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Lot 345
Kim Mobey(South African 1985 - )signed, dated Dec 2018 and titled on the reverseoil on canvas90 by 60cm EXHIBITED: Sanlam Portrait Awards, Top 40 Paintings, Touring Exhibition, 2019PROVENANCEAcquired directly from the artistKim Mobey is a South African artist born in 1980. She is entirely self-taught and sold her first sculpture through a commercial gallery at the age of 15. She has been working as an artist since the late 1990s, having regularly exhibited her work from 2010 through galleries in Knysna, Hermanus, Johannesburg and Cape Town. In 2017, when she was selected as a finalist for the PPC Imaginarium awards with In This Skin (lot 396), her sculptural work gained wider recognition, was shown at the Turbine Art Fair and the Investec Cape Town Art Fair. In 2019 Mobey’s portrait Nora in Winter made the Top 40 shortlist for the Sanlam Portrait Award. Her primary mode of production is portraiture, which she prefers to render in oils and acrylics. Her portraits are faithful to reality, while communicating the human connection between the artist and her subjects – most often people she knows or has met. She seeks out an immersive and empathetic understanding of them, which she feels is necessary to evolve an authentic practice. Beyond her humanist approach, she is deeply affected by mythology and science. Though her work is rooted in reality and historical fact, she makes generous use of artistic license, fulfilling her compulsion to upturn stereotypical notions regarding aesthetics, gender, race, age or class - and reflecting her desire to challenge fixed identities and how these bear out in society. A driven autodidact and educator, she actively studies and teaches new and traditional technical skills, sculpture, installation, performance, painting and printmaking. Her keen interest in humanity extends to ongoing charitable work. Artist Statement I make art about humanity and the similarities between "us" and "other". I choose subjects and stories that are unlikely to match with expectations or demographics. I choose them because it's when we strip away expectations that we find real connection and meaning. In this way I am constantly disassembling and reassembling identities. I work vicariously but also passively, allowing the image or concept to manifest first then shaping my work and theories around it. I use whatever ideological material is at hand. Like found objects of the mind. In this way I allow myself to be shaped by the practice at least as much as I shape my individual artworks or oeuvre. When I paint a portrait I come close to knowing how gravity feels in someone else’s skin. And I can look at existence for a moment through their eyes. - Kim Mobey, July 2020
Lot 350
Full Title: THE CAPTURE OF FORT ARMSTRONG, KAFFIR LAND - Feb 22nd 1851 and THE BATTLE OF THE GWANGA, CAPE OF GOOD HOPE (2)J. Harris THE CAPTURE OF FORT ARMSTRONG, KAFFIR LAND - Feb 22nd 1851 and THE BATTLE OF THE GWANGA, CAPE OF GOOD HOPE - June 8th 1846 after Henry Martens engraving49 by 63cm; 49 by 62,5cm respectively (2) (2)
Lot 381
Esther Mahlangu (South African 1935-)signed, dated 2007 in pencil on the plate and editioned 2/22 in pencil in the margin silkscreen on paper 34 Fine Art, Esther Mahlangu, Cape Town, 2007sheet size: 41 by 55cm PROVENANCE34 Fine Art Gallery, Cape TownFollowing in the traditions of Ndebele wall paintings passed down to her from her mother and grandmother, Esther Mahlangu creates artworks that include these geometric patterns, combined with her own personal style and colours, bringing the techniques of her culture into the gallery space. By the time Esther was a teenager, she was considered an expert at mural painting in her local community and she began incorporating a widening range of brightly coloured wall paint as it became available to her. Between 1980 and 1991, Esther worked at the Botshabelo Historical Village, an open-air museum dedicated to the Ndebele culture. In 1986, researchers who were travelling the world to document traditional art came across Esther Mahlangu’s house and recognised her exceptional ability. They invited her to create murals for an exhibition that included a number of international contemporary art. The exhibition was Magiciens de la Terre (Magicians of the World) which turned out to be a groundbreaking exhibition at the time for its inclusivity. Curated by Jean-Hubert Martin whose intention was to hold the first truly international exhibition of contemporary art. He exhibited the work of more than 100 of the artists, from fifty countries, at the Centre Pompidou and the Grand Halle at Parc de le Villette in Paris. Half of the artists who were included in the exhibition were non-Western and during his travels to seek out new artists he purposefully denied the definitions of art and craft, or trained and self-taught, rather seeking talent above all else and pushing for equality rather than the narcissistic perspectives of ‘Western’ art. After her inclusion in this exhibition, Esther’s career took off. She travelled to France in 1989 where she painted a house in front of thousands of viewers as a performance of her skill. Over the course of the next few years she was invited to paint venues around the world. Soon Mahlangu transferred the traditional Ndebele technique onto canvas and also silkscreen. In 1991, she was the first woman to paint a BMW 525i as part of the BMW Art Car Project, previous artists included Pop Art stars, Andy Warhol and Roy Lichtenstein. Arguably, Esther can be linked to these as well as contemporary art stars who depict, repeat and employ the objectives of consumerism. Similarly to the Mr Brainwash (lot 471) and (lot 472) and Banksy (lot 473) works that we have included in our auction, Mahlangu also began painting on walls, although not illicitly, and then presented her work in the gallery space, on traditional art materials such as canvases and paper, which others could buy and place on their own walls. Mahlangu’s aim has always been to preserve her cultural heritage and she opened a small art school in the backyard of her home in Mapumalanga, where she mentors other pupils in the traditional Ndebele style. Source: SA History Contemporaryand
Lot 445
Willem Hermanus Coetzer(South African 1900 - 1983)GATHERING CLOUDSsigned and dated 62pastel on paper behind museum glass37 by 44,5cm PROVENANCEStephan Welz & Co., Cape Town, October 2017, Lot 309 A billowing cumulonimbus cloud in the late afternoon sunshine such as the one glowingly depicted in Gathering Clouds (lot 445) was a particularly significant subject for WH Coetzer. It was a sight similar to one he counted in his autobiography as a ‘formative event’, declaring his life-long love ‘for rolling masses of sunlit cumulus clouds’. Gathering Clouds was completed when WH Coetzer was in his early sixties. In it the dynamic shapes of the soaring cloud are intricately described. The artist uses the setting sun’s strongly directional illumination to build volume and depth. He has arranged the blushed and creamy hues of the warmly sunlit areas of the cloud between bulky dove-grey forms to the foreground and rear and employed darker shadows throughout to create multi-dimensional layers. The subdued and diffused light which bathes the rest of the landscape magnifies the dramatic effect of the sunlight. Coetzer has compressed the fields, the farmstead and the distant mountains beyond into the lowest quarter of the picture plane to convey the scale of the cloud within the composition; it is being viewed from afar and yet still it towers beyond the uppermost boundary of the frame. The winding track adds to the perception of depth as it leads the viewer into the landscape and quickly fades towards the distant horizon. The bright reflections of the sunlit cloud in the track’s flooded ruts accentuate the foreground and serve to balance the composition as a whole, both from top to bottom and from left to right. The pools of water in the foreground also provide an element of narrative to the scene: this is not an ominous storm advancing towards the viewer. Instead the cloud has passed over, the sun has reappeared and the viewer is invited to admire nature’s splendour and the artist’s skill in rendering it. Source WH Coetzer: 80, The Autobiography of WH Coetzer, CUM Boeke, Roodepoort, 1980, p 6
Lot 461
A.R. Penck (German 1939-2017)EIS IN DER HÖLLE accompanied by catalogue signed by the artist Lücke TPT: Harald Gallasch. Wolgang Opitz. A.R Penck. Terk. Gemeinschaftsbilder. Dresden 1971 – 1976, Universitätsdruckerei und Verlag, H.Schmidt GmbH. Mainz, 1972.acrylic on canvas149 by 178cm (2)LITERATURE: Lücke TPT: Harald Gallasch. Wolgang Opitz. A.R Penck. Terk. Gemeinschaftsbilder. Dresden 1971 – 1976, Universitätsdruckerei und Verlag, H.Schmidt GmbH. Mainz, 1972.p92EXHIBITED: Museum für Gegenwartskunst, Basel; Städtische Galerie im Städel, Frankfurt am Main; Staatliche Kunstsammlungen DresdenPROVENANCEPrivate Collection, Switzerland; Private Collection, Cape Town 149 by 178cm Penck put together the artist’s group Die Lücke TPT in 1971 as a socialist act, emphasising what could be achieved by an artist’s collective. The aesthetics of the group were secondary to the processes of the groups collaborative art production. The group’s name translates to ‘the gap’, as Penck was referencing the lack of teamwork in the sterile East German art world. Die Lückeunfortunately dissolved in 1976 due to constant harassment by the Stasi. Eis in Der Hölle was painted during Penck’s time with Lücke TPT. It translates to mean ‘Ice in hell’. It is a good example of the neo-expressionism that Penck is associated with, along with other contemporaries Markus Lupert, Jorg Immendorff, Georg Baselitz, Anselm Kiefer and Sigmar Polke. Neo-expressionism brought a new sense of historical and political drama to figurative painting, the movement was also characterised by a return to the sensuousness of paint which was a direct reaction against the preceding art movements of Minimalism and Conceptualism, which distanced the artist’s hand from the artwork. Artists found a redemptive quality of art when working in Neo Expressioninsm. Penck, always carried with him the scars of growing up and living in a post-war and cold war environment, and perhaps found his art cathartic or liberating, by depicting national or political subject matter. This work is typical of the movement in the raw application and handling of the paint in a larger format than Penck had used in the past. Neo-expressionism encouraged bright colours in order to achieve subjective means. Neo expressionism resurged the incorporation of storytelling, in the form of mythical and historical imagery, unlike earlier Modernists, particularly the writings of Clement Greenberg, a proponent of Abstract Expressionism, who had rejected it. Another element of neo-expressionism was its view of art as part of a system of consumerism, for which it was criticised, unlike prior movements such as Abstract Expressionism. Source The Art Story Artforum Since his death in 2017 there has been a resurgence of interest in the accomplishments of the German artist A.R Penck. His work has proven to be an excellent investment, fetching high prices on auction. The relevance of his work today is evidenced by the inclusion of his artwork in a number of current gallery exhibitions, including the solo show A.R Penck at Gallery Fetzer in Germany, which was held from 21 June – 20 July 2020 as well as the inclusion in the aptly titled Writing the History of the Future at the Zentrum für Kunst und Medien in Germany from the February 2019 – March 2020. A.R Penck remains one of the most internationally celebrated artists to emerge from post-war Germany. He is known for his pictographic Standart style, which is often infused with political commentary, but always carries the trauma of an artist who was born during World War II, a dissident who suffered under the oppression of the East German government, but who ultimately slipped through the system to exhibit and gain notoriety in the West. A.R. Penck’s works are in public and private collections worldwide, including the Museum of Modern Art, New York, Tate London, Museum Ludwig, Cologne, Neue National Galerie Berlin, the Centre Pompidou in Paris, and the Musee d’Art Moderne de la Ville de Paris. Source: Art Daily Galerie Fetzer Artfacts
Lot 462
A.R. Penck(German 1939-2017)DER IEZTE NVA-PILOTsigned and editioned 3acrylic over silkscreen on canvasProvenanceGalerie Frank Hänel, Wiesbaden; Private Collection, Cape This series of serigraphs was executed after the fall of the Berlin wall when the artist produced a number of artworks using the unusual technique of painting acrylic over silkscreen on canvas which the artist refers to as übermalungs (overpaintings) in this large format. This series is included in the catalogue Menschen Und Tiere Nach Der Offnung Ubermalungen 89 – 91, published by the Frank Hänel Galerie. Like other artworks that feature in the above mentioned catalogue, for Der Ietzte NVA-Pilot he created a template which forms the main composition, which the artist silkscreened onto several canvas, before revising drastically by painting over the printed template with acrylic paint. An incredibly prolific time for the artist, the collectively 80 works that were made over this period are rich in symbols and Penck, perhaps expressing a liberation that he had not felt within the GDR before 1990, included much political commentary in the iconography. Der Ietzte NVA-Pilot translates to ‘The last NVA Pilot’ as a comment on how the artist viewed the German military at the time. Source: Art-service Since his death in 2017 there has been a resurgence of interest in the accomplishments of the German artist A.R Penck. His work has proven to be an excellent investment, fetching high prices on auction. The relevance of his work today is evidenced by the inclusion of his artwork in a number of current gallery exhibitions, including the solo show A.R Penck at Gallery Fetzer in Germany, which was held from 21 June – 20 July 2020 as well as the inclusion in the aptly titled Writing the History of the Future at the Zentrum für Kunst und Medien in Germany from the February 2019 – March 2020. A.R Penck remains one of the most internationally celebrated artists to emerge from post-war Germany. He is known for his pictographic Standart style, which is often infused with political commentary, but always carries the trauma of an artist who was born during World War II, a dissident who suffered under the oppression of the East German government, but who ultimately slipped through the system to exhibit and gain notoriety in the West. A.R. Penck’s works are in public and private collections worldwide, including the Museum of Modern Art, New York, Tate London, Museum Ludwig, Cologne, Neue National Galerie Berlin, the Centre Pompidou in Paris, and the Musee d’Art Moderne de la Ville de Paris. Source: Art Daily Galerie Fetzer Artfacts
Lot 473
Banksy(British 1974 - )open edition print that the artist made available for downloaddigital print on canvas canvas size: 51 by 76cm PROVENANCE34 Fine Art, Cape TownIn 2010 Banksy was included in Time Magazine’s 100 most influential people of the world, alongside Barack Obama, Steve Jobs and Lady Gaga. The street artist, activist, filmmaker and general provocateur has, after a long career, still managed to keep his identity from the general public. He began as a graffiti artist in Bristol in the 1990s, and now commands hundreds of thousands of dollars for his original works at highly regarded auction houses. He has moved his street art inside the gallery walls and now uses the traditional methods of paint on canvas, or print editions, as well as conceptual sculpture and was even involved in filming the Academy Award nominated documentary Exit Through the Gift Shop. The artist has altered his output and intentions somewhat since his early days when spraypainting the streets left him unaccountable in many ways, to his current position as a collected artist whose work buyers view as an investment. He has even set up Pest Control, an organization that authenticates the real artwork from the countless fakes, as many try to cash in on the success of an artist whose real identity is still unknown. Other than his wit, Banksy’s style is also recognisable for his use of stencils, which he began using while he was still spray painting street walls. With this method, much of the preparation for the artworks happened at home, cutting the time it took him to paint the image in half and lessening the chance of getting caught. The artist has said that he is also drawn to the aesthetics of stencils as they have a history of use by activists and protestors. Never failing to shock and surprise, during an auction in 2018 at Sotheby’s, the moment the auctioneer announced that a popular image of Banksy’s had just sold for £1,042,000, the work began to destroy itself by what appeared to be a shredder hidden in the frame of the print. Sotheby’s denied their involvement with the destruction of the work. The Banksy work that we have on offer (lot 473) ER…, is an image of the Union Jack spray painted onto a surface, including the dripping paint that forms part of the medium’s inherent aesthetic. The artist made images of this work available for free download on his website for the duration of Queen Elizabeth II’s Diamond Jubilee. Lot 473 is one of these images that has been digitally printed on canvas and stretched onto a wooden stretcher. The severe drips of the paint give an unsettled element to the usually neat pattern of the flag, which now appears in disarray. At the centre of the flag of his country of birth, Banksy has very clearly inscribed “Er…” in large white letters. This word recalls a sound uttered when one does not know what to say, disagrees with the common consensus of a conversation, or as a demonstration of unease. With this utterance the artist expresses his feelings of embarrassment and reticence about the Queen’s Diamond Jubilee. Clearly Banksy is not a royalist. With the production and dissemination of this work Banksy returns to a more democratic form of art making, allowing far more people to access and own his artwork. For this reason it is more similar to the way that Banksy’s art operated at the beginning of his career, available for public consumption. Source: Dezeen Smithsonian
Lot 474
Esther Mahlangu(South African 1935-)signed and dated 2012 in paint along the bottom edgeacrylic on canvas 34 Fine Art, Overlay solo exhibition, Cape Town, 201282 by 93cm PROVENANCE34 Fine Art, Cape TownFollowing in the traditions of Ndebele wall paintings passed down to her from her mother and grandmother, Esther Mahlangu creates artworks that include these geometric patterns, combined with her own personal style and colours, bringing the techniques of her culture into the gallery space. By the time Esther was a teenager, she was considered an expert at mural painting in her local community and she began incorporating a widening range of brightly coloured wall paint as it became available to her. Between 1980 and 1991, Esther worked at the Botshabelo Historical Village, an open-air museum dedicated to the Ndebele culture. In 1986, researchers who were travelling the world to document traditional art came across Esther Mahlangu’s house and recognised her exceptional ability. They invited her to create murals for an exhibition that included a number of international contemporary art. The exhibition was Magiciens de la Terre (Magicians of the World) which turned out to be a groundbreaking exhibition at the time for its inclusivity. Curated by Jean-Hubert Martin whose intention was to hold the first truly international exhibition of contemporary art. He exhibited the work of more than 100 of the artists, from fifty countries, at the Centre Pompidou and the Grand Halle at Parc de le Villette in Paris. Half of the artists who were included in the exhibition were non-Western and during his travels to seek out new artists he purposefully denied the definitions of art and craft, or trained and self-taught, rather seeking talent above all else and pushing for equality rather than the narcissistic perspectives of ‘Western’ art. After her inclusion in this exhibition, Esther’s career took off. She travelled to France in 1989 where she painted a house in front of thousands of viewers as a performance of her skill. Over the course of the next few years she was invited to paint venues around the world. Soon Mahlangu transferred the traditional Ndebele technique onto canvas and also silkscreen. In 1991, she was the first woman to paint a BMW 525i as part of the BMW Art Car Project, previous artists included Pop Art stars, Andy Warhol and Roy Lichtenstein. Arguably, Esther can be linked to these as well as contemporary art stars who depict, repeat and employ the objectives of consumerism. Similarly to the Mr Brainwash (lot 471) and (lot 472) and Banksy (lot 473) works that we have included in our auction, Mahlangu also began painting on walls, although not illicitly, and then presented her work in the gallery space, on traditional art materials such as canvases and paper, which others could buy and place on their own walls. Mahlangu’s aim has always been to preserve her cultural heritage and she opened a small art school in the backyard of her home in Mapumalanga, where she mentors other pupils in the traditional Ndebele style. Source: SA History Contemporaryand
Lot 478
Salvador Dali(Spanish 1904-1989)THE NEGLECTFUL MEET VIOLENT DEATH from THE DIVINE COMEDY SERIES authenticated by Frank Hunter of the Salvador Dali Archives Ltd,New York on the reversewoodblocksheet size: 33 by 26,2cm, unframed “But while their sudden flight was scattering those souls across the plain and toward the mountain where we are racked by rightful punishments.”¹ Eccentric and imaginative, Salvador Dali’s repertoire extended far beyond his painting. In the 1950s, Dali was commissioned by the Italian Minister of Culture to illustrate a special edition of Dante’s Divine Comedy, which was released in 1965 on the 700th Anniversary of Dante’s birth. The Divine Comedy Suite is made up of 100 colour woodcuts produced between 1960 and 1964. This particular work is titled The Neglectful Meet Violent Death. It is from the second part of Dante's Inferno, Purgatory. The work is the illustration that accompanies the third canto of purgatory. Purgatorio 3 is written as a song and falls into two parts. The separation of the canto into two parts allows Dante to employ the technique of authorial dialogic- human consciousness exists in two paradoxical parts which are always opaque to one another, but not absolutely opaque. The partial opacity of human consciousness allows Dante to blur right and wrong. This is particularly apt in Purgatorio 3, which focuses on a group of departed souls trapped between worlds. Dali’s illustrations for Dante’s Divine Comedy employ metaphorical imagery, rather than being literal representations.² The delicate washes of colour in Purgatorio 3 perfectly complement the story of drifting souls in purgatory. The blandness of the colours, muted browns and greys, emphasise the nothingness of purgatory, the world that stands between heaven and hell. (Inferno and Paradiso). In our February 2020 Premier Auction in Cape Town a very similar work by Dali, Prayer of Saint Bernard also from the Divine Comedy series and similar in size and medium, sold for R16 000 on the hammer, outperforming its estimate of R 6000 – R 9000. Source: 1. Dante Aligheiri, Canto 3- Purgatorio, Accessed 10/6/2020 Dante Aligheiri 2. Dali, Psychoanalysis and Dante’s Divine Comedy, Accessed 9/6/2020 Dali, Psychoanalysis and Dante’s Divine Comedy
Lot 507
Pipe, in traditional style, short stem, chamber lined with metal, draught hole, horn end and mouth piece, two feet underneath for the pipe to stand Short-stemmed pipes were usually used by men. Iziko Museums, Cape Town, own a similar pipe with a baboon smoking a pipe on the stem 12cm high by 19cm long PROVENANCEAnnelle Zaloumis Collection, 1999
Lot 883
Standing on a shaped hillock amongst clouds, dressed in a flowing beribboned robe, her left hand in shuni mudra over the right, her meditative face with downcast eyes below a chignon and fine urna, age wear, minor repair 25,4cm high PROVENANCE Sold Stephan Welz & Co, Cape Town, 30 October 2018, Lot 628
Lot 897
Painted to the centre in black and iron-red with figures gathered around a table, the cavetto with a gilt spearhead border, the rim enamelled with floral sprays in cobalt and white enclosed by a scrolling gilt border22,7cm diameterPROVENANCESold Stephan Welz & Co, Cape Town, 1 July 2019, Lot 192
Lot 901
Each moulded saucer with a scalloped rim, painted with dense floral sprays within tulip-shaped reserves around a central roundel decorated with a bird in flight aside a prunus tree, all contained within a fine network diaper pattern to the rim, the exterior with bamboo fronds, each cup similarly painted, the base with a four-character underglaze-blue Kangxi mark within a double ring, minor fritting, chips, hairline cracks saucer 12,7cm diameter (6) PROVENANCE Geoffrey Waters London The Craig Troeberg Collection Sold Stephan Welz & Co, Cape Town, 21 February 2018, Lot 430
Lot 998
Comprising: a kettle-on-stand, teapot, hot water pot, milk jug and a sugar bowl, beaded rim, leaf-capped handle, ovoid body, on a circular spreading beaded foot, the kettle-on-stand engraved 'Presented with 10 other pieces of plate to Sir Charles Bletterman Elliott, KCMG LLB by the Officers and Men of the Cape Government Railways as a token of their respect and esteem on the occasion of his relinquishment of the appointment of general manager of railways May 1901' the kettle-on-stand 47,5cm high, 6047g all in (5)
Lot 101
Original antique advertising poster for Lu biscuits Lefevre-Utile featuring a child dressed in a cape and holding a basket marked Lu on one arm whilst looking out to the viewer and eating a biscuit, the stylised company name Lu over the image with a Lu Petit-Beurre Nantes biscuit above and the text below. Very good condition, backed on linen Country of issue: France, designer: d'apres Firmin Bouisset (1859-1925), size (cm): 177x123, year of printing: 1900s
Lot 181
Original vintage commercially issued advertising poster sold at Dartmouth College featuring a bold black and white illustration of a woman draped over a man wearing a cape and a horned jesters hat alongside the quote - I'm doing my thing at Dartmouth! Dartmouth College is a private Ivy League research university in Hanover, New Hampshire, United States. Established in 1769 by Eleazar Wheelock, it is the ninth-oldest institution of higher education in the United States and one of the nine colonial colleges chartered before the American Revolution. Although founded as a school to educate Native Americans in Christian theology and the English way of life, Dartmouth primarily trained Congregationalist ministers throughout its early history before it gradually secularized, emerging at the turn of the 20th century from relative obscurity into national prominence. Fair condition, staining from tape marks, light creasing, small tears. Country of issue: USA, designer: Unknown, size (cm): 64x48, year of printing: 1977
Lot 1844
Collection of tie pins belonging to Colonel Godfrey Edward Tallents D.S.O., Lancashire Fusiliers, to include a hunting horn, a gold nugget, clover leaf, opal, turquoise, scarab beetle, and knot. Godfrey Edward Tallents was born on the 31st August 1883, he was educated at Wellington College and the Royal Military College Sandhurst, on passing out of the R.M.C. Tallents was posted to the 3rd Battalion Lancashire Fusiliers in the West Indies, he went on to serve with them in Malta and St. Helena, on the disbandment of the 3rd Battalion in 1906 transferred to the 1st Battalion, he was in India with this Battalion when the First World War broke out in 1914, 1st L.F. returned to the U.K. and joined the 29th Division, on 25th April 1915 1st L.F. landed on 'W' beach ( Lancashire Landing) Cape Helles, Gallipoli under a storm of fire, Tallents, by now a Captain, led an outflanking assault on the Turkish positions and was credited with breaking their line, later the same day he was badly wounded when he was shot in the head, the bullet entering the left side and exiting on the right shattering his eye socket into three pieces, for his actions that day Tallents was Mentioned in Dispatches and awarded the Distinguished Service Order, 1st L.F. suffered casualties of around 700 killed and wounded that day out of 1000 present and earned '6 V.C.'s before breakfast', after recovering in hospital in Malta Tallents returned to the U.K. briefly before going to France where he served on the Western Front as Staff Captain ( 177 Inf. Bde.), and G.S.O.2 (34th Div., 38th Div., GHQ, and 42nd Div. ) and was again mentioned in dispatches, after the war Tallents took command of 'D' Company 1st L.F. and then as a Major commanded the Depot Lancashire Fusiliers at Bury, he attended the senior officers course and in 1928 as Lieutenant Colonel took command of 2nd Bn. L.F. at Multan in India returning to the U.K in 1930, during the Second World War Tallents served as a Colonel on the staff if Northern Command in the U.K. as G.S.O.2, he passed away in 1967
Lot 548
* John (Augustus, 1868-1961). Lady with fur tipped cape, etching on cream paper, the first state (of 2), plate size 90 x 76mm (3.5 x 3 ins), with margins, framed and glazed, with Leicester Galleries exhibition label to versoQty: (1)NOTESCampbell Dodgson 39 i/ii. Exhibited: Etchings by W.R. Sickert and Engravings, Etchings & Lithographs by 19th & 20th Century Masters, Leicester Gallery, December 1967, number 87.Condition Report: This print is in generally good condition, with the printing strong and well-defined. There is, however, some marks and soiling to the sheet of paper, which has been archivally restrengthened to verso, particularly around the lower edges. By holding the paper up to a light, one can see some areas of paper thinning to the lower left and lower right margins, and to the upper left and right corners. There is also a slight crease running into the image to the upper left. The paper sheet measures 137 x 110 mm.
Lot 172
A RARE EUROPEAN MAIL CAPE OR PISAIN, PROBABLY GERMAN, EARLY 16TH CENTURY composed entirely of riveted iron rings, those at the upstanding neck-opening and base of the throat densely arranged in alternating rows of rectangular and half-round-section wire, the remainder of rectangular section wire, well-shaped to the shoulders, extending downwards to an obtuse points at both the front and rear of the waist, and formed with a central opening at the front (small losses) Mail capes such as this, referred to by modern collectors as ~bishops~ mantles~, were known at the time of their use as ~pisains~. Two similar examples are in the Royal Armouries Museum, Leeds, Inv. Nos. III. 13 & 14, in one case fitted with a Nuremberg-inscribed brass ring. Another, also opening at the front and now mounted on a so-called ~Landsknecht armour~ is preserved in the Stibbert Museum, Florence. Others of an early fashion were formerly in the collections of Sir Guy Laking and Felix Joubert. See Laking 1920, Vol. II, figs 530-1). Another example, formerly in the collection of Baron Armand van Zeulen (1838-96) and sold Sotheby~s, London (1st April 1980, lot 81) was sold in this room 26th June 2007, lot 283.
Lot 96
CAPE (Rev Jonathan): 'A Course of Mathematics: principally designed for the use of students in the East India Company's Military Seminary at Addiscombe...' London, Longman, Brown et al, 1847: 3rd edition: 2 vols, 8vo, full tree calf, aeg, red morooco prize label to upper pastedowns, a good set. (2)
Lot 399
Y A silver baluster four piece tea service by C. S. Harris & Sons Ltd, London 1928, the tea pot with an ivory button finial (lacking to hot water pot), ivory handles, scroll pierced cape rims, a cable band, on gadrooned base rims, the tea pot 27cm (10 3/4in) long, the hot water pot 21cm (8 1/4in) high, 202g (64.35 oz) gross
Lot 48
Good Selection of South African Cap Badges including bronzed Prince Alfred’s Guard ... KC white metal First City 4th Infantry ... KC blackened Kaffrarian Rifles ... KC white metal Royal Durban Light Inf ... KC brass Cape Defence Rifle Association Mounted Volunteer Commando ... Brass Rand Light Infantry ... Brass Pretoria Reg ... Bi-metal Cape Town Highlanders ... KC white metal Royal Natal Carabiniers. 21 items.
Lot 73
Small Selection of Badges Including African consisting brass Natal Scottish 1940 bonnet badge with tartan backing ... Matching pair of collar badges ... Pair brass NS titles on orange felt bands ... White metal Cape Town Highlanders on tartan backing ... Facing pair, white metal thistle collars ... Bi-metal, 2 part, 4th South African Scottish Pipe Band sporran badge ... White metal VR Bombay title ... Vic crown, gilt, VR cypher pouch badge (screw post fixing). 11 items.
Lot 17
* Boer War. A group of three to Gunner F.C Heming, Royal Horse Artillery Queen's South Africa 1899-1902, four clasps, Relief of Kimberley, Johannesburg, Diamond Hill, Wittenbergen (4808 Gnr: F.C, Heming, R.B. R.H.A.), King's South Africa 1901-02, two clasps (4808 Gnr: F. Heming. R.H.A.), Army Long Service & G.C., G.V.R. (4808 Gnr: F.C. Heming. R.G.A.), very fine and better, with a small portrait photograph of the recipient seen wearing his medals and copied service papersQty: (3)NOTES4808 Gunner Frederick Charles Heming was born in Gloucester in 1877, he enlisted in the Royal Horse Artillery in 1894, he served during the Boer War with R Bty and was with General French in the Colesburg district. Thereafter was taken to Modder River. He accompanied the expedition to Koodosberg Drift in the beginning of February 1900; was with General French in the rush to Kimberley and the subsequent advances to Bloemfontein and Pretoria, he assisted Sir Archibald Hunter in the operations for the surrounding Prinsloo. In the beginning of 1901 operated with De Lisle in Cape Colony and afterwards in the Orange River Colony. Heming then re-engaged for service in 1906 to complete 21 years service and was discharged from service in 1916 having served 22 years with the Colours.
Lot 18
* Boer War. A pair to Sergeant J. King, Gloucestershire Regiment Queen's South Africa 1899-1902, three clasps, Cape Colony, Orange Free State, Transvaal (5500. Pte. J. King. Glouc. Rgt.), engraved in large sloping serif script with "ghost" dates, King's South Africa 1901-02, two clasps (5500 Serjt, J. King. Glouc: Regt), good very fine, with copied service papersQty: (2)NOTES5500 Sergeant James King was born in Brosna, Castle Island, Kerry in 1875, he served with the Grenadier Guards before enlisting in the Gloucestershire Regiment in 1899, he was discharged from service in 1903 having served 4 years with the Colours.
Lot 264
* Clothing. A collection of early-mid 20th century ladies' garments, comprising: a 1920s embroidered net overdress with short sleeves, frilled skirt with satin flourish pleat at waist, some small holes and repairs; an Edwardian two-piece gown of cream lace and net, trimmed with narrow black velvet ribbon and embroidered appliqués, bodice with long sleeves, skirt with train, some wear and alterations; a late Victorian or early Edwardian long cream silk skirt with train and ruffles around the hem, lined, worn; a 1920s dark pink velvet cape with close gathers around neck, lined with 2 similar sprigged cotton fabrics, some tears, especially to hem; 2 1920s black chiffon dresses, both heavily beaded all over, each with some loss of beads; a 1930s black dress by Goydor (styled by Rembrandt), with long sleeves, collared v-neck with bow, pleated upper back, and buttoned half-belt to rear waist; a 1950s black swing coat by Wollands, Knightsbridge; and a black satin full-length slip; various sizesQty: (10)
Lot 74
* WWII. A Distinguished Service Cross group to Sub.Lt. (A) D.J.R. Harvey, DSC, Royal Naval Volunteer Reserve Distinguished Service Cross, G.VI.R., reverse engraved 'For Bravery & Skill, Determination in air operations while serving in H.M.S. "Victorious" Sub Lieut (A) D.J.R. Harvey, R.N.V.R. 20th May 1942, hallmarks for London 1942, in Garrard & Co. Ltd case of issue 1939-1945 Star, Atlantic Star, Africa Star, War Medal, extremely fine, with a small newspaper cutting, a letter from the recipients sister to Spinks dated 1970, giving details of her brother and accepting the offer of £35 for the group plus various copied researchQty: (5)NOTESSub.Lt. (A) David James Roberton Harvey, DSC, Royal Naval Volunteer Reserve was born in Berkhamstead in 1922, he joined the RNVR in 1940 and advanced to Temporary Sub Lt. (A) in 1941, he was selected for training as an Observer in the Royal Fleet Air Arm, after completing his training he joined 832 Naval Air Squadron which was equipped with the Fairey Albacore as a Torpedo Spotter Reconnaissance Squadron. In August 1941 the squadron embarked on HMS Victorious and while flying an anti-submarine patrol a fault developed and the aircraft ditched into the sea and all the crew including Harvey were rescued off Cape Wrath, Scotland. On the night of 22/23 February 1942 the squadron were on a sweep up the Norwegian coast, on taking off from Victorious their aircraft flew straight into a heavy snowstorm and lost control and they lost contact with the rest of the squadron, however, they continued their mission flying alone for 4.5 hours and made a successful landing at Sumburgh, Shetland Islands, the whole crew were decorated, with 2 DSC's and a DSM. On 9 March 1942 a report that Tirpitz was at sea was reported and at 6.30am a search party of 3 aircraft took off from Victorious which included Harvey, the rest of the squadron formed a strike force and attacked the Tirpitz (unsuccessfully), this was the first time that Tirpitz was ever caught in the open sea. 832 Squadron were also involved in Operation Pedestal, the convoy to Malta and also Operation Torch, the North Africa landings. On the 5 November anti-submarine patrols were resumed and the following day Harvey and his crew were on a ferrying trip to HMS Avenger and them onto Argus, they crashed on Argus but nobody was hurt although Argus's deck was temporarily put out of service. On the night of 6/7 November 1942 Harvey was lost off the Argus.
Lot 746
COLONIAL SCHOOL (19TH CENTURY); watercolour with pencil, 'Koine River, Cape of Good Hope', unsigned, 17 x 23.5cm, with applied mount verso, framed and glazed.Additional InformationFrame measures 27 x 33cm, chipping to the gilding throughout, the image with fold/crease to the top left corner, dark patches/staining to the image.
Lot 293
VERONESE; an Art Deco style resin figurine modelled in the form of a dancing figure with out swept arms holding a flowing cape raised on stepped plinth base, height 52cm.Additional Informationgeneral wear throughout, minor rubbing and light scratches, impressed signature and dated 1997 to base.
Lot 2828
Two fine black Victorian capes, one in a cut velvet of pomegranite design with deep lace trim heavily embelished with jet bead work.The other lighter cape of cotten and silk with black net, sequin and bead decoration. Together with a long sleeved boned bodice in heavyweight crepe fabric with silk lining and cream collar under black lace.
Lot 684
Elizabeth II Royal Air Force Musicians Dress Uniform, with anodised Queens Crown tunic buttons, Bullion Eagle and Crown collar badges, bullion rank insignia for a Junior Technician to the upper arm , Musicians qualifications badges on lower sleeves, matching trousers with double gold lace stripe to seams, together with musicians cape in Atholl grey with anodised Queens Crown buttons
Lot 776
British army officers Mess Dress uniform to Colonel Godfrey Tallents D.S.O. Lancashire Fusiliers, to include Mess Jacket of scarlet cloth, white piping, with scarlet silk roll collar displaying gold embroidered grenades, scarlet cloth shoulder straps with embroidered crown and star rank badges for a Lieutenant Colonel, cotton loops to left breast for medal bar, white cloth Mess Vest with regimental pattern buttons to front, blue overalls with scarlet cloth stripes down the seams, scarlet cloth braces, black Wellington boots with box spurs and plain rowels fitted, ( Qty ) ( Godfrey Edward Tallents was born on the 31st August 1883, he was educated at Wellington College and the Royal Military College Sandhurst, on passing out of the R.M.C. Tallents was posted to the 3rd Battalion Lancashire Fusiliers in the West Indies, he went on to serve with them in Malta and St. Helena,on the disbandment of the 3rd Battalion in 1906 transferred to the 1st Battalion, he was in India with this Battalion when the First World War broke out in 1914, 1st L.F. returned to the U.K. and joined the 29th Division, on 25th April 1915 1st L.F. landed on 'W' beach ( Lancashire Landing) Cape Helles, Gallipoli under a storm of fire, Tallents, by now a Captain, led an outflanking assault on the Turkish positions and was credited with breaking their line, later the same day he was badly wounded when he was shot in the head, the bullet entering the left side and exiting on the right shattering his eye socket into three pieces, for his actions that day Tallents was Mentioned in Dispatches and awarded the Distinguished Service Order, 1st L.F. suffered casualties of around 700 killed and wounded that day out of 1000 present and earned '6 V.C.'s before breakfast', after recovering in hospital in Malta Tallents returned to the U.K. briefly before going to France where he served on the Western Front as Staff Captain ( 177 Inf. Bde.), and G.S.O.2 (34th Div., 38th Div., GHQ, and 42nd Div. ) and was again mentioned in dispatches, after the war Tallents took command of 'D' Company 1st L.F. and then as a Major commanded the Depot Lancashire Fusiliers at Bury, he attended the senior officers course and in 1928 as Lieutenant Colonel took command of 2nd Bn. L.F. at Multan in India returning to the U.K in 1930, during the Second World War Tallents served as a Colonel on the staff of Northern Command in the U.K. as G.S.O.2, he passed away in 1967 )
Lot 777
Officers silver and gilt cap badge to the Lancashire Fusiliers, three loops to the reverse, together with a regimental tie pin in silver and enamel, a similar tie pin in gilt and enamel, a trench art lighter formed from Lancashire Fusilier buttons, a desk ornament/paper weight formed from a L.F. badge on a hardwood base, five officers rank stars, and an Indian coin/charm in an envelope marked ' Pandit Rala Singh charm,given at Wellington 25.3.28 ', the items all belonged to Colonel Godrey Tallents D.S.O. of the Lancashire Fusiliers. ( Godfrey Edward Tallents was born on the 31st August 1883, he was educated at Wellington College and the Royal Military College Sandhurst, on passing out of the R.M.C. Tallents was posted to the 3rd Battalion Lancashire Fusiliers in the West Indies, he went on to serve with them in Malta and St. Helena,on the disbandment of the 3rd Battalion in 1906 transferred to the 1st Battalion, he was in India with this Battalion when the First World War broke out in 1914, 1st L.F. returned to the U.K. and joined the 29th Division, on 25th April 1915 1st L.F. landed on 'W' beach ( Lancashire Landing) Cape Helles, Gallipoli under a storm of fire, Tallents, by now a Captain, led an outflanking assault on the Turkish positions and was credited with breaking their line, later the same day he was badly wounded when he was shot in the head, the bullet entering the left side and exiting on the right shattering his eye socket into three pieces, for his actions that day Tallents was Mentioned in Dispatches and awarded the Distinguished Service Order, 1st L.F. suffered casualties of around 700 killed and wounded that day out of 1000 present and earned '6 V.C.'s before breakfast', after recovering in hospital in Malta Tallents returned to the U.K. briefly before going to France where he served on the Western Front as Staff Captain ( 177 Inf. Bde.), and G.S.O.2 (34th Div., 38th Div., GHQ, and 42nd Div. ) and was again mentioned in dispatches, after the war Tallents took command of 'D' Company 1st L.F. and then as a Major commanded the Depot Lancashire Fusiliers at Bury, he attended the senior officers course and in 1928 as Lieutenant Colonel took command of 2nd Bn. L.F. at Multan in India returning to the U.K in 1930, during the Second World War Tallents served as a Colonel on the staff of Northern Command in the U.K. as G.S.O.2, he passed away in 1967 )
Lot 778
Collection of books belonging to Colonel Godfrey Edward Tallents D.S.O., Lancashire Fusiliers, to include, eleven copies of The Lancashire Fusiliers Annual dated 1901, 1903, 1904, 1905, 1907, 1912,1913, 1914/15, 1916, 1917, 1919/20, A Short History of the XX Lancashire Fusiliers, The History of the Lancashire Fusiliers 1914-1918 Volumes I & II, History of the XX Regiment 1688 to 1888, A History of the Lancashire Fusiliers ( Formerly XX Regiment ) by Major B. Smythe, Volumes I & II, ( Qty ) ( Godfrey Edward Tallents was born on the 31st August 1883, he was educated at Wellington College and the Royal Military College Sandhurst, on passing out of the R.M.C. Tallents was posted to the 3rd Battalion Lancashire Fusiliers in the West Indies, he went on to serve with them in Malta and St. Helena,on the disbandment of the 3rd Battalion in 1906 transferred to the 1st Battalion, he was in India with this Battalion when the First World War broke out in 1914, 1st L.F. returned to the U.K. and joined the 29th Division, on 25th April 1915 1st L.F. landed on 'W' beach ( Lancashire Landing) Cape Helles, Gallipoli under a storm of fire, Tallents, by now a Captain, led an outflanking assault on the Turkish positions and was credited with breaking their line, later the same day he was badly wounded when he was shot in the head, the bullet entering the left side and exiting on the right shattering his eye socket into three pieces, for his actions that day Tallents was Mentioned in Dispatches and awarded the Distinguished Service Order, 1st L.F. suffered casualties of around 700 killed and wounded that day out of 1000 present and earned '6 V.C.'s before breakfast', after recovering in hospital in Malta Tallents returned to the U.K. briefly before going to France where he served on the Western Front as Staff Captain ( 177 Inf. Bde.), and G.S.O.2 (34th Div., 38th Div., GHQ, and 42nd Div. ) and was again mentioned in dispatches, after the war Tallents took command of 'D' Company 1st L.F. and then as a Major commanded the Depot Lancashire Fusiliers at Bury, he attended the senior officers course and in 1928 as Lieutenant Colonel took command of 2nd Bn. L.F. at Multan in India returning to the U.K in 1930, during the Second World War Tallents served as a Colonel on the staff of Northern Command in the U.K. as G.S.O.2, he passed away in 1967 )
Lot 779
An unusual item of regimental memorabilia belonging to Colonel Godfrey Tallents D.S.O. Lancashire Fusiliers, it consists of a composite tunic formed from one half of a pre First World War Lancashire Fusiliers other ranks full dress scarlet tunic with brass grenade to the white collar, embroidered LF/grenade shoulder title, two service/good conduct chevrons and bullion marksman's badge on the lower sleeve, seven general service buttons running down the front, the other half is formed from a French infantryman's tunic in iron blue with red collar bearing the insignia of the French 20th Infantry Regiment, red tasselled epaulette to the shoulder, half domed brass buttons running down the right side,the tunic is well tailored with a half lining of white cotton to the interior, there is also a pair of trousers with one leg formed from a British infantry uniform blue with scarlet stripe running down the seam, and the other leg in French red, other than the fact that the Lancashire Fusiliers were the old 20th Regiment of foot we have been unable to find out the connection between these two regiments although both fought against the Russians at the battle of the Alma in 1854 during the Crimean War, it is possible the uniform was made to commemorate the Entente Cordiale between the U.K. and France in the early 20th century but this is just speculation, nevertheless,a fascinating and quite possibly unique item of regimental history. ( Godfrey Edward Tallents was born on the 31st August 1883, he was educated at Wellington College and the Royal Military College Sandhurst, on passing out of the R.M.C. Tallents was posted to the 3rd Battalion Lancashire Fusiliers in the West Indies, he went on to serve with them in Malta and St. Helena,on the disbandment of the 3rd Battalion in 1906 transferred to the 1st Battalion, he was in India with this Battalion when the First World War broke out in 1914, 1st L.F. returned to the U.K. and joined the 29th Division, on 25th April 1915 1st L.F. landed on 'W' beach ( Lancashire Landing) Cape Helles, Gallipoli under a storm of fire, Tallents, by now a Captain, led an outflanking assault on the Turkish positions and was credited with breaking their line, later the same day he was badly wounded when he was shot in the head, the bullet entering the left side and exiting on the right shattering his eye socket into three pieces, for his actions that day Tallents was Mentioned in Dispatches and awarded the Distinguished Service Order, 1st L.F. suffered casualties of around 700 killed and wounded that day out of 1000 present and earned '6 V.C.'s before breakfast', after recovering in hospital in Malta Tallents returned to the U.K. briefly before going to France where he served on the Western Front as Staff Captain ( 177 Inf. Bde.), and G.S.O.2 (34th Div., 38th Div., GHQ, and 42nd Div. ) and was again mentioned in dispatches, after the war Tallents took command of 'D' Company 1st L.F. and then as a Major commanded the Depot Lancashire Fusiliers at Bury, he attended the senior officers course and in 1928 as Lieutenant Colonel took command of 2nd Bn. L.F. at Multan in India returning to the U.K in 1930, during the Second World War Tallents served as a Colonel on the staff of Northern Command in the U.K. as G.S.O.2, he passed away in 1967 )
Lot 780
British army blue serge frock to Colonel Godfrey Edward Tallents D.S.O. Lancashire Fusiliers, the jacket has a stand up collar with staff officers scarlet gorget patches sewn to the front, Colonels rank insignia of a crown and two stars to each epaulette, five small buttons to the front, white linen detachable collar present, medal riband bar for the D.S.O., 1914-15 Star, 1914-1918 British War Medal, Victory Medal with M.I.D. emblem, George V Coronation Medal, George V Silver Jubilee Medal and George VI Coronation Medal on left breast, all tunic buttons of Lancashire Fusiliers regimental pattern, together with Colonel Tallents khaki service dress tunic, this also has staff officers scarlet gorget patches sewn to the collar and medal riband bar for the above mentioned medals to the left breast, all buttons of Lancashire Fusiliers regimental pattern, makers label of ' Conway Williams, 48 Brooke Street, Mayfair, London W.2' to inside collar with,' Major Tallents, 16.10.25.' in ink, (2) ( Godfrey Edward Tallents was born on the 31st August 1883, he was educated at Wellington College and the Royal Military College Sandhurst, on passing out of the R.M.C. Tallents was posted to the 3rd Battalion Lancashire Fusiliers in the West Indies, he went on to serve with them in Malta and St. Helena,on the disbandment of the 3rd Battalion in 1906 transferred to the 1st Battalion, he was in India with this Battalion when the First World War broke out in 1914, 1st L.F. returned to the U.K. and joined the 29th Division, on 25th April 1915 1st L.F. landed on 'W' beach ( Lancashire Landing) Cape Helles, Gallipoli under a storm of fire, Tallents, by now a Captain, led an outflanking assault on the Turkish positions and was credited with breaking their line, later the same day he was badly wounded when he was shot in the head, the bullet entering the left side and exiting on the right shattering his eye socket into three pieces, for his actions that day Tallents was Mentioned in Dispatches and awarded the Distinguished Service Order, 1st L.F. suffered casualties of around 700 killed and wounded that day out of 1000 present and earned '6 V.C.'s before breakfast', after recovering in hospital in Malta Tallents returned to the U.K. briefly before going to France where he served on the Western Front as Staff Captain ( 177 Inf. Bde.), and G.S.O.2 (34th Div., 38th Div., GHQ, and 42nd Div. ) and was again mentioned in dispatches, after the war Tallents took command of 'D' Company 1st L.F. and then as a Major commanded the Depot Lancashire Fusiliers at Bury, he attended the senior officers course and in 1928 as Lieutenant Colonel took command of 2nd Bn. L.F. at Multan in India returning to the U.K in 1930, during the Second World War Tallents served as a Colonel on the staff of Northern Command in the U.K. as G.S.O.2, he passed away in 1967 )
Lot 781
First World War officers Glengarry to the Cameronians ( Scottish Rifles), the Glengarry is dark blue with a dark blue tourie to the top, the headband is bound in faux silk, the tails are intact though a little tatty in places, the badge is in unmarked silver and is heavily tarnished backed by a black silk cockade/ribbon, inside there is a makers label to Wm. Anderson & Sons Ltd. Edinburgh & Glasgow, a well known military outfitters who had a premises at 14 George Street, Edinburgh,the Glengarry is unusual in that the Cameronians wore a dark ( rifle) green Glengarry with black tourie,the only explanation we can think of for this discrepancy is that late in 1914 three types of plain utility pattern Glengarries were introduced to simplify manufacture, the blue with blue tourie was one such pattern and although a green pattern was also manufactured it could have been a case of 'take what you can' due to the scale of demand by newly raised battalions at this time, the Glengarry was among the possessions of Colonel Godfrey Edward Tallents D.S.O. whose other uniform items are also in this auction, the Glengarry is well worn and the badge has been in situ for a very long time the cotter pin holding the badge in place leaving an imprint and verdigris on the liner opposite, it is unknown why Col. Tallents had this item in his possession but presumably it belonged to an army friend or aquaintance. (Godfrey Edward Tallents was born on the 31st August 1883, he was educated at Wellington College and the Royal Military College Sandhurst, on passing out of the R.M.C. Tallents was posted to the 3rd Battalion Lancashire Fusiliers in the West Indies, he went on to serve with them in Malta and St. Helena,on the disbandment of the 3rd Battalion in 1906 transferred to the 1st Battalion, he was in India with this Battalion when the First World War broke out in 1914, 1st L.F. returned to the U.K. and joined the 29th Division, on 25th April 1915 1st L.F. landed on 'W' beach ( Lancashire Landing) Cape Helles, Gallipoli under a storm of fire, Tallents, by now a Captain, led an outflanking assault on the Turkish positions and was credited with breaking their line, later the same day he was badly wounded when he was shot in the head, the bullet entering the left side and exiting on the right shattering his eye socket into three pieces, for his actions that day Tallents was Mentioned in Dispatches and awarded the Distinguished Service Order, 1st L.F. suffered casualties of around 700 killed and wounded that day out of 1000 present and earned '6 V.C.'s before breakfast', after recovering in hospital in Malta Tallents returned to the U.K. briefly before going to France where he served on the Western Front as Staff Captain ( 177 Inf. Bde.), and G.S.O.2 (34th Div., 38th Div., GHQ, and 42nd Div. ) and was again mentioned in dispatches, after the war Tallents took command of 'D' Company 1st L.F. and then as a Major commanded the Depot Lancashire Fusiliers at Bury, he attended the senior officers course and in 1928 as Lieutenant Colonel took command of 2nd Bn. L.F. at Multan in India returning to the U.K in 1930, during the Second World War Tallents served as a Colonel on the staff of Northern Command in the U.K. as G.S.O.2, he passed away in 1967 )
Lot 782
A personal archive of ephemera, photographs, and mementos belonging to Colonel Godfrey Edward Tallents D.S.O of the Lancashire Fusiliers, the archive covers all aspects of his military career from his beginnings as a young subaltern in the West Indies, service in the First World War, post war in the U.K. and India, and Second World War service on the staff of Northern Command, it includes a tin campaign writing box made in 'Multoon', India containing such items as a silver vesta, Birmingham 1901, silver expanding pencil, Chester 1896, maker Frederick Charles Berkeley, a sports medal in 9 Ct gold engraved, ' Six a side senior competition won by Pte. Bolland', miscellaneous coins, shirt studs and cufflinks, pencils and refills,a collection of Regimental crests from letter heads and envelopes ( including Royal Scots, Kings Own, Coldstream Guards, 1st Devons, 12th Lancers, etc), a leather note book embossed with Tallents name, the archive also includes a letter from Tallents to his mother from hospital in Malta describing the landing at 'W' beach, Gallipoli and his subsequent wounding, a letter from an officer to Tallents mother dated 10/7/15 telling her of Tallents transfer to a hospital in London and crediting him with turning the Turkish right flank at the landing on 'W' beach, a letter to Tallents from General Aylmer Hunter-Weston ( signed) GOC VIII Corps B.E.F. dated 5/5/16 congratulating Tallents on the award of his D.S.O., letter to Tallents mother dated 21/6/15 from an officer describing Tallents gallantry at Gallipoli and finishing by explaining that due to the bravery of the troops the GOC 'decreed that the landing places be called as follows, 'W' beach to be called Lancashire Landing, 'Z' beach to be called Anzac Cove', copy of a letter dated 3/6/15 sent to Tallents mother by Captain Clayton, 1st Lancashire Fusiliers, from Gallipoli, thanking her for news of her son and describing, with a diagram, the landings at Gallipoli of the regiment on 25th April 1915 ( Captain Clayton was killed in action one day later on the 4th June 1915 and the original letter was sent by Mrs Tallents to his wife), a hand written account of the Gallipoli landings entitled, ' The Landing of the Infantry Brigade under S.W. Hall on the Gallipoli Peninsular, 25th April 1915, and its Subsequent Operations', Mention in Dispatches award certificates to Tallents dated 12/6/15, 11/12/15, 7/11/17, telegram dated 14/7/16 to Tallents in France from the Lord Chamberlain at Buckingham Palace requiring his attendance on 19/7 ( award of D.S.O.), large photograph of soldiers on 'W' beach ( Lancashire Landing) at Gallipoli, letter to Tallents dated 15/12/20 from the C.S.M. and all ranks 'D' Company, 1st Lancashire Fusiliers, accompanying presents and regards for his service while O.C., report from July 1903 of the 'Commission of Enquiry into recent disturbances (riots) at Port of Spain,Trinidad', notebook with a few notes from 'Bomb School, Clapham Common Dec1915', First World War Leave on Duty Ration Book for Major Tallents, most stamps present, 1915 English/French military phrase book, Brigade Majors copy Trench Orders 59th ( North Midland) Division, March Discipline Orders 177 Infantry Brigade dated 16/7/17, Notes for Platoon Commanders dated 9/7/17 and Guidance Points for use in Conjunction with Offensive Operational Orders-marked Secret, Special Order of the Day from GOC 42nd Division regarding demobilisation, Permanent Orders Book 1st Battalion Lancashire Fusiliers for Multan Garrison India 1911 ( covers all aspects of a soldiers life down to the wearing of hackles,colours of company flags,the purchase of regimental buttons, hackles, patches (pagri badges), the keeping of pet dogs, punishment, musketry, etc), Standing Orders of the 1st Battalion Lancashire Fusiliers dated 1927, 2nd Battalion L.F. Officers Mess Rules, United Service of Remembrance & Intercession GHQ British Armies in France order of service, Sunday 4th August 1918 (4th anniversary outbreak of war), 1st Battalion Lancashire Fusiliers Notes on Firing Instruction ( 'D' Coy Cdr.)military I.D card for Tallents as G2 at Northern Command dated 13/7/40, Northern Command Standing Orders, Customs,Practices, Procedures and Institutions of the XX Foot dated 27/5/49, Official announcement of the formation of the Fusilier Brigade in 1958, Gallipoli ephemera including regimental reunion photographs from the 1950's, H.M.S Euryalus commissioning ceremony invitation and ephemera 1964, photographs include West Indies early 1900's, India pre WW1, India 1920's, Depot L.F.1920's, group photograph of the Senior Officers School Course 17 from 17/2/25-15/5/25 which includes Sir Arthur ' Bomber' Harris when he was a Squadron Leader, hunting expedition in India, Platoon, Officer, and Depot group photographs, quantity of negatives in envelope from photographic development department in Karachi dated 11/9/14 ( just prior to battalions return to the U.K.) showing soldiers in Wolsley Pattern helmets with hackle taking part in training including wiring parties, machine gun emplacements , sports team photographs, etc, Annual Confidential Reports on Tallents for 1922, 1923, and 1929, notes on the hunting and shooting of a rogue elephant in 1929 and the correspondence with a District Magistrate requesting the keeping of the tusks as a trophy, quantity of unused envelopes bearing the regimental crest in an envelope from Thacker & Co, Bombay, etc, a wonderful archive of material for anyone interested in the British army in the First World War and its service abroad before and after,particularly regarding the Lancashire Fusiliers and the minutiae of army life, ( Qty) ( Godfrey Edward Tallents was born on the 31st August 1883, he was educated at Wellington College and the Royal Military College Sandhurst, on passing out of the R.M.C. Tallents was posted to the 3rd Battalion Lancashire Fusiliers in the West Indies, he went on to serve with them in Malta and St. Helena,on the disbandment of the 3rd Battalion in 1906 transferred to the 1st Battalion, he was in India with this Battalion when the First World War broke out in 1914, 1st L.F. returned to the U.K. and joined the 29th Division, on 25th April 1915 1st L.F. landed on 'W' beach ( Lancashire Landing) Cape Helles, Gallipoli under a storm of fire, Tallents, by now a Captain, led an outflanking assault on the Turkish positions and was credited with breaking their line, later the same day he was badly wounded when he was shot in the head, the bullet entering the left side and exiting on the right shattering his eye socket into three pieces, for his actions that day Tallents was Mentioned in Dispatches and awarded the Distinguished Service Order, 1st L.F. suffered casualties of around 700 killed and wounded that day out of 1000 present and earned '6 V.C.'s before breakfast', after recovering in hospital in Malta Tallents returned to the U.K. briefly before going to France where he served on the Western Front as Staff Captain ( 177 Inf. Bde.), and G.S.O.2 (34th Div., 38th Div., GHQ, and 42nd Div. ) and was again mentioned in dispatches, after the war Tallents took command of 'D' Company 1st L.F. and then as a Major commanded the Depot Lancashire Fusiliers at Bury, he attended the senior officers course and in 1928 as Lieutenant Colonel took command of 2nd Bn. L.F. at Multan in India returning to the U.K in 1930, during the Second World War Tallents served as a Colonel on the staff of Northern Command in the U.K. as G.S.O.2, he passed away in 1967 )
Lot 783
First World War British officers brown leather boots made by Huntley Bootmakers, Aldershot, laced foot section with wrap around gaiter section secured by three leather straps and buckles, all present, complete with wooden boot trees, original soles, approx size 9/10, the boots belonged to Colonel Godfrey Edward Tallents D.S.O. whose other uniform items are also in this auction. ( Godfrey Edward Tallents was born on the 31st August 1883, he was educated at Wellington College and the Royal Military College Sandhurst, on passing out of the R.M.C. Tallents was posted to the 3rd Battalion Lancashire Fusiliers in the West Indies, he went on to serve with them in Malta and St. Helena,on the disbandment of the 3rd Battalion in 1906 transferred to the 1st Battalion, he was in India with this Battalion when the First World War broke out in 1914, 1st L.F. returned to the U.K. and joined the 29th Division, on 25th April 1915 1st L.F. landed on 'W' beach ( Lancashire Landing) Cape Helles, Gallipoli under a storm of fire, Tallents, by now a Captain, led an outflanking assault on the Turkish positions and was credited with breaking their line, later the same day he was badly wounded when he was shot in the head, the bullet entering the left side and exiting on the right shattering his eye socket into three pieces, for his actions that day Tallents was Mentioned in Dispatches and awarded the Distinguished Service Order, 1st L.F. suffered casualties of around 700 killed and wounded that day out of 1000 present and earned '6 V.C.'s before breakfast', after recovering in hospital in Malta Tallents returned to the U.K. briefly before going to France where he served on the Western Front as Staff Captain ( 177 Inf. Bde.), and G.S.O.2 (34th Div., 38th Div., GHQ, and 42nd Div. ) and was again mentioned in dispatches, after the war Tallents took command of 'D' Company 1st L.F. and then as a Major commanded the Depot Lancashire Fusiliers at Bury, he attended the senior officers course and in 1928 as Lieutenant Colonel took command of 2nd Bn. L.F. at Multan in India returning to the U.K in 1930, during the Second World War Tallents served as a Colonel on the staff of Northern Command in the U.K. as G.S.O.2, he passed away in 1967 )
Lot 784
First World War era British army officers full dress tunic to a Lancashire Fusiliers Gallipoli D.S.O. winner, Godfey Tallents,the tunic is in scarlet cloth with cloth collar and cuffs in the regimental facing colour of white, the collar is ornamented with gold lace at the top and Russia braid at the bottom with grenades in gold embroidery, the cuffs are also decorated with gold lace and Russia braid forming an Austrian knot, there are seven of eight regimental pattern buttons with Kings Crown, six of which are wrapped in tissue paper for storage as per army regulations, six buttons on the reverse skirt also tissue wrapped, twisted round gold shoulder cords bearing the rank badges for a Lieutenant Colonel in bullion embroidery, red cotton loops for a medal bar to the left breast, together with a similar tunic named to F.C.Tanner ( Tanner was a Captain in 3rd Battalion Lancashire Fusiliers at the same time Tallents was a Lieutenant, (it is not known why Tallents was in possession of this tunic ),the Regimental buttons on this tunic are of Victorian pattern, the tunic is missing the gold lace from the left cuff,also included are blue dress uniform pantaloons, Tallent's Sword belt of black Morroco leather with gold lace and red Morroco leather sword slings, his gold and crimson Sword Knot, white doeskin gloves, and a photograph of Lt. Col. Tallents wearing the uniform at a military wedding ( this has a fascinating annotation on the back written by Tallent's wife regarding the people in the photograph), (Qty) ( Godfrey Edward Tallents was born on the 31st August 1883, he was educated at Wellington College and the Royal Military College Sandhurst, on passing out of the R.M.C. Tallents was posted to the 3rd Battalion Lancashire Fusiliers in the West Indies, he went on to serve with them in Malta and St. Helena,on the disbandment of the 3rd Battalion in 1906 transferred to the 1st Battalion, he was in India with this Battalion when the First World War broke out in 1914, 1st L.F. returned to the U.K. and joined the 29th Division, on 25th April 1915 1st L.F. landed on 'W' beach ( Lancashire Landing) Cape Helles, Gallipoli under a storm of fire, Tallents, by now a Captain, led an outflanking assault on the Turkish positions and was credited with breaking their line, later the same day he was badly wounded when he was shot in the head, the bullet entering the left side and exiting on the right shattering his eye socket into three pieces, for his actions that day Tallents was Mentioned in Dispatches and awarded the Distinguished Service Order, 1st L.F. suffered casualties of around 700 killed and wounded that day out of 1000 present and earned '6 V.C.'s before breakfast', after recovering in hospital in Malta Tallents returned to the U.K. briefly before going to France where he served on the Western Front as Staff Captain ( 177 Inf. Bde.), and G.S.O.2 (34th Div., 38th Div., GHQ, and 42nd Div. ) and was again mentioned in dispatches, after the war Tallents took command of 'D' Company 1st L.F. and then as a Major commanded the Depot Lancashire Fusiliers at Bury, he attended the senior officers course and in 1928 as Lieutenant Colonel took command of 2nd Bn. L.F. at Multan in India returning to the U.K in 1930, during the Second World War Tallents served as a Colonel on the staff of Northern Command in the U.K. as G.S.O.2, he passed away in 1967 )
Lot 110
Davidson's Nile Medal, silver, as issued to officers, attributed to Midshipman (later Captain) Edward Taylor Weale, HMS Orion, the reverse contemporary engraved "ETW", fitted with a white metal suspension ring, 45mm, Weal also served at the battle of Cape St Vincent, together with some research material
Lot 17
18th century Chinese export porcelain saucer decorated with the arms of Jervis of Darlaston, Staffordshire circa 1765, 12cm diam. Note: Admiral John Jervis led the British Fleet to victory at the Battle of Cape St Vincent in 1797 Provenance: Gorringes The Denys Cowell Collection, 24 Oct 2002, Lot 358.
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