The 'Trench Raid Leader's' M.C. group of three awarded to Lieutenant P. Crampton, 2/5th Battalion, Loyal North Lancashire Regiment, who was seriously wounded during a hand-to-hand clashThe same action saw him seriously wounded while leading a bayonet charge, leading to Crampton being treated by Harold Gillies, one of the pioneers of modern plastic surgeryMilitary Cross, G.V.R., unnamed as issued; British War and Victory Medals (Lieut. P. Crampton.), good very fine (3)M.C. London Gazette 16 August 1917, the original citation states:'For conspicuous gallantry and devotion to duty. He commanded a raid on the enemy trenches. Previously he had done most valuable reconnaissance work, entering the enemy lines on previous occasions. The success of the raid was largely due to his fine patrol work beforehand.'Percy Crampton enlisted initially with the Inns of Court Officer Training Regiment and was Commissioned 2nd Lieutenant from that unit on 15 September 1915. Posted to the Loyal North Lancashire Regiment he was later advanced Lieutenant on 27 July 1915. The Battalion entered the war in Flanders on 8 February 1917 with the 55th Division stationed in the Cordonnerie Sector. Their first actions were largely trenches raids launched across the lines, starting in May 1917, one of these was commanded by Crampton, the Regimental History outlines this stating:'Another raid, but on a smaller scale, took place on the 24th, when two officers- Lieutenants Crampton and Marshall- and fifteen men started off. These had just reached the enemy's support line when a German patrol was heard approaching, and the raiders divided into two parties; one charged the enemy with the bayonet and a sharp fight ensued, two Germans being killed and four captured; two of these last were wearers of the Iron Cross ribbons and all looked very fit and in good condition. Of the raiding party only one- Lieutenant P. Crampton- was wounded.'This is added too by several newspaper articles, one of which entitled 'Plucky Officer Wounded on Raiding Party' states:'From an account received by Mr. Crampton of the incident which resulted in the casualty it appears that Lieutenant Crampton and another officer, accompanied by seven men, took part in a raid on the enemy's lines. In an encounter at close quarters with six of the enemy. Lieutenant Crampton was wounded in the neck and shoulder, it is thought, by revolver fire. Two of the enemy were, however, killed, and the remainder surrendered, the whole party of six thus being accounted for. The Boches' arms and equipment, which had been thrown down, were collected and the prisoners hurried down to the enemy front line, and across No Man's Land to the British lines. It is stated that two, at least, of the Boches were wearing the ribbon of the Iron Cross; one was also wearing a Red Ribbon. Lieutenant Crampton was able to reach his own lines, with assistance, and was quickly put on a stretcher and brought to a dressing station, where first aid was given him.Has done Good Work in France.In a letter to Mr. Crampton, the Commanding Officer of the Battalion writes as follows:- "Your son was wounded severely, but I hope and trust he will be all right. He was very brave over it. He has done good work in France and some weeks back, when my second in command was killed, carried another officer out of the shelled area on his back. This, I know, will be a comfort to you. You will get news when he reaches England, and I trust you will let me know how he progresses."Lieutenant Crampton is 26 years of age and was educated at the Warrington Grammer School. At the age of 21 he was articled as a solicitor, and, up to his joining the Army, was in practice with his uncle, who is a solicitor in Leigh. Yesterday Mr. Crampton was greatly relieved to hear that his son was making satisfactory progress.'Returning to Britain, Crampton's serve injuries were treated by Harold Gillies, a New Zealand born medical officer and one of the pioneering forces behind plastic surgery. After seeing skin grafting techniques in France and America Gillies opened a ward in Cambridge where he began to develop the techniques required to treat facial injuries. Here he performed what is believed to be the first modern plastic surgery on Walter Yeo, who was wounded at the Battle of Jutland.Gillies treatment of Crampton appears to have been for a wound to the jaw, a transcript of his medical record notes 'Fractured Mandible' and 'Keloid Scar Clavicle'. The results of these surgeries are unclear however Crampton certainly survived, going on to work as a solicitor for his uncle T. R. Dootson.During the Second World War he was living near Leigh and joined the Newchurch Local Defence Volunteers. A newspaper article from the time- - in a scene that could have been called straight out of Dad's Army - makes reference to him being asked to resign after an argument with the local Rector. Rather touchingly it is related that eighty members of the L.D.V. threatened to resign if Crampton was forced out of his post; sold together with copied research.…
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South Africa 1877-79, 1 clasp, 1879 (Capt: H. Dymes. 1st. Nat: Nat: Contgt.), suspension re-affixed, very fine, sold together with a portrait photograph of the recipientEx-Don Fosyth Collection.Harry Rawlins Dymes attended Cambridge University, gaining a Degree before embarking for South Africa some time in 1877/8. He held the appointment of Mathematical Master at Hilton College before looking towards Military Service. He was appointed to the 1/1st Natal Native Contingent as Lieutenant on 28 November 1878 and was advanced Captain on 3 January 1879. He served in various positions while with the Battalion; as Company Commander, Adjutant and also Paymaster.There are six pages concerning Dymes in A Soldier's Life by Durnford – this in the form of informative descriptions by Dymes of the forming of the unit and anecdotes presumably taken from letters or a diary, which recount his service from the training of the Battalion right up to the day Durnford left for Isandhlwana. Dymes had been destined to go with the Company he was Commanding but at the very last minute was recalled to take the duty of Battalion Paymaster (the Paymaster being ill) and his Company was split between Captain Stafford’s and Nourse to make two enlarged Companies rather than three, something that probably saved his life said Dymes!Dymes resigned his Commission at the end of May 1879 and applied for a post with the Civil Service, but by 20 September 1879 he had applied to the Colonial secretary for employment in the Colonial Force being raised - presumably for the Basuto Campaign. A unit named Dymes Rifles formed in 1880-81 that fought in Basutoland. The Captain died in Pietersmaritzburg on 26 September 1891, and thus did not live to claim a Medal for the latter campaign; sold together with copied research.…
1968-69 Season Liverpool F.C. Number 4 Match Shirt, purportedly worn by Tommy Smith in a game versus Leeds United on April 28th 1969. The shirt was awarded to the Vendor at a Variety Club of G.B. Tribute Dinner at Queens Hotel Leeds, on Monday 19th May 1969. The Vendor was lucky enough to have won a competition organised jointly by the Liverpool Echo and the Yorkshire Evening Post, with his Yorkshire counterpart winning Leeds United’s number 4 jersey. Leeds Manager, Don Revie, had insisted a Liverpool supporter be present at the evening in recognition of the tremendous sporting gesture by the Kop at that game, who had applauded Leeds efforts at the end of that iconic game. The long sleeve shirt, in red with white ring neck and cuffs, hand stitched liver bird badge over LFC, bearing Umbro neck label, featuring orange triangle and washing instructions label to waist, white number 4 to back, is accompanied by photocopied documents of the event, letter of invitation and image of Don Revie presenting the shirts. Liverpool born Tommy nicknamed “The Anfield Iron” for his punishing tackles, made 639 senior appearances for the Reds between 1962 and 1978, scoring 48 goals. Later playing in America and finishing his career at Swansea City. He represented England under 23’s on 10 occasions, and surprisingly only once for the senior national team. Former Liverpool Manager, Bill Shankly, referring to Smith’s fearsome reputation, once said of him “Tommy Smith wasn’t born, he was quarried”. Smith passed away in 2019 aged 74.
An 18ct gold and platinum diamond necklace and earring set, the yellow snake link chain suspending a brilliant cut diamond, tension set to a brushed finish platinum mount, into a fixed 18ct gold bale, 90mm long, stamped pt950 Au750, Sheffield, 410mm, and a matching pair of platinum diamond stud earrings,to post and butterfly fittings, 5mm diameter, hallmarked Sheffield, 8.54g total (2)Condition ReportSurfaces a little dirty. May benefit from being cleaned gently in a bowl of warm soapy water.Clasp secures to chain.
A collection of stud earrings, comprising a pair of emerald and diamond stud earrings, a pair of sapphire cluster stud earrings, a pair of ruby cluster stud earrings, a pair of diamond and topaz stud earrings, a pair of prasiolite and diamond stud earrings, a pair of coloured gemstone and diamond quatrefoil cluster stud earrings, a pair of pink sapphire hoop earrings, a pair of chain stud earrings, and a pair of square stud earrings, all to post and butterfly fittings, all hallmarked or tested as approximately 9ct gold, 13.85g total (9)Condition ReportMay benefit from being cleaned gently.
A 9ct gold garnet and seed pearl ring and earrings set, the ring with an oval cut garnet, claw set to a surround of seed pearls, head 16mm x 15mm, into chenier shoulders and a D profile shank, London 1987, and with a pair of garnet and seed pearl daisy cluster stud earrings, approximately 10mm in diameter, to post and butterfly fittings, London 1991, 6.25g total (2)Ring size L½Condition ReportA few small chips to garnet facet junctions of ring. Visible by 10x magnification.Minor marks and scratches to surfaces.
A pair of ruby and diamond cluster stud earrings, each with a central oval cut ruby, bezel set to a surround of round brilliant cut diamonds, grain set and faced in white, to post and butterfly fittings, 14mm x 12mm, stamped K18, butterflies stamped 9CT, 3.74gCondition ReportOne post very slightly out of shape.
A Navajo silver and turquoise cuff bangle and a pair of earrings, the open bangle set throughout with navette shaped turquoise cabochons, with rope twist wire and hollow bead effect details, stamped N&R NEZ for Nathaniel and Rosemary Nez, and pair of turquoise set stud earrings, to post and butterfly earrings, both tested a silver, 43.17g (2)Condition ReportTarnish.Minor marks and scratches to surfaces.
A group of gold jewellery, comprising a pair of floral drop stud earrings, to post and butterfly fittings, one base metal butterfly, stamped 22C, tested as approximately 18ct gold, a diamond three stone ring,one diamond deficient, tested as approximately 18ct gold, an aquamarine cluster ring, all split pearls to cluster deficient, stamped 15CT, a split pearl pendant, stamped 15ct, a 9ct gold photo locket pendant, Chester 1864, a 9ct gold tie tack, London 1973, an enamel regimental brooch, pin fittings lacking, a paste bar brooch, a curb link chain, a jasper disc pendant, all hallmarked or tested as approximately 9ct gold18ct gold 7.73g total, 15ct gold 3.57g total, 14ct gold 1.06g, 9ct gold 17.28g totalRing size O, NCondition ReportFloral drop stud earrings with one base metal butterfly.Diamond three stone ring one diamond deficient.Aquamarine cluster ring with all split pearls to cluster deficient.Enamel regimental brooch with pin fittings lacking.Dents to locket pendant.Marks and scratches to surfaces.Tarnish.
An amethyst and diamond pendant and a pair of earrings, the pendant with an oval fancy cut amethyst, four claw set to a round brilliant cut diamond, stamped k18, suspended by a box link chain, with a bolt ring clasp, stamped K18 750, both tested as approximately 18ct gold,together with a pair of 9ct gold amethyst and diamond stud earrings,with a rectangular cut amethyst, to a surround of small round brilliant cut diamonds, all set in white to a yellow under bezel, 10mm x 8mm, to post and butterfly fittings, London import hallmark18ct gold 5.05g, 9ct gold 2.19g (2)Condition ReportA few very small chips to amethyst facet junctions. Visible by 10x magnification.Settings a little dirty.Minor marks and scratches to surfaces.
A group of stud earrings, comprising a pair of 18ct two colour gold stud earrings, London 1982, a pair of star sapphire stud earrings, tested as approximately 18ct gold, a pair of 9ct gold emerald twist knot stud earrings, Sheffield 1980, a pair of three colour gold knot stud earrings, tested as approximately 9ct gold, and a pair of silver black enamel daisy studs, by Georg Jensen, stamped Georg Jensen 925 S, all to post and butterfly fittings18ct gold 4.60g total, 9ct gold 2.96g total, silver 2.60gCondition ReportGilt metal butterflies to three colour gold knot stud earrings, emerald stud earrings and star sapphire stud earrings.A little dirty. Would benefit from being cleaned.
A 9ct gold sapphire and diamond pendant, ring and earring set, comprising a 9ct gold sapphire and diamond cluster target ring, a matching pendant 21mm long, and a matching pair of stud earrings, 11mm x 12mm, to post and butterfly fittings, all hallmarked 9ct, 8.20g total (3)Ring size LCondition ReportWould benefit from being cleaned gently.Minor marks and scratches to mounts.
Three pairs of gold earrings, comprising a pair of seed pearl and rhodochrosite earrings, pearls untested, to wire hook fittings, stamped 9ct, a pair of garnet drop stud earrings, to post and butterfly fittings, hallmarked Birmingham, and a pair of faux pearl drop earrings, to wire hook fittings, all hallmarked or tested as approximately 9ct gold, 7.59g total (3)Condition ReportRhodochrosite wires slightly out of shape.Small marks to faux pearls.
A group of 9ct gold jewellery, comprising:a group of gold rings,a 14ct gold garnet and diamond floral cluster ring, a 14ct gold tanzanite and diamond three stone ring, a 9ct gold tanzanite and diamond ring, and 9ct gold topaz and diamond cluster ring, a small group of 9ct gold pendants,a 9ct gold tourmaline cross pendant, damaged, a 9ct gold open heart pendant, a 9ct two colour gold diamond knot pendant, suspended by a Prince-of-Wales link chain, stamped 375, and a 9ct gold diamond square pendant,and two pairs of stud earrings,a pair of 9ct gold aquamarine stud earrings, and a pair of rose gold morganite stud earrings, both to post and butterfly fittings, all hallmarked or tested as approximately 9ct gold, 14ct gold 5.05g total, 9ct gold 13.14g total (10)Ring size all LCondition ReportTourmaline pendant broken, with losses to gallery wire. Lower half fragile, may snap if caught.Clasp to chain secures.Minor marks and scratches to surfaces.Minor tarnish.
A pair of white gold diamond cluster earrings, each with a central cluster of square cut diamonds in invisible setting, to a surround of round cut diamonds, grain set, to post fittings, butterflies deficient, 11mm x 11mm, tested as approximately 14ct gold, 3.83gCondition ReportOne square cut diamond replaced with an eight cut diamond. Eight cut diamond appears stable currently, stability cannot be guaranteed. May benefit being checked by a Jeweller.Care should be taken when cleaning.Gallery wire to both earrings dented and a little out of shape.Minor marks and scratches to surfaces.Tarnish to one between diamonds.No butterfly clips.
A pair of cultured pearl earrings, each earring with a pair of cultured pearls, untested, each pearl approximately 7.9mm in size and peg set to a foliate mount with millegrain and engraved detail, to post and butterfly fittings, 16mm x 14mm, maker's mark for Mikimoto, stamped K14, 5.67gCondition ReportMinor tarnish to mounts.
A group of gemstone set stud earrings, comprising a pair of 9ct gold colourless gemstone and diamond stud earrings, 10mm x 8mm, a pair of amethyst stud earrings, 10mm x 10mm, stamped 9K, a pair of purple gemstone set stud earrings, 7mm diameter, stamped 375, and a pair of topaz stud earrings, one butterfly deficient, 9mm x 7mm, all to post and butterfly fittings, all hallmarked or tested as approximately 9ct gold, 7.52g total (4)Condition ReportOne butterfly deficient to topaz stud earrings.As found.
A single row cultured pearl necklace and a pair of cultured pearl stud earrings, the necklace with a single row of uniform cultured pearls, untested, approximately 6mm in size, strung knotted to a 9ct gold safety clasp, hallmarked Birmingham, and a pair of 18ct gold cultured pearl stud earrings,each with a single cultured pearl, untested, 7.3mm in size, cup set to post and butterfly fittings, London import hallmark 1990, 28.92g total (2)Condition ReportPearls to necklace wiggle slightly between knots. Knots showing a little discolouration. Clasp secures.Butterflies to stud earrings mismatched. One tested as approximately 9ct gold.All pearls untested.Minor tarnish.
A pair of vari-coloured gemstone earrings, each earring domed gently and grain set with a central cat's eye chrysoberyl cabochon, to a circular pierced surround grain set with round cut vari-coloured gemstones, 12mm in diameter, to post and butterfly fittings, tested as 9ct gold, 3.52gCondition ReportNacre worn to one split pearl. One split pearl later.Butterflies secure.Minor marks and scratches to surfaces.Minor tarnish.
Two pairs of gemstone set stud earrings, comprising:a pair of lapis lazuli stud earrings,each with a round lapis lazuli cabochon, 11mm diameter, bezel set to post fittings, Egyptian hallmark for 18ct gold, for Cairo, butterfly fittings stamped 585, and a pair of opal stud earrings,with an oval opal cabochon, 8mm x 6mm, bezel set to a wire twist surround, with post and butterfly fittings, one butterfly base metal, tested as approximately 14ct gold, 7.08g total (2)Condition ReportButterflies later to lapis lazuli stud earrings.Opal studs with one base metal butterfly.Marks and scratches to surfaces.
*FRED FRITS KLEIN (1898-1990) Nude with head turned to the left studio stamp lower right, charcoal on paper, 32cm x 23.5cmNote: Fred was Yves Klein's father. Yves was a French artist and an important figure in post-war European art. He was a leading member of the French artistic movement of Nouveau réalisme.
AN ENGLISH OAK LETTER BOX 19th/20th century, the glazed front panel with a brass letter slot over gilt text 'Post Arrives ... Leaves', with a hinged side panel revealing a vacant interior, on a stepped base, 27cm high x 40cm wide x 13cm deepProvenance: By repute, once belonging to Sandford Orcas Manor, with Lady Medlycott notecard inside.
'WOT's THE GAME?' England's post-war book by ex-private Billy Muggins, limited edition 158/300, a polemic about the unfair treatment of soldiers returned from the Great War. A C Coy concert programme circa 1916. Pals Battalion had never been into battle before. Saunders, Lambert and Roberts were killed in action one month latter on the Somme. Clarke & Morton died in 1917, Clarke at Ypres and Morton at Arras (2)
CHARLES RENNIE MACKINTOSH (1868-1928) 'BROOKWEED', 1901 pencil and watercolour, signed and inscribed lower right BROOKWEED/ HOLY ISLAND/ JULY 1901/ MT FB C, framed 22cm x 17cm (frame size 44.5cm x 39.5cm) Provenance: William Marshall, GlasgowScottish Private Collection Exhibited: Edinburgh, London, Darmstadt, Zürich, Charles Rennie Mackintosh (1868-1928) Architecture, Design and Painting, 1968, Catalogue number 289, lent by William Marshall, Glasgow1901 was a productive and exciting time for Mackintosh professionally, being the year that he was made a partner in the Glaswegian architectural practice where he worked. Seeking some brief respite from his busy roster of commissions, he and his wife Margaret took a holiday to Holy Island in the month of July, joined by the other members of ‘The Four’: Margaret’s sister Frances Macdonald and her husband Herbert McNair, as well as Margaret and Frances’s brother, Charles.Given the trip was for such a short duration, sketches from this excursion are scarce. Nonetheless, the impact of this visit on both Mackintosh’s artistic and architectural practice was marked. For example, the surviving sketches show that he was deeply absorbed by Lindisfarne Castle. It has been noted that its sweeping, austere curves find echoes in his architectural language, for example in the Glasgow School of Art’s design which was completed in phases between 1896 and 1909. Mackintosh had begun to develop his botanical studies in the 1890s, but the series of works from Holy Island are notable in that they crystallize the format for his botanical drawings thereafter. It is here, for example, that he begins to add his distinctive, almost Japanistic ‘cartouche’, featuring the initials of the companions present at the time of the work’s inception. In the past some have implied that the presence of ‘MM’ on such works suggest that Margaret did the colouring, but this does not fit with what is known of his attitude as an artist. Those close to him, notably Mary Sturrock - daughter of his friend and mentor Fra Newbery - are adamant that Mackintosh would not have let his artwork be added to in such a manner. Further support for this can be found in ‘Brookweed’ and other Holy Island watercolours, some of which feature more than two sets of initials. In ‘Brookweed’ the picture is signed M (for Margaret Macdonald), T (Tosh for Mackintosh himself), F (for Frances Macdonald), B (for Herbert (Bertie) McNair), and C (for Charles Macdonald, Margaret and Frances's brother), which appears to confirm the theory that the inscriptions were more of an aide memoire or dedication to those who were present when the pictures were made. Botanic studies were central to Mackintosh’s artistic practise. Even when he was busy with his architectural business, they remain a mainstay. Mackintosh’s ideology had sprung from the tenets of the Arts and Crafts Movement, in tandem with European Art Nouveau, and it is crucial to understand that his design language, whether that be architecturally or artistically, ultimately found its basis in his belief that nature was the source of beauty. His work across all media is characterised by a sinewy, linear approach to form, the distillation of the essential patterns and design of the natural world. This fascinating, alchemical process by which Mackintosh transforms the organic into design is arguably most tangible in his botanical studies, which perhaps explains their enduring appeal. The drawings vary subtly over the course of time. From naturalistic depictions on Holy Island in 1901, to analytical, almost scientific studies in Sintra in 1908. Ultimately a more wholly decorative interest was developed post-1910, enhanced by the fact he is highly likely to have begun pressing his flower stems in order to more clearly expose the decorative formal possibilities. Finally, there was the explosion of botanical studies in Walberswick in 1914 (40 over a period of approximately 12 months), which marked a move from depictions purely of wildflowers to the inclusion of cultivated blooms.Writing for The Studio in 1897, London critic Gleeson White remarked that the work of the ‘Spook School’, “is singularly free from vulgarity of idea, redundance of ornament, and misapplication of material…”. This sentiment holds across all aspects of Mackintosh’s work, but perhaps most particularly his botanical studies. This meeting of classicism and modernity, precision and invention, the spare and the decorative, goes some way to explain the timelessness of these pieces.
A 9ct gold dress ring, with two double rows of four claw set cut blue stones separated by three columns each containing two diamond chips, size N, approx 5.82g.Condition Report: The condition of this ring is good with no visible damages other than some light tarnishing. Unfortunately, we will be unable to transfer this to our Devon saleroom but we can certainly post it in house if needs be.
▲ William Scott RA (1913-1989) 'Orange Still Life', 1956 (William Scott Archive No.1893);verso, pencil sketch of Mary Scott, the artist’s wife, late 1930ssigned 'W. Scott' l.r., gouache50.5 x 68cmProvenance: Private collection, USA;Offer Waterman & Co., London;the property of a private collector.The drawing of Mary Scott is similar to the oil painting ‘Seated Nude’, 1939, Tate, London.We are grateful to the William Scott Archive for their kind assistance with the cataloguing of the present work.In the 1950s, William Scott's use of vibrant colours, like orange and ochre, played a crucial role in his still-life compositions, marking a key period in his artistic development. As a member of the post-war British painting group, including artists such as Patrick Heron, Terry Frost and Peter Lanyon, Scott was influenced by the boldness of abstract expressionism. In 1953, his exposure to the New York School, where he met leading figures like Rothko, de Kooning and Pollock, made a significant impact on his approach to abstraction. Despite this, Scott remained deeply attached to the still-life genre, finding ways to modernise it while infusing it with abstraction. His works from the late 1950s often featured everyday objects like jugs, bowls and pans, painted against bold backgrounds in colours like orange. These hues, especially the warm tones of orange, went beyond mere decoration - they emphasised the physical presence of the objects and imbued the scenes with energy.Scott's choice of orange can be seen as a deliberate effort to elevate these everyday items, drawing attention to their form and giving them a unique vibrancy. This use of colour was particularly striking in works, as seen here in lot 278, where the colour envelops the composition, making items seem dynamic and essential. For Scott, orange was not only a visual tool but also a way to convey a sense of warmth and vitality. It helped balance the austerity of his minimalist approach with the sensuality he sought to evoke. By combining the figurative and abstract elements of his work, Scott's use of orange served as a bridge between his engagement with American abstraction and his European roots in more tactile, representational art.Condition ReportFramed: 67 x 84.5cmThe work is executed on paper. Rippling to the sheet visible when viewed from the side under raking light. Pinholes to top corners. A tiny tear to the extreme upper right corner. Lower edge torn slightly unevenly. Presents well overall when viewed on the wall.
▲ William Scott RA (1913-1989) White, Umber and Grey, 1962signed 'W. Scott' l.r., gouache49 x 61.5cmProvenance: Sotheby's, London, November 1996, lot 78;with Hanover Gallery, London;Design Research Unit, acquired from the above;Sotheby's, London, 14 March 1979, lot 197;a private collection;Sotheby's, London, 'Modern & Post-War British Art', 27 November 1996, lot 78;the property of a private collector.Condition ReportFramed: 70 x 81cmRippling to the edges of the sheet. A little time staining with a faint border of discolouration around the edges, please refer to illustration. The sheet appears to be stuck down to the mount in several places around the edges, but does not appear to be laid down. Deckled edges. Presents well overall and ready to hang. Not viewed out of perspex glazed frame. Perspex has light scratches in upper right.
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