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Lot 337
SILVER GOLFING INTEREST SCOTTISH SILVER LIDDED TROPHY CUP maker's mark double struck, probably Lawson & Co, Glasgow 1935, twin handles and body embossed and chased with Celtic scroll work, lid with 'Spirit of Ecstasy' figural finial, engraved 'Troon Golf Club, Blackrock Cup, Won by F.C Comery, 1938', approximately 232g, 16cm high; together with a golfing intertest silver lidded trophy vase, maker Mappin & Webb Ltd., Sheffield 1959, engraved 'The Dormer Cup 1960', approximately 103g, 13.5cm high and a silver ash tray, maker Adie Brothers Ltd., Birmingham 1939, engraved 'Troon Golf Club' with crest and motto, approximately 47g, 9.5cm long (3)
![[PEARSE, Padraic] An original Prospectus for Pearse's school, St. Enda's in Rathfarnham, 1910-11, 16 pp, sm qto (stapled),](https://cdn.globalauctionplatform.com/dd961d01-4329-4a9a-a0bd-a55500ac460b/2b75e663-1cc2-4773-ef73-d66acbff3f3d/468x382.jpg)
Lot 539
[PEARSE, Padraic] An original Prospectus for Pearse's school, St. Enda's in Rathfarnham, 1910-11, 16 pp, sm qto (stapled), a clean copy. With bilingual details of the programme and masters, including Pearse himself as head master, his sister Miss Pearse as assistant mistress, his brother William to teach art, Padraic Colum to teach English Literature, and occasional lecturers including Douglas Hyde and W.B. Yeats. The prospectus outlines Pearse's educational programme in detail. 'A manly self-reliance and a healthy ambition to plan and achieve are not only inculcated in theory but fostered in practice .. The School Staff directs earnest efforts towards the awakening of a spirit of patriotism and the formation of a sense of civic and social duty .. 'In the general curriculum first place is accorded to the Irish Language, which is taught as a spoken and literary language to every pupil .. All modern language teaching is on the Direct Method .. The study of History, especially Irish history, forms an important part of the curriculum .. Nature-study forms an essential part of the work at St. Enda's ..', etc. With a copy of a modern booklet on Scoil Eanna. (1)
Lot 891
The India General Service and Great War Group of 4 awarded to Lieutenant-Colonel Charles Burrard, 9th (Service) Battalion, Royal Welsh Fusiliers, late 21st Bombay Infantry, who was Second In Command of his Battalion during the action at Pietre, part of the Battle of Loos in 1915, and later Commanding Officer upon the death of Lieutenant Colonel Madocks, comprising: India General Service, 1895-1902, 2 clasps, Punjab Frontier 1897-98, Tirah 1897-98 (Captn: C. Burrard 21st Bo: Infy), 1914-15 Star (Major C. Burrard. R. W. Fus.), British War and Victory Medals (Lt. Col. C. Burrard.), toned, good extremely fine (4) NOTE: The 9th Bn R.W.F. made a diversionary attack on German trenches during the Battle of Loos in September 1915 at Pietre. The attack did not go according to plan, as recorded in ‘Carmarthen Pals’ by Steven Johns: ‘The men were tired but in good heart when dawn broke on the 25th September. The gas when turned on did not reach the enemy trenches opposite the Battalion, but only served to put them on the alert, and brought down shelling. The short concentrated bombardment by field guns was insufficient to do real damage, and when the Battalion gallantly advanced over the perfectly open ground it was mown clown by machine gun fire before it had gone a 100 yards. In a few minutes it had lost 13 officers and 221 other ranks. Had the advance of the 5th Brigade been successful as reported, a different tale might have been told. Many a demonstration has been turned into a real attack by the fortune of war. In this case fortune did not favour the brave. The conduct of the Battalion may well be gauged by extracts from this private letter received by the C.O., Colonel C. H. Young, from one of the Battery Commanders who supported the demonstration. “May I be allowed to offer you my very real and sincere sympathy on the losses sustained by your Regiment... If ever a Regiment had won a V.C. pendant to their regimental crest, it is yours, for they knew what they were in for, and went forward without demur. The regrettable losses and behaviour of the men at all events show the nature of the Kitchener regiments, and if all are imbued with the same spirit as your command the ultimate issue of the war cannot be in doubt.” The first action of the 9th Welsh had been a tragedy, but had stamped them as fighters of no mean order.’ Sold with an original photographic portrait of the recipient, his original I.G.S.M. miniature, his own hand-drawn trench map of the Battle of Loos, and an original envelope.
Lot 936
The Korean War ‘Third Battle of the Hook’ M.C. Group of 8 awarded to Captain John Lionel Hugh Gordon, Royal Artillery, awarded the Military Cross for his role as Forward Observation Post Officer at ‘the Hook’, where, in direct support of the Duke of Wellington’s Regiment, he directed the fire of the British artillery and acted as a ‘tower of strength’ for a period of ten days in the face of repeated and enemy attacks, on the 28th-29th of May, 1953. During this battle, the supporting artillery created ‘greater concentrations of artillery...on a 1000 yard front than at any time since 1918’, comprising: Military Cross, EiiR, reverse engraved 1953; 1939-1945 Star, France and Germany Star, Defence and War Medals, unnamed as issued; Korea Medal (Capt. J. L. H. Gordon. M.C. R.A.); UN Korea Medal; General Service Medal, 1918-1962, EiiR, 2 clasps, Malaya, Cyprus (Major J. L. H. Gordon. M.C. R.A.), mounted for display, uneven reverse tone, a few light contact marks, otherwise extremely fine (8) NOTE: M.C.: London Gazette, 7 June 1953: ‘Captain Gordon was forward Observation Post Officer on “The Hook” feature, in direct support of the Duke of Wellington’s Regiment, throughout the build-up for and the battle of “The Hook”, which reached its climax on the night of 28th/29th May, 1953. Because the build-up was so obvious, Captain Gordon insisted on staying on “The Hook” when one Infantry Company was relieved by another, although he was due for relief himself. He contended that he knew the local situation better than anyone else. For about ten days, the relatively small area of “The Hook”, which is well known to the enemy, was subjected to heavy and accurate shell and mortar fire, the intensity of which increased daily. By night, the enemy’s patrols continually probed “The Hook” defences. It was a period of very great tension. Captain Gordon seemed to be on duty at all times, in the Observation Post by day directing our artillery fire with accuracy, moving about under enemy fire with unassuming courage, and constantly alert in the company command post by night. He snatched his rest at odd hours and always appeared fresh and wonderfully cheerful. His example had a most stimulating effect on his own Observation Post party and on many others as well. When the enemy launched his attack with great fury, subjecting the command post area to very heavy fire indeed and over-running the forward platoon and Observation Post, Captain Gordon was at his post with the Infantry Company Commander. Throughout the night, his cool and balanced situation reports and his efficient calls for fire were of the utmost value in helping first to stop the enemy and then to defeat and drive him from the position. There is no doubt that the correct employment of the guns had a major effect on the outcome of the battle. Captain Gordon’s contribution to this was notable. In the words of the Infantry Company Commander, “He was a tower of strength”. His indomitable spirit during the softening-up and his conduct during the action richly deserve recognition.’ John Lionel Hugh Gordon was born in 1922, the son of Brigadier John Kelly Gordon, D.S.O., R.A., and Beatrice Mary Gordon (née White). He was educated at Wellington College, and served in the Royal Artillery in WW2, receiving his emergency commission in October 1941, and then subsequently in the Korean War. He was recommended for an ‘Immediate’ award of the M.C. for his actions at the Third Battle of the Hook – this the third and final occasion upon which the strategic crescent-shaped position in the Commonwealth sector was attacked and defended, since it held part of the intended enemy approach route toward Seoul. On the 28th of May, 1953, the 1st Bn Duke of Wellington’s Regiment relieved the 1st Bn Black Watch and took up a defensive position with the 1st Bn King’s Regiment on ‘The Hook’ just prior to the launch of a new Chinese offensive that day. With the Royal Artillery in direct support, the position was successfully held despite the severity of the Chinese shelling and infantry attacks. In return, a reported 37,000 artillery shells were fired in 24-hoursThe book ‘Fortune Favours the Brave’ by A J Barker states that: ‘…on the night of 28/29 May, 1953…greater concentrations of artillery were brought to bear on a 1000- yard front than at any time since 1918’. It also mentions Captain Gordon by name, and gives a flavour of the scene that night, as follows: ‘In ‘D’ Company’s command post the occupants were trying to pierce the metaphorical fog of war. Behind the smoke-blackened entrance curtain the dug-out was filled to overflowing. Two signallers, a couple of orderlies, Captain John Gordon, the gunner FOO, Captain Tony Sherratt, the second-in-command, a spare subaltern, Lieutenant Jim Newton, two tables and the usual hotch-potch of equipment and personal kit, and of course, Emmett [Captain Edward Emmett], were all crammed in this tiny bunker. Smoke, an incessant chatter from the two wirelesses and the reverberations from outside all contributed to the Journey’s End atmosphere.’ Captain Gordon later served in the Malaya Campaign as Deputy Assistant Adjutant and Quartermaster General with the 28th Commonwealth Brigade in 1960, and retired with the rank of Major on the 2nd of April, 1975. Sold with original embossed copy of his full citation for the M.C., a set of matching dress miniatures, and other copied research. For the awards to his father, Brigadier John Keily Gordon, D.S.O., Royal Artillery, see lot 931.
Lot 1003
A stoneware flagon, printed for Beaufort Brewery, Wootton Bassett, 36 cm high, to/w a bottle from the Newport & South Wales Wine & Spirit Company, 24 cm, nine floral cut and mirrored glass door finger-plates, two pieces of cranberry glass and a cut glass butter dish (box) Condition Report Flagon good used condition Bottle covered in surface paint?
Lot 201
A late nineteenth century Russian white metal kettle on stand with spirit burner, kettle of typical form with lobed decoraton to lower half of body and engraved decoration of floral sprays, with ivory insert to swing handle, turned ivory finial and gilt interior, on matching stand, bearing Moscow assay office hallmarks 0.84 and date 1896, height when on stand 34 cm, total gross combined weight 88.65 ozt / 2757 g approx (3)
Lot 274
HEANEY, SEAMUS.Keeping Going, illustrated by Dimitri Hadzi, FIRST LIMITED EDITION, 50 copies, Bill Ewert, New Hampshire USA 1993, bound in linen on boards with red leather label inset, Mohawk superfine paper (also has reproductions of Hadzi’s illustrations, many poems reprinted in spirit level), signed by Seamus Heaney and Dimitri Hadzi.
Lot 280
HEANEY, SEAMUS.Spirit Level, FIRST EDITION, Faber & Faber 1996, in d/w, mint; together with Spirit Level, FIRST USA EDITION, Farrar Strauss & Giroux New York 1996, special two volume edition with cassette reading by Seamus Heany, d/w, in box with special label; together with Spirit Level, cassette reading, FIRST EDITION, Penguin Audio Books 1996. (3)
Lot 310
WW1 OFFICERS DECORATED LEATHER BOTTLE CASE. In fine condition, a leather outer case for a spirit flask, painted with the image of a “Tommy” standing in a trench; most likely to have been the property of an officer and decorated for him by one of his men with an artistic leaning? The paint is slightly age-cracked in places but there is no fading or loss to the image. The case stands 9 inches tall. 50-80
Lot 540
Alan Reynolds (British, 1926-2014) Two Trees in Blossom, 1952 signed and dated (lower right) oils on board 54.3cm x 60cm. Provenance: Sotheby's London, 6 April 1960, lot 128. 'his genuine loving attachment to nature, both to landscape as a whole and to its particular shapes and their arrangements, to blossoms and fruit, to grasses and weeds, to leaves and buds, to branches and twigs, and to the varied tree forms which, with their special features, define and characterize a landscape in its various moods…his preoccupation was not with the grand or with the picturesque…rather a penetration into the spirit of nature.' (the contemporary art critic J. P. Hodin on Alan Reynolds in this period) Painted in 1952, the year of Reynold's first one-man show at the Redfern Gallery, Two Trees in Blossom demonstrates Reynold's focus on figurative landscapes and the natural world and the influence of Paul Nash and Graham Sutherland. However, the inspiration of Paul Klee should be particularly acknowledged whose work became influential in the European post-war art world. Reynold's copied Klee's Nocturnal Festival (1921) on numerous occasions and its influence can be felt in Two Trees in Blossom, both compositionally and in terms of subject matter.
Lot 354
Three bottles of Scotch Whisky; The Old Malt Cask 50°, aged 20 years, the spirit level on top of shoulders, Dewar Rattray, aged 16 years, and Provenance, over 12 years, all boxed (3). CONDITION REPORT: Labels and seals intact. Whisky levels indicated in photo. General wear to boxes, good condition.
Lot 105
- 1 of 530 examples made, Nuella hide and 'whisper quiet' engine - Featured in Classic & Sports Car's Camargue 40th Anniversary Article - Reportedly 'a pleasure to drive, be in and be around' When launched in March 1975, the Camargue was the flagship of the Rolls-Royce range and the world's most expensive production car; for the price of which you could have bought five Jaguar XJ6s or 26 Minis! While sharing the platform of the Shadow and Corniche, the Camargue was the first post-war production Rolls-Royce not designed in-house, and was penned by Paolo Martin of Pininfarina. The bodies were crafted in London by Mulliner Park Ward and power was provided by a mildly uprated version of Rolls-Royce's 6.75-litre V-8 engine mated to Turbo Hydra-Matic 3-speed automatic transmission. In 1977 the steering was upgraded to Shadow II specification and in 1979 the model received the Silver Spirit rear suspension. Though a two-door model, this was a big car that stretched to nearly 17ft and weighed in at 2.3 tons. It also sported a number of innovations - it was the first Rolls-Royce designed to metric dimensions, and featured the world's first completely automatic split-level air conditioning system. Between 1975 and 1986 just 530 Rolls-Royce Camargues were produced, plus one bearing Bentley badges. This smartly-presented 1985 Camargue is finished in the stately combination of Cotswold Beige coachwork with Connolly's finest Nuella hide interior trim. Featured in Classic & Sports Car's Camargue 40th anniversary article on the model, the vendor informs us that it is 'a pleasure to drive, be in and be around', and that the interior 'is in super condition, with all instrumentation and componentry in correct working condition'. He also states 'the V8 engine is whisper-quiet and exceptionally clean - commensurate with the rest of the motorcar'. He classifies the engine, automatic transmission and interior trim as 'excellent' and the coachwork and paintwork as 'very good' and is selling 'B43 WYM' complete with 19 old MOTs from 1990 to 2015. Registering some 78,000 miles, it is also accompanied by an MoT to 26 November 2016 with no advisories.
Lot 125
The Hours of Gabrielle d’Estrées, - Use of Paris, illuminated manuscript in Latin and French on... Use of Paris, illuminated manuscript in Latin and French on parchment [northern France (Paris), c. 1480] 150 leaves (plus 2 original endleaves at front), complete, collation: i-xi8, xii6, xiii-xvii8, xviii6, xix10 (the last quire including last endleaf and pastedown), catchwords, single column, 20 lines in an angular letter batârde, capitals touched in red, red rubrics, small initials in liquid gold on burgundy, pale blue or brown grounds, line-fillers in same, larger initials accompanying three-quarter miniatures in white scrolls on burgundy grounds enclosing foliage sprays on brightly burnished gold ground, Obsecro te on fol.17v with three-quarter border of coloured acanthus leaf and other foliage, undersides of leaves heightened in dull-gold, 8 quarter-page miniatures (for Hours of the Virgin after Matins: fols.37v, Lauds; 47r, Prime; 51r, Terce; 54v, Sext; 58r, Nones; 61v, Vespers; and 68r, Compline) with three-quarter borders as before, 6 three-quarter page arch-topped miniatures with figures and draperies heightened with liquid gold strokes, and with borders of foliage on dull-gold and blank parchment shapes, some thumbing to a small number of borders with only significant smudge in border of fol.107r, slightly trimmed at edges with damage to catchwords and loss of outer vertical borders up to edges of decoration on some miniature pages, later coloured printed faces within architectural frames pasted to front endleaves, 152 by 105mm., late seventeenth-century French binding of dark leather over pasteboards, profusely gilt-tooled with floral sprays and s shapes within 2 rows of double fillet, cracking at spine edges, but solid in binding, fitted cloth covered slipcase Provenance: (1) Written and illuminated for a Parisian patron in the late fifteenth century, perhaps the young woman who is shown being struck down by a skeletal death on fol.107r. (2) Evidently later in the library of Gabrielle d Estrées, King Henry IV of France s mistress, devoted companion and intended second wife, who died in childbirth before their marriage in 1599. She is the presumed subject of the painting Gabrielle d Estrées et une de ses soeurs of 1594, now in the Louvre, in which she and her sister sit half-naked in a bath as she holds Henry s coronation ring in her fingertips. An inscription in French of the seventeenth-century on the inside of the front pastedown here, describing this book as manuscrit a[ve]c armes de Gabrielle d Estrees (the arms presumably once on the previous binding), and recording its provenance as from the chateau de Prince de Conde . Text: The volume comprises: a Calendar (fol.1r); the Gospel readings (fol.13r); the Obsecro te (fol.17v); the Hours of the Virgin, with Matins (fol.21r), Lauds (fol.37v), Prime (fol.47r), Terce (fol.51r), Sext (fol.54v), Nones (fol.58r), Vespers (fol.61v) and Compline (fol.68r); the Seven Penitential Psalms (fol.77r) followed by a Litany and prayers; the Hours of the Cross (fol.101r); the Hours of the Holy Spirit (fol.104r); the Office of the Dead (fol.107r); Suffrages to SS. Christopher, John the Baptist, Genevieve, and Mary Magdalene, followed by prayers to the Virgin. The endleaves at the back are filled with near-contemporary prayers. Illumination: This artist was a follower of Maître Francois ( fl . c.1460-80), and employs this artist s stylistic facial types with pale skin tones and rosy cheeks, angular interior architectural details and gold highlighting of the draperies. His work was the foremost influence on the Parisian book arts in the early decades of the second half of the fifteenth century. The scene of Death here as a skeletal corpse, striking down a young woman before an open charnel house, with skulls staring on, is a rare and grisly one, and was perhaps meant to frighten the young woman depicted away from potential sin. The large miniatures comprise: (1) fol.13r, St. John seated in a grassy landscape, writing on a scroll, as his attribute the eagle appears to him; (2) fol.21r, the Annunciation to the Virgin in a richly decorated gothic room, with a small bird in the margin; (3) fol.77r, David kneeling at the foot of a hill as God appears to him in the sky above; (4) fol.101r, the Crucifixion, with a small yellow bird in the border; (5) fol.104r, the Pentecost in a detailed gothic interior; (6) fol.107r, Death as a tall corpse wrapped in a white shroud, lifting a spear aloft to strike a young woman in blue dress, as she staggers back in horror, the whole scene set in a grassy space before a half-timbered charnel house, with the skulls of the dead stacked up inside the rafters of the building.
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