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Lot 531
* Garland (David, 1941 -). Six terracotta earthenware plates, three uniformly sized supper plates covered in an off-white glaze, with brush and slip decoration in shades of blue, areas of sgraffito, glaze run to the exteriors, two painted 'Garland' to base, one unsigned, all approx. 23 cm diameter, together with three larger earthenware plates by the same potter, each with abstract brushwork, slip, foliate or sgraffito decoration, all three signed to base, the largest 29 cm diameterQTY: (6)NOTE:The potter David Garland lives and works in Gloucestershire. His solo exhibitions include the Redfern Gallery, the Crafts Council and the Besson Gallery, among others, and in New York with Kate Ganz. Four works by David Garland feature in the celebrated studio pottery collection of William Alfred Ismay (1910-2001), now held in the care of the York Museums Trust.
Lot 520
AR * Bowen (Clive, 1943 -). A tall lidded earthenware storage jar circa 2013, slip decorated with simple brush motif on various shades of green, brown and yellow ground, unsigned, 32 cm high, together with a small lidded earthenware jar by the same potter, with slip and comb decoration on a yellow ground, unsigned, 16cm high QTY: (2)NOTE:Small lidded pot bought from Dartington Trading Company in 2010.
Lot 567
* Brush Pot. A Japanese bronze brush pot, Meiji period, the cylindrical body decorated in copper, gilt metal, shakudo and silver with dragons, Buddhistic lions and flowers, within floral ironwork oval panels, 11 cm high x 9.2 cm diameterQTY: (1)NOTE:Provenance: Toovey's Auction, 19th April 2012, lot 1200 (auctioneer's label attached to interior).
Lot 19
A Finnigans of Manchester vanity cased set, green leather and green fabric interior, with accompanying engine turned silver cased/handled dressing table items including mirror, hand brush, clothes brush, toilet bottles, button hook and shoe horn, hallmarked by Henry Matthews or Finnigans Ltd, Birmingham, 1925/6/7, all engraved with initials LYG and case also initialled L.Y.G near handle, in outer fabric covering. Further details: not all contents included, lots of wear to case, some rips, loss and tears. Some loss to pockets and felt, tarnishing, wear, scratching to silver areas, in need of repair and tlc.
Lot 55
A small collection of silver to include; a Victorian silver and tortoiseshell page turner, handle with stylised scroll and foliage pierced design, hallmarked Birmingham, 1897, makers mark rubbed, approx. 31.5cm long, a matching part dressing table set consisting of hand mirror and brush, both with engine turned decoration, hallmarked by Broadway & Co, Birmingham, 1939, and a George V silver vesta case, engraved "Horrie, from H & M, 24.9.17" with foliage design, hallmarked by William J Holmes, Birmingham, 1914. (1 bag) Weight: approx. 42.9 grams (1.3ozt) Further details: tarnishing, wear, some slight dents and misshapen areas, some loss and chips to tortoiseshell, wear to all.
Lot 54
A collection of silver to include; a matched Queen Elizabeth II silver part dressing table set consisting of hand mirror, hand brush, clothes brush and comb, hallmarked by Broadway & Co, Birmingham, 1972/73/75, an Edwardian silver circular pin cushion, hallmarked by Artur Willmore Pennington, Birmingham, 1904, (lots of wear and loss to cushion), a Victorian silver vesta case, of swirl ribbed design, hallmarked by JT, Birmingham, 1889, an Adie & Lovekin Ltd Victorian silver handled manicure tool and a silver handled pair of scissors (broken handles), along with a modern metal model sword. (1 bag). Weighable silver: approx. 15.1 grams (0.4ozt) Further details: slightest splitting and wear to vesta, broken handles to scissors, dents, wear and tarnishing to pin cushion, general wear.
Lot 63
A small collection of silver items to include; a cased set of six novelty nail head silver cocktail sticks, hallmarked by Thomas Bradbury & Sons, Sheffield, 1928, a silver hand brush, swirl patterned border, hallmarked by WJ Myatt & Sons, Birmingham, 1925, and a matching late Victorian button hook and shoe horn set, floral engraved design, hallmarked by Albert Henry Thompson, Sheffield, 1898. (1 bag) Weight: approx. 156.3 grams (5ozt) Further details: slight denting, scratching and wear to brush, tarnishing and general wear to others.
Lot 1331
A mixed collection of metal items to include: an early 20th century bronze cylindrical brush pot/vase with chinoiserie and pagoda relief design and foliage/floral banding, probably Japanese; a large copper twin-handled pot; fireside brass implements; an Indian silver-plated engraved footed comport; an unmarked Art Nouveau design early 20th century inkwell and stand in brass (WMF style); a pineapple design heavy brass doorstop; a Chinese silver-plated novelty shaped opium pipe; an Eastern mixed metal box; an Eastern elephant figure; a marble dump-shaped doorstop with loop handle and a 20th century horn and carved chinoiserie bamboo walking stick. (1 box)
Lot 440
Clarice Cliff - Midnight Flower - A 9 inch circular plate circa 1932, hand painted in an unrecorded trial floral pattern with large stylised blooms in red and yellow over the honey glazed ground with full black out enamel across the rest of the plate, the reverse hand written - HAND PAINTED Bizarre by Clarice - Newport Pottery England, measures 22.5cm. N.B - This unrecorded design is most likely by Clarice Cliff herself. The flower blooms hand executed by Clarice and then to the front there is the word 'Black' just flashing through the black enamel ground, indicating that this was inked in as instruction to one of the paintresses to fill in the ground colour. The mark to the reverse has been written using a dip pen rather than brush, most likely the same one used by the paintresses for the decoration of the Applique pattern. Comparison of the signature indicates that the mark to the reverse was also executed by Clarice Cliff herself.
Lot 144
A late Victorian gentleman's leather travelling vanity case enclosing five silver topped dressing table jars, hallmarked 'Wolfsky & Co Ltd', London 1900, with travelling inkwell and vesta, mirror, green silk lined; together with a silver backed brush, hallmarked Birmingham 1919, with front pocket to case, approx 36.5cm wide x 28cm high x 20cm deep The outer case has a lot of wear commensurate with age - see photos, glass bottles generally good, overall wear commensurate with age
Lot 141
An Art Deco Japanese style silver mounted enamel dressing table set to include: mirror, hair brush, clothes brush and comb, the apple green ground decorated with stylised fans to with radiating black striped painted with scrolls, the silver hallmarked Birmingham, 1928, import marks, in fitted case, the comb apparently unmarked
Lot 231
A Three-Piece Vanity SetComrising brush, perfume bottle and boxIn glass916/000 silver coversLisbon assay mark (1887-1937), Augusto Luís de Sousa Lda. Makers mark(1930) and A. L. SOUZA, Lda - Lisbon retail mark(adapted glass box, wear signs)Literature:VIDAL, Manuel Gonçalves; ALMEIDA, Fernando Moitinho de - "Marcas de Contrastes e Ourives Portugueses (1887 a 1993)", vol. II. Lisboa: IN-CM, nº 67 e 259Height.: 11 cm (frasco de perfume)
Lot 121
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left) 60 x 70cm (23½ x 27½ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
Lot 123
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) VISAGE IMAGINAIRE Oil on canvas Signed (lower left) 60 x 50cm (23½ x 19½ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
Lot 120
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left); further signed (verso) 65.5 x 92cm (25¾ x 36 in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
Lot 122
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) VISAGE IMAGINAIRE Oil on canvas Signed (lower right) 65 x 54cm (25½ x 21¼ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
Lot 124
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left) 65.5 x 54.5cm (25¾ x 21¼ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
Lot 297
* Pantuhoff (Igor, 1911-1972). Portrait of a young female artist, oil on canvas, half-length portrait of a young blond-haired girl wearing a diaphanous dress and black choker, holding an artist's palette and brush, the edge of a canvas to the right, and 2 cherries to the left, symbol to lower right (artist's mark?), verso inscribed in pencil 'To Gordon affectionately' with indistinct initials, 49.5 x 38.5 cm (19 1/2 x 15 1/8 ins), framed (57.7 x 47.8 cm) QTY: (1)NOTE:Born to an aristocratic Russian family that emigrated to the United States after the 1918 revolution, Igor Pantuhoff is especially known for his portraiture, and in particular his distinctive paintings of wide-eyed females.
Lot 31
* Studio of Francesco Solimena (Canale, 1657 - 1747 Naples). Glorification of a Saint, pen and brown ink with grey wash on scallop-shaped buff laid paper, depicting a large group of robed figures on a series of ascending stone steps, looking upwards to several groups of angels on clouds in the sky, with single-rule brown ink outer borderline, some surface marks and waterstains, old central horizontal crease partly split, some losses to head and foot of the sheet, and slight loss and abrasions to centre left and right margins, 535 x 375 mm (21 x 14 3/4 ins), laid down on old backing paper, and tab-mounted on thick card (62 x 47 cm), framed and glazedQTY: (1)NOTE:Provenance: Private Collection, Warwickshire, UK.A similar study in pen brown ink and grey wash by the Neapolitan baroque artist Solimena or his studio depicting the Martyrdom of Saint Bartholomew, was sold at Artcurial, Paris, September 26, 2023, lot 86 (also in scalloped format). An arched format preparatory drawing for a Conversion of Saint Paul, attributed to Solimena, in pen and brown ink, with brush and brown and gray wash, over traces of black chalk on cream laid paper, is held by the Art Institute of Chicago, measuring 31.5 × 27.5 cm (12 7/16 × 10 7/8 ins).
Lot 135
* Downes (Thomas Price, active 1835-1887). Portrait of Mrs Henry Back, circa 1851, oil on canvas, half-length portrait of a young woman with flower sprigs in her swept-back brown hair, wearing a lace-trimmed black gown, a brooch, and gold link and enamel bracelets, and carrying a folding fan, against a backdrop of sky, re-lined, contemporary manuscript label on stretcher with name of sitter and artist (latter indistinct), 91.5 x 71 cm (36 x 28 ins), period gilt moulded frame with elaborate strapwork and volute pattern (119.5 x 99 cm)QTY: (1)NOTE:Fanny Lamprière (born 1830) was courted by the artist John Everett Millas (1829-1926), although she later married land-owning magistrate Henry Back (born 1811), on 7th July 1851, in Ewell, Surrey. The Lamprières were a Jersey family, and Millais had strong connections to the island, having lived there for the first nine years of his life. Later he spent a lot of time at Rozel Manor, St Martin, Jersey, home of Philip Raoul Lemprière, the brother of Fanny's father Captain William Charles Lamprière. It is said that Raoul (as he was known), gave the artist his first paintbox, and when Millais went to London to continue his training as a painter, he was befriended by Arthur and Harry Lemprière, two of Fanny's brothers. 'We always called him Johnny', said Arthur, 'and he constantly spent the holidays with us at our home in Ewell, Surrey. He always seemed to be sitting indoors, to have a pen, pencil, or brush in his hand, rattling off some amusing caricature or other drawing'. Indeed, Millais made a number of informal sketches of the Lamprière family, and Arthur later sat for one of Millais’ most famous paintings The Huguenot in 1852. In 1846 Millais sent two painted Valentines to Fanny, but we can only guess at subsequent events; just five years later there is a somewhat sad mention of her - the married lady - in the only diary the painter kept. He was staying near to Ewell, and had chanced upon his 'old flame' as she returned from church: "I wished myself anywhere but there; all seemed so horribly changed, the girl I knew so well calling me ‘Mr Millais’ instead of ‘John’, and I addressing ‘Fanny’ as ‘Mrs B’. She married a man old enough to be her father; he trying to look the young man, with a light cane in his hand … an apparently stupid man, plain and bald, perfectly stupefied at Mrs B asking me to make a little sketch of her ugly old husband. They left, she making a bungling expression of gladness at having met me."
Lot 426
A particularly fine I.G.S. 1908-35 with Waziristan 1921-24 clasp awarded to Sergeant W. H. Fearn, Royal Air Force, who served as a DH9A air gunner with 27 Squadron on bombing operations against the hill tribes of Waziristan - and remarkably survived being shot down and captured in enemy territory. Fearn also survived various other abortive flights, only for his luck to run out on 25 April 1930, when he was killed in a flying accident whilst serving as a pilot instructor at R.A.F. Cranwell India General Service 1908-35, 1 clasp, Waziristan 1921-24 (328556. L.A.C. W. H. Fearn. R.A.F.) mounted for display purposes, good very fine £400-£500 --- William Henry Fearn was born in Buxton, Derbyshire, in November 1901. He enlisted as a Boy in the Royal Air Force in March 1919, and two weeks after arriving at the Recruit Depot (Boys Section) he moved to the newly formed School of Technical (Boys) Halton. The apprenticeship scheme was, at that stage, still in embryo form, and Fearn spent only six weeks there before before moving to another boys’ establishment at Eastchurch to continue his training as a Fitter Aero Engine. Fearn returned to Halton in order to complete his training, and did so in November 1920. Within a month he was posted to the Aircraft Depot, Lahore, after which he spent a further six months at the Aircraft Park also based there. Fearn was posted to the R.A.F. School at Ambala in October 1921, before being posted as an AC1 to 27 Squadron (DH9A’s) at Risalpur in October 1922. The Squadron was operational, and at this point was heavily engaged in bombing raids against the hill tribes in Waziristan. Fearn found himself employed as an Air Gunner on the squadron’s DH9As. He moved with the Squadron to Razmak in December 1922, and 21 January 1923, whilst flying with Flying Officer R. J. M. St. Leger, he found adventure that few survived: ‘While I was having tea at Dardoni I was told that Flying Officer St. Leger and Leading Aircraftman Fearn, who had been shot down and taken prisoner, had now returned from the Military Post at Ladha, where they had been staying for a few days after being released. During our raids on the Abdullai villages in the Razmak area a few weeks back, before they had come to terms, the machine St. Leger was flying was hit by rifle fire and he had to make a forced-landing in enemy territory; his second forced-landing in Waziristan within 12 months. When the raids for the day were over and we had no news of them, we feared the worst because this is terrible country to crash in. The day after, we were told that they had been captured by the Mahsuds. Fearn told me, when I saw him later this evening, that after crashing, though badly shaken, they were unhurt. They escaped from the pursuing Abdullais after an exciting chase, but were captured by another section of the Mahsuds. Seeing that it was impossible to escape from this second party and that they were being attacked by tribesmen carrying dangerous knives, St. Leger probably saved their lives when they were being approached at the end of the second chase. By a flash of wit he calmly walked up to the leading pursuer and asked him, speaking in Urdu, how much he wanted for his knife - “Churi, kitni pice hait?” As it happened, the tribesman thus addressed understood Urdu, and the incongruity of the situation must have amused him, for from that moment instead of being a deadly foe he became a friend. He put away his knife and conducted these mad, and brave Englishmen, for neither of them was armed, to his village, where they remained until contact had been made with the Political Agent and their release arranged. During the days they were in captivity their fate hung in the balance, owing to the demands of other sections of the tribesmen for revenge. Eventually they were handed over the Military Authorities at Ladha, where a ransom of 5,000 rupees was paid to their captors, from whom they parted on quite friendly terms. Two knives, similar to those the tribesmen were carrying when the chase was on, were presented to St. Leger and Fearn on their departure from the village.’ (With The First In The Field, by A. E. Cowton - a N.C.O. in 27 Squadron at the time - refers) Having survived that ordeal Fearn had a further brush with death on 15 July 1924. On take-off at Risalpur, his pilot, Flight Officer C. A. Mason, throttled back too early and the aircraft crashed on rough ground. Fortunately both survived without significant injury. Fearn was posted for pilot training at No. 4 F.T.S., Abu Sueir, Egypt in January 1925. In gained his ‘Wings’ and advanced to Sergeant in January the following year. Fearn was subsequently posted as an Instructor at R.A.F. Cranwell in August 1928, and it was here that he met an untimely death. On 25 April 1930, Sergeant Fearn was carrying out a test in an Avro 504N with A.C.1 Charlton in the other seat. According to the evidence given at the inquest, the aircraft was approaching for what appeared to be a normal landing. At about 50ft, it suddenly reared upwards, with black smoke coming from the underside. The aircraft then stalled, and went in to a short spin before hitting the ground. Both airmen were killed, and are buried in the Churchyard in Cranwell village. Their names are also listed on the Roll of Honour displayed in the Church in the grounds of the R.A.F. College. Sold with copied service papers and research.
Lot 280
Waterloo 1815 (Charles Shields, 3rd Batt. Grenad. Guards.) fitted with original steel clip and ring suspension, good very fine £1,200-£1,600 --- Provenance: Sotheby, December 1896; Glendining’s, June 1924; Harrison Collection 1934. Charles Shields was born in the Parish of Newark, Nottinghamshire, and enlisted for unlimited service in the Grenadier Guards at Ware, Hertfordshire, on 16 October 1797, aged 20, a brush maker by trade. He served for 21 years 18 days and was discharged at Windsor on 2 November 1818, in consequence of ‘long service’. He was granted two years’ additional service for Waterloo, where he was in Lieutenant-Colonel Hon. H. P. Townshend’s Company, and was admitted to a Chelsea out-pension of 1s/1d per diem on 11 November 1818. Sold with copied discharge papers.
Lot 1209
CREED III (2023) - Bianca Creed's (Tessa Thompson) Hearing Aid and Record Sale Award - Bianca Creed's (Tessa Thompson) hearing aid and Record Sale Award from Michael B. Jordan's Creed III. Bianca wore her hearing aid throughout the film due to the growing loss of her hearing which caused her to limit her singing career. This lot consists of a gold-color record mounted in a black wooden frame with a gold-color metal plaque presented to Bianca for 50,000 sold copies of her single "I Will Go To War" and an image of the single's cover; and a white acrylic case labeled "Hero" with two beige acrylic hearing aids with four silicone earbuds; four cases of Duracell Activair Hearing Aid battery packs; and a small bag featuring a miniature brush and screwdriver. This lot exhibits tearing to the frame's backing. Dimensions: (frame) 17.5" x 23.5" x 1.5" (44.5 cm x 59.75 cm x 4 cm)Contains electronics; see electronics notice in the Buyer's Guide.This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.
Lot 1081
BASELITZ GEORG: (1938- ) German painter, sculptor and graphic artist. Signed colour 8 x 10 photograph of Baselitz standing in a full-length pose as he works on a large canvas with a long-handled paint brush. Several other paintings, typically showing the subjects upside down, can be seen hanging in the background. Signed by the artist in black ink with his name alone to a light area at the base of the image. A pencil note in the hand of a collector to the verso indicates that the signature was obtained in person at the Hotel Sacher in Vienna in November 2022. EX
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51252 item(s)/page