A Great War ‘Western Front’ M.M. group of four awarded to Company Sergeant Major W. M. White, 1st Regiment, South African Infantry, late South African Constabulary, who was killed in action on 10 October 1918 Military Medal, G.V.R. (4122 Sjt: W. M. White. 1/S.A. Inf:); Queen’s South Africa 1899-1902, 5 clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901, South Africa 1902, date clasp block loose on riband (99 3rd. Cl. Tpr: W. M. White. S.A.C.); British War and Bilingual Victory Medals (C.S.M. W. M. White. MM 1st S.A.I.); Memorial Plaque (William Mark White) glue residue to reverse of all, generally good very fine and better (5) £600-£800 --- M.M. London Gazette 12 November 1918. The original recommendation by Lieutenant Colonel H. W. M. Bamford, M.C., Commanding South African (Composite) Battalion, states: ‘In the attack and capture of Meteren on 19th July, 1918, this NCO took command when two Platoon Commanders had become casualties. By his gallant leadership the objective was gained and consolidated, under his supervision. Relieved later of his command by an officer, Sergt. White was ordered to carry an important message. He was severely wounded en route, but pluckily continued his journey and delivered his message.’ William Mark White was born in Scotland on 12 February 1880, the son of Mr. J. White of 1 Douglas Place, Galashiels, on the Scottish Borders. He served in the South African Constabulary as 3rd Class Trooper during the Boer War, and was later promoted to the rank of 2nd Class Constable on 1 February 1904; employed as a military force during the campaign, the S.A.C. fought with distinction and had the second highest casualty rate of any British or colonial regiment whilst engaged in field operations and attempts to man the Blockhouse lines. Transferred to the Pretoria District in 1905 and Transvaal Depot in 1907, White is stated in his Record of Conduct and Service (S.A.C.) as: ‘A good shoeing smith & a very steady man’. Raised to the rank of Constable, he was discharged at Durban on 31 November 1907, his conduct noted as exemplary. Briefly returning to life as a farmer, White volunteered his services at the outbreak of the Great War and attested for the 1st South African Infantry at Potchefstroom on 2 September 1915. He disembarked at Alexandria on 1 February 1916 and was transferred to Marseilles on 20 April 1916. Appointed paid Lance Corporal 4 August 1916, his army service record states that he was thrice wounded on 10 February 1917, 9 April 1917 and 27 July 1918 - the latter occasion resulting in a severe injury to his right buttock. Notified of the award of the Military Medal in August 1918, White returned to the Western Front and was advanced Acting Company Sergeant Major. He was killed in action less than two months later; aged 38 years, he is buried in Reumont Churchyard in the Nord region of France, one of just 11 identified casualties in this cemetery. Sold with copied army service record, S.A.C. record of service and extensive private research.
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Three: Lance-Corporal J. B. Simpson, 1st Regiment, South African Infantry, late South African Constabulary and South African Railways, who was killed in action on 20 September 1917 during the Battle of Ypres Queen’s South Africa 1899-1902, 5 clasps, Cape Colony, Orange Free State, Transvaal, South Africa 1901, South Africa 1902 (1933 3rd.Cl: Tpr: J. B. Simpson. S.A.C.); British War and Bilingual Victory Medals (L/Cpl. J. B. Simpson 1st. S.A.I.) edge knocks and scratches to obverse of QSA, glue residue to reverse of all, generally nearly very fine and better (3) £140-£180 --- John Bain Simpson, an engine driver, was born in Abernethy in 1880, the son of ploughman Donald Simpson of 23 Guard Kennel, Abernethy, Perthshire. He served during the Boer War as a Constable in the South African Constabulary and later appears to have taken employment on the South African railways. Enlisting at Potchefstroom on 26 February 1917 for the 1st Battalion, South African Infantry, he embarked for England at Cape Town per H.M.T. Galway Castle on 10 March 1917 and joined the 1st Regiment on the Western Front on 3 July 1917. Witnessing the early autumn rains which turned the battlefield into a quagmire, Simpson was killed in action on 20 September 1917; aged 37 years, he is remembered with honour upon the Ypres (Menin Gate) Memorial. Sold with copied service record and CWGC entries.
An interesting post-War B.E.M. group of six awarded to Constable H. Ward, Eastbourne Borough Police, late Royal Horse Guards, ‘The Downs Ranger’, who patrolled on horseback above Beachy Head, South Downs, from 1953 to 1966 British Empire Medal, (Civil) E.II.R. (Harry Ward); 1939-45 Star; Defence and War Medals 1939-45; Police L.S. & G.C., E.II.R., 2nd issue (Const. Harry Ward); Army Emergency Reserve Decoration, E.II.R., reverse officially dated 1955, with integral top riband bar, court mounted for display, very fine (6) £300-£400 --- Harry Ward was born in Darwen, Lancashire in 1912. He attested, aged 16, into the Royal Horse Guards as a Trooper in 1928, being discharged in 1936 afterwards joining Eastbourne Borough Police on 22 August 1936. Recalled to the Colours on the outbreak of the Second World War, he rejoined his old regiment and was on an Officer’s training course in Lille, France when orders were received to evacuate to Dunkirk. Commissioned into the Royal Artillery on 2 August 1942, he served with the Coastal Artillery Regiment at Dover and Deal. By 1945 he had transferred into the Royal Military Police and was serving with the Special Investigation Branch, where he was advanced Major before his discharge in 1946. Returning to Eastbourne Borough Police, he served as a Captain in the Royal Military Police Special Investigation Branch of the Army Emergency Reserve and was awarded the Efficiency Decoration in 1955. Advanced Major in 1959, he had been appointed ‘Downs Ranger’ on 16 November 1953, where his duties included patrolling Beachy Head, near Eastbourne, and the surrounding 5,000 acres of the South Downs on horseback. In the course of his work carrying out numerous cliff top rescues from the infamous suicide drop, he developed a special stretcher for the recovery of remains from the cliff and received many testimonials from the RSPCA for his work involved in the rescue of dogs. Awarded the British Empire Medal in the 1964 New Year’s Honours’ List, an interview of the recipient discussing his work on cliff rescues appears in the British Pathe news archive. Retiring after 30 years’ service on 21 August 1966, he became an Ambulance Driver before his death in 1974. Sold with a large amount of very detailed research, Soldier’s Service Book, original and copy photographs and a composite copy of a Bronze Plaque erected in his honour, the original of which is sited at Beachy Head, Sussex, from where he conducted many rescues and recoveries.
Westminster Mint 'Great Britons' eight silver proof five pound £5 coins from ALDERNEY, JERSEY and GUERNSEY comprising 2007 Sir Francis Drake, 2007 John Constable, 2006 Sir Isaac Newton, 2006 Queen Elizabeth I, 2006 William Shakespeare, 2006 Isambard Kingdom Brunel, 2006 Bobby Moore and 2006 Sir Winston Churchill, [925 silver, each 28.28g, 226g gross, 38.6mm], each coin held in coin capsule, each with Westminster Mint certificate of authenticity.
William James, tätig 1730 - 1780DER CANAL GRANDE IN RICHTUNG DER BASILIKA SANTA MARIA DELLA SALUTEÖl auf Leinwand. Doubliert.50 x 99 cm.In vergoldetem Zierrahmen.Beigegeben eine Expertise von Dario Succi, Gorizia, das vorliegende Gemälde in die 1770er Jahre datierend, in Kopie. Unter hohem, hellblauen Himmel mit wenigen hellen Wolkenformationen der Blick über den ruhig verlaufenden Canal Grande, in Richtung der Punta della Dogana an der Spitze, auf deren Dach die goldene Kugel zu erkennen ist, auf der die Skulptur der Fortuna steht. Die rechte Bildseite nimmt jedoch fast ganz der Platz mit der Treppe zur Basilika Santa Maria della Salute mit ihrer übergroßen Kuppel mit Laterne ein. Zahlreiche elegante Figuren in barocker Kleidung flanieren auf diesem Platz, der von rechts durch die Sonne beschienen wird. Die Stufen werden von kirchlichen Würdenträgern prozessionsartig erklommen. Auf der linken Seite fällt der Blick auf das Ufer mit der Piazzetta, dem Dogenpalast, den Campanile, der ein kompositorisches Gleichgewicht zur Kirchenkuppel schafft, und auf die monolithischen Säulen. Zahlreiche Gondeln und Bootstypen sind auf dem sanftwelligen Gewässer zu sehen. Biografische Angeben über den Künstler sind weitgehend unbekannt, er war jedoch zwischen etwa 1755 und 1775 in London tätig. Wie in Edward Edwards‘ „Anedoctes of Painters“, das 1808 posthum veröffentlicht wurde, bestätigt wird, war William James ein Assistent oder Schüler von Giovanni Antonio Canal (1697-1768), genannt Canaletto, während des langen Aufenthalts des venezianischen Malers in London, der – abgesehen von einer kurzen Unterbrechung im Jahr 1751 – zehn Jahre lang von 1746 bis 1755 dauerte. William James war im London des 18. Jahrhunderts ein hochgeschätzter Künstler: Einige seiner Londoner Ansichten wurden zwischen 1767 und 1771 auf der jährlichen Ausstellung der Society of Artists ausgestellt: In der Ausstellung von 1767 wurden zwei Gemälde präsentiert, die das westliche Ende der Westminster Bridge darstellten.Landschaftsmaler der zweiten Hälfte des 18. Jahrhunderts, wohl Schüler oder Gehilfe von Antonio Canal, genannt „Canaletto“. Er stellte in der Royal Academy aus. Seine Ansichten von Ägypten und Venedig entstanden wohl in England, da er die Insel nie verlassen haben soll. Seine Werke kamen ins Victoria und Albert Museum, in den Kensington-Palast sowie ins Ashmolean Museum in Oxford. Literatur:Vgl. für das vorausgehende Werk Canalettos: W. G. Constable, Giovanni Antonio Canal, 1697-1768, Oxford 1989, Nr. 170. (1421533) (3)William James,active 1730 – 1780THE GRAND CANAL IN THE DIRECTION OF THE BASILICA SANTA MARIA DELLA SALUTE Oil on canvas. Relined.50 x 99 cm.Accompanied by an expert’s report by Dario Succi, Gorizia, in copy. It dates the present painting to the 1770s. Literature:cf. for preceding works by Canaletto: William George Constable, Giovanni Antonio Canal, 1697-1768, Oxford 1989, no. 170.
Bernardo Bellotto, genannt „Canaletto“, 1721 – 1780DER PIER MIT DEM DOGENPALAST UND DEN GEFÄNGNISSEN NACH WESTENÖl auf Leinwand. Doubliert.62 x 96 cm.Beigegeben eine Expertise von Dario Succi, Gorizia, 2024, in Kopie.Über den Canal Grande mit zahlreichen Gondeln und Booten mit dahinter liegender Molo, flankiert vom prachtvollen Dogenpalast, den beiden Säulen mit dem Markuslöwen und dem Heiligen Todaro mit Drachen sowie dem Campanile - und alles in der von Bellotto gewohnten feinen vedutenhaften Feinheit nicht ohne die Dynamik des Moments vermissen zu lassen. Der Prototyp für diese Ansicht wurde von Canaletto geschaffen (59 x 93 cm) und ist Teil einer vierteiligen Serie, die in Venedig durch Charles Powlett, Third Duke of Bolton (1658-1754) erworben wurde. Erstmals wurde die Serie von George Knox 1993 in einem Artikel im Apollo publiziert und in die 1730er Jahre datiert, die Zuschreibung wurde dann in J.G. Links, Canaletto Giovanni Antonio Canal (1697-1768), 1998, S. 9-10 bestätigt. Vom Prototyp Canaletto‘s, der Der Pier mit dem Dogenpalast und den Gefängnissen nach Westen darstellt und um 1735 datierbar ist, leitete der sehr junge Bellotto die Zeichnung ab, die Teil der Werkstatt-Sammlung war: Sie wurde von seiner Familie vererbt, als er in Wilno lebte, und gelangte nach einigen Zwischenstationen 1829 in den Besitz des Hessischen Landesmuseums in Darmstadt. Die Zeichnung wurde erstmals detailliert von H.A. Fritsche im Band „Bernardo Bellotto genannt Canaletto“ (Burg bei Magdeburg, 1936) beschrieben: „Die Uferpromenade vom Münzgebäude bis zu den Gefängnissen, gesehen vom Becken aus: Alle horizontalen Linien sind mit dem Lineal gemacht, sehr unsicher und unbefriedigend. Aus einem fremden Modell.“ Zwischen 1938 und 1941 wurde die Zeichnung zusammen mit anderen Arbeiten von Bellotto aus dem Museum aussortiert und, nach einer Versteigerung mit Zuschreibung an Canaletto, bei Fischer in Luzern (2. Juni 1945, Los Nr. 9) verkauft, wobei die Spuren verloren gingen.Bis heute waren bereits zwei Gemälde von Bellotto bekannt, die auf der Zeichnung basieren: Das erste, datierbar auf 1736-1737, wurde von Constable, Links mit Zuschreibung an Canaletto (Hg. 1989; I, Tafel 191, Nr. 85; I, S. 226, Nr. 85) katalogisiert und reproduziert. Es stammte aus der Sammlung von J.H.H. V. Lane, Kings‘ Bromley Manor, Lichfield, und wurde 1912 bei Christie‘s (14. Dezember, Los Nr. 122) als J.B. Canaletto an Ascher Wertheimer verkauft, der es an Adolph Hirsch (+1862) weiterverkaufte, von dem es an seinen Neffen George Pinto (1929-2018) vererbt wurde. Ein Jahr nach dessen Tod wurde die Ansicht mit korrekter Zuschreibung an Bellotto bei Christie‘s in London (4. Juli 2019, Los Nr. 40; 60,8 x 97,5 cm) versteigert. Das Gemälde, das 1736-1737 ausgeführt wurde und ohne Abweichung von der Zeichnung stammt, zeigt Bellottos Versuch, Canaletto‘s sonnige Leuchtkraft nachzuahmen, die präzise Beschreibung des architektonischen Gefüges und die Typologie der Staffagefiguren.Das zweite Gemälde, fast identisch in der Größe, datiert auf 1737-1738, gehörte zum Nachlass des Kunsthändlers Giancarlo Baroni und wurde bei Sotheby‘s in New York (29.-30. Januar 2013, Los Nr. 30; 61,2 x 97,8 cm) als Bellotto versteigert. Die Ansicht zeigt im Vergleich zur ersten eine stilistische und chromatische Variation, die die fortschreitende Entwicklung von Bellottos Kunst dokumentiert, insbesondere in der Betonung der Chiaroscuro-Kontraste auf der Erhebung der Bibliothek, an den Seitenfassaden des Dogenpalastes und der Gefängnisse, sowie in der Hinzufügung von Schattierungen über den Fenstern der Gefängnisse, die einen scharfen Kontrast zum Weiß des istrischen Steinverkleidung bilden. Weitere Änderungen umfassen das Entfernen einiger Boote und zahlreicher Spritzer auf dem Pier, während die Wolken, die zuvor einen horizontalen Verlauf wie in der Zeichnung hatten, nun nach oben in den Himmel expandieren, der mit einem intensiven und fast eisigen Blau getönt ist. Die Staffagefiguren im Vordergrund zeigen eine bemerkenswerte Neigung zum karikaturistischen Realismus, der völlig fremd zur Praxis Canaletto‘s war. Diese erzählerische Tendenz wurde erstmals von Terisio Pignatti (Gli inizi di Bernardo Bellotto, in: Arte Veneta, XX, 1966, S. 226) festgestellt, der dazu anregte, die Unterschiede in den Endergebnissen der beiden Künstler zu betrachten: „Niemand würde den arricciolaten Chinoiserie-Stil von Canaletto‘s Malweise in einem Gemälde der 1760er Jahre, wie etwa in der Darstellung der Procuratie in der National Gallery in London, mit den scharfen Karikaturen Bellottos in der fast gleichzeitigen Ansicht der Kreuzkirche in Dresden verwechseln. Und wir wissen, dass Bellotto gegen Ende seiner Karriere in Warschau sogar große Figuren und lebensechte Porträts in seine Landschafts- oder Architekturansichten einfügte.“ Das hier angebotene außergewöhnliche, bislang unveröffentlichte Gemälde, datierbar auf etwa 1736 folgt der vorbereitenden Zeichnung in architektonischen Details und in der Verteilung der Staffagefiguren, wobei es die Ansicht in das typische sonnige, von Canaletto abgeleitete goldene Licht taucht, das für Bellottos frühe Phase charakteristisch ist. Besonders im rechten Himmel sind die kratzigen diagonalen Streifen in der Grundvorbereitung sichtbar, die die eigenhändigen Arbeiten von Canaletto und seinem Neffen kennzeichnen. Die prächtige Ansicht stellt, auch aus wissenschaftlicher Sicht, ein außergewöhnliches Dokument der Kunst Bellottos dar, dessen Lehre in der Werkstatt seines Onkels 1735 begann, als er dreizehn Jahre alt war: Es war damals weit verbreitet, dass ein angehender Maler früh als Lehrling in die Dienste des Meisters trat, um sich mit der Zubereitung von Pigmenten vertraut zu machen, und dann versuchte, die Rolle des Helfers zu übernehmen. Der künstlerische Werdegang des jungen Bellotto entwickelte sich als kontinuierlicher Balanceakt zwischen den Einflüssen von Canaletto‘s Manier und eigenen, geniale innovativen Ideen: Die ikonografischen Modelle des Meisters waren natürlich seine Favoriten, aber obwohl sie fast wörtlich übernommen wurden, tendierten sie dazu, sich zu immer stärker charakterisierten Ausdrucksformen zu entwickeln. Da Bellotto das Glück hatte, Zugang zu den Geheimnissen der Werkstatt zu erhalten, versuchte er, den strahlenden Ansichten so nahe wie möglich zu kommen, was auch dadurch belegt wird, dass die am meisten replizierten Gemälde zunächst jene waren, die Canaletto für den Patron und Sammler Joseph Smith ausgeführt hatte, und die von Antonio Visentini auf Kupfer übertragen und erstmals in der 1735 erschienenen Sammlung von Kupferstichen Prospectus Magni Canalis Venetiarum veröffentlicht wurden, die 1742 mit einer vollständigen Ausgabe von achtunddreißig Ansichten fortgesetzt wurde.Das Problem, das mit den Ansichts-Gemälden von Bellotto von seinen Anfängen bis zu seiner endgültigen Trennung von seinem Onkel 1743 zusammenhängt, wurde in den Katalogen der Ausstellungen behandelt: Bernardo Bellotto detto il Canaletto (Mirano, Villa Morosini, 1999) und Bernardo Bellotto, il Canaletto delle Corti Europee (Conegliano, Palazzo Sarcinelli, Marsilio 2011). Die frühesten Ansichten stammen sicherlich aus der Zeit vor 1738, als Bellottos Name im Verzeichnis der Zunft der venezianischen Maler erschien: Ein Faktum, das auf den Erwerb einer gewissen beruflichen Autonomie hinweist. In dieser Phase, die bis etwa 1740 dauerte, unterschied sich die Ausdrucksweise des Schülers von der Canaletto‘s durch ein Licht, das sich allmählich von der warmen Sonneneinstrahlung hin zu einer dünneren, silbrigen Transparenz entwickelte. Ab den 1740er Jahren nahm sein Stil markante Züge an, die sich in der prägnanten Solidität der architektonischen Elemente, die mit dünnen schwarzen Linien profiliert sind, der allgemeinen ...
London: Constable & Company Limited, 1932. A short story about a newly converted girl who embarks on a literal quest for God, encountering various religious figures who each try to convert her, reflecting Shaw's controversial views on faith and race. Featuring engravings and signature by John Farleigh with the name Bernard Peyton Chamberlain written above. Artist: Bernard ShawIssued: 1932Dimensions: 5.25"L x 0.5"W x 8"HManufacturer: Constable & Company LimitedCountry of Origin: London, EnglandCondition: Age related wear. Fair book condition. Missing covering on spine. Edgeworn and foxing.
Collection of Paul Gallico, including: Flowers for Mrs Harris, First UK edition, unclipped d.j., a little spotting and shelf marks, bright and solid, London: Michael Joseph, 1958._ The Man Who Was Magic, First UK edition, unclipped d.j., London: Heinemann, 1966._ The Snow Goose, beautifully illustrated by Peter Scott, some loss at d.j., London: Michael Joseph, 1946._ Together with The Hand of Mary Constable, First UK edition, unclipped d.j. - The Zoo Gang - Mrs Harris Goes to New York, First UK edition - The Small Miracle, wear to d.j. - Coronation A Novel, 2 copies of First - The Steadfast Man, First edition - Snowflake - The Small Miracle 1974 edition - Love of Seven Dolls, 3rd printing._ Generally bright and solid with some toning, w/a/f (14)
Quality editions of the classics published by The Folio Society, including: Betjeman's Britain, 1999._ The Pre-Raphaelites and their World, 1995._ England's Constable, 1985._ Life of Beethoven, 2001._ Vasari's Lives of the Artists, 1994._ A Stanley Spencer Almanac, 1987._ Chekov: A Life in Letters, 1994._ Hector Berlioz, 1987._ Wordsworth, 2002._ John Keats, 2001._ Coleridge, 1991._ Shakespeare's Sonnets, 1989._ A Shropshire Lad, 1986._ The Life and Letters of John Keats, 1981._ John Donne, 1992._ Condition: books largely as new, slip-cases have slight shelf marks in places (15)
PEARCE, Philippa. PRESENTATION COPIES. Tom's Midnight Garden, FIRST EDITION, FIRST PRINTING, SIGNED & INSCRIBED by the author, 8vo, publisher's blue-green cloth lettered in silver, unclipped dust-jacket (priced 10s 6d), some pale spotting to endpapers/fore-edge, jacket worn around spine/corners, otherwise a very respectable copy of this very rare first issue, London: Oxford University Press, 1958, and A Dog So Small, FIRST EDITION, SIGNED & INSCRIBED by the author, unclipped d.j. (priced 13s 6d), spotting, London: Constable & Company, 1962, sold with all faults (2) Provenance: The vendor's aunt managed the children's department at Heffers, Cambridge ❧ A first printing of Pearce's best known novel, Tom's Midnight Garden, is now incredibly difficult to find in any condition, especially signed. This is a very scarce brace of signed first editions
The Book of Psalms, by Rev. Symon, Lord Bishop of Ely, third edition, two parts bound as one, 8vo, worn contemporary panelled calf with detached boards, London: L. Meredith, 1700. Together with The Poetical Works of Sir Walter Scott, in ten volumes, Edinburgh: Constable & Co., 1823, Routledge's Every Boy's Annual, 1870, and two others, condition varied, sold as one collection with all faults (15)
RACKHAM, Arthur (illustrator). – Jacob Ludwig and Wilhelm Carl GRIMM. The Fairy Tales of the Brothers Grimm… translated by Mrs. Edgar Lucas. London: Constable & Company Ltd., 1909. First edition, 4to (247 x 184mm.) 40 tipped-in colour plates, black and white illustrations all by Rackham, captioned tissue-guards. (Some corner creasing to the plates, browning, marginal spotting, severe insect-damage to one tissue-guard and creasing to others, dust-soiling.) Original red cloth (tear to spine panel, worn). – And a further eight miscellaneous volumes (including Jacob and Wilhelm Grimm’s ‘Little Brother & Little Sister and Other Tales’, 1917, 4to) (9).
RACKHAM, Arthur (illustrator). Jacob Ludwig and Wilhelm Carl GRIMM. The Fairy Tales of the Brothers Grimm… translated by Mrs. Edgar Lucas. London: Constable and Company Ltd., 1909. Limited edition, this being number 509 of 750 copies signed by Arthur Rackham, 4to (293 x 225mm.) 40 tipped-in colour plates by Arthur Rackham with captioned tissue-guards. (Toning, occasional light spotting, marginal crease to pp.165-167.) Original vellum with pictorial gilt and lettering to upper cover and spine, t.e.g. (pitting to covers, silk ties present but detached).
CIVILIAN HEROISM GROUPING. Civilian heroism grouping, Bronze Carnegie Medal ( JOHN C. BUTCHER, SUDBURY, SUFFOLK, 19TH DECEMBER 1946), British Empire Medal (JOHN C. BUTCHER), Mr John Christopher Butcher of Sudbury in Suffolk was awarded both the British Empire Medal and Carnegie Medal for his bravery in attempting to save the life of a workmate after an explosion at the gravel pit in Nayland Road, Bures on 19th December 1946, Mr Butcher made repeated attempts to rescue John Smith from a steel pontoon on the Eastern Counties Sand and Ballast Quarry lake on which they had been working and which had had been engulfed by flames after an oxygen bottle exploded, Mr Butcher, who couldn't swim, had clung to the side of the pontoon to try and avoid the flames but on hearing the screams of Mr Smith had climbed back onto the boat and tried to pull him out of the flames, although he managed to grab him, he was eventually forced back, their hands had been fused together by the heat but he managed to rip his hand away and leap back into the water, Mr Smith unfortunately lost his life despite Mr Butchers gallant attempts to save him, Mr Butcher spent many years in and out of hospital undergoing thirty skin grafts due to his severe burns, he was unable to receive his BEM in person from the King as he was in hospital, instead, his wife Florence pinned the medal to his chest in his hospital bed, the Carnegie Medal is awarded to civilians who risk death or serious injury to an extraordinary degree saving or attempting to save the lives of others, the Chief Constable of Suffolk reported the facts to the Carnegie Hero Fund and Mr Butcher received the award, a gift of £75, his name was placed on the Illuminated Roll of Heroes, and a weekly sum of money until he was fit enough to return to work, also included in this lot is a framed photograph of Mr Butcher holding his Carnegie Medal, a crystal bowl engraved 'John C. Butcher, Carnegie Hero Fund 1946-1996' and a silver plated spoon from the Andrew Carnegie Birthplace Museum.
A collection of Police related memorabilia including cap badges, cloth badges, pin badges, buttons, stickers for Police Authority annual meetings, postcards, warrant cover for Merseyside Police and a leatherette example embossed 'Liverpool & Bootle Police', a pair of handcuffs, two glass ashtrays for the Greater Manchester Police PAA Golden Jubilee and glass ashtrays for various forces including Merseyside, etc, vintage Special Constable armbands, etc.
1848 Special Constabulary Naval Themed Painted Truncheon. An unusual example of a Constables painted truncheon, the ground colour being dark blue decorated with a fouled anchor within a Garter Strap. With the text Special 1848. The grip of polished wood with ring turning. Length 18 inches. Overall GC with a few knocks to the wood. This may refer to a Special Constable of the Royal Dockyard in 1848. This year saw the Chartism riots this being one of the most active years of the Chartist movement who's aim was to influence political rights for the working class. The government enrolled special Constables and the army was put on the streets
Metropolitan Police F (Paddington) Division Group of Four Medals. Awarded to "PC F GYLES F DIVn". Comprising: Metropolitan Police 1897 Medal F DIV, Metropolitan Police 1902 Coronation Medal, F. DIV, Metropolitan Police 1911 Coronation Medal PC. Victory Medal "3782 PTE F GYLES 13-LOND R". Medals loose. Police Constable Frank Gyles enrolled into the Met Police on the 5th December 1887, his medal entitlement is confirmed.
Westminster, London Victorian Painted Police Constable Truncheon A good example the body of the truncheon with a painted gold ground with pained VR Crown cypher and Portcullis indicating Westminster with 7 below. Polished wood ring turned grip. Some age wear, minor restoration to paint work and knocks. Length 16 1/2 inches
Westminster, London William IV Painted Police Constable Truncheon with concealed blade. A good rare example the body of the truncheon with a painted dark blue ground with painted WIVR Crown cypher and Portcullis indicating Westminster. Body unscrews to reveal blade. Some age wear and knocks. Length 15 1/2 inches
The Decorative Arts - British, American & Canadian Koldeweij, Eloy The English Candlestick. 500 Years in the Development of Base-Metal Candlesticks 1425-1925, 2001 Wills, Geoffrey Candlesticks, 1974 Pinto, Edward & Eva Tunbridge and Scottish Souvenir Woodware, with Chapters on Bois Durci and Pyrography, 1970 Reade, Brian Regency Antiques, 1953 Fry Roger, Manson J B, et al Georgian Art 1760-1820, 1929 Pinto, Edward H Treen and Other Wooden Bygones, 1968 Field, June Collecting Georgian And Victorian Crafts, 1973 Irwin, David English Neoclassical Art: Studies in Inspiration and Taste, 1966 Gloag, John Early English Decorative Detail, 1966 Fowler, John & Cornforth, John English Decoration in the 18th Century, 1986 Priestley, J. B. The Prince of Pleasure and his Regency 1811-1820, 1970 Snodin, Michael & Styles, John Design and The Decorative Arts - Britain 1500-1900, 2001 Cornforth, John The Search for a Style: Country Life and Architecture, 1897-1935 (signed by the author), 1988 Gloag, John Victorian Comfort: A social history of design from 1830-1900, 1961 Larwood, Jacob & Hotten, John Camden ENGLISH INN SIGNS - Being a Revised and Modernized Version of History of Signboards - With a Chapter on the Modern Inn Sign, 1951 Watkin, David Thomas Hope, REGENCY Furniture & Interior Decoration, 1971 Guild, Robin The Victorian House Book, 1991 Hornung, Clarence P Treasury of American Design, in Two Volumes, 1950 Exhibition Catalogue 19th-Century America Furniture and Other Decorative Arts; an Exhibition in Celebration of the Hundredth Anniversary of The Metropolitan Museum of Art, 1970 Webster, Donald Blake The Book of Canadian Antiques, 1974 Constable, W G Art Collecting in the United States of America, An Outline of a History (Quarter leather bound), 1964 Trevor-Venis, Peter The Eighteenth Century English Dining Room, The Israel Museum, Jerusalem Gere, Charlotte & Whiteway, Michael Nineteenth-Century Design: From Pugin to Mackintosh, 1993 Saumarez-Smith, Charles Eighteenth Century Decoration: Design and Domestic Interior in England, 1993 Hughes, Therle and Bernard English Painted Enamels, 1951 Watney, Bernard M & Babbidge, Homer D Corkscrews for Collectors (revised edition), 1993 Gloag, John Georgian Grace A Social History of Design from 1660 to 1830, 1956 Beard, Geoffrey Craftsmen and Interior Decoration in England 1660-1820, 1981 Darlington, Ida & Howgego, James Printed Maps of London, c.1553 to 1850, 1964 (30)
Books. Four shelves of art history reference, predominantly 19th c schools, including defective folio of Landseer's Works; other Victorian and Pre-Raphaelite masters; Impressionists, Monet, Van Gogh, Gauguin & Cézanne; Romantic artists, including Turner & Constable; others, various schools, including George and William Blake Richmond, Corot, Picasso, Rodin, David Hockney, and others; Antique Collectors' Club publications, predominantly hardback, mixed sizes
Richard Parkes Bonnington (1802-1828) 'Low Tide, Normandy Close'oil on canvassigned44 x 65cm Oil on canvas relined 10 to 20 years ago or so, old typed label verso saying 'Authenticated by Arnold Constable of the Boston Museum of Fine Arts', hand inscribed title label verso giving the date as 1826, housed in a later gilt scroll frame, signature is benath the nets spilling from the basket on the left.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
▲ Lawson Wood (1878-1957) 'Downhill a Motorist Came, and a Constable Noting the Same, Stopped the Car with a 'Wack', in the Small of His Back...'signed and dated 'LAWSON.WOOD./05' l.l., titled on mount, pen and ink and watercolour heightened with white27.5 x 20.5cmProvenance: With Chris Beetles, London;the David and Pam McCleave Collection of Modern British Art.Exhibited: Chris Beetles, London, 'The British Art of Illustration, 1800-1999', no. 184.Literature: Illustrated in 'Pearson's Magazine', January to June 1906, 'Random Rhymes no. VI', p.229. Condition ReportFramed: 58 x 42.5cmDiscolouration and foxing to the paper. Brown marks to the centre of the right edge. The colour is a little muted. Not viewed out of glazed frame.
Shakespeare (William). The Pictorial Edition of The Works of Shakspere, edt. Charles Knight, 8 vols., pub. Charles Knight & Co., London, n.d., 8vo, tan gilt calf, gilt top edge; Bernard Shaw. George, [Plays], 10 vols., pub. Archibald Constable & Co. Ltd., London, 1907-1911, 12mo, half blue and tan gilt Morocco, gilt top edge; 2 other leather bound books, and 2 hardback books. (22)
William Henry Crome(1806 Norwich - 1867 oder 1873 Greenwich/London)Englische Flusslandschaft mit alter SteinbrückeWohl Blick auf Norwich mit seiner Kathedrale im Hintergrund. Stimmungsvolles, in subtil nuancierten Farbtönen ausgeführtes repräsentatives Werk Cromes, Sohn des bedeutenden Landschaftsmalers John Crome und einem der Gründer der Norwich School. Der auch durch die holländische Malerei des sog. Goldenen Zeitalters, Claude Lorrain und John Constable beeinflusste Maler debütierte 1826 in einer Ausstellung der British Institution, seit 1851 war er in Greenwich/London ansässig. Öl/Lwd.; R. u. sign. u. dat. 1855. 36 cm x 46 cm. Rahmen.Oil on canvas. Signed and dated 1855.
Middle East.- Palestine.- Archive of a Police Constable in Palestine, including: Saunders (A. Inspector-General) Reward poster issued for information leading to the arrest of Hamad Daoud el Judeh Zawata, text in English, Arabic and Hebrew, light central fold, a few light spots and stains, 2 small ink marks to verso, some minor worming and fraying to edges, 395 x 260mm, Jerusalem, The Palestine Police Force, 4th September 1943; Palestine Photograph Album, c.150 original photographic prints, mounted on thin card, captioned by hand, tissue-guards, some prints loose, several leaves loose, guards creased and frayed, original decorative boards, [1940s]; Manuscript Map of Palestine, a few tears affecting image, edges creased and frayed, 360 x 250mm, [nineteenth-century]; and other items directly linked to police constable H.B. Courtney such as a Palestine Police Force Certificate of Appointment, a British Passport and several photographs and newspaper cuttings, v.s. (12) *** Hamad Daoud el Judeh Zawata attained prominence in 1938 as a rebel section leader, with the reward for his capture being raised to LP. 500 after he participated in the murder of the Masri family on Mount Ebal in October 1939, and again in October 1943 after murdering two British constables. Provenance: H.B. Courteney was born in Sussex in 1911 but trained and worked as a police constable in Palestine, earning his appointment in 1943. The album's photographs depict the police training depot in Jerusalem but also horses, Bedouins, views of Cairo, and views of Jerusalem.
Aubrey Beardsley, a collection of 19 titles illustrated by or relating to him, including Arthur Symons: 'Aubrey Beardsley', London, J.M. Dent, 1905, new edition revised and enlarged, portrait frontis + tailpiece illustration + 29 full page b/w plates as called for, small 4to, original quarter cloth, top edge gilt; A.W. King: 'An Aubrey Beardsley Lecture', London, R.A. Walker, 1924, 1st edition, limited edition, one of 500 copies, unnumbered/out of series, full page ills. and plates as called for, small 4to, original cloth gilt, top edge gilt; Oscar Wilde: 'Salome', L, Heinemann, 1957, 1st edition thus, the first published edition of Salome to contain unexpurgated plate of Enter Herodias, 18 full page b/w illustrations by Aubrey Beardsley as called for, orig. cloth lettered in silver and blocked in silver with Beardsley illustrations to front and rear covers, pictorial dust wrapper; R.A. Walker: 'A Beardsley Miscellany', L, Bodley Head, 1949, limited edition (62/500), b/w plates & ills. as called for, original pictorial cloth gilt, dust wrapper; 'Letters from Aubrey Beardsley to Leonard Smithers', ed. R.A. Walker, L, The First Edition Club, 1937, Beardsley designed title page + 2 portrait plates as called for, original decorative cloth gilt; Chris Snodgrass: 'Aubrey Beardsley, Dandy of the Grotesque', O.U.P., 1995, 1st edition, orig. cloth, d/w; Katherine Lyon Mix: 'A Study in Yellow', University of Kansas Press/Constable, 1960, orig. cloth, d/w; Malcolm Easton: 'Aubrey and the Dying Lady: A Beardsley Riddle', L, Secker, 1972, 1st edition, orig. cloth, d/w; M.S. Lasner: 'A Selective Checklist opf the Published Work of Aubrey Beardsley', Boston, Thomas G. Boss, 1995, orig. cloth gilt, d/w; Brian Reade: 'Beardsley', Studio Vista, 1971, profusely illustrated throughout, folio, orig. cloth gilt, d/w; B. Reade: 'Beardsley Re-mounted', L, 1989, 1st edition, large 4to, orig. pictorial cloth gilt, d/w; S. Wilson: 'Beardsley', Oxford, 1983, revised and enlarged, large 4to, orig. cloth gilt, plus 7 others Beardsley (19)
![[Mostyn John Armstrong]: 'History and Antiquities of the County of Norfolk', Norwich, J. Crouse for M. Booth, 1781, 10 volume](https://cdn.globalauctionplatform.com/ea7f42a7-ac07-4b3b-be9b-b20d00f95c01/21594523-e236-4c9b-a798-b22d011b3a83/468x382.jpg)
[Mostyn John Armstrong]: 'History and Antiquities of the County of Norfolk', Norwich, J. Crouse for M. Booth, 1781, 10 volumes bound in 6, 59 engraved plates and maps (several folding), including fdg. map of Norfolk, fdg. plan of Norwich, fdg. map of the Fens, Tacolneston Hall, Redenhall Church, Earsham Hall, Barningham Hall, Cromer, Felbrigg Hall, Sheringham, Blickling Hall, Heydon Hall, Wolterton Hall, Wood Dalling, Caister Castle, Great Yarmouth, Cossey Hall, Wymondham Abbey, Castle Acre, Map of Fens, Houghton Hall, Walsingham Priory, Bixley Hall, Venta Icenorum plan, Melton Constable, Ditchingham Hall, Langley House (extra plate), Letton Hall, Beeston House, various Norwich Cathedral, Castle, various portraits incl. Robert Walpole, Henry Spelman, Edward Coke, Roger L'Estrange, etc etc, full list loosely inserted, extra plates for Langley & Stiffkey but lacking King Edmund landing at Hunstanton and Easton Lodge, old half calf gilt very worn (6)
Timothy Lightoler: 'The Gentleman and Farmer's Architect. A new work containing a great variety of useful and genteel designs. being correct plans and elevations of parsonage and farm houses, lodges for parks, pinery, peach, hot and green houses..., London, Robert Sayer, 1774, title page and 25 engraved plates [Harris 517; cf. Weinreb Catalogue 35, no. 12], 4to (27 x 21cm), 20th Century paper covered boards. Lightoler's work features "an ambitious (though modestly budgeted) set of designs in Palladian, Gothic and Chinese styles for country gentlemen and farmers. Barns, sheep coats, sham ruins 'to place before disagreeable objects', stables and dairies are among the farm houses and together form a delightful pattern book, though few can have been executed. The only domestic architecture recorded as by Lightoler are designs for hall, dining room and stables at Burton Constable, Yorks, 1760" (Weinreb). Very scarce
Alan Hunter, 23 Inspector George Gently crime fiction titles: 'Landed Gently', London, Cassell, 1957, 1st edition, original cloth, dust wrapper, 'Gently Go Man', L, Cassell, 1961, 1st edition, orig. cloth, d/w, 'Gently to the Summit', L, Cassell, 1961, 1st edition, 'Gently Sahib', L, Cassell, 1964, 1st edition, orig. cloth, d/w, 'Gently Where the Birds are', L, Cassell, 1976, 1st edition, orig. cloth, d/w, 'Gently with the Painters', NY, 1976, 1st US edition, orig. cloth, d/w, 'The Honfleur Decision', NY, 1981, 1st US edition, orig. cloth, d/w, 'Fields of Heather', L, Constable, 1981, 1st edition, orig. cloth, d/w, 'Gently Between Tides', L, Constable, 1981, 1st edition, orig. cloth, d/w, 'Amorous Leander', L, Constable, 1983, 1st edition, orig cloth, d/w, 'Gently with the Millions', L, Constable, 1989, 1st edition, orig. cloth, d/w, 'Bomber's Moon', L, Constable, 1994, 1st edition, orig. cloth, d/w, 'The Love of Gods', L, constable, 1997, 1st edition, orig. cloth, d/w, plus 3 others paperbacks (16)
'A Summer On The Nene' by B.B. , Kaye and Ward, illustrated by Denys Watkins Pritchard, 1967 first edition; 'Watership Down' by Richard Adams, illustrated by John Lawrence, Penguins Books/Kestrel Books, 1976 first illustrated edition reprint, with slipcase; 'Perraults Complete Fairy Tales', illustrated by W. Heath Robinson, Constable & Co Ltd, 1962 , first English printing; 'A Canvas to Cover' by Edward Seago, Collins, 1947 first edition
![Brewster (David).A Treatise on the Kaleidoscope.Edinburgh: Archibald Constable & Co., 1819, octavo, [2], vii, 166, [1], p](https://cdn.globalauctionplatform.com/9de50aca-4a8b-42cf-aa6c-b1a0010c9102/f2733cbf-b919-4e68-ae16-b22f00a27144/468x382.jpg)
Brewster (David).A Treatise on the Kaleidoscope.Edinburgh: Archibald Constable & Co., 1819, octavo, [2], vii, 166, [1], pp., seven engraved plates, foxing to preliminaries and plates, offsetting and ink ownership stamp to title, library bookplate and pencil shelfmarks on front free endpaper, bookplate of Henry Constable Maxwell on pastedown, half calf, marbled boards, a little rubbed and scuffed.
A group of four medals, awarded to Constable David M Edwards, comprising a Golden Jubilee medal 2002, Police Long Service medal, Rhodesia medal and Zimbabwe Independence medal, with copy documentation Provenance: On Instructions of the Family: Medals and Militaria from the Estate of a West Country Collector
Three Medal to Police Constable C. Murphy, A Division Metropolitan Police: Jubilee (Police) Medal 1887, Metropolitan Police, with 1897 clasp (PC, C. MURPHY. A. DIVN), good very fine or better; Coronation (Police) Medal 1902, Metropolitan Police, bronze (P.C..C. MURPHY. A. DIV.), good very fine; Coronation (Police) Medal 1911, Metropolitan Police (P.C., C. MURPHY.), very fine, [3]; together with a Metropolitan Special Constabulary Long Service 1914 badge.The Paul Morrissey CollectionBorn in Sussex in 1858 and joined the Metropolitan Police at Old Scotland Yard on the 11th of January 1886. Served in A Division for a total of twenty-five years and five days. Offered with research.
James Ferrier Pryde, Scottish 1866–1941 - Sketch for 'The Shrine'; gouache and pencil on squared-up paper, signed lower left 'Pryde', 19.2 x 16.3 cm Provenance: J. Leger & Son, London (inscribed label attached to the reverse); Sotheby's, West Sussex, 6th May 1987; Pyms Gallery, London, stock. no.D783 and purchased from the above (label attached to the reverse) Exhibited: J. Leger & Son, London, 1949, no.33 (inscribed label attached to the reverse); Scottish National Gallery of Modern Art, Edinburgh, 'James Pryde', 14th August-11th October 1992, no.72 (label attached to the reverse of the frame) Literature: Derek Hudson, 'James Pryde 1866-1941', Constable, London, 1949, p.97 Note: Pryde was the brother of Mabel Pryde and brother-in-law to William Nicholson, with whom he collaborated on numerous poster designs. The present lot is a classic example of his work, influenced in style but the architectural forms of Piranesi and in its theatrical use of a central monument depicted in heavy chiaroscuro. His works are in public collections across the UK, including The Fleming Collection, the Tate and the National Galleries of Scotland.
Lewis (Charles, b.1748, fl.1760-1790) View of Pan's Lodge, Painswick, Gloucestershire, built by the late Benjamin Hyett Esq., pen and black ink, brown ink, ruled black ink borderline, inscribed underneath 'Pan's Lodge built by the late Benjamin Hyett Esq.', on laid paper with Pro Patria watermark, sheet 198 x 310 mm (7 3/4 x 12 1/4 in), laid onto paper support, extensive pencil inscriptions verso, surface dirt, minor spotting, unframed, [circa 1760-1780] Provenance: Sale. Sotheby's 22nd May, 1986, part of lot 219 (bought by William Drummond); Collection of John and Eileen Harris Literature: John Harris, 'Gardenesque': the case of Charles Greville's Garden at Gloucester", Journal of Garden History, vol. 1, no. 2, p. 169 Roger White and Tim Mowl, "Thomas Robins at Painswick", Journal of Garden History, vol. 4, no. 2, p. 169 and fig. 10 *** Pan's Lodge was a Gothic summer-house in the rococo gardens of Painswick House, which was built in the 1730s by Charles Hyett to escape the smog of Gloucester. The Painswick Rococo Garden was laid out by Charles's oldest son Benjamin Hyett II (1708-1762), the eighteenth-century garden creator and brother of Nicholas Hyett, constable and keeper of the Castle of Gloucester. The Victoria and Albert Museum hold another drawing from the mid-to-late 18th century that also shows the Lodge designed by Hyett II, drawn by the little known but enigmatic artist Thomas Robins [see acc. no. E.1308:71-2001]. John Harris was particularly familiar with Robins having written the publication 'Gardens of Delight: the Rococo English landscape of Thomas Robins the elder', 1978.
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