Ca. 1368–1644 AD. Ming Dynasty. An elaborate male figure with beautifully glazed pigment. The man is standing with his feet apart and dressed in a green coloured tunic, and a long green coat lined with yellow tied at the waist by a green belt. He is wearing heavy boots and a conical hat with a thick brim. His face shows a calm expression with wide-open eyes, a broad nose, and small lips painted in red. He holds a fascinating implement which may indicate that he is a merchant or trader. These types of figurines were tomb attendants, a class of artefacts called 'mingqi' – sometimes known as "spirit utensils" or "vessels for ghosts". They became popular in the Han Dynasty and would persist for several centuries. Alongside figures like this one were musicians, athletes, and animals. Mingqi often show a high level of detail and naturalism. These were designed to assist the 'po', the part of the soul of the deceased that remained underground with the body while the 'hun', the other part of the soul, ascended. Hundreds of pottery figures like these were placed into tombs during the Ming period. In one undisturbed Ming Dynasty prince's tomb, archaeologists found an array of small figures placed as if in ceremonial procession; the deceased's books, paintings, clothing, and other personal effects were also present. Good condition. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)"; In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm). Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong. Size: L:235mm / W:80mm ; 510g
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Ca. 100–200 AD. A grey chlorite-schist rectangular panel, carved with the impressed footprints of the Buddha. Each footprint is et within its own section, framed by a stylised leaf border with flower motif to the central upper and lower bands. Each foot is deeply carved with the toes appearing long and the ends carved in relief with the Triratna symbol. Below these, each toe has a Sawastika symbol of good fortune. The heel of each foot has a stylised flower that symbolises the Chakra wheel of the Buddhist law. Below this is a high relief Triratna symbol with stylised flower motif below.Prior to the arrival of the Greeks into India and Central Asia the depiction of the Buddha was forbidden. This was in accordance with the wishes of the Buddha who expressly forbid his followers to worship him, only to honour him as an enlightened teacher. Thus it was, that the Buddha was usually represented either by the Chakra wheel, an empty throne, the Triratna or the footprints of the Buddha. The use of the footprints as an object of veneration find their origins in Hinduism, the difference with Buddhist examples, being the inclusion of the Chakra wheel and other symbols.In that form they are found on Ashokan pillar capitals, as well as earlier carvings at Amaravati. the Dharmachakra form developed from a solar disc image and that it was a recognised holy symbol prior to the Mauryan period, when it became associated with Buddhist art. Here, the lotus at the centre is a development on the solar disc form, the lotus symbolising the Buddha’s purity of spirit. This appears to be a Gandharan innovation. Another Buddhist symbol, the Triratna, symbol of the Threefold Way, appears close to the heel and this incorporates the same lotus. A single lotus appears between the feet. On the toes, as well as the repeated Triratna, Swastika forms appear below, another long established and auspicious solar symbol which became incorporated into Buddhist and Jain art in this period.Sometimes the feet have two female figures to either side, which have been recognised as Yakshis, celestial maidens who have their origins in Hinduism. This Buddhapada slab is surrounded by a crossed border, an ornament frequently seen in Gandharan art, in narrative friezes, on the throne of the Buddha. This border effectively sanctifies the area within. Otherwise, the slab is smooth and unornamented, underlining the essential simplicity which characterises the Gandharan style and provides such a contrast with the crowded, energetic forms which featured in artworks from India.The veneration of the feet of gurus or deities was commonplace in ancient India, placing one's head at or under their feet being a ritual gesture signifying a hierarchy. These were made during the pre-Greco-Buddhist phase of Buddhist art at Sanchi, Bharhut, and other places in India, along with other symbols, such as the Bo-Tree and the Dharmachakra. Later, the footprint-making tradition became prominent in Sri Lanka, Cambodia, Burma, and Thailand. The Triratna is the symbol of the Three Jewels of Buddhism, being the Buddha, the teaching of the Buddha and the community of Buddhist practitioners. In early, pre-figurative Buddhist art, the Triratna is often seen as the principle image of veneration, taking the place of the Buddha.The footprints of the Buddha symbolize the Buddha's presence, as they are believed to be the imprints where the Buddha actually touched the ground. At the same time, the Buddhapada signify the Buddha's absence now that he has entered nirvana, and thus are a reminder of the Buddhist ideal of non-attachment.The item was researched by Bret Gaunt. For a similar example see The Yale University Art Gallery, accession number 2015.141.1. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: London private collection; formerly acquired in the 1990s in London; formerly in 1960s/70s British collection. Size: L:640mm / W:560mm ; 30k+g
A GERMAN THIRD REICH SILVER TEA SERVICE, by Hessenberg & Co, comprising spirit kettle on stand, teapot, coffee pot, cream jug, two-handled covered sugar bowl and open sugar bowl; together with A THIRD REICH SILVER OVAL TRAY, by Margraf & Co, 800 grade. (7) Spirit kettle 41cm high, approx. 145 troy ounces
A collection of stoneware jars including a J. J Rolfe Brewer and Spirit Merchant Kings Lynn 1 gallon measure, a Zummerzet scrumpy 1 gallon measure, tallest 34cm (10).PROVENANCE: The Raymond Rush Collection. Mr Rush was an engineer, farmer and lay preacher who lived at Golden Cross Farm in Siddington, Cheshire. He was also a historian, broadcaster, author and speaker who regularly gave talks on local history, agricultural history and historic curios. In addition, he was also an accomplished maker of corn dollies.PLEASE NOTE: This lot is being sold in-situ from a local farm house in Siddington. Collection within the week by Friday 26th. Full collection and payment information will be emailed with invoice following the sale.
A cased set of six silver teaspoons, modelled on an original Roman spoon from 2nd Century AD, Sheffield, 1972; together with another cased set of six silver teaspoons, a silver trumpet-shaped vase, silver backed dressing table set and assorted silver plated items including a spirit kettle and cased carving set by the Goldsmith's & Silversmith's Company Ltd (one tray)
Lima - A boxed Lima OO gauge Class 156 2-Car DMU 'Super Sprinter' in Northern Spirit livery. Lot consists of Lima #205036 Power Car Op.No.57491 and Dummy Car Op.No.52491. Models appear to be in Excellent condition with signs of use plus some labelling to undersides, housed in Very Good window boxes with some general wear and labelling to ends. (2) (This does not constitute a guarantee)
Three Second World War Diaries belonging to a Royal Air Force casualty, the details of the owner are a little vague giving only name and rank but by cross referencing entries in the diaries with 'Commonwealth War Graves Commission' and marriage records we were able to ascertain that they belonged to Pilot Officer Eric Moore, of 59 Squadron, the diaries cover 14th - 29th January 1940, 5th December - 16th December 1940, and 3rd January - 30th January 1941, there must have been other diaries written by Eric Moore but these three give a fascinating insight into the feelings of an RAF Bomber crew member in the dark days after Dunkirk, the hand written detailed daily entries reveal his fears, hopes and aspirations for the future, obvious dedication to his wife, and reflections on how the war will develop, there are entries on raids on French ports (a long way from the 1000 bomber raids of the later years) detailing the routes out and back, anti aircraft fire and results, not always positive, relief at raids being cancelled, and frustration when, due to weather conditions, they can't make any at all, aircraft accidents, and deaths of friends and colleagues, he details his thoughts and regrets on the prospect of his own death in action, he describes everyday life in between operations, lectures, training, drinks in the mess, some riotous!, he mentions many other air crew by name and his interactions with them, critical of some, periods of leave with Elsie, his wife, visits to the local town, Emsworth, from R.A.F. Thorney Island where he was based, he is clearly very enthusiastic about cars and describes in detail his own experience buying and, unfortunately, repairing his own, the third diary, covering January, is where he is at his most reflective, possibly because the weather is so bad he is able to take part in only one raid, the reading of the diaries is a poignant experience because 79752 Pilot Officer Eric Moore, Observer, Royal Air Force Volunteer Reserve was Killed in Action on the 22nd March 1941 with P/O Date (pilot) and Sgt. Watkins (Air Gunner), when his Bleheim IV Bomber aircraft, T2433, squadron code TR-X, was shot down off Katwijk by a Me109 Fighter of JG1 flown by Oberleutnant Paul Stolte, the beginning of each of the three diary's states that it should be given to his wife Elsie, gives the address where his last Will and Testament is held and that 'In it I leave everything that I possess to my wife', photos of Eric Moore can be seen on the number 59 Squadron website which also mentions his relationship with other aircrew which is detailed in the diaries, some entries are detailed below to give an indication of contents. Monday 14th October 1940: '..again detailed for L'Orient this evening, I don't feel half so jittery now when I hear such news, I think we had the worst we're likely to get on our last show..', 17/10/40: raid on Brest, describes take off, flight to target, weather condition, FLAK and bomb run, '..then, after a few seconds I let the two incendiaries off too. I was relieved to get rid of them and anxious to get out to sea..' , debrief in ops room, describes attack on 'enemy' destroyers earlier in the day by aircraft operating out of St Eval, '..the lads came back and found they had been attacking the British Navy!..', 20/10/40:description of drunken antics in Mess, '..throwing glasses, ash trays etc at the inoffensive wireless set at the end of the room..heaving arm chairs and tables in the centre of the room and executing a war dance around the pile with lamp shades on their heads..', 22/10/40: description of raid on L'Orient, '..sensation of impending disaster..' armourer hadn't plugged in the 'Mickey Mouse' (bomb release button) so bombs not released!, 24/10/40: '..also that the Coastal Command has done so well in smashing the invasion threat that we are to get ten days leave every 40 days in future..', 26/10/40: on standby for raid on Brest, Ops room for briefing, one aircraft has to drop out so required to take place, '..when Mac called through, 'I am landing, the air speed indicator is not registering, I gave a cheer and went and sat beside him for landing..', 27/10/40 raid on L'Orient, '..we came in at 4,500 feet for our attack. Running South over the town I caught a glimpse of the river which I recognised, had Mac turn 180 degrees and picking up a series of long roofs let go my stick of bombs. Beams promptly picked us up and evasive tactics prevented us seeing the results of our bombs..Mac twisted and turned making his manoeuvres more violent..he over shot the angle and and looking through the cabin roof I saw the searchlights pointed up at us, we were upside down!..I shall never understand how we failed to get hit..', 29/10/40: description of new bomb designed to set alight oil which had flowed onto water from tanks burst by Bomber Command, very crude and amateurish, deployed by hand!, 5/12/40 continued description of raid on L'Orient, disagreement with pilot over prospective factory targets, '..Mac replies 'We are sent to bomb L'Orient not a French factory making tits for babies milk bottles' quoth he..', thoughts on being killed in action, on return discovers that the 'Mickey Mouse' was unconnected to the circuit (again) so bombs still on board!, '..attended funeral of Heinman who crashed last Sunday morning..' description of funeral and grief of relatives, description of Dining in night in Officers Mess, 7/12/40: depression at thought of another week of flights, missing Elsie, description of aircraft from 53 Sqn crashing into trees on landing in poor weather, pilot, Weatherby, and Observer killed, 8/12/40: told by Flight Commander Ropy Palmer he is flying with him on raid as he is testing the Observers, Moore concerned he is under specific observation (correct), description of raid on L'Orient, gunner reports guns jammed and belly gun firing only single shots and front gun not working!, requests change of pilot and finds out he had already been complained about hence the 'test' by Palmer who declares his confidence in Moore, promises to see what he can do, 12/12/40: description of raid on Brest, heavy Flak, HMS Queen Elizabeth with destroyer screen leaves Portsmouth, no radio contact only signal lights to avoid discovery by enemy, 16/12/40: photo recce mission with Wing Commander to German aerodrome on Guernsey, spot two Dornier 18 Flying boats and a convoy of 5 ships, 4/1/41: '..a day full of tension and excitement..', description of scene at Thorney Island as Blenheims from 53 & 59 Squadrons are detailed to bomb a Hipper Class cruiser (actually the Hipper herself) in a raid on Brest, Moore not detailed as on standby but describes excitement, apprehension, and in some, depression, at having to attack in daylight, describes damage to one of returned aircraft '..completely riddled yet none of the crew touched!..', 5/4/41: description of aircraft from 'A' and 'B' Flights 59 Sqn sent on another daylight raid on Brest, as given by colleagues, 10/12/40: description of loss of aircraft and crew when their TR91 radio packed up and they couldn't receive bearings to get back from a raid, believed to have crashed into Atlantic, '..another crew joined the limbo of those whose bones strew the floor of the sea bottom around these shores..', 16/1/41: 24 hrs leave with Elsie, '..hopes for our Junior were unfounded this time..have decided to wait until May before trying again. By that time the invasion attempt should be made &, I hope, frustrated. In effect, the war should be well on the way to victory for us by mid summer..', 17/1/41: description of attack on a German convoy by 6 aircraft of 59 Sqn, McCurdy's aircraft hit by a shell, '..he was damned lucky to get away with it..', 19/1/41: fed up with continuous grounding due to wet weather, criticism of some for 'wrong spirit', 21/1/40: walks into Emsworth and discovers church down side road, goes in and sits alone, very reflective, very sombre
A set of 20th Century Austrian 1930's Bimini Art Deco liquor decanter & pair of glasses. Matching set of spirit / liqueur glasses & decanter. Transparent nude pink glass etched with floral design in bowl form on a round base featuring opaline / white lampwork mermaid stems. The decanter also in pale pink & engraved with violets features the same mermaid motif inside & atop the stopper. Decanter measures approx; 25 cm. Glasses measure approx; 10cm x 7cm. Condition; wear commensurate with age, no visible damage.
A large collection of assorted alcohol / spirit drinking miniatures to include a tin of 'William Grant's Miniature Collection', a tin of 'Ardbeg The Ultimate Single Islay Malt Scotch Whisky', a box of 'Best Of World Whiskies', and around 200 loose assorted alcoholic drinking miniatures to include; Martini, Amaretto, Martell, Sambuca, Captain Morgan and many others. Good variation of different brandy, whisky, rum, vodka and liquors present here all appearing to have nice seals and labels. Good collection.
CHOPARD: 'HAPPY SPIRIT' DIAMOND, CORAL AND ONYX PENDANT/NECKLACEThe brilliant-cut diamond heart shaped plaque, glazed to reveal 'floating' coral corallium rubrum and onyx hearts with a 'floating' brilliant-cut diamond, mounted in 18 carat white gold, diamonds 1.00ct total, pendant and chain signed Chopard, numbered, European convention mark, Swiss assay mark, lengths: pendant 3.5cm, chain 54.5cm, maker's case, accompanied by a certificate of origin Footnotes:Please note, this lot will be subject to US Fish and Wildlife regulations if imported into the USA.Please note this lot has VAT at the prevailing rate on both Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: Ω YΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
CHOPARD: 'HAPPY SPIRIT' PENDANT/NECKLACEThe brilliant-cut diamond heart-shaped plaque glazed to reveal a 'floating' similarly-cut diamond heart with a singular 'floating' diamond, suspended from an unassociated silver chain, signed Chopard, numbered, lengths: pendant 1.8cm, chain 45.0cm, maker's caseFootnotes:Please note this lot has VAT at the prevailing rate on both Hammer Price and Buyer's Premium.This lot is subject to the following lot symbols: ΩΩ VAT on imported items at the prevailing rate on Hammer Price and Buyer's Premium.For further information on this lot please visit Bonhams.com
A COLLECTION OF MILITARIA INCLUDING BELTS AND COMPASSES. Militaria including a Sam Browne belt and shoulder strap, a Royal Engineers Elizabeth II Stable belt, two webbing pouches MECo 1935 and 1941 containing a Barker's patent compass and No 1208 compass, a further Second World War compass T.G.Co NoB 71758, 1940 MkIII in leather case marked P. Grant-Lawson, A second World War ribbon bar for seven medals with Mentioned in Despatches oak leaves, two cloth patches, a peaked cap and literature to include 'Somerset Fencible Cavalry' by Lord Hylton, privately printed, 'Team Spirit the administration of the 53rd Welsh Division during operation Overlord' and others.
A 19th century saltglazed spirit barrel, a Boston pottery water filter and a flagon bottle 'Attercliffe Common Sheffield'Condition report: Small brown flagon has large chipping to the rim and wear to the relief decoration. The cork has been cut. Wear to the base and rim. 29 cm tall. Flagon bottle 'Attercliffe Common Sheffield' chipping and wear to the rim and funnel. Discoloured marks to exterior. 35 cm tall. Boston pottery water filter has a large chip to the rim along with cracking to the relief work on exterior. The cork has been filed down and there are disocloured markings to the outside. The inside discoloured with the seal having a build up of dust. 37.5 cm tall.
Gazbia Sirry (Egypt, born 1925)The Village oi on panel, framedsigned 'Gazbia' in English and Arabic (centre right), executed circa 1970s59.2 x 56.1cm (23 5/16 x 22 1/16in).Footnotes:VISIONS OF EGYPT: WORKS FROM THE COLLECTION OF DR ANGELO GIOE, FORMER ATTACHE OF THE ITALIAN CULTURAL INSTITUTE, CAIROProvenance:Property from the collection of Dr Angelo Gioe, cultural attaché at the Italian Cultural Institute, Cairo 2003-2007Acquired from Mona Hob, wife of the Egyptian artist and illustrator Hilmy El Touny'Notwithstanding the historical significance of her art—and the international recognition that has come with a record of seventy-five-plus one-woman shows across continents— Sirry is surprisingly under-studied, and her art is described predominantly in technical terms centered on 'color.' The quintessence of life and political statements, however, seems to have been ignored, if not entirely missed. Educated in Egypt and Europe, Sirry built one of the most influential careers in twentieth-century modern Arab art.Divided into three overlapping phases, her paintings blur art and politics as they narrate the story of societies vacillating between triumph and defeat, dignity and humiliation, social justice and inequality. Sirry arguably birthed a new identity that makes no distinction between seeing and militancy. As she fluidly moved between styles, this 'childless' grande dame became the national godmother to an entire nation'- Fatenn Mostafa KanafaniGazbia Sirry is one of the many accomplished women artists who have made a mark in the Egyptian arts throughout the twentieth century. She stood out for her dedication to the individual freedom of the Arab woman through her fighting spirit. Sirry's ardent enthusiasm for innovation and her openness to international influences made her a vital contributor to the Contemporary Art Group in Cairo. A prolific painter, she has experimented with a range of styles. Her early works resembled illustrations inspired by children's coloring books. But she soon shifted to an Expressionist style in which her use of heavy impasto, quickly applied and violently scratched, explored a thematic revolving around the artist herself or groups of individuals and couples. Her figures seem to be struggling to emerge from the whirlpool of life, or have gathered together for sheer survival in an urban environment gone astray.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Samir Rafi (Egypt, 1926-2004)Spirit Animal oil on panel, framedsigned 'S.Rafi' and dated '73' (lower left), executed in 197348 x 38.5cm (18 7/8 x 15 3/16in).Footnotes:Provenance:Property from the collection of Dr Angelo Gioe, cultural attaché at the Italian Cultural Institute, Cairo 2003-2007This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Nirvana: A hand-written setlist by Dave Grohl For The Octagon, Sheffield,28th November 1991,from Nirvana's 1991 British tour, written in black ink in Dave Grohl's hand to the reverse of a Sheffield University Student's Union Guest List sheet, the list of songs comprising 'Drain You', 'Aneurysm', 'School', 'Floyd', [Smells Like] 'Teen Spirit', 'About A Girl', 'Polly', 'Lithium', 'Sliver', 'Breed', 'Been A Son', 'Neg. Creep', 'On A Plain' and 'Blew', together with a ticket for the gig at The Octagon, Sheffield University, the set list 11 1/2in x 8in (29.2cm x 20.4cm), (2)Footnotes:Provenance:Acquired by the vendor when attending the concert in Sheffield in 1991.Nirvana performed for one night in Sheffield as part of a nine-date UK tour to promote the release of Nevermind two months prior. In England they were supported by Japanese rock group Shonen Knife, and Scottish Indie band Captain America (later renamed Eugenius). After the 1991 tour, Nirvana's only other live performance in England was their Reading Festival appearance in August 1992.For further information on this lot please visit Bonhams.com
BETJEMANN’S PATENT; A LATE 19TH CENTURY SILVER PLATE AND OAK THREE BOTTLE TANTALUSMarked on handle ‘ BETJEMANN’S PATENT 23044 LONDON’, 37cm wide; 32cm highGeorge Betjamann & Son were regarded as “probably the largest maker of fancy goods in the world; invented the Tantalus spirit stand of which sold many thousands”. See John Chume, Gold and Silversmiths London, 1987, p.43.Condition report:Good order. Rubbing and tarnishing to the mounts, notably to the handle. Bottles and stoppers intact, one with a small chip to the flared rim. A small chip to the base of two bottles, but not very noticeable with the hob nail cut. The odd small bruise to the faceted stopper.Glass and stoppers are a good fit and appear to be original.
617 Squadron. A WWII DFC group attributed to Flight Lieutenant A.W. Fearn, DFC, RAF who served with 617 (Dambuster) Squadron Distinguished Flying Cross, GVIR, reverse officially dated '1944' 1939-1945 Star Air Crew Europe Star with France and Germany clasp War Medal, extremely fine and court mounted as worn, presented in a glass display case with cloth brevet and riband bar (frame size 40 x 32cm), with two logbooks and copy of Aircrew, The Story of the Men who Flew the Bombers by Bruce Lewis, in which Fearn is mentioned several timesQty: (4)Footnote: Provenance: Bosley's, Marlow 2010 (lot 482) DFC London Gazette 21 April 1944 The recommendation for the DFC (19 January 1944) states, 'P/O Fearn was posted to No.57 Squadron from 1662 CON. Unit on the 28th June 1943. He has taken a part in attacks against many strongly defended targets in Germany, including 8 of the recent attacks on Berlin. P/O Fearn has shown courage and resolution throughout his tour. His example has been responsible for the excellent offensive spirit in his crew. P/O Fearn is strongly recommended for the award of DFC.' Flight Lieutenant Arthur Willam Fearn joined the RAF in October 1941 and trained in Tiger Moths with 2 EFTS, he then trained in America in Vultee BT 13 before returning to England with No 6 AFU and then posted to 27 OTU, on 15 May 1943 he flew in a Wellington to Paris on a leaflet raid. On 1 July 1943 he was posted to Scampton with No.57 Squadron (Lancasters), his first operation with the squadron was on 3 July 1943 to Cologne with further operations in the prevailing months. On 4 October 1943 during an operation to Frankfurt his aircraft encountered a Ju88 over the channel and his aircraft was holed by flak. In November 1943, he flew four operations in 8 days taking part in the Battle of Berlin with a total of 8 operations over Berlin between November 1943 and January 1944. In total, he flew 21 operations with 57 Squadron before being posted to 617 (Dambuster) Squadron in February 1944. His first trip on a Special Operation to the Aero Works in Lyons was on 23 March 1944 with two further operations to Lyons a few days later. On 5 April another special operation on an aircraft factory in Toulouse, with other operations over Villacoubley (near Paris), Brunswick and Munich (a photograph of these two-night attacks are pasted in the logbook). In May the squadron were preparing for the D-Day landings and on 5/6 June special operation with cooperation with Sea-Borne Forces which was to fly a decoy mission, the squadron flew a low-level box pattern, depositing window, this affecting the German radar, the operators believing the invasion fleet was heading for Le Harve and not Normandy. On 8 June the Saunur Railway Tunnel was bombed as the allied commander believed the Germans would use the tunnel to move a Panzer unit to the Normandy battlefield. The tunnel was successfully bombed and the attack is regarded as a notable contribution to the success of the Normandy invasion. The operation marked the end of Fearns tour and is signed by Wing Commander Leonard Cheshire VC. It was Cheshire's common practice to ask crews if they wanted to go on with operations or be posted, Fearn decided to continue his operations on 14 June 1944 over Le Harve destroying U Boats and E Boat Pens with the new Tallboy bombs, a similar operation the following day over Boulogne, on 20 July a special operation in the Pas de Calais area Fearn records 'target obscured by the cloud, ordered to bring 'bombs' back, landed with some 60,000 lbs. Saw first Buzz-bomb crossing area, over coast, then destroyed by Ack Ack fire', on 25 July his aircraft was hit by flak over target, the bomb release cable was severed and they were unable to aim bombs and therefore released them manually. Fearn flew 45 operations with 24 of them with 617 Squadron, his last operation with the squadron was on 18 August 1944, he was then posted as a flying instructor and then to the Coastal Command Development unit before returning to an operational squadron (15 Squadron) in June 1945 the unit was primarily ex 617 personnel and a record of this is in the logbook, the final entry is on 29 January 1946 and Fearn flew a total of 1124 hours 51 minutes.
A collection of mostly late 18th/ early 19th century Bristol blue glass to include a late 18th century spirit decanter and stopper c.1790first of tapering club shape, decorated in gilt 'Rum' with a navette shaped label and fitted with a flat lozenge stopper together with a patch stand with a wrythen fluted shallow circular dish on a knopped stem and circular foot, sucrier with honeycomb moulded cover a wrythen knop finial, a pedestal sugar bowl, a wrythen boot-shaped stirrup cup, a jug with applied handle, a wrythen am mould blown dish with folded rim, a small jug, a clear wrythen glass cream jug with blue rim and two two wrythen epergne trumpets, (qty)First height 33.5 cm., plate diameter 26.5 cmCondition: First some rubbing to gilt, stopper original. Otherwise all items in fair condition
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49305 item(s)/page