravery and leadership during the campaign Watson was awarded the Distinguished Service Order. Following the Second World War Watson served as Australia’s vice-consul in New York from 1945 to 1952. He died in Brooklyn, New York, on 9 September 1961. Sold together with a number of original letters to the recipient; an elaborate bone paper-knife, crafted in Papua New Guinea; a photograph of the recipient being presented to H.R.H. The Prince of Wales (later H.M. King Edward VIII) and H.R.H. The Prince Albert (later H.M. King George VI) at Twickenham whilst captain of the Australian Imperial Forces XV; a copy of The toughest fighting in the World, by G. H. Johnston; and various newspaper cuttings and map. For the medals awarded to the recipient’s father, see Lot 409.
Six: Attributed to Miss L. Schofield, Territorial Army Nursing Service 1939-45 Star; Africa Star; Italy Star; France and Germany Star; Defence and War Medals 1939-45, with named card box of issue, addressed to ‘Miss L. Schofield, 141 Malton Road, Pitsmoor, Sheffield, Yorkshire’, and forwarded onto ‘German Hospital, Dalston, London E8’; together with the recipient’s Territorial Army Nursing Service cape badge; and a a Queen Alexandra’s Royal Army Nursing Corps lapel badge, all mounted for display, nearly extremely fine (8) £60-£80 --- Miss L. Schofield trained as a nurse at the German Hospital, Dalston, London, and joined up as a member of the Territorial Army Nursing Service. In 1940 she was transferred to the Cairo Hospital to nurse British 8th Army wounded, and proceeded with the 8th Army to Italy. She then transferred to north-west Europe, to perform a similar role with the 7th Armoured Division. Sold with copied research.
Pair: Private G. H. Kewin, 1st Battalion, Royal Australian Regiment Vietnam 1964-73 (54108 G. H. Kewin); South Vietnam Medal 1964, 1 clasp, 1960- (54108 G. H. Kewin), mounted court-style for display, good very fine (2) £240-£280 --- George Henry Kewin was born in Liverpool on 29 March 1940 and, having emigrated to Australia, attested for the Australian Regular Army at Perth, Western Australia, on 2 February 1960. He served with the 1st Battalion, Royal Australian Regiment, and was advanced Sergeant. He was discharged on 1 February 1969. Sold with extensive copied service papers which state that the recipient was injured on 30 April 1964, whilst serving with HQ 1 Division, when he crushed two fingers on his left hand as he ‘was loading beer kegs at Resch’s Brewery, Waverley, and caught his fingers between two nine gallon kegs.’
A Great War ‘German East Africa’ D.C.M. group of five awarded to Private E. H. Anderson, Indian Field Ambulance, South African Medical Corps Distinguished Conduct Medal, G.V.R. (2213 Pte. E. H. Anderson. S.A.M.C.); British War and Bilingual Victory Medals (Pte. E. H. Anderson. S.A.M.C.); War Medal 1939-45 (118916 E. H. Anderson); Africa Service Medal (118916 E. H. Anderson) light contact marks, better than very fine (5) £800-£1,200 --- D.C.M. London Gazette 3 October 1918: ‘For conspicuous gallantry and devotion to duty and coolness under fire when his commanding officer and six others were hit and he himself was suffering from high fever at the time.’ Edmund Herbert Anderson was born on 5 April 1895 and attested for the South African Medical Corps at Durban on 7 November 1916, and served during the Great War in German East Africa from 6 December 1916. He transferred to the B.120 Indian Field ambulance at Nakawa on 3 January 1917, part of the 1st Battalion Cape Corps, and was present in the actions during the raid by German forces commanded by Neumann in September and October 1917, and the actions driving the German forces out of German East Africa in November 1917. On 26 October 1917 the 1st Cape Corps, 1,200 strong, left Lindi to march to Njangao with B.120 Indian Field Ambulance numbering 113; the march took 5 days. In early November the pursuit of German forces retreating from Mahiwa towards Nangoo continued with numerous bush rear guard engagements. Advancing again from Nangoo, on 17 November 1917 Captain Hill was wounded in the jaw from machine gun fire and it is believed to be that this is the action for which Private Anderson was awarded the D.C.M. In November 1917, following the battle at Mahiwa with pressure mounting on Lettow-Vorbeck, the German forces numbering some 300 Europeans, 1,700 Askari’s and 3,000 native carriers evacuated German East Africa and invaded Portuguese East Africa, where they captured fresh supplies of medicine, food and ammunition. The German move in to Portuguese East Africa forced the Allied forces to follow, stretching their lines of supply to the limit. Moving up and down the Portuguese colony, inflicting several defeats on the allies, the German force crossed back into German East Africa in September 1918, finally surrendering on 25 November 1918. For his actions in German East Africa on 17 November 1917 Anderson was awarded the Distinguished Conduct Medal under General Army Order 549 of 17 June 1918. He was admitted to the 2nd South Africa General Hospital on 10 March 1918 suffering from malaria, which he originally contracted in September 1917, and transferred to No. 3 British General Hospital in Nairobi on 10 April 1918. He returned to South Africa on board H.M. Transport Salamis, arriving at Durban on 11 January 1919 and being discharged there on 28 February 1919. His military character was described as ‘very good’. During the Second World War Anderson served in the 3rd Natal Scottish from 22 May 1940. Promoted temporary Lance-Corporal on 1 June 1941, he was discharged as medically unfit on 3 September 1941. Sold with copied research.
A post-War B.E.M. group of eleven awarded to Regimental Sergeant Major W. Strong, Hampshire Regiment, later School Staff Instructor, Eastbourne College British Empire Medal, (Civil) E.II.R. (William Strong); 1914-15 Star (21132 Pte. W. Strong, Hamps. R.); British War and Victory Medals (21132 Cpl. W. Strong. Hamps. R.); India General Service 1908-35, 1 clasp, North West Frontier 1935 (5485428 W.O. Cl.II. W. Strong. Hamps. R.); India General Service 1936-39, 1 clasp, North West Frontier 1936-37 (5485428 W.O. Cl.II. W. Strong. Hamps. R.); Defence Medal; Jubilee 1935 (5485428 C.S.M. W. Strong. 1. Hamps. R.) contemporarily engraved naming; Army L.S. & G.C., G.V.R., 3rd issue, Regular Army (5485428 W.O. Cl.II. W. Strong. Hamps. R.); Army Meritorious Service Medal, G.VI.R., 3rd issue (5485428 W.O. Cl.2. W. Strong. Hampshire R.); Cadet Forces Medal, G.VI.R., with Second Award Bar (R.S.M. W. Strong) mounted court-style as worn; together with the related miniature awards, the IGS an E.VII.R. issue with clasp North West Frontier 1908 and the MSM and Cadet Forces Medal both E.II.R. awards, the Great War awards polished and worn, these nearly very fine, the rest generally nearly extremely fine (11) £600-£800 --- B.E.M. London Gazette 13 June 1957: William Strong, School Staff Instructor, Eastbourne College. William Strong attested for the Hampshire Regiment and served during the Great War in Egypt from 12 December 1915, and subsequently with the 10th Battalion in Macedonia, where he was wounded in 1918. He later served in both the 1st and 2nd Battalions for many years, and was advanced Warrant Officer Class II on 7 July 1932. He was discharged on 28 August 1937, and subsequently served for many years as the Drill Sergeant at Eastbourne College. He died on 18 May 1992, aged 92. Sold with copied research, including various photographic images of the recipient.
Four: Corporal W. Day, Duke of Cambridge’s Own (Middlesex Regiment) 1914-15 Star (L/12144 Pte. W. Day. Middx. R.); British War and Victory Medals (L/12144 Cpl. W. Day. Middx R.); Army L.S. & G.C., G.V.R., 1st issue (6188518 Pte. W. Day. Middx. R.) mounted as worn, all stamped ‘Duplicate’, nearly extremely fine (4) £60-£80 --- W. Day was awarded his Long Service and Good Conduct Medal per Army Order 368 of 1926.
Khedive’s Sudan 1896-1908, no clasp (J. C. Dodd. Sto. H.M.S. Scout. 1896) contemporarily impressed naming in the usual style associated with this ship, edge prepared prior to naming, and some letters double struck, minor edge nicks, very fine £200-£240 --- For the Military operations in connection with the re-conquest of the Sudan, only two of Her Majesty’s Ships - Scout and Melita - were ordered into the operational zone. Their ships’ companies earned the Khedive’s Sudan Medal, without clasp, after at first being refused it. The award of the Khedive’s Sudan medal to the two ships’ companies was only obtained when, after the initial submission had been negated by the Admiralty, the Queen assented on 30 January 1897 to “the proposal, made by His Highness the Khedive of Egypt, to confer a Medal upon all ranks of her Army and Navy, including Royal Marines and Indian Forces, employed in operations connected with the recent Expedition to Dongola.” Possibly because of the use of this final expression official Admiralty classification of this reward was accorded the contemporary title of the ‘Dongola Medal’. On 5 August 1897 the Commander-in-Chief, Mediterranean, was sent the list of Officers and men of the Scout and Melita entitled to receive the ‘Dongola Medal’, which he would receive in bulk at Malta from the Egyptian Government. These unnamed medals were finally received aboard the two vessels in January 1898, being distributed in this anonymous form to the crew of Melita. However, a more personalised approach was adopted by the Commanding Officer of the Scout, who had the awards named by hand letter-punch- the naming may well have been carried out by the artificers aboard Scout, or perhaps in Malta Dockyard. John Charles Dodd was born in Patcham, Brighton, Sussex, on 9 June 1871 and joined the Royal Navy as a Stoker Second Class on 9 July 1890. Advanced Stoker on 23 May 1891, he served in H.M.S. Scout from 1 October 1895 to 19 December 1898. He was shore pensioned on 9 July 1902.
The Second War Honorary O.B.E. attributed to Colonel A. E. Brundage, Signal Section, United States Armed Forces The Most Excellent Order of the British Empire, O.B.E. (Military) Officer’s 2nd type breast badge, silver-gilt, in Royal Mint case of issue, gilding almost all rubbed, and the outside of the case of issue somewhat distressed, otherwise nearly extremely fine £160-£200 --- O.B.E. not Gazetted but announced 29 December 1945. The official citation states: ‘From 1941 to 1943 Lieutenant-Colonel Brundage was Chief of the Signal Section, International Aid Division, U.S. War Department, where his services in the supply of Signal equipment for the British Army all over the world were of a very high order. It was in no small measure due to his efficient handling of the many requisitions involved that a steady flow of this invaluable equipment reached the British Forces in the field. His unfailing assistance to his British associates in Washington will long be remembered. Albert Edward Brundage was born on 2 October 1892 and in civilian life was employed by the Western Electric Company as a salesman and engineering consultant for railroads and oil and pipe-line companies on communication systems, including telephone circuits, dispatch circuits, and carrier systems. Having served briefly during the Great War he held a Reserve Commission in the United States Infantry until 1941, when he was commissioned into the Signal Corps. He served during the Second World War as Office in Charge of the Foreign Aid Section, and later as a Signal Supply Officer. For his services he was awarded the Bronze Star, and was also appointed an honorary Officer of the Order of the British Empire. Sold with various letters, original service records, newspaper cutting, photographs, and other ephemera, all contained in an embossed leather ‘War Service Record’ folder.
Four: Lance-Corporal G. Price, Prince of Wales’s Volunteers (South Lancashire Regiment) 1914-15 Star (13457 Pte. G. Price. S. Lan: R.); British War and Victory Medals (13457 Pte. G. Price. S. Lan. R.); Defence Medal, mounted as worn, contact marks, nearly very fine Four: Corporal H. Lloyd, Army Service Corps 1914-15 Star (M2-101692. Pte. H. Lloyd. A.S.C.); British War and Victory Medals (M2-101692 Cpl. H. Lloyd. A.S.C.); Defence Medal, mounted as worn together with an erased Mercantile Marine War Medal 1914-18, nearly very fine Pair: Private W. Harley, King’s Own Royal Lancaster Regiment, who died of wounds on the Western Front on 24 December 1917 1914-15 Star (241396 Pte. W. Harley. R. Lanc: R.); British War Medal 1914-20 (241396 Pte. W. Harley. R. Lanc. R.) unsuccessful attempt to erase naming details from BWM, nearly very fine Pair: Private A. Wilson, King’s Own Royal Lancaster Regiment and Machine Gun Corps 1914-15 Star (1636 Pte. A. Wilson. R. Lanc: R.); Victory Medal 1914-19 (1636 Pte. A. Wilson. R. Lanc. R.) good very fine (13) £100-£140 --- Gwyn Price attested for the Prince of Wales’s Volunteers (South Lancashire Regiment) on 9 September 1914, and served with the 9th Battalion during the Great War on the Western Front from 6 September 1915. He was discharged on 24 January 1919, and was awarded a Silver War Badge, no. B111397. Henry Lloyd was born in Liverpool in 1887 and served in the Mercantile Marine. He attested for the Army Service Corps, and served with them during the Great War on the Western Front from 20 September 1915. He was wounded on 16 August 1917, and was discharged to the Reserve on 16 March 1919. William Harley attested for the King’s Own Royal Lancaster Regiment and served with the 1st/5th Battalion during the Great War on the Western Front from 3 September 1915. He died of wounds on 24 December 1917, and is buried in Etaples Military Cemetery, France. Albert Wilson attested for the King’s Own Royal Lancaster Regiment and served with them during the Great War on the Western Front from 11 February 1915. He subsequently transferred to the Machine Gun Corps.
A Great War October 1917 ‘Battle of Poelcappelle’ D.C.M. group of six awarded to Sergeant-Major A. Allerton, 1st/7th Battalion (Leeds Rifles), Prince of Wales’s Own West Yorkshire Regiment Distinguished Conduct Medal, G.V.R. (267579 Sjt: -A.S. Mjr:- A. Allerton. 1/7 W. York: R. -T.F.); Queen’s South Africa 1899-1902, 3 clasps, Transvaal, South Africa 1901, South Africa 1902, unofficial retaining rod between state and date clasps (7010 Pte. A. Allerton, Vol: Co: W. Yorks: Regt.) 1914-15 Star (190 Sjt. A. Allerton. W. York: R.); British War and Victory Medals (190 A.W.O. Cl.2. A. Allerton. W. York. R.); Territorial Force Efficiency Medal, E.VII.R., with Second Award Bar (190 L.Sjt: A. Allerton. 7/W. York: Regt.) damage to DCM and BWM sustained during an enemy air raid, contact marks and edge bruising, generally nearly very fine and better (6) £1,400-£1,800 --- Formerly held on loan by the Leeds City Museum where they suffered some damage when the Museum received a direct hit from a German bomber in 1941. The medals were released to the recipient’s son in 1983. Provenance: Buckland Dix & Wood, September 1994. D.C.M. London Gazette 28 March 1918: ‘For conspicuous gallantry and devotion to duty when in charge of the brigade runners in an attack. His work was carried on night and day, and frequently under heavy shell fire, and it was to a great extent due to him that communication was kept up. He showed great initiative and determination.’ Alfred Allerton attested for the 3rd Volunteer Battalion, Prince of Wales’s Own (West Yorkshire Regiment) in 1899, and served with the 2nd Volunteer Service Company in South Africa during the Boer War from March 1901. Awarded the Territorial Force Efficiency Medal under Army Order 95 of 1911, he subsequently served with the 1st/7th Battalion (Leeds Rifles) during the Great War on the Western Front from 15 April 1915 - the date that the 49th Division moved to France for active service. Discharged on 8 April 1916 upon the termination of his period of engagement, he was immediately recalled to the Colours, this time with the Regimental number 5665, and was appointed Company Sergeant Major. In accordance with the re-numbering of all Territorial Forces in early 1917 his regimental number was changed from 5665 to 267579. Allerton was awarded the Distinguished Conduct Medal for his actions on 10 October 1917 west of Passchendaele in what was known as the Battle of Poelcappelle. The 49th Division was the centre of three divisions, 66th on their right and 48th on their left. 146 brigade was the centre brigade of the division; 1/7 Battaalion West Yorkshires the centre battalion of the brigade. The St. Julien Road was behind them and Passchendaele a mile or two ahead. The terrain was a nightmare of mud, shell holes, destroyed equipment and decaying bodies. The march to the jumping off position itself was a triumph of spirit over adversity. The Battalion War Diary gives the following account: ‘The battalion assembled at La Brique at 9am on 8 October and at 5pm stared to move up no 6 track to the assembly position. The night was very dark and rain commenced to fall shortly before 5pm and continued during the night making the march up to Calgary Grange very difficult, many parts of the track being almost impossible to follow; shortly after leaving the St. Julien road it was found that all the trench grids had been removed for a considerable distance. The head of the battalion reached Calgary Grange about midnight and the whole battalion was in position by 3am on 9 October; the men were all very tired. There was a certain amount of shelling on the way up but no casualties occurred until the battalion reached the assembly position. The barrage opened at 5.20am; the troops were all ready and advanced at once; owing however to the broken ground, which was very wet and soft, and to the water in the Stroombeek, the troops did not keep up to the barrage at first, but I think they got up to it again before reaching the first objective. The companies at first kept rather too much to the right in the direction of Peter Pan but they afterward changed direction and passed Yetta Houses at about the proper distance. Battalion HQ moved forward behind the companies and took up a position in shell holes near Calgary Grange. No news was received from companies until Lieutenant Baldwin MC, Officer Commanding left Company, for second objective came back wounded about 7am and said that his company was held up by machine gun fire and sniper fire from the left as soon as they moved forward through the first objective companies; he told me that he had given orders that 2 platoons should move along to deal with this M.G. but they apparently failed to silence this gun. As I got no reports whatever from the companies I went up to the front line myself near Yetta Houses and found that 3 companies were consolidating there with their left about 100 yards from Yetta Houses. The men were too crowded and I gave orders that the men of one company were to be collected and taken to some trenches further in rear. Two officers were left on duty with my right company, but in the other 3 companies all the officers and the greater part of the senior N.C.O.s had become casualties, this made it difficult to obtain really reliable information. Enemy machine guns and snipers in carefully concealed positions were very active; they continued to fire through the barrage and were able to prevent our advance to the second objective owing to the accuracy of their fire and the difficulty of locating their exact positions. A number of the enemy were killed by our rifle and Lewis gun fire and an enemy machine gun firing from the parapet of a trench on the right and enfilading troops advancing on the left was rushed by one man single-handed whereupon the team ran away; as the man found that he could not work the gun he disabled it. During the morning of 9 October Captain Mander with 2 companies of the 1st/4th West Riding Regiment reported to me and at 2pm I sent one of these companies to Yetta Houses to fill the gap between the left of my line and the right of 1st/8th West Yorkshire Regiment. Small counter attacks were attempted by the enemy about 2pm and 6pm but these came to nothing. At 10.30pm on 9 October I received instructions that a company of the 1st/6th Battalion West Riding Regiment would mop up the area between my line and the most advanced posts. Early in the morning of 10 October, the Officer Commanding the 1st/6th Battalion West Riding Regiment mopping-up company reported that his company had covered all the ground up to the post held by my right company; where Lieutenant Moore informed him that he was in the most advanced position of the Battalion; he therefore considered that he had carried out his instructions. During the night of 9-10 October I sent first my Intelligence Officer and afterwards my Regimental Sergeant Major to ascertain the position in the front line, both were wounded however and I had no one else to send at the time. At 6am on 10 October I sent my Signalling Officer up to the front line; he reported that all was quiet and in order. The first companies of the relieving Battalion of the New Zealand Rifles came up about 9pm and relief was completed about midnight. Enemy shelling was heavy throughout the day of 10 October and during the relief and the New Zealand Rifles suffered a good many casualties.’ Allerton received a hand written note from General Goring-Jones (who was by now recuperating from wounds in England) congratulating him on the award: ‘My heartiest congratulations on your well earned D.C.M. I was very glad indeed to hear that you had got it, for I am sure no man ever earned it better...’ Allerton was discharged ...
Three: Colour-Sergeant James Manley, West Yorkshire Regiment, late 5th Foot Afghanistan 1878-80, no clasp (1778. Pte. J. Manly. 1/5th Fusrs.); Army L.S. & G.C., V.R., 3rd issue, small letter reverse (571 Sgt. J. Manley. W. York R.); Army Meritorious Service Medal, G.V.R., 1st issue (Cr. Sjt. J. Manley. W. York. R.) toned, good very fine (3) £360-£440 --- Date of Annuity M.S.M. not known. James Manley enlisted into the 5th Foot at Banbury on 12 October 1867. He served in India from December 1869 to December 1880, including the campaign in Afghanistan in 1878-80. He transferred to the West Yorkshire Regiment, No. 571, on 12 October 1883. Sold with copied papers.
Family group: Four: Stoker Petty Officer H. R. J. Prankard, Royal Navy 1914-15 Star (303375, H. R. J. Prankard, S.P.O., R.N.); British War and Victory Medals (303375 [sic]. H. R. J. Prankard. S.P.O. R.N.) ‘2’ is first digit on BWM; Royal Navy L.S. & G.C., G.V.R., 2nd issue, fixed suspension (303375. H. R. J. Pankard [sic], S.P.O. H.M.S. Malaya.) contact marks, nearly very fine Nine: Chief Petty Officer Steward H. W. Prankard, Royal Navy 1939-45 Star; Atlantic Star; Africa Star; Burma Star; Italy Star; Korea 1950-53, 1st issue (P/LX22275 H. W. Prankard. P.O. Std. R.N.); U.N. Korea 1950-54, unnamed as issued; Royal Navy L.S. & G.C., E.II.R., 2nd issue (LX.22275. H. W. Prankard. C.P.O. Std. H.M.S. Adamant.) generally very fine or better Three: Staff Sergeant H. W. Prankard, Royal Engineers General Service 1962-2007, 1 clasp, Northern Ireland (24233766 Spr. H. W. Prankard RE); U.N. Medal, on UNFICYP ribbon; Army L.S. & G.C., E.II.R., 2nd issue, Regular Army (24233766 SSGT H. W. Prankard RE) generally very fine (16) £300-£400 --- Henry Robert Joseph Prankard was born in Chatham, Kent in April 1880.
•DIRK BOGARDE (1921-1999) RUINS AT ASNELLES Signed and inscribed ASNELLES, washes with pen and black ink 32.5 x 40cm. * After service in the Army, and during a successful exhibition of Bogarde's work at The Batsford Gallery Mayfair in 1945, a Times critic noted that Bogarde `seems to think primarily in watercolour which he uses very effectively. He has the gift of suggesting the character of a scene and he brings the physical nature of the campaign vividly before the eye'. The critic likened his skill favourably to that of Muirhead Bone and Edward Ardizzone. ++ Time-toning in the paper
Signed lower left, signed and inscribed 'View from Treyford; Sussex Landscape verso, pastel on paper34cm x 30cm (13.5in x 12in)Footnote:Sold without reserve. Exhibited: Paul Maze Exhibition, Wildenstein & Co. Ltd., London, 16 June - 8 July 1977 [exhib. cat. no. 33] Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Inscribed lower right, pastel on buff paper26cm x 36cm (10.25in x 14in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed and dated '52 lower left, pastel on buff paper27cm x 37cm (10.5in x 14.5in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed lower right, ink on buff paper12.5cm x 10cm (5in x 4in)Footnote:Sold without reserve. Exhibited: Paul Maze & The Guard, May-June 1973, Wildenstein & Co. Ltd., London. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed lower left, watercolour and pencil on paper26.5cm x 36cm (10.5in x 14in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed and inscribed lower right, oil on canvasInscribed 'to Dr. Griswald from P. Maze, 19XX lower rightInscribed '1910, First oil, 'Church, Le Havre'' and 'SaDa dedicated 1910 to Dr Griswald' to frame verso 32cm x 39cm (12.5in x 15.25in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed lower right, pastel on buff paper54cm x 75.75cm (21.25in x 29.75in)Provenance: Artist's studio sale.Footnote: Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed and dated '52 lower right, pastel on paper22.75cm x 29cm (8.75in x 11.5in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed and dated lower right, pastel on buff paper25cm x 29cm (9.75in x 11.5in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed lower left, pastel on paper30cm x 47cm (12in x 18.25in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed lower right, pastel on buff paper26cm x 35cm (10.25in x 13.75in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed with studio stamp lower left, indistinctly inscribed lower right, pastel on buff paper37cm x 26cm (14.5in x 10.25in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed lower left, pastel on off-white paper53cm x 71.5cm (20.75in x 28in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Oil on board48.75cm x 69cm (19in x 27.25in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed lower left, oil on canvas board19cm x 28.5cm (7.5in x 11in)Footnote: Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed lower right, pastel on paper, unframed30cm x 45.5cm (12in x 17.5in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed upper right, oil on board44.25cm x 33.5cm (17.5in x 13in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed lower right, inscribed 'Neva' lower left, pastel on green paper25.5cm x 35.5cm (10in x 13.75in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed lower right, pastel on buff paper26.5cm x 37.5cm (10.5in x 14.75in)Footnote:Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
Signed lower right, oil on board23.5cm x 32.75cm (9in x 12.5in)Provenance: Artist's studio sale. Footnote: Sold without reserve. Paul Maze was born in Normandy, the birthplace of impressionism. Fittingly, his biography is titled ‘The Lost Impressionist’, although he is also frequently described as a Post-Impressionist. His immersion in both movements is unsurprising. He knew Monet and Renoir, and Pisarro was an early teacher. He friends included Derain and Bonnard and he sketched with Raoul Dufy. George Braque was a lifelong friend and he was particularly close to Vuillard who encouraged his use of pastel. Maze had a strong Scottish connection; his first army post was as a volunteer interpreter with the Scots Greys. He served in both world wars and was a much-decorated hero who was awarded the Croix de Guerre, Legion D’honneur, the Military Medal and the Distinguished Conduct Medal. He developed a close friendship with Winston Churchill, whom he taught. He was a frequent visitor to Chartwell. Churchill wrote the preface to Maze’s autobiography and the forward to his 1939 New York exhibition. Then, he wrote “with the fewest of strokes, he can create an impression at once true and beautiful” His work was in the collection of the late Queen Mother and is held in many public collections, including the Tate and at Glasgow. This collection came from the artist’s family. It includes his favourite subjects, Trooping the Colour, still life, yachting, the Sussex landscape of his adopted country and, especially, his beloved wife, Jessie.
A collection of sheet music including a late 19th/early 20th century album with interesting contents including pictorial covers for "La Berrichonne" and others, a handwritten manuscript album and a selection of early 20th century sheet music with pictorial covers including British Army and Royal Navy War-Song albums, National Anthems of The Allied Nations, News Chronicle Song Book etc.
Catherine Bell actor signed 10 x 8 inch Colour Photo. Catherine Lisa Bell born 14 August 1968 is a British American actress, producer, and model known for her roles as Lieutenant Colonel Sarah Mackenzie in the television series JAG from 1997 to 2005, Denise Sherwood in the series Army Wives from 2007 to 2013, and Cassandra Cassie Nightingale in Hallmarks The Good Witch films and television series since 2008. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
* D' Oyly (Major General Sir Charles Walters, 1822-1900). Ruins of an Indian Temple on a rocky promontory, with figures, watercolour heightened with body colour, 28 x 43cm (11 x 17 ins) mount aperture, gilt frame, glazedQty: (1)NOTESCharles Walters D'Oyly, 9th Baronet of Shottisham served in the Bengal Army and in India.
* Sadeler (Aegidius, 1570-1629). Portrait of Charles de Longueval, Duc de Bucquoy (1571-1621), 1621, engraving on laid paper, trimmed to (or just inside) the platemark, sheet size 395 x 265 mm (15 1/2 x 10 1/2 ins), framed and glazed (60 x 45 cm)Qty: (1)NOTESHollstein XXI, 304. Fine engraving by Sadeler from life (ad vivum delineavit) of Charles, Duc de Bucquoy, who fought for the Spanish Netherlands, and became Commander in chief of the Imperial Army of the Holy Roman Empire in 1614, during the Thirty Years War. He conquered Moravia following the Battle of the White Mountain on 8 November 1620 (represented to the lower left of the print), but died in action in July 1621.
Michael Hutchings (British, 1918 - 2020), 'Al Fresco', still life of picnic items (1997). Signed and dated lower right. Labelled verso. Acrylic on paper. 48 x 64cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Michael Hutchings (British, 1918 - 2020), 'Candle for Sir John', collage and conte. Signed and dated lower right. 48 x 66cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Attributed to Michael Hutchings (British, 1918 - 2020), portrait of a man, with still life verso. Oil on canvas. Unsigned. 41 x 51cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Michael Hutchings (British, 1918 - 2020), woman by a white screen. Acrylic on board. Initialled and dated lower right 1984. Labelled verso. 82 x 61cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Michael Hutchings (British, 1918 - 2020), 'By Hungry Hill, Cork'. Gouache. Signed with initials and dated lower right. Labelled 'New English Art Club at the Mall Galleries, 1976'. 42 x 59cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Michael Hutchings (British, 1918 - 2020), summer abstract landscape. Acrylic on canvas. Labelled verso. Initialled and dated '99 lower right.. 77 x 50cm. With abstract hut under a tree. Acrylic on paper. Framed and glazed.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Michael Hutchings (British, 1918 - 2020), fig tree in landscape. Acrylic on paper. Labelled verso, 'New English Art Club, Mall Galleries, 1975'. 41 x 65cm. With watercolour woodland scene, 40 x 27cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Attributed to Michael Hutchings (British, 1918 - 2020), abstract collage, Indian theme. Oil on board. 60 x 61cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Michael Hutchings (British, 1918 - 2020), seated woman, abstract portrait. Oil on canvas. Signed and dated verso 1988. 92 x 61cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
Michael Hutchings (British, 1918 - 2020), Bogonya, still life. Acrylic on board. Initialled and dated lower right 1987. Exhibition label verso. 54 x 74cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."
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