Grouping of Identity Discs of Royal Sussex Regiment Interest, consisting of sterling silver example engraved “PTE R BAKER 34004 3RD ROYAL SUSSEX REGT”, EPNS oval disc engraved “18584 PTE AG ELLIOTT ROYAL SUSSEX REGT CONGREGATIONAL”, tin type impressed “J DENGATE 1309 C. E. R. SUS. R”, large heavy silver coin engraved “E SCOUTER C OF E ROYAL SUSSEX”, small sterling silver example engraved “6401948 E R COOPER 7TH R SUSSEX”, tin type crudely engraved “B WAYMARK 488 C.L. 11. R.SXR”, copper coin impressed “W COCKLEY C E 18298 ROYAL SUSSEX”, red fibre tag impressed “488 B WAYMARK C E R. SUS.R”, red fibre tag impressed “263 S LEPPER C E R SX R”, pair of fibre identity tags impressed “G A GOLDRING 200143 C E 4 SUSS”, plus a small Belgium coin with pierced holes. (12 items)
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Grouping of Identity Discs of Worcestershire Regiment Interest, consisting of a very fine example fashioned from a silver coin with fine engraved scene of a boat on a lake with Mesopotamia 1916 across the centre, front is engraved with regimental cap badge and “2/Lt D ANSTEY WORCESTERSHIRE REGT”, hallmarked silver example engraved “2/LIEUT L G H BRYANT C OF E 6TH BATT WORCESTERSHIRE REGT”, EPNS type engraved “36257 PTE A V HARVEY 4 WORCESTER REGT C OF E”, EPNS type engraved “2 LT E T OATES C OF E WORCESTERSHIRE RGT”, copper rectangular type crudely engraved “H L DYMOND 242606 1/8 WORC REGT”, pair of fibre identity tags impressed “24999 H CLEMONS WORC R”, foreign id tag with crossed machine guns engraved to the front “PTE A PRATT” and the rear “W.E.S 5246219”. Accompanied by a small George V coin pierced for a ID chain. (9 items)
Grouping of Identity Discs of Essex Regiment & Oxford and Buckinghamshire Light Infantry Interest, consisting of 9ct gold example engraved “LIEUT N S DAVIES C OF E 7TH ESSEX REGT”, hallmarked silver example engraved “LT C L WILSON C OF E ESSEX REGT AND M.G.C”, impressed example “T. R. ENGLEBACK 3706 C OF E 6. ESSEX. REG”, pair of fibre tags impressed “5733 W G FEARN N 5 EX”, silver (not hallmarked) example engraved “2 LT S G LESTER 179821 7TH OBLI”, example with engraved scene of Baghdad and 1918-19 engraved “No 28345 PTE A J SAUNDERS 1ST OXF & BUCKS”, alloy example engraved “5836 SGT W J PRATT C.E 2 OX & BKS” and issue type impressed “6787 A G HATCHER OXF LT INF”. Generally all good condition. (9 items)
Grouping of Identity Discs of Loyal North Lancashire Regiment, Royal Berkshire Regiment, Northamptonshire Regiment and Sherwood Foresters Interest, consisting of a fine example made from an Indian coin with engraved badge of the Loyal North Lancashire regiment and India 1917-18-19 engraved “BANDSMAN R HARRISON 39547 6TH LOYAL NORTH LANCASHIRE REGIMENT”, similar example with slightly different wording, engraved “PTE R POWELL 39690 C OF E 6TH BATT LOYAL NORTH LANCASHIRE REGT”, example made from a Turkish coin with engraved image of a Mosque and BAGHDAD 1918, engraved “SGT SIMM W 23095 6TH L.N.L”, red fibre identity tag impressed “C GILLAM 43555 CE R BERKS”, red fibre tag impressed “LAWES J M 203033 RC R. BERKS”, red fibre tag impressed “PTE R W KNOWLES C E 3111 N R”, sterling silver disc engraved “2ND LIEUT J C PIKE C OF E NORTHAMPTONSHIRE REGT” and tag engraved “S S ADKINS 2D LT SHERWOOD-FORESTERS”. All good overall condition. (8 items)
The Extremely Rare and Possibly Unique WW2 MBE (Military) and Dunkirk Evacuation Military Medal (M.M) Medal Group of Acting Group Captain Leslie Ralph Flower of the Royal Air Force, An Unusual Example of an Army Gallantry Award to a Member of the RAF For Service at Sea, group consists of M.B.E. 2nd type Military, Military Medal GVI “517225 CPL L. R. FLOWER R.A.F.”, 1939-45 star, Atlantic star, Defence medal, War medal 1939-45 (last 4 unnamed as issued), General Service medal 1918-62 ERII with clasp Malaya “FLT LT. L. R. FLOWER R.A.F”. - Group mounted as worn by the recipient. This group is sold with the following related items, Original bestowal document for the award of the MBE, named to Pilot Officer Leslie Ralph Flower MM RAF and dated 2nd June 1943. Also with case for MBE. Recipients Dunkirk medal in card box of issue. A framed picture (59 x 69.5cm) with caricatures of the members of the officer’s mess RAF Felixstowe, dated October 1949. An engraved silver (h/m Birmingham 1970) presentation cigarette box. The engraving on the lid depicts the Long Range Recovery and Search Craft of the type introduced by Group Captain Flower during his time as Director RAF Marine Craft. The engraving on the front depicts the Seaplane Tender which Group Captain Flower took to Dunkirk in 1940. The inscription on the inside of the lid reads ‘Presented to Group Captain L R Flower MBE MM RAF by the Officers and Airmen of the Marine Branch November 1970’. A cased model, by Brian Williams, of RAF High Speed Launch 127 deploying in support of Operation Jubilee (Dieppe raid 19th August 1942). Flying Officer Flower was Master of this craft during the operation. Presentation plaque with crest for RAF Mount Batten, presented to Group Captain Flower on his retirement from the service. Plaque inscribed ‘Presented to Gp Capt L R Flower MBE, MM RAF from the Officers and Men of RAF Mount Batten November 1970’. 2 printed folders of supporting information providing details of Group Captain Flowers service career and including an extremely detailed account of his involvement in the Dunkirk evacuation written by the Group Captain himself. Memory stick containing an audio file of an interview given by Grp Cpt Flower to Radio Solent on the 50th anniversary of Dunkirk. M.B.E Military – London Gazette 2nd June 1943. Information from the vendor indicates that this award relates to his time at RAF Carsewall when he led the rescue of a number of flying boats that had broken free of their moorings during a storm, thus keeping the unit operational. Military Medal – London Gazette 1st January 1941 ‘The King has been graciously pleased to approve the following awards in recognition of gallant conduct’, The original citation for the Military medal reads; “One Pinnace and 5 Seaplane Tenders left Calshot at 0430 hours on Thursday, 30th May, and proceeded to Dunkirk to assist in the evacuation of the B.E.F. They were towed by a tug but owing to rough weather the tow had to be cast off and the boats were ordered to proceed under their power. They were then engaged on the very difficult task of ferrying soldiers from the beach to larger vessels lying off the shore. During this operation, although not individually attacked, they were constantly under shell fire and subject to raids. Under difficult circumstances of a lee shore and heavy swell it has been reported that some 500 men were taken off and saved. In the process two Seaplane Tenders were lost, one through over-crowding and the second through damage to propellers and subsequent grounding. On Sunday, the 2nd June, two Seaplane Tenders were required to perform a special duty. The crews were selected from volunteers. During the passage to Dunkirk the two boats were first bombed and then repeatedly machine -gunned by three enemy aircraft. In the attacks Seaplane Tender No.243 was sunk and of the officers, crew and passengers, only one was saved. Seaplane Tender No.276, of which Corporal Flower was in charge, was ordered by the Senior Naval Officer present to carry on to Dunkirk in execution of orders. During the whole of the operations in which the Seaplane Tenders were involved, the coxswains and crews showed a strong sense of discipline and duty. In this, the work of Corporal Flower and his crew is specially mentioned. After being subjected to bombing and machine gun fire, in which his starboard engine throttle controls were shot away, Corporal Flower, when ordered to do so, carried on to Dunkirk, completed his task and returned to Dover with only one engine serviceable. It is considered that the resourcefulness of Corporal Flower and his crew contributed to saving Seaplane Tender No. 276 and the personnel on board when attacked. Thus, a machine gun mounting was improvised out of a towing bollard, engine starting handle, tubing and rope. From this they were able to maintain a high rate of fire with their Lewis Gun. Corporal Flower, during the operation of the 30th May and 2nd June, carried out his duties in a most commendable way and is therefore strongly recommended for the award of the Empire Gallantry Medal or the British Empire Medal for Meritorious Service.’
Rare WW1 British Other Ranks 1917 Dated Stiff Top Cap, interesting example of a khaki cloth stiff top pattern cap with short pattern peak having green underside covering. Interior with a black oilskin cloth sweatband and lining. The lining has white stamp for R Johnson Ltd, size marked 7 and 1917 date. Some wear to the exterior and interior of the cap. Very scarce item of WW1 headdress to find.
WW2 British Senior Rescue Party Officers Steel Helmet, good example of a standard WW2 period British steel helmet with white over paint finish and thick black line over the middle of the helmet. Black painted “R” to the centre. Oil cloth liner to the interior with webbing chinstrap. Liner dated 1939. Original owners details to the interior rim. Helmet shows wear.
WW2 British Home Front Rescue Party Steel Helmet, white painted civil defence steel helmet with stencilled in black “R” to the centre of each side of the helmet. Complete with 1939 dated liner system and webbing chinstrap. Some areas of paint loss to the exterior but generally a good example.
WW2 British Home Front Senior Rescue Party Officers Steel Helmet, white painted British steel helmet with two thick black painted lines to the centre of the helmet and painted “R” to the centre of each side. Complete with its original liner system which is dated 1939 and webbing chinstrap. Black painted to the interior is the name “WILLIAM KN”.
WW2 National Fire Service District No38 (Wimbledon, London) Steel Helmet Grouping of Fireman J H Burden, fine 1939 dated British steel helmet with original paint finish and decal transfer for the National Fire Service and district number 38. Complete with its original liner and damaged webbing chinstrap. Accompanying the helmet is his original 1939-45 Defence medal and Fire Brigade Exemplary Service medal named “FIREMAN JAMES H BURDEN”, also accompanied by London Fire Brigade / London County Council Good Service medal named around rim to “JAMES H BURDEN 1954” with forwarding document. British No4 MkII bayonet and WW1 Medal pair awarded to his father, “G-20435 PTE H J BURDEN R SUSS R”.
Tunics of WW1 Gloucestershire Regiment Distinguished Service Order (D.S.O) Winner Captain Edward Benjamin Pope, the first is a blue four pocket patrol tunic with early type Gloucestershire regiment tunic buttons, medal ribbons for the DSO, 1914-15 star, BWM and Allied Victory medal with MID oakleaf. Majors rank crown to the shoulders. No name inside of this tunic. The second tunic is his WW2 period service dress tunic with regimental tunic buttons and officers collar badges. This tunic is named to the interior tailors label. Edward Benjamin Pope was commissioned into the 8th Battalion Gloucestershire regiment in 1915, he appears to have continued to serve with the 8th battalion throughout the war. He was awarded the Distinguished Service Order in 1918, the recommendation for the award was as follows, “Lt (T Capt) Edward Benjamin Pope, Glou R. For conspicuous gallantry and devotion to duty when an important tactical position was in grave3 danger. He succeeded in rallying the line and led forward in face of heavy rifle and machine gun fire. Heavy casualties were inflicted on the enemy, and the line was re-established in its former position. Throughout he showed the greatest courage and resource”.
British 1922 Pattern Service Dress Tunic, fine example of the khaki wool four pocket service dress tunic with brass general service tunic buttons to the front and pockets. Sergeants rank chevrons to the arm. Interior with washed out size label but War Department broad arrow stamp with date letter “R” for 1939 still clear. Evidence of shoulder titles and collar badges once being present.
An Interesting Group of Seven Medals to a Qualified Royal Navy Diver Who Having Served Through the Second World War Was Then Involved in Minesweeping Duties Post War, consists of 1939-45 star, Atlantic star with clasp France & Germany, Africa star with clasp North Africa 1942-43, Italy star, Burma star, War medal 1939-45 (all unnamed as issued) and a Naval General Service medal GVI with clasp Minesweeping 1945-51 “R/JX275443 W. MORLING A.B. R.N.” Wilfred Morling was born in October 1922 and during his time in the Royal Navy he qualified as a Diver and was employed on operational duties in the clearance of mines, bombs and underwater obstructions in ports of the UK and N.W. Europe (confirmed by a copy of Certificate of Proficiency with this lot). An active member of the Burma Star Association his death from a car accident in June 1991 is confirmed in the Association newsletter. It also states him as being one of the 35 the recipients of the Kings Medal for outstanding bravery in saving life (South Africa) but additional research does not show his name in the list of recipients of this medal. The article also indicates that he was present on HMS Repulse when she was lost due to enemy action in December 1941. Would warrant further research.
* Canadian Korean War Medal Pair, consisting of Queens Korea medal, Canadian issue and United Nations Korea medal both named to “SD-9690 E R MERCIER”. D-prefix indicates enlistment in Militia district 4, Western Quebec. This item has been imported from outside the EU so is subject to a 5% import duty on the hammer price
* A Group of Six Medals to a Canadian who Served in Northwest Europe During the Second World War and Saw Later Service in the Korean Peninsula, group consists 1939-45 star, France & Germany star, War medal 1939-45 (Canadian silver issue), Canadian Volunteer Service medal (all 4 unnamed as issued), United Nations Korea medal “SF 52772 D R CAMERON”, Canadian Forces Decoration ERII, “SPR D R CAMERON”, in case of issue. F prefix indicates Militia District 6, Nova Scotia. This item has been imported from outside the EU so is subject to a 5% import duty on the hammer price.
Imperial German Camouflaged M-17 Steel Combat Helmet, good example of a classic WW1 German camouflaged combat helmet with thick black separation lines between the green, brown and ochre coloured camouflaged paint scheme. Interior of the shell with three white leather liner pads and remains of the original chinstrap. Shell is stamped with “SH 60” and the dome “R 175”. Interior skirt of the shell painted with a black “60”. A good classic example.
WW1 British 1918 Extendable R & J Beck Ltd Trench Periscope, fine example of the extendable pattern trench periscope retaining much of its original paint finish. Complete with its removable wooden handle and housed in the original leather carry case with shoulder strap. Periscope is marked “PERISCOPE NO25 (X6 / 70) No 5998 R & J BECK LTD 1918”. Generally a good condition example.
Edward VII 1821 Pattern Officers Sword of the Army Service Corps, regulation pattern officers sword with three bar guard leading to patterned pommel and plain back strap. Grip retaining the original covering and wire binding. Housed in its brown leather field service scabbard. Attached to the scabbard is a brown leather sword frog. Polished regulation blade with crowned EVII cipher, regimental badge of the Army Service Corps and foliage. Retailed by J R Gaunt & Son. Blade 90cms, overall 107 ½ cms. Some wear to the lower part of the scabbard and the blade heavily polished but otherwise a good example.
British 1907 Hooked Quillon Bayonet by Wilkinson Regimentally Marked to the Argyll & Sutherland Highlanders, good untouched example with the top pommel being stamped “A&S H R 956”, wooden two piece grips and hooked quillon muzzle ring. Housed in a 2nd pattern leather scabbard with steel mounts. Blade marked with crowned 1907, acceptance stamps and WILKINSON. Fuller to the back edge of the blade. Some surface rusting to the metal fittings of the hilt and scabbard, some stitching faults to the scabbard. Blade 43cms, overall 56 ½ cms.
pencil and watercolour, inscribed in pencil DESIGN FOR BROOCH IN TURQUOISE AND SILVER-/ OR PENDANT10cm x 10.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M21Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
silver and enamel, signed lower left VARLEY, stamped STERLING SILVER 5.3cm x 3.6cmFootnote: Note: Fleetwood Varley (1863-1942) worked at The Guild of Handicraft from 1899 and was a renowned artist and gifted enameller. He was a friend of C. R. Ashbee and collaborated on finely painted enamel works mounted in silver at Chipping Camden.
chestnut148.5cm long, 74.5cm high, 80cm deepProvenance: From The Millinery Works Collection.Footnote: Literature: Lethaby, W. R., Powell, Alfred H., Griggs, F.L. Ernest Gimson; his life & work, plate 30 Cheltenham Museum, 1941 222.413 Note: Tables of this design, with chip-carved detail to the table edge and apron, were supplied by Gimson to the agricultural reformer Hugh Fairfax-Cholmeley (1864-1940) at Brandsby Hall, near York. Gimson produced variations of his designs in different woods and qualities of timber, depending on the wishes of his clients and what they could afford. Waals continued the Gimson tradition after his death, making furniture to his designs and acquiring the stock of seasoned timber and equipment from his executors.
oak and ebonised oak, maker’s label verso THE RUSSELL WORKSHOPS BROADWAY/ DESIGNER GORDON RUSSELL/ FOREMAN EDGAR TURNER/ CABINET MAKER C TURNER DATE 1/11/28, with keys175cm wide, 181cm high, 57cm deepProvenance: From The Millinery Works Collection.Footnote: Note: Unlike his contemporaries, many of whom initially trained as architects, Gordon Russell was primarily self-taught. He and his father were acutely aware of the exciting hub of activity in the Cotswolds, led by pioneers such as C. R. Ashbee and Ernest Gimson; after witnessing unimaginable scenes of complete destruction after the First World War, Russell was determined to create furniture that would stand the test of time and be valued by generations to come. Together he and his father established Russell & Sons in 1922 and were advocates of the Arts & Crafts ideology as they sought to improve working conditions and provide educational opportunities for their workforce, whilst at the same time producing high-quality pieces that celebrated design and the craftsman. Clearly influenced by Gimson and Scandinavian modernism, out of Russell’s Workshops came simple, yet highly functional pieces, using the finest quality woods and showcases traditional craftsmanship. In 1947 Russell was appointed chairman of the Design Council and played a crucial role in the design and manufacture of Utility furniture in the post-war years which helped re-build the country.
white metal and enamel, marked verso R3.4cm acrossFootnote: Note: Frances Macdonald and her sister Margaret were skilled in metalware, jewellery and enamelling however few executed pieces of jewellery are known. A group of jewellery, attributed to McNair and engraved to the reverse with the letter R, as in the present lot, was sold at Christie’s, London, in 1992.For similar examples of jewellery in this group with this marking see Metropolitan Museum of Art, New York, Accession Numbers 2021.7.6 and 2021.7.5
pencil and watercolour, inscribed in pencil - PLEASE PUT ON/ EXTRA RING &/ FASTEN CHAIN TO PENDANT-17.5cm x 10.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M20Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
pencil, watercolour and silver paint16.5cm x 12.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M19Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
electroplated silver, stamped marks for G. R. COLLINS & CO, engraved to the base G.R. COLLINS & CO./ M.G FROM H.T.B/ 130 REGENT STREET LONDON10cm highFootnote: Note: This beer tankard was designed by Alfred Stevens, specifically for use in the South Kensington Museums' restaurant. The first museum restaurant in the world, which opened in 1857 For a similar example, see V&A Museum, accession number M.84-1984.
to include:The Artworkers Guild 1884 to 1934 by H. J. L. J. MasséMay Morris: William Morris (in tissue paper wrappers)J.W. Mackail: The Life of William Morris 1st edition 1899 (2 Vols., with Philip Burne Jones' signature)J.W. Mackail: The Life of William Morris, 1901 ed (with May Morris' signature)Transactions of the National Association for the Advancement of Art and its Application to Industry Liverpool Meeting of 1888Socialism Its Growth & Outcome by William Morris & E Belfort Bax, 1893Labour Annual 10 copies, 1898, 1899, 1900, 1901 (Reformers Yearbook, formerly Labour Annual), 1903, 1904, 1906, 1907, 1908, 1909 J.B. Shaw (edit.): Fabian Essays in Socialism, 1 volumeWilliam Morris: Hopes & Fears for Art 5 Lectures 1871-1881William Morris: Gothic Architecture: A Lecture for the Arts & Crafts ExhibitionThe Dream of John Ball & The Kings LessonWilliam Morris: Address delivered 11th November 1890Socialist Review March, April & May 1928, contains unpublished letters of William MorrisNotice of a Fabian Society Public Meeting 1908 by G. B. Shaw on Socialism – Hand FlyerKelmscott Fellowship Notice 1926, showing A. H. VerstageWilliam Morris: The Life & Death of JasonWilliam Morris: The Earthly Paradise (3 of 4 parts)William Morris to Whistler: Papers & Addresses on Art & Craft and the Commonweal; Illustrations by Walter CraneWalter Crane: An Artist’s ReminiscencesWalter Crane: Decorative Illustration of BooksWalter Crane: Decorative Illustrations des BuchesMacNeil Whistler: Pamphlet Board of Education South KensingtonWalthamstow Museum: Guide to William Morris CentenarySpeeches in Commemoration of William Morris at the Baths Hall Walthamstow (3 copies)William Morris 1884-1934: Some AppreciationsMorris & Company 1861 to 1940 (2 copies)Tributes to Peter FloudParables from Nature by Margaret GattyMary de Morgan: On a Pincushion & Other Fairy talesH.J.L.J. Massé: The Artworkers Guild 1884 to 1934A May Day InterludeC.R. Ashbee: Table of the Arts & Crafts of the RenaissanceC.R. Ashbee: Table of the Arts & Crafts of the 17th Century (2 copies)C.R. Ashbee: Table of the Arts & Crafts of the 18th Century (2 copies)The New Party published by Hodder Brothers, frontispiece by Walter CraneWilliam Morris: Dream of John Ball and A King’s LessonWilliam Morris: The Defence of Guenevere and Other PoemsSidney Webb & Sidney Ball: Socialism and IndividualismA Catalogue of an Exhibition Celebrating the Ninetieth Birthday of The Churches and Chapels of Old LondonWilliam Morris as a SocialistWilliam Morris: Art & the Beauty of the Earth, A LectureSir Edward Burne-Jones: Letters to Katie with an introductory noteWilliam Morris: The Water of the Wondrous Isles, LongmansWilliam Morris: Prose & Poetry (1856 – 1870)Edward & Stephani Godwin: Warrior Bard. The Life of W. MorrisWilliam Morris: News from Nowhere, pocket editionH Halliday Sparling: The Kelmscott Press and William MorrisWilliam Morris: A Dream of John Ball and a King’s LessonJ.W. Mackail: The Life of William Morris 2 volumes, new editionCountess of Warwick: William Morris His Homes & HauntsEdited by G. D. H. Cole: William Morris Selected WritingsWilliam Morris: News from Nowhere, Boston: Robert BrothersC. Gillington: A Day with William MorrisGerald H Crow: William Morris DesignerBernard Shaw: Morris as I Knew HimPeter Faulkner: Wilfred Scawen Blunt & The MorrisesRichard Tames: An Illustrated Life of William MorrisJoseph R. Dunlap: William Caxton & William MorrisPeter Faulkner: William Morris & Eric GillS.L. Bensusan: The Charm of Burne-Jones Provenance:From the collection of Arthur Halcrow Verstage (1875-1969); The Millinery Works Collection.Footnote: Note: Arthur Halcrow Verstage was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection, amassed from 1902 to 1972, reflected his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
pencil and watercolour, inscribed in pencil ENAMEL -/ SIDE-/ FRONT-/ BACK-10.5cm x 14cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionFootnote: Exhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M23Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
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