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Lot 346
Unusual old brass plated wooden fire hearth surround with First World War period cap badges, shoulder titles, and buttons nailed to the front as a display, badges include, The Fife and Forfar Yeomanry, Royal Flying Corps, Highland Cyclist Battalion (8th Black Watch), Royal Fusiliers, 6th Battalion Hampshire Regiment, Australian Commonwealth, 16th Lancers,etc, inside dimensions approx 123 cm x 30 cm
Lot 36
First World War Trio, 1914-15 Star, 1914-1918 British War Medal and Victory Medal (61850 SPR. E.C. RASON. R.E.) records show Sapper Edward Rason entitled to the 1914-15 Star, BWM and Victory Medal having gone to France on 24th July 1915, he enlisted at Walthamstow aged 32 and served with 79th Field Company R.E., he was married and lived in Leyton, NE London
Lot 374
First World War silver and enamel Monoplane patriotic badge depicting the Allies Flags of , Britain, Russia, Japan, Belgium and France, reverse marked 'The Allies Aeroplane', 'Sterling', and 'Regd No 644982' and maker's details 'W.W.Ld' for W Wilkinson Ltd. Skinner Street & Clerkenwell Road, London
Lot 381
First World War Princess Mary gift tin with original contents of cigarettes, tobacco,1914 Chritmas card and photo of Princess Mary, also contains a medal ribbon bar for the Mons Star, 1914-18 British War Medal and Victory Medal, and a sweetheart badge in silver and enamel to the Manchester Regiment, cigarette packet open one end 18 cigarettes present, tobacco packet open one end with possibly small amount missing
Lot 386
First World War Prosthetic Eye, Documentation and photographs to Private James Hills, the three photographs show Private Hills at the beginning of his service with no distinguishing marks on his uniform, and at the end when he has three wound stripes, a good conduct chevron and Lewis Gunners qualification badge to his left sleeve, the documentation includes his Active Service Will, bearing the stamp of the Infantry Records Office, Exeter, dated September 1917 and held in its original envelope, a Journey Meat Card dated 2nd March 1918 used for drawing rations while on leave, a Ministry of Pensions form continuing his pension for the year 1920-1921, a Ministry of Labour form directing James Hills to Submit to a medical examination by a Medical Board having volunteered for the Home Guard in the Second World War, a pair of spectacles and James Hills glass eye, sadly repaired, fitted as a result of his wounds, Private Hills enlisted on the 11th December 1915 in the 15th (Service) Battalion the Suffolk Regiment with the service number 24299 but was transferred to the 14th Battalion Hampshire Regiment with the service number 26639,he was discharged due to wounds on the 23rd March 1918, records show him entitled to the 1914-1918 British War Medal and Victory Medal, and Silver War Badge serial number 356936, 14th Battalion Hampshire Regiment formed part of the 116th Brigade, 39th Division which fought at the Third Battle of Ypres (Passchendaele) in 1917
Lot 389
First World War framed German patriotic embroidery, the centrepiece has a moulding in the form of an Imperial Air Gunners Badge ( Abzeichen für Fliegerschützen ) with the eagle , which is perched on a stand of German colours, replaced by a photograph of a serviceman, this is centred on a tapestry on which is embroidered in Fraktur script the legend, ' Ich Denke Dein bei Tag unt Nacht' ( I Think of You by Day and Night ) and ' Behut Dich Gott in jeder Schlacht.' ( God Take Care of you in Every Battle ) to the left of the centrepiece is a representation of a 1914 Iron Cross second class, size of tapestry 28 cm x 38 cm
Lot 390
Second World War First pattern Womens Land Army recruits armband of green wool with a crude red crown sewn to the centre, lined with cotton, button holes sewn to one end, buttons missing, 'Mrs Arthur Hart' written in ink to reverse, together with a Sergeants rank brassard in the form of chevrons sewn to an olive green cotton button on armband, a brass Kings Crown R.A.F. cap badge with loops to the reverse, a pressed fibre R.A.F. identity disc named to 32205 CARTER , and a beret badge to the 10th Gurkha Rifles in anodised aluminium, (5)
Lot 415
Pre First World War O/R's Full Dress Tunic badged to the Royal Welsh Fusiliers, Kings Crown G.S. buttons throughout, brass RWF shoulder titles and collar badges fitted, sergeants rank chevrons to right sleeve, blue facing colour edged white to collar and cuffs, black silk RWF 'Flash' to back of collar, complete with sergeants scarlet sash
Lot 417
Scarce Pre First World War O/R's scarlet serge frock to a highland regiment, Queen Victoria Crown General Service buttons throughout, blue facing colour to the collar, white calico skeleton lining, Royal Army Clothing Department label dated September 1912 to interior, last form of O/R's undress uniform, in general use until 1902 then worn only abroad in hot climates in place of the full dress tunic
Lot 419
A rare First World War French General Officers Kepi, the kepi, to the rank of General de Division (Major General) is of the 'Polo' pattern and has oak and olive leaves in gold bullion embroidered in two rows around the cap band,the scarlet turban is adorned with rank braid and has a 'Hungarian Knot' embroidered to the top, the kepi is stiffened by a jute material to the inside and the black silk lining bears gold a printed maker’s coat of arms with the motto 'Légèreté Solidité Elégance à Paris’ ( this same makers mark and distinctive style of embroidery can also be found on a kepi attributed to Marshal Joffre from 1916), the Kepi was sent to the UK to the publishers William Heinemann Ltd in the early 1930's to help publicize the Memoirs of Marshal Foch which the company published in English in 1931, the kepi was retained by the vendors father, Captain Arnold Gyde of the 2nd Battalion South Staffordshire Regiment, Captain Gyde was a British veteran of the Great War and worked for Heinemann as a Sales and Publicity Director, a lifelong scholar of history he was a great admirer of Foch, for many years it was believed the kepi belonged to Marshal Foch himself but this is unlikely as the embroidery of oak and olive leaves would indicate the officer was an Ingenieurs Generaux au Service des Essences (Fuel Engineer General), and Foch, as a General of Artillery would have had oak leaf embroidery only, still a rare item, also included with the kepi is a first edition copy of The Memoirs of Marshal Foch, (2)
Lot 421
Victorian/Edwardian grouping to Admiral Arthur Archibald Campbell Galloway RN (1855-1918), the grouping consists of the Admirals Midshipman’s Coatee worn around 1870, and a large quantity of papers, both official and personal, held in two tin trunks bearing his initials, Admiral Galloway was born on 30th June 1855, the son of Arthur Galloway of the Indian Civil Service who was Magistrate of Delhi and was killed on 11th May 1857 during the Indian Mutiny, he was the grandson of Major General Sir Archibald Galloway KCB (whose uniform and ephemera are also in this auction) and the Grandnephew of Sir Colin Campbell, who fought with the Duke of Wellington in the Peninsular and Waterloo, and Vice Admiral Sir Patrick Campbell a distinguished naval officer during the Napoleonic Wars, Arthur Galloway joined the Royal Navy in 1869 aged 14 as Naval Cadet at HMS Britannia the training ship at Dartmouth, in 1874 he was awarded the Royal Humane Society’s Bronze Medal for jumping overboard to save the life of a drowning stoker, in 1877 he was promoted Lieutenant and was Gunnery Lieutenant on HMS Invincible in 1882 during the Egyptian Campaign/bombardment of Alexandria, in 1885 he was again commended for his actions in jumping overboard to save a man who had fallen from aloft, in 1887 he was promoted First & Gunnery Lieutenant on HMS Cordelia and in 1890-91 on HMS Lapwing carried out operations in relation to the loss of HMS Serpent off the coast of Spain, with the rank of Commander as Captain of HMS Daphne 1896-98 on the China Station he carried out diplomatic missions in China, Kamchatka and the Philippine Islands during the rebellion of 1897, in 1901-02 he was Captain commanding HMS Tribune and carried out diplomatic work in Venezuela ( Ban Righ incident) and Columbia where he was involved in saving the city of Colon from destruction by arranging negotiations between the opposing forces during the Thousand Days War (Columbian Civil War), in Jamaica assisted in stopping rioting in April 1901, 1903-1906 Captain of HMS Revenge and HMS Swiftsure in Channel Fleet, 1906 he was appointed Aide de Camp to King Edward VII, he was Officer in Command of Sheerness Gunnery School July-Dec. 1906 and Commodore in Command of the Royal Naval Barracks Portsmouth where he had to deal with the aftermath of a mutiny by Stokers under training, in December 1907 Galloway was promoted to the rank of Rear Admiral and then to Vice Admiral in March 1913, in June of the same year he was placed on the Retired List at his own request and was advanced to the rank of Admiral on the same list in June 1916, in all, Arthur Galloway served on 29 ships, he passed away on the 12th February 1918,The Midshipman’s Coatee is in blue cloth, shortened to the front with tails to the rear, black silk frogging in horizontal lines to the front with gilt Queen Victoria Crown Royal Naval officers buttons to the front, rear and cuffs, the traditional badge of rank of a white patch of cloth with a gold button and a twist of white cord is on each side of the coat collar, the coatee is lined with white silk, it has suffered from mothing over the years but is still a scarce item.The tin trunks contain a remarkable archive of information for anyone with an interest in the Royal Navy of the Victorian and Edwardian era and includes the following,Galloway’s Royal Naval Officers CommissionsA large quantity of letters, many from well known figures of the day including Admiral Sir ‘Jackie’ Fisher, Robert Baden Powell, and Dame ‘Aggie’ Weston Many signed letters from Admirals of the period including Neville, Farquar, Boothby, Stokes, Custance, Holland, and othersOfficial Letters and Memos Service Records, including names of ships and time period served,Collection of Commanding Officers ReportsCertificate of Nomination as a Naval Cadet from Admiralty, dated 18/12/1868Progress Reports on Cadet Galloway Exam papersLetters of Appointment to various ships throughout his career from Midshipman to Captain There are more detailed collections of papers for various incidents and missions that occurred throughout Galloway’s career, these include:-Collection of papers re mission to repatriate the crew of a United States Schooner ‘Golden Fleece’ Documentation re the Philippines Revolution 1897Documentation regarding ‘Ban Righ’ incident in Venezuela 1901 Documentation relating to the Columbian Civil War in 1901 Papers regarding a riot/mutiny by stokers under training at the Royal Naval Barracks Portsmouth in 1906 Confidential memo regarding ‘ operations against submarine boats, March 1904’Folder entitled ‘Tactical Exercises Sailing Orders marked ‘Secret’ for Strategic Exercises , August 1904Temporary Memorandum No.13 Combined Fleet Exercises dated 5/8/1904Temp. Memo No.3 Combined Fleet Exercises 1904-Battle ExercisesTemp Orders for Peace Manoeuvres 1904Folder entitled ‘Naval Manoeuvres 1910’ Naval Signal sheets form 1320c copies of messages from HMS Bachante to HMS King AlfredHMS Swiftsure Gunlayers test October 1905, Shifting TargetsTimes for Gunnery Drills, Gunnery School SheernessGunnery memos folder, Group B Naval Manoeuvres 1910 including Booklet entitled ‘The Fighting Power of the Capital Ship’ by Admiral Sir Reginald Custance 1910, marked ‘Private and Confidential’Proposed programme for Towing Trials/Coaling at Sea, HMS Swiftsure and MFA Torridge, April 1906Orders for ‘Wireless Experiment’, HMS Swiftsure dated 12/01/1906Sailing Orders for HMS Swiftsure dated 11/01/1906Sailing Orders for HMS Juno dated 11/01/1906Sailing Orders for HMS Albermarle dated 24/04/1906Sailing Orders for HMS Revenge dated 03/11/1904Programme for joint Exercise by Navy and Army on ‘Submarine Mining Operations-Portsmouth Friday 22nd August 1879’Exercise Programme for ‘Naval Attack on Coast Defence for 22nd August’Report on giving up Command of 3rd and 4th Divisions of the Home Fleet, dated 04/01/1911Essay entitled ‘Remarks on Modern Naval Tactics, dated 17/12/1910There are also many official letters from the Admiralty, foreign Consuls, and other organisations including one from the German Charge d’ Affairs re money raised by the crew of HMS Daphne for the families of sailors drowned when the Imperial German Gunboat Iltis was lost in a Typhoon in 1896A portrait photograph of Arthur Galloway with the rank of Captain in dress uniform on the bridge of HMS Revenge, dated 12th June 1904. For full description please follow link https://www.bishopandmillerauctions.co.uk/lot/militaryapril2021/421
Lot 423
The unpublished journals of Major General Sir Archibald Galloway K.C.B. (Archibald Galloway was born in Perth, Scotland in 1779, on 29th Oct 1800 he was appointed Ensign in the 14th Bengal Native Infantry Regiment, he afterwards served in the 29th, 10th and 2nd Bengal Native Infantry Regiments and was gazetted Colonel of the 58th Bengal Native Infantry Regiment in 1836. Galloway took part in the Defence of Delhi in 1803 and distinguished himself by his gallantry at the bloody siege of Bhurtpore where he sustained a wound to the throat in 1805. He was nominated a Companion of the Order of the Bath in Queen Victoria’s Coronation Honours in 1838 and in 1840 was elected a director of the Honourable East India Company. On 23rd November 1841 he received the rank of Major General. He was knighted by Queen Victoria at Buckingham Palace on 25th August 1848 and the following year became Chairman of the Honourable East India Company, he died at his home in Harley Street London on 6th April 1850), the five handwritten journals date from May the 15th 1800 when Galloway sailed out to India as a young Ensign to join the 14th Regiment Of Bengal Native Infantry in the army of the Honourable East India Company and covers the period of the 2nd Anglo-Maratha War, as well as details of his own service, the journals contain news, detailed accounts and copies of despatches of engagements by Sir Arthur Wellesley who was commanding another force in India at the same time, and by detachments of his own army under Lake, as well as from further afield (Trafalgar, Ulm), Galloway clearly had an interest in the history and culture of India and the journals contain descriptions of weather conditions, villages and their architecture, as well as of well known buildings such as the Taj Mahal, the journals convey the pitiless nature of the 2nd Anglo-Maratha War with little mercy being shown by either side on occasion but also the extraordinary bravery and fortitude shown by the combatants, they are a fantastic resource of information for anyone with an interest in the history of India, the British army in the early 19th Century, the 2nd Anglo-Maratha War and the Honourable East India Company.Also included in this lot are a quantity of personal papers and letters belonging to General Galloway, these include, a Warrant for the Military Division of the Order of the Bath signed by Queen Victoria and dated 30th August 1848 with accompanying letter from the College of Heralds, letter from General Mudge Royal Engineers recommending a pamphlet written by Galloway on attacking mud forts be used to instruct E.I.C. Cadets at their Military College, Letter from Major Carmichael Smythe stating Galloway’s gallantry and service at the siege of Bhurtpore, copy of letter from Queen Victoria requesting trophies taken from the Sikhs in the 1st Anglo Sikh War for her Armoury at Windsor, letter of condolence to Galloway’s wife on his death from the Court of Directors of the H.E.I.C. , notes from a speech thanking the army in India for their service in the 1st Anglo Sikh War and includes a defence of Her Majesty’s 62nd Regiment accused by some of panic at the Battle of Ferozeshah, letter to Galloway dated 1835 from and signed by Holt Mackenzie (1787-1876 British Administrator in India and Bengal Secretary), ‘ Prospectus of a Commentary on the Moohummudan Law’ written by Galloway while a Captain of Bengal Infantry, records of debates at East India House from the late 1840’s including one on a Mutiny in the 6th Bengal Native Cavalry, a wooden pen holder containing sealing wax and a note explaining the Persian writing on the case. Some idea of the contents of the Journals are given below; ‘Friday 30th May 1800 The Armourer complained to the Captain that one of the sailors had beat him on which all hands were ordered up and the sailor was ordered to be flogged’, ‘Sunday November 1st 1800 Last night one of the sailors (a Portugee) was furnished with three dozen lashes for committing the unnatural crime of sodomy with one of the soldiers and is to be turned ashore at Acheen. The soldier is in confinement and will be tried by a Court Martial when he arrives in Bengal’, Fitterghur December 14th 1802, ‘His Excy.General Lake Comd. In Chief and Staff and his three daughters arrived this morning, he held a levee at 12 O Clock’, Camp Sekundra 28th Dec. 02, ……about 1PM they opened their guns from the fort of Sasnee on our people who last night had begun their trenches…..’, 2nd of January 1803 a sortee from the fort ‘…cut down one of our sentries and carried his head away’, the sortee was beaten back with great loss to the enemy ‘ ..principally from our grapeshot’, , 15th January details of the assault on Sasnee ‘…the Sepoys have been repulsed, Good God! Was the exclamation of everyone….’ , detailed description of the fate of Capt. Morrison ..’shot in the belly..’ left on the field his body found later stripped naked and ‘..mangled in a shocking manner’, detailed description of the Battle of Delhi, ‘ Fitteh Gurh October 29th …the newspaper informs us of Genl. Wellesley having defeated Sindia and the Berar Raja in a genl. Engagement..’, ‘G.O. by G.G. in C 30 Oct 03 relative to the Battle of Assaye..’, sketch plan of the Battle of Assaye, ‘ 8th February 1804 official accounts received of capture of the Fort at Gawil Gurgh (Gawilghur) by Sir Arthur Wellesley and Colonel Stevenson ‘..the two outer walls were breached that of the inner escaladed which service was performed by Capt. Campbell of the Light Infy. of the 94th Regt. who after getting over opened the gate to the storming party..’, first of several references to Skinners Horse (Colonel James Skinner CB 1778 – 1841 , Sikandar Sahib ,Anglo-Indian mercenary) ‘Saharanpoor 27th Apr 1804 Our Battn. And Capt. Skinners Corps of Hindoostanni Cavy. Ordered to march tomorrow morning….’, accounts received of many European soldiers and Sepoys having been murdered (by Gurjars) ’.. in one house the girl of a European Trooper in confinement with one of her breasts cut off, half dead..’, village ordered to be sacked by General Fraser, ‘..instantly done and not a man young or old was spared, their women were captured by the 76th who were the principle actors in this horrid scene which nothing but extreme rage excited by just revenge for the murder of their companions could warrant’, punishment for mutiny, ‘..at ½ past 3 the line having been ordered under arms the above sentence was carried into execution, the two Jemadars were blown from a gun. After having been led down the line, the drums beating the Dead March as is usual in such cases, they were brought to the guns to which they went up with the greatest indifference seemingly as if they did not expect such to be their fate, upon which they had hardly time to reflect when they were blown to atoms..’, October 1804 detailed account of the siege of Delhi, siege of Deeg, detailed description of successful assault on Deeg, siege of Bhurtpoor, ‘..all was in vain we were obliged to recross the ditch leaving all our wounded to be butchered and scoffed at by a merciless foe..’, Don leads Sepoys into assault ‘..to bring on the 2nd Bn 12th N.I…that excellent corps followed by the 1st Bn 12th instantly leaped from the trenches under the same steady fire which checked the Europeans and marched steadily across the plain, hooting the Europeans as they passed the right flank of the battery many of whom had taken shelter under it..’, Lord Cornwallis illness and death, 22nd March 06 news received of the Battle of Trafalgar, the death of Nelson (interesting version) and Battle of Ulm. For full description please follow link https://www.bishopandmillerauctions.co.uk/lot/militaryapril2021/423
Lot 5
Indian Mutiny Medal with clasps ' Defence of Lucknow ' and ' Lucknow' ( D. GREIG . 90TH LT. INFY. ) name contemporarily re stamped/engraved, together with copy of Greigs Discharge Certificate from the 45th Regiment in June 1878 which states, ' ..his conduct has been very good and he is in possession of four good conduct badges and Crimean Medal and clasp for Sebastapol, Turkish medal, Indian Mutiny Medal and two clasps for Lucknow and Abbysinian medal, he is in possession of a third class certificate of education. His name has once been entered in the Regimental Defaulters Book and he has once been tried by Court Marshal.', the certificate also shows that David Greig was born in Paisley, Renfrewshire, and enlisted in the 45th Regiment in the Bombay Presidency in Sept.1866 at the age of 33, he served a total of 22 years and 10 days with the colours during which time he served 19 years and 163 days abroad, records show 3970 D Greig of the 90th Foot entitled to the Crimean Medal and 1409 D. Greig of the 45th Regt. entitled to the Abbysinian Medal, there is a 'P Gregg' on the roll of the 90th for the Indian Mutiny Medal and this could explain the renaming of the medal,the 90th Perthshire Light Infantry formed part of Sir Henry Havelock's First Relief Force of Lucknow which relieved the besieged garrison but became defenders themselves when surrounded by the rebels.
Lot 6
Early 20th century grouping to a highly respected figure in the Nursing profession Miss Ruth Eveline Darbyshire,medal group includes the C.B.E. (Commander of the British Empire) on Ladies bow mount held in fitted case by Garrard & Co London, unnamed as issued, Royal Red Cross 1st Class , bow mounted, unnamed as issued, Order of the Hospital of St John of Jerusalem Badge of a Lady of Grace, bow mounted,1935 Silver Jubilee Medal, Territorial Force Nursing Service Tippet Medal, Nightingale Badge (Nightingale Training School, St Thomas’ Hospital ) named to the reverse 'Ruth E. Darbyshire' and dated 1904, miniature medal bar consisting of the Royal Red Cross 1st Class, Kaisar i Hind Medal 1st Class in Gold, Order of the Hospital of St John, and 1935 Silver Jubilee Medal, mounted as worn, together with 1935 Jubilee medallion, leather nurses belt with silver plated buckles, and portrait photograph/postcard of Ruth Darbyshire, born in 1878 in England Miss Darbyshire moved to Australia with her family, she began training as a nurse in Adelaide and returning to England around the beginning of the Boer War continued at St Thomas' Hospital in London , during her long nursing career Miss Darbyshire was Matron of the Derbyshire Royal Infirmary Derby, Matron of St Mary's Hospital Paddington, Matron of the 2nd London General Hospital Territorial Army Nursing Service, member of The Army Nursing Board, and in 1917 was sent out to India to become Chief Lady Superintendent of Lady Minto's Indian Nursing Association, she was Matron of University College Hospital London, and Matron in Chief of the British Red Cross Society from 1940 to 1943 in London, she was also a founder member of the College of Nursing, she was awarded the Royal Red Cross 1st Class in 1916 by King George V and the Kaisar i Hind Medal in Gold for her First World War services,she was also appointed Lady of Grace of the Order of the Hospital of St John and in January 1942 was awarded the C.B.E. in the New Years Honours List for services to nursing, Miss Darbyshire retired in 1935 due to ill health and passed away on 7th March 1946 at Bromley, Kent, a wonderful grouping to a remarkable Lady
Lot 67
Rare Edwardian Officers Crossbelt Pouch plate to the 56th Punjabi Rifles (Frontier Force) of the Indian Army, locally made in white metal, three screw posts to the reverse, together with a crossbelt whistle holder, in white metal with two screw posts, both items belonged to Major H.S.L. Wolley of the 1st Battalion 56th Punjabi Rifles, a veteran of the Boer and First World Wars, originally formed as the 2nd Punjab Regiment in 1849 the regiment was designated the 56th Punjabi Rifles in 1906 and then became the 2nd Battalion 13th Frontier Force Rifles in 1922, the items are held in a small silk lined wooden box carved with the initials 'H S W '(Major Wolley was educated at Charterhouse School and was commissioned into the Royal Fusiliers in 1901, he served with the 2nd Battalion of the Regiment and the 9th Mounted Infantry Company during the 2nd Boer War, in 1904 he transferred to the 2nd Punjab Regiment in the Indian Army, raised in 1849 this regiment was designated the 56th Punjabi Rifles Frontier Force in 1906, during the First World War the 1st Battalion 56th Rifles F.F. served in Egypt and Aden and then in Mesopotamia where it fought in the battles for the relief of Kut Al Amara, the capture of Baghdad, and operations at Istabulat, Daur and Tikrit, Wolley was badly wounded during the operations in Mesopotamia forcing his early retirement from the army in 1921, he was an active member of the British Legion becoming Vice Chairman of the Cheltenham branch, during WW2 as part of the Local Defence Volunteers he was a staff officer at the HQ of General Sir Reginald Stevens, Major Wolley was also an active member of the Not Forgotten Association, he passed away on March 3rd 1957 at Godalming in Surrey) (3)
Lot 68
Scarce officers cap badge to the 56th Punjabi Rifles (Frontier Force), Kings Crown,locally made in white metal with two integral lugs and makers details (partially reads 'Johnson co, Aligarh') to the reverse, together with a '56 /Rifles' shoulder title in white metal with two integral lugs to the reverse, the badges belonged to Major H.S.L. Wolley of the 1st Battalion 56th Punjabi Rifles, a veteran of the Boer and First World Wars, raised in 1849 the regiment was designated the 56th Punjabi Rifles in 1906 and then became the 2nd Battalion 13th Frontier Force Rifles in 1922, (Major Wolley was educated at Charterhouse School and was commissioned into the Royal Fusiliers in 1901, he served with the 2nd Battalion of the Regiment and the 9th Mounted Infantry Company during the 2nd Boer War, in 1904 he transferred to the 2nd Punjab Regiment in the Indian Army, raised in 1849 this regiment was designated the 56th Punjabi Rifles Frontier Force in 1906, during the First World War the 1st Battalion 56th Rifles F.F. served in Egypt and Aden and then in Mesopotamia where it fought in the battles for the relief of Kut Al Amara, the capture of Baghdad, and operations at Istabulat, Daur and Tikrit, Wolley was badly wounded during the operations in Mesopotamia forcing his early retirement from the army in 1921, he was an active member of the British Legion becoming Vice Chairman of the Cheltenham branch, during WW2 as part of the Local Defence Volunteers he was a staff officer at the HQ of General Sir Reginald Stevens, Major Wolley was also an active member of the Not Forgotten Association, he passed away on March 3rd 1957 at Godalming in Surrey) (2)
Lot 69
Scarce Officers cap badge to the 2nd Punjab Regiment, Queen Victoria Crown, locally made in white metal with two loops to the reverse, the badge belonged to Major H.S.L. Wolley of the 1st Battalion 56th Punjabi Rifles, a veteran of the Boer and First World Wars, raised in 1849 the regiment was designated the 56th Punjabi Rifles in 1906 and then became the 2nd Battalion 13th Frontier Force Rifles in 1922, (Major Wolley was educated at Charterhouse School and was commissioned into the Royal Fusiliers in 1901, he served with the 2nd Battalion of the Regiment and the 9th Mounted Infantry Company during the 2nd Boer War, in 1904 he transferred to the 2nd Punjab Regiment in the Indian Army, raised in 1849 this regiment was designated the 56th Punjabi Rifles Frontier Force in 1906, during the First World War the 1st Battalion 56th Rifles F.F. served in Egypt and Aden and then in Mesopotamia where it fought in the battles for the relief of Kut Al Amara, the capture of Baghdad, and operations at Istabulat, Daur and Tikrit, Wolley was badly wounded during the operations in Mesopotamia forcing his early retirement from the army in 1921, he was an active member of the British Legion becoming Vice Chairman of the Cheltenham branch, during WW2 as part of the Local Defence Volunteers he was a staff officer at the HQ of General Sir Reginald Stevens, Major Wolley was also an active member of the Not Forgotten Association, he passed away on March 3rd 1957 at Godalming in Surrey)
Lot 7
Victorian and First World War family grouping of medals, India 1895 Medal with clasp 'Punjab Frontier 1897-98' ( 63327 SHOEING SMITH J.A. SIBLEY K BY R.H.A.) together with First World War pair of medals British War Medal 1914-1918 and Victory Medal (P.O.16328 PTE. F.R. SIBLEY R.M.L.I.), Shoeing Smith Sibley of K Battery Royal Horse Artillery is shown as entitled to the India 1895 Medal with clasp though his initials are recorded as 'T.H.' instead of 'J.A.', known as Albert to his family, his son Frederick Richard Sibley who was born 4th December 1893 at Shipton Gorge, Dorset, enlisted in the Royal Marine Light Infantry on 8th December 1912, he served on several ships including H.M.S. Europa, H.M.S. St Vincent and the Battleship H.M.S. Malaya at the time of the Battle of Jutland, Malaya was hit 8 times by enemy shells during the battle and suffered 65 killed, the medal roll shows him entitled to the 1914-15 Star, as well as the BWM and Victory medal though his service records shows that he was only issued with the latter two medals while serving on H.M.S. Vivid on 30th June 1922, his service record also reveals that he could swim, passed as a butcher in 1914, qualified as a gunner ( Sea Service) and received two good conduct badges, although enlisting in Portsmouth Division R.M.L.I. he transferred to Plymouth Division in June 1920 and issued the new regimental number PLY 20756, also included are Fredericks Princess Mary gift tin, his 'Private Prayer for Seamen and Marines Afloat' annotated to the inside cover 'F.R. Sibley, "Canterbury" Be True, Be Brave, Be Good, 13.12.12.', a R.M.L.I. brass shoulder title and tunic button, a sweetheart brooch which has been fashioned from a R.M.L.I button fretted around the crown and anchor and backed with velvet, and a copy of a photograph of Frederick Sibley in walking out dress, (qty) (Frederick Sibley was the Brother in Law of Private Hubert Tiller 7th Royal Fusiliers whose medals are also in this auction)
Lot 8
Boer War/First World War casualty grouping to an Indian Army Officer, to include The Queens South Africa Medal with four clasps 'Cape Colony', 'Orange Free State', 'South Africa 1901', 'South Africa 1902', (LIEUT. H.S.L. WOLLEY. RL. FUS.) 1914-15 Star ( CAPT. H.S.L. WOLLEY. 1/56/RFLS. F.F.) 1914-1918 British War Medal and Victory Medal (CAPT. H.S.L. WOLLEY) Defence Medal, mounted as worn, together with a group of miniature medals to the same awards, a medal ribbon bar with pin fitting for the QSA Medal,1914-15 Star, BWM and Victory Medal, a locally made officers cap badge with Kings crown to the 56th Punjabi Rifles (Frontier Force) with two integral lugs to the reverse, officers rank stars and crowns, British Legion lapel badges, Not Forgotten Association lapel badge, a brass button stick by 'Hall & Sons stamped '5MF 1039', British Legion cap badge, Major Wolleys monocle, a cutting from the Gloucestershire Echo dated March 4th 1957 announcing the death of Major H.S.L. Wolley and giving details of his life and career, all held in a leather case stamped 'H.S.L.Wolley', (Major Wolley was educated at Charterhouse School and was commissioned into the Royal Fusiliers in 1901, he served with the 2nd Battalion of the Regiment and the 9th Mounted Infantry Company during the 2nd Boer War, in 1904 he transferred to the 2nd Punjab Regiment in the Indian Army, raised in 1849 this regiment was designated the 56th Punjabi Rifles Frontier Force in 1906, during the First World War the 1st Battalion 56th Rifles F.F. served in Egypt and Aden and then in Mesopotamia where it fought in the battles for the relief of Kut Al Amara, the capture of Baghdad, and operations at Istabulat, Daur and Tikrit, Wolley was badly wounded during the operations in Mesopotamia forcing his early retirement from the army in 1921, he was an active member of the British Legion becoming Vice Chairman of the Cheltenham branch, during WW2 as part of the Local Defence Volunteers he was a staff officer at the HQ of General Sir Reginald Stevens, Major Wolley was also an active member of the Not Forgotten Association, he passed away on March 3rd 1957 at Godalming in Surrey), (qty)
Lot 85
First World War period O/R's cap badge to the 14th Hussars, slider to the reverse, together with an O/R's cap badge to the Royal Buckinghamshire Hussars (Yeomanry) maker Firmin, London, slider to the reverse, and an O/R's cap badge to the Fife and Forfar Yeomanry, slider to the reverse marked to 'J R Gaunt London' (11mm), (3)
Lot 2023
JEREMY BROUN, a pyramid cabinet without handles, designed and made by Jeremy K Broun with maker?s marks to underside, 1980 (includes original catalogue), height 180cmProvenance: Sotheby?s Belgravia, First Contemporary British Crafts Sale, Dec 10,1980, Lot No 115. This is the original one off piece.Excellent condition, little signs of use.
Lot 106
OSVALDO BORSANI (ITALIAN 1911-1985) (ATTRIBUTED TO) PAIR OF ANDIRONS, DESIGNED CIRCA 1946 iron and brass(each 20.3cm high, 37cm wide (8in high, 14 1/2in wide))Footnote: Provenance: A Private European Collection of Design Literature: G. Gramigna, F. Irace, Osvaldo Borsani, Rome, 1992, p. 185 (similar example illustrated); G. Bosoni, Osvaldo Borsani architetto, designer, imprenditore, Milan, 2018, p. 223 (examples illustrated in Borsani's villa in Varedo). Borsani used firedogs of this design in two projects. The first was in his own villa in Varedo (1943-45), where he positioned them in the grand ceramic fireplace by Lucio Fontana (1948), and the other was Casa Casò (1947-48), an apartment in Milan.
Lot 151
Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, CIRCA 1934 bronze, unique example with chasing, on original rosewood base(overall 67.4cm high (26.5in high) including base, 36.5cm wide (14.3in wide), the bronze 61cm high (24in high))Footnote: Literature: Neve, Christopher, Leon Underwood, Thames and Hudson, London, 1974, p.154, no.109 (illustrated with the base and dated 1934); Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.68. We would like to thank Ben Whitworth for his assitance in cataloguing the current work. Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly.2 Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 152
Y § LEON UNDERWOOD (1890-1975) JUNE OF YOUTH, 1938 signed, dated, titled and numbered 'IV', from an edition of four, terracotta, on original wooden base(overall 62cm high (24.3in high) including base, 33cm wide (13in wide))Footnote: Provenance: J. P. Lehmans Gallery, London; Obelisk Gallery, London, 1972. Literature: Whitworth, Ben, The Sculpture of Leon Underwood, The Henry Moore Foundation and Lund Humphries, 2000, cat. no.67 and p.78, figure 54 (another cast). Leon Underwood was a significant figure in twentieth-century British sculpture, and a teacher who influenced generations of artists. His works can be seen in the Victoria & Albert Museum, Tate Britain, and the Ashmolean Museum, Oxford. While his reputation was eclipsed by those of his students Henry Moore and Barbara Hepworth, Underwood can now be appreciated as a brilliant and versatile artist in a wide variety of media. Underwood trained as a painter at the Royal College of Art before the First World War, and at the Slade School of Art after demobilisation. It was only after the War that he started to work on sculpture. The human torso was a favourite subject in the early years of his sculptural practice: he carved female torsos in Tournai slate (1923), Mansfield sandstone (1923-24), Roman marble (c. 1925-30) and Ancaster stone (c. 1925-32). The running torso “Flux” (1924) was modelled in clay and cast in editions of brass and bronze. Metal allowed a more fluid composition, and made it easier to capture movement and gesture. During the 1930s Underwood gradually abandoned stone carving, and increasingly worked in bronze. “June of Youth” recalls his earlier torsos in stone, but the figure’s forward and upward movement exploit the properties of bronze sculpture. It has been suggested that the artist’s daughter Jean modelled for this piece, but that seems implausible: she was only a child when Underwood created this celebration of young womanhood. After selling a bronze “June of Youth” to the Tate Gallery in 1938, Underwood wrote to the director, John Rothenstein, “I always give ‘literary titles’ to my works”. A possible source for the title is Helen Keller, who used the phrase “the June of her youth” in her 1929 memoir Midstream; but the analogy between the months of the year and the stages of life is a common trope, and the sculptor need not have had a specific quotation in mind. Whatever its inspiration, “June of Youth” held a special place in its maker’s affections, and he depicted it in the background of a self-portrait painted in 1949. Underwood made just a handful of works in cast terracotta, but it was in this medium that “June of Youth” was first realised. The critic Eric Newton saw it in this form, and was deeply impressed. The terracotta “June of Youth” that we see here is numbered IV: the fourth from an edition of four. It is signed with Underwood’s usual signature (“Leon U”), and dated ’38. This must be the date of this specific cast, as a terracotta version was exhibited at the National Society of Painters, Sculptors, Engravers and Potters as early as 1933. The title is lightly inscribed, running up the outside of the left thigh. Incised circles mark the figure’s nipples and navel, with fine lines separating the abdominal muscles and defining the belly. Bronze, however, was probably the medium Underwood had in mind when he conceived this dynamic figure. There appear to have been seven bronzes cast, though Underwood’s numbering of his editions can be unreliable. The earliest casts date from no later than 1937; a final cast, inlaid with lines of silver, was made in 1969. The bronze offered here is not numbered or dated. The fact that it includes the figure’s chin and mouth might indicate that is an early – perhaps even the first – cast, as later casts end at the neck. The chased decoration, added by hand, makes it (as a label on the base states) “unique”. The nipples and navel are emphatically marked, as in the terracotta. The rest of the markings look like foliage – in keeping with the “June” of the title. However, a zig-zag line above the groin could be read either as an outline of the figure’s pubic hair, or as flames. On the latter reading, the shape immediately above it could be interpreted as a phoenix – a subject that Underwood evoked in his bronze “Phoenix for Europe” (begun in 1937). It was this cast of “June of Youth” that was illustrated in Christopher Neve’s 1974 book Leon Underwood. Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
Lot 192
PHILIPPE JULLIAN (FRENCH 1919-1977) FOR ASCHER LTD. SCARF, DESIGNED 1947 silk crepe(90cm x 90cm (35.5in x 35.5in))Footnote: Philippe Julian was a French illustrator, novelist, art historian, aesthete and dandy. One of his first noted artist works was the first "artist's" label for the famous wine from Chateau Mouton Rothschild in 1945, in memory of the World War II victory over Germany.
Lot 318
§ MARY FEDDEN O.B.E. R.A. R.W.A. (BRITISH 1915-2012) FISHERWOMAN, 1947 signed and dated (lower left), oil on canvas(49.5cm x 60cm (19.5in x 23.6in))Footnote: Having returned to London in 1946, after the war, Mary Fedden began to paint with a new seriousness developing her own individual style that owed considerable influence to Russian and French modernists. By 1947, the same year as this painting, she held her first one-person exhibition at The Mansard Gallery in Heal’s Department Store. Her still life paintings proved so popular after the exhibition that it led to a three-year commission from Woman magazine to paint the journal covers. Landscape paintings of this period by Fedden are rare to appear, and the current work is perhaps closest to Distress Signal that appears to depict the same coastal village on a stormy evening. These early works mixed her Slade School training, with the low-key colours and emphasis on fact, with an increasing sense of pattern and form that would become a signature characteristic of her more mature work.
Lot 66
§ JEAN DUFY (FRENCH 1888-1964) ROUTE DE RIVES (TOURAINE) Signed (lower right), oil on canvas(64.5cm x 45.5cm (25.25in x 17.75in))Footnote: Literature: Bailly, Jacques and Jean Dufy, Jean Dufy 1888-1964 Catalogue Raisonne, published by Editions Jacques Bailly, 2002, p.165, cat. no. B.183. Jean Dufy was a French Art Deco artist, best known for his colourful, melodic depictions of post-war Parisian society. Working to capture everyday life, from concert halls and circuses to country landscapes and busy Parisian streets, Dufy focused on recreating the feeling and impression of a scene, rather than individual details. In 1906, Dufy visited the exhibition ‘Cercle de l’Art Moderne’ in La Havre, and it was this show that eventually inspired him to pursue an artistic career. The exhibit, one of Dufy’s first exposures to Modern Art, crucially shaped his approach to art and introduced him to artists such as Picasso and Matisse. While he had no formal training, his older brother was well-known French Fauvist Raoul Dufy, who served as his artistic mentor. In January 1914, Dufy launched his artistic career, holding his first show at Galerie Berthe Weil. He returned to Paris after the war and settled in the Montmartre district of Paris, moving next door to artist George Braque, who encouraged Dufy to experiment with Cubism. His personal painting style developed into a vibrant fusion of Post-Impressionism with a loose decorative approach to colour and line, which he achieved from his work in porcelain design. For almost 30 years, Dufy worked for Limoge porcelain manufacturer Theodore Haviland, hand-painting decorative designs of animals and flowers. At the 1925 L’exposition Internationale des Arts Décoratifs he was awarded a gold medal for designing the service ‘Châteaux de France’. Dufy participated in many exhibitions, including the Salon d’Automne, which reflected the popularity of jazz music and the art of Parisian culture after the war. Dufy would return to his native Normandy throughout his life and spent long stretches of time in the south of France. The dynamism of these landscapes and cityscapes - particularly noticeable in the street scene Route de Rives (Touraine)- are so cleverly captured due to Dufy’s uniquely musical and distinctive Post-Impressionistic style.
Lot 71
TENG-HIOK CHIU (CHOU TING-HSU) (CHINESE 1903-1972) THE GREAT WALL OF CHINA, 1931 signed and dated (lower left), oil on canvas(49cm x 62.5cm (19.25in x 24.6in))Footnote: Literature: Huang, Michelle Ying-Ling, Laurence Binyon: A Pioneering and Authoritative Curator of Chinese Painting in Early Twentieth-Century Britain, Museum History Journal, 8:1, January 2015, p.52, figure 4 (illustrated). Exhibited: Probably exhibited at The Fine Art Society, London, Teng-Hiok Chiu, 1936, no.37. “Since I used to play amidst the beautiful temples and pine trees or on the sandy beach, I have wanted to appreciate the best in nature and to be able to help everyone else to do so. As I go forward I realize increasingly that it is not a matter of East or West, someday there will be Art from a New World Civilization, the creation of which, as a painter, I wish to contribute to. Art is a universal language that speaks to every human heart.” (Extract from Teng Chiu, "A Chinese Painter's Exhibition in Europe," Monitor, (August 1928), Museum School Library, Boston.) Born in Xiamen, Fujian Provence in 1903 to a prestigious family, Teng-Hiok Chiu (Zhou Tingxu; also known as Teng Chiu, 1903–1972) had the opportunity to study abroad from a young age. By 1924 he had enrolled in the University of London, and in 1925 studied Western painting under the tutelage of Sir George Clausen, Sir Walter Russell and Charles Sims at the Royal Academy Schools. He became the first foreigner to be granted membership of the Royal Society of British Artists. Chiu also trained at the School of the Museum of Fine Arts in Boston, and Paris, but he reached the turning point in his career when working alongside his mentor Laurence Binyon, a renowned Oriental scholar, in the British Museum in 1930. Working together they analysed many significant Chinese calligraphic works and paintings and it was from this point onwards that Chiu fused Eastern and Western artistic ideas and philosophy, to produce works with Chinese sensibilities and Western technique. From 1930 Chiu travelled extensively through Europe, Africa and Asia, including his homeland Xiamen in China. During this trip Teng Hiok Chiu depicted the lakes and mountains of his native land, and important architecture and monuments including this significant work by Chiu of the Great Wall. It is probable that this is the work that was exhibited in his one-man show at The Fine Art Society in London from 18 November to 4 December 1936 as No. 37. In the preface to the catalogue Binyon wrote: “Mr. Chiu has travelled over many parts of the world, in the East and in the West, and has developed an eclectic style, in which it seems to me that through all the mastered technique of Western oil-painting the original Chinese element becomes more apparent than in the pictures shown six years ago […] Mr. Chiu, […] like so many Oriental painters who practice the Western style, found it a heavy and unpleasing means of expression: he has subdued it to a lightness of handling and felicities of colour natural to his gift.” (See T. H. Chiu, An Exhibition of Paintings by Teng H. Chiu, A.R.B.A. (London: Fine Art Society, 1936); ‘A Chinese Oil Painter’, The Times, 18 November 1936, p. 12.) This current work commemorates the shared experience of Binyon and Chiu in China, and can be considered a significant work in the development of Chiu’s oeuvre.
Lot 74
§ JACOB BORNFRIEND (CZECH 1904-1976) THE VEGETABLE NET signed (lower left), oil on canvas(100cm x 49.5cm (39.3in x 19.5in))Footnote: Provenance: Roland, Browse & Delbanco, London; Private Collection, UK. Exhibited: City of Bradford Art Gallery, 1967; And possibly at Brighton Art Gallery in 1968. Jacob Bornfriend, born Jakub Bauernfreund, was an important Expressionist artist of the twentieth century. Born in Czechoslovakia in 1904, Bornfriend studied at the Academy of Fine Arts in Prague from 1930 until 1935, developing his signature expressionistic style using simplified lines and colours to create ambiguous, organic space. In 1939, he was forced to flee his homeland due to the Nazi occupation and came to London where he became part of a group of artists known as the Continental British School of Painting. This group of prolific artists included the likes of Oskar Kokoschka and Jankel Adler, and they exhibited widely across London, with Bornfriend receiving his first solo exhibition at the Roland, Browse & Delbanco Gallery in 1950. Although the group was not joined by stylistic similarities, an importance on representational art was often key in their works and Bornfriend’s experimentations with abstraction are of particular note during this period as he explored the importance of pattern and texture to produce a harmony of colour and space. This stylistic signature developed in the 1950s and 1960s as Bornfriend’s interest in the abstract grew and he focused on landscapes and still lifes. His interest in the passage of time and the changing seasons is evoked in the energetic sense in his works from this time, which is produced through modulating warm and cool tones in a simplified manner , much like artists such as Paul Cézanne. This is particularly apparent in works such as The Vegetable Net¸ in which the warm reds and pinks juxtapose against the cooling blues and greens to create emotional intensity.
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