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Ella Kowalska M is for Mother, 2024 Photographic print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ella Kowalska is a photographer who practices street, documentary, and art photography. In her photography work she is particularly sensitive to the colours, materials, and sounds that give the world its texture, and she seeks to achieve the right balance between realism and fantasy. She is driven by the desire to give an account of our times and searches for a form of 'augmented reality' able to tell our modernity. Her Polish upbringing was marked by a culture that calls for absurdity and irrationality and sublimes the beauty and profoundness in the unreasonable and extravagant. It's in this distorted reality, which could sometimes seem more real than the reality itself, and in its astonishing connections that she feels at home. Education 2022 Training in Photography, Gobelins Imagery School, Paris, France 2010-2011 Master of Art history specialised in museology and cultural heritage, University Panthéon Sorbonne, Paris, France 2009-2010 Master of law specialised in cultural heritage, University Paris-Sud XI, Sceaux, France 2009-2010 Master of art history specialised in contemporary art, University Panthéon Sorbonne, Paris, France 2008-2009 Master of law specialised in public law, University Panthéon Sorbonne, Paris, France Exhibitions 2025 La Chapelle, Halle Pajol, Paris, France 2024 100 Years, 100 Women, MVAC du 7ème, Paris, France Elles par elles, Les Camélias, Nice, France Women in Art Exposition, The Roundhouse, London, United Kingdom Women street photographers: a global street photography exhibition, Objectifs, Singapore 2023 Culture(s): between fusion(s) and contrast(s), Espace Aleph, Montréal, Canada Awards 2023 1st price, Culture(s): between fusion(s) and contrast(s), Arab World Festival of Montreal Statement about AOAP Submitted Artwork Call Me is a reflection photography piece employing the technique of capturing layered visuals. A young woman, seen through the interplay of reflections, appears on the phone, her pregnant belly symbolizing renewal. The image bridges spaces and generations, representing the duality of migration in France and everywhere else-loss and separation, yet hope and continuity through new life. M is for Mother is a reflection photography piece employing the technique of capturing layered visuals. The M metro sign, positioned within the reflection of a Madonna poster, evokes a powerful metaphor-a motherly figure watching over the city with a nurturing gaze. A tender narrative unfolds within the urban landscape. Time Travelers is a reflection photography piece utilizing the panning technique. By blurring the background and foreground, enhanced through dynamic reflections, two figures appear as if journeying through space and time. The interplay of motion and light evokes a surreal narrative of movement beyond reality. Yellow is a photography piece utilizing the panning technique. Rainy days transform the cityscape, with reflections in water blurring reality. As natural light fades, artificial hues emerge, casting a dreamlike glow. The figure with the vibrant umbrella seems to step straight out of a fairytale, merging movement and magic in one fleeting moment. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Darcy Brenna The Kissed, 2025 Acrylic and pigment on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Darcy Brenna (b.1998) is a recent graduate of the Tracey Emin Artist Residency following studies at UCA. Darcy has recently shown works in LA with MEY gallery at Maison Lune, in London with Liliya Gallery and Margate at TKE studios. She paints rapidly with an urgent energy, through abstracted forms and the need to portray how it feels to live inside a woman's body, a human body, and to understand the complexity of what it feels like to be alive. In her work, bodies contort or shift space within her intuitive and gestural brushwork. She paints fluidly and instinctively, allowing her unconscious mind to step forward, thus never planning or creating preparatory drawings. Enamoured by Margate's stormy waves, her recent body of work mimics the sea, botany bay, chalky stacks, caves that imitate graves, birds, and carcasses which build up through multiple layers of brushstrokes to one mass of intensity. Her work mirrors her deep yearning for understanding various stages of life from death to birth and rebirth. In 'maiden mother crone and bloom' Darcy excavates an internal guttural layering. Utilising pentimento, she paints and repaints, covers up and destroys, evoking a push and pull, holding hands with calm and chaos. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ella Kowalska Time Traveller, 2024 Photographic print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ella Kowalska is a photographer who practices street, documentary, and art photography. In her photography work she is particularly sensitive to the colours, materials, and sounds that give the world its texture, and she seeks to achieve the right balance between realism and fantasy. She is driven by the desire to give an account of our times and searches for a form of 'augmented reality' able to tell our modernity. Her Polish upbringing was marked by a culture that calls for absurdity and irrationality and sublimes the beauty and profoundness in the unreasonable and extravagant. It's in this distorted reality, which could sometimes seem more real than the reality itself, and in its astonishing connections that she feels at home. Education 2022 Training in Photography, Gobelins Imagery School, Paris, France 2010-2011 Master of Art history specialised in museology and cultural heritage, University Panthéon Sorbonne, Paris, France 2009-2010 Master of law specialised in cultural heritage, University Paris-Sud XI, Sceaux, France 2009-2010 Master of art history specialised in contemporary art, University Panthéon Sorbonne, Paris, France 2008-2009 Master of law specialised in public law, University Panthéon Sorbonne, Paris, France Exhibitions 2025 La Chapelle, Halle Pajol, Paris, France 2024 100 Years, 100 Women, MVAC du 7ème, Paris, France Elles par elles, Les Camélias, Nice, France Women in Art Exposition, The Roundhouse, London, United Kingdom Women street photographers: a global street photography exhibition, Objectifs, Singapore 2023 Culture(s): between fusion(s) and contrast(s), Espace Aleph, Montréal, Canada Awards 2023 1st price, Culture(s): between fusion(s) and contrast(s), Arab World Festival of Montreal Statement about AOAP Submitted Artwork Call Me is a reflection photography piece employing the technique of capturing layered visuals. A young woman, seen through the interplay of reflections, appears on the phone, her pregnant belly symbolizing renewal. The image bridges spaces and generations, representing the duality of migration in France and everywhere else-loss and separation, yet hope and continuity through new life. M is for Mother is a reflection photography piece employing the technique of capturing layered visuals. The M metro sign, positioned within the reflection of a Madonna poster, evokes a powerful metaphor-a motherly figure watching over the city with a nurturing gaze. A tender narrative unfolds within the urban landscape. Time Travelers is a reflection photography piece utilizing the panning technique. By blurring the background and foreground, enhanced through dynamic reflections, two figures appear as if journeying through space and time. The interplay of motion and light evokes a surreal narrative of movement beyond reality. Yellow is a photography piece utilizing the panning technique. Rainy days transform the cityscape, with reflections in water blurring reality. As natural light fades, artificial hues emerge, casting a dreamlike glow. The figure with the vibrant umbrella seems to step straight out of a fairytale, merging movement and magic in one fleeting moment. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Darcy Brenna Beached Cry, 2025 Acrylic and pigment on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Darcy Brenna (b.1998) is a recent graduate of the Tracey Emin Artist Residency following studies at UCA. Darcy has recently shown works in LA with MEY gallery at Maison Lune, in London with Liliya Gallery and Margate at TKE studios. She paints rapidly with an urgent energy, through abstracted forms and the need to portray how it feels to live inside a woman's body, a human body, and to understand the complexity of what it feels like to be alive. In her work, bodies contort or shift space within her intuitive and gestural brushwork. She paints fluidly and instinctively, allowing her unconscious mind to step forward, thus never planning or creating preparatory drawings. Enamoured by Margate's stormy waves, her recent body of work mimics the sea, botany bay, chalky stacks, caves that imitate graves, birds, and carcasses which build up through multiple layers of brushstrokes to one mass of intensity. Her work mirrors her deep yearning for understanding various stages of life from death to birth and rebirth. In 'maiden mother crone and bloom' Darcy excavates an internal guttural layering. Utilising pentimento, she paints and repaints, covers up and destroys, evoking a push and pull, holding hands with calm and chaos. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.  

Lily Buchanan Sapling in Blues, 2025 Three colour woodcut print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About My works lie in a dream world made up of sources from my memories, my everyday environment and my emotions. Desire is a key theme in my work and I use painting to explore surreal situations that we might find ourselves in when seeking out our desires. These situations are tender, brutal, humorous and melancholic. It is this balance of dichotomies that make up who we are. Happiness seems to go hand in hand with a shadow of destruction. The objects in my work are charged with an active symbolist quality that comes from the memories they hold and their own potential consciousness. The figures in my paintings reflect on the chaotic shifting of emotional states as we move through life. The characters are sweetly naïve and desperately curious. The characters in my work that inhabit everyday objects are attempting to relive memories that these objects trigger; in this case the horse chestnut tree near where I grew up. Education 2020-2022 MFA in Fine Art, City and Guilds Art School of London 2011-2012 Diploma in Drawing, The Royal Drawing School London 2007-2011 BA Illustration at Central Saint Martin's College of Art and Design Solo Exhibitions 2023 Things Behind the Sun, Ramsay and Williams Gallery, Margate, UK 2022 Strawberry Chapstick Wood and other stories, City and Guilds of London Art School Degree Show, London, UK 2017 Sombrero Fallout paintings, Shapero Modern, Soho, London Group Exhibitions 2023 Corpus, Hypha Studios, Farringdon 7 Artists at 7 Stratton Street Awards 2022 Roger De Grey Drawing Prize 2012 The Royal Drawing School's Patrons Prize Public Collections The Royal Collection (United Kingdom) Statement about AOAP Submitted Artwork These four woodcuts tell the story of Tree Girl mid-metamorphosis. The symbol of the Tree Girl is part self-portrait and came about through a longing I had to step inside a childhood memory of climbing a tree where I grew up. Through drawing myself as inside the tree I felt I had transported myself into that childhood memory. Tree Girl's face in these woodcuts is inspired by my eleven-month-old daughter and due to her and their tiny size I see them as my saplings; representing new growth and new beginnings. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.  

Ella Kowalska Yellow, 2024 Photographic print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ella Kowalska is a photographer who practices street, documentary, and art photography. In her photography work she is particularly sensitive to the colours, materials, and sounds that give the world its texture, and she seeks to achieve the right balance between realism and fantasy. She is driven by the desire to give an account of our times and searches for a form of 'augmented reality' able to tell our modernity. Her Polish upbringing was marked by a culture that calls for absurdity and irrationality and sublimes the beauty and profoundness in the unreasonable and extravagant. It's in this distorted reality, which could sometimes seem more real than the reality itself, and in its astonishing connections that she feels at home. Education 2022 Training in Photography, Gobelins Imagery School, Paris, France 2010-2011 Master of Art history specialised in museology and cultural heritage, University Panthéon Sorbonne, Paris, France 2009-2010 Master of law specialised in cultural heritage, University Paris-Sud XI, Sceaux, France 2009-2010 Master of art history specialised in contemporary art, University Panthéon Sorbonne, Paris, France 2008-2009 Master of law specialised in public law, University Panthéon Sorbonne, Paris, France Exhibitions 2025 La Chapelle, Halle Pajol, Paris, France 2024 100 Years, 100 Women, MVAC du 7ème, Paris, France Elles par elles, Les Camélias, Nice, France Women in Art Exposition, The Roundhouse, London, United Kingdom Women street photographers: a global street photography exhibition, Objectifs, Singapore 2023 Culture(s): between fusion(s) and contrast(s), Espace Aleph, Montréal, Canada Awards 2023 1st price, Culture(s): between fusion(s) and contrast(s), Arab World Festival of Montreal Statement about AOAP Submitted Artwork Call Me is a reflection photography piece employing the technique of capturing layered visuals. A young woman, seen through the interplay of reflections, appears on the phone, her pregnant belly symbolizing renewal. The image bridges spaces and generations, representing the duality of migration in France and everywhere else-loss and separation, yet hope and continuity through new life. M is for Mother is a reflection photography piece employing the technique of capturing layered visuals. The M metro sign, positioned within the reflection of a Madonna poster, evokes a powerful metaphor-a motherly figure watching over the city with a nurturing gaze. A tender narrative unfolds within the urban landscape. Time Travelers is a reflection photography piece utilizing the panning technique. By blurring the background and foreground, enhanced through dynamic reflections, two figures appear as if journeying through space and time. The interplay of motion and light evokes a surreal narrative of movement beyond reality. Yellow is a photography piece utilizing the panning technique. Rainy days transform the cityscape, with reflections in water blurring reality. As natural light fades, artificial hues emerge, casting a dreamlike glow. The figure with the vibrant umbrella seems to step straight out of a fairytale, merging movement and magic in one fleeting moment. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Darcy Brenna Tunnel, 2025 Acrylic and pigment on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Darcy Brenna (b.1998) is a recent graduate of the Tracey Emin Artist Residency following studies at UCA. Darcy has recently shown works in LA with MEY gallery at Maison Lune, in London with Liliya Gallery and Margate at TKE studios. She paints rapidly with an urgent energy, through abstracted forms and the need to portray how it feels to live inside a woman's body, a human body, and to understand the complexity of what it feels like to be alive. In her work, bodies contort or shift space within her intuitive and gestural brushwork. She paints fluidly and instinctively, allowing her unconscious mind to step forward, thus never planning or creating preparatory drawings. Enamoured by Margate's stormy waves, her recent body of work mimics the sea, botany bay, chalky stacks, caves that imitate graves, birds, and carcasses which build up through multiple layers of brushstrokes to one mass of intensity. Her work mirrors her deep yearning for understanding various stages of life from death to birth and rebirth. In 'maiden mother crone and bloom' Darcy excavates an internal guttural layering. Utilising pentimento, she paints and repaints, covers up and destroys, evoking a push and pull, holding hands with calm and chaos. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Emerald and diamond 18ct yellow and white gold square cluster ring, the square mixed step cut emerald measuring approx. 7.8mm x 7.9mm x 4.9mm, four claw setting, twelve round brilliant cut diamond surround, total diamond weight approx. 0.80 carats, illusion set, tapered shoulders, ring size M, weight 5.9g gross approx

Early 20th century emerald and diamond cluster ring, the rectangular step cut emerald measuring approx 8.22mm x 6.82mm x 3.51mm, calculated weight approx 1.40 carats, claw setting, fourteen old round brilliant cut diamonds, total diamond weight approx 0.85 carat, dimensions of head approx 18mm x 11mm, tapered shoulders, ring size R, unmarked yellow metal ring, 3.5g gross approx

Emerald and diamond 18ct yellow gold and white gold set three stone ring, the central octagonal step cut emerald measuring approx 8.67mm x 8.21mm x 4.19mm, calculated weight approx 2.0 carats, two baguette cut diamonds each measuring approx 5.12mm x 2.18mm (depth not accessible) total diamond weight approx 0.40 carat, rubover settings, tapered shoulders, ring size P, weight 5.4g gross approx

Art Deco sapphire and diamond flower head cluster ring, the central round mixed cut sapphire measuring approx 4.90mm x 4.90mm x 3.61mm, calculated weight approx 0.60 carat, two square step cut sapphires, six round old cut diamonds, total diamond weight approx 0.90 carat, rubover settings with millegrain edging, unmarked yellow gold and white metal settings, ring size K½, weight 2.5g gross approx

PAIR OF PAINTED CAST IRON PEDESTALS, moulded tops above column bases, decorated with grotesque masks, circular step plinth bases, 80cms (h) (2)Provenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.

g George IV (1820-30), gold Half-Sovereign, 1823, first laureate head left, B.P. for Benedetto Pistrucci below neck, Latin legend and toothed border surrounding, GEORGIUS IIII D: G: BRITANNIAR: REX F:D: rev. second crowned quartered shield of arms, with a crowned escutcheon of the Arms of Hanover, emblems below, ANNO to left, 1823 to right (Hill 404 R2; Bull EGC 990 R2; MCE.483; S.3802). Lightly toned, some tiny marks and nicks, has been slabbed and graded by PCGS as MS63, rare. PCGS Certification 206586.63/81698683 - currently the second finest graded at PCGS. Three others on same grading step at NGC where it would also be second finest graded, but joint third finest overall.Calendar year mintage of 224,280.The Latin legends translates on obverse as "George the Fourth, by the Grace of God, King of the Britons, Defender of the Faith," and on reverse as "in the year 1823."

* ROWLAND DAVIDSON (BRITISH b. 1942), JAM JAR oil on canvas, signed framed image size 41cm x 31cm, overall size 54cm x 44cm Note: Rowland Davidson was born in Belfast in 1942 and was educated in the Belfast College of Art studying Fine Art under John Luke and Tom Carr. In 1968, he graduated and spent several years teaching Art and Design at a Belfast boys’ school, where he became Head of Dept. in 1975. In 1987 he gave up teaching in order to pursue his art more fully, and in doing so became one of Ireland’s best-known figurative painters. He described this as ‘a step of faith’. “As a student I had planned to become a full-time artist within six months of graduation, but over the years I found that career demands and the need to spend time with my family meant that I had minimal time for painting. When I eventually did become a full-time painter, it was through divine intervention” His work is always characterised by skilled draughtsmanship, warmth and softness of brushstroke with a sensitive interpretation of subject and depth of contrast. The early work was mainly based on his experience of Ireland, its landscape, its children at play, people at work, fairs and markets, traditional musicians and dancers. His most recent work marks a deeper exploration of these subjects although his heart remains very much in the portrayal of children. Today Rowland’s work is held in many public and private collections and is in high demand across the United Kingdom and Ireland.

Pair of high vintage step ladders

Brunel University: Original music concert and related posters, 1969-1971 -a group of fourteen promotional concert and related posters, all rolled, various sizes, the largest 20 x 30 inches, to include:Moody Blues Days of Future Past – Happiness Rains, Junior’s Eyes, The Game, artwork by A Young H Design, Brunel University, Kingston Lane, Uxbridge, Saturday 22nd February 1969.Family, East of Eden, Atomic Rooster and others, Brunel University, Carnival at Lyceum Strand, WC2, printed Impact, Windsor, 68379.Alan Price & His Friends, Brunel University, Kingston Lane, Uxbridge, Friday 28th Feb 1969, other acts included The Wurzels and the Brian Fredericks Band, printed b Rufus Manning?, Cambridge 63305.Jon Hisman’s Colosseum Jigsaw Classic and Guest groups, Optic Nerve Lights, Discs etc., Brunel University, Kingston Lane, Uxbridge, Rag Christmas Rave, Saturday 13th December 1969, printed by Impact, Windsor.Georgie Fame and the Blue Flames; Aylesbury BluesVille, Borough Assembly Hall, Aylesbury, Tuesday 22nd September 1970, featuring Speedy, printed by Arthur’s, Woodchester, Stroud.John Mayall and Black Cat Bones, Brunel University, Kingston Lane, Uxbridge, Saturday 15th February 1969.Traffic, Fairport Convention, Searchers, Brunel University, Kingston Lane, Uxbridge, End of Term Flop Out, Friday 7th March 1969, Printed by Impact, Windsor, 68379Caravan, Brunel University, Kingston Lane, Uxbridge, Saturday 1st November 1969, featuring Idle Race and Screw, Printed by Impact, Windsor, 68379Third Ear Band, Magna Carter, Brunel University, Woodlands Av., Acton, W.3, Friday 21st November 1969, Printed Impact, Windsor, 68379Kenny Ball Jazz Men, Aylesbury Bluesville, Borough Assembly Hall, Aylesbury, Tuesday 26th January 1971, Printed Arthur’s, Woodchester, StroudSix Hour Summer Special, Brunel University, Kingston Lane, Uxbridge, featuring Uriah Heep, Matthew’s Southern Comfort, Bob Kurr’s Whoopee Band and others, printed Impact, Windsor; together with,Christine Perfect, Principal Edwards Magic Theatre, Stone The Crows, design by Pete Morrow, printed by London College of Printing, Elephant and Castle, London SE1.Clouds Village, Hardin & York, London College of Printing, c. 1970s,Hertfordshire Constabulary Recruitment poster, “Step Towards a Worthwhile Career” c. 1970s. (14) Provenance:The vendor attended Brunel University and as Social Secretary during the late 1960s and 70s was responsible for booking bands and artists for the University's concerts and events during this time. Georgie Fame and the Blue Flames - tape present to top edge.John Mayall and Black Cat Bones - tape present on corners, clean edge tear top centre.Kenny Ball Jazz Men – chips to lower left edgeSix Hour Summer Special - clean edge tear lower right edgeChristine Perfect - tape present to corners

NADAR: (1820-1910) Gaspard-Felix Tournachon. French photographer, caricaturist and balloonist, the first person to take aerial photographs (1858). An amusing A.L.S., Na → (the signature incorporating a pictogram of a right pointing arrow, described by Nadar beneath as an ingenious type of signature, ´Signature genre ingenieux´), one page, 8vo, n.p., n.d., to [Paul Gavarni], in French. The photographer writes, in full, ´Que le bon Dieu vous patafiole! Voila deux fois que je vous viens voir - dont ce matin par un temps a ne pas mettre un Empereur dehors, que les chevaux griffent a chaque pas et qu´on a les pieds et le nez sans connaissance! Et j´avais justement besoin de vous voir ce matin pendant dix minutes! On me dit que vous serez rentre a midi. J´enverrai Madame Nadar avec mon serviteur pour vous expliquer la chose, ne pouvant venir moi-meme. Que le bon Dieu vous patafiole (bis)!´ (Translation: ´May the good Lord spoil you! I've been to see you twice now - including this morning in weather so bad you wouldn't want to take an Emperor out, with horses scratching at every step and your feet and nose numb! And I just needed to see you this morning for ten minutes! I am told that you will be back at midday. I will send Madame Nadar with my servant to explain things to you, as I cannot come myself. May the good Lord spoil you (again!)´). A small portion of the lower left corner has been neatly excised, and with some very light age wear, otherwise VGPaul Gavarni (1804-1866) French illustrator who shared a passion and interest with Nadar for aerial navigation. Gavarni made experiments on a large scale with a view to find the means of directing balloons, but without the success Nadar enjoyed.

CURIE PIERRE: (1859-1906) French Physicist. Nobel Prize winner for Physics, with his wife Marie and Henri Becquerel, 1903. A pioneer in radioactivity. An excellent A.L.S., `P. Curie´, to one side of a printed small oblong 8vo correspondence card from the Faculté des Sciences de Paris, 12 Rue Cuvier, Paris, 9th August 1904, to a gentleman, in French. An interesting scientific content letter related to Curie´s investigations on radioactivity. Pierre Curie thanks his correspondent for the samples received, stating `Monsieur, J´ai reçu en très bon état la caisse de bouteilles d´eaux de diverses sources que vous avez bien voulu m´envoyer...´ (Translation: "Sir, I received in very good condition the case of bottles of water from various sources that you were kind enough to send me...") Some light water staining (perhaps caused by the water from the bottles referred to), only very slightly affecting the conclusion of the signature, and with a few minor creases, about GFrom 1904, Pierre Curie and Albert Laborde, his collaborator in the laboratory of the rue Cuvier, were interested in thermal waters. Indeed, their therapeutic properties, some of which have been known since ancient times, continued to intrigue. The radioactivity rate of many of them turned out to be higher than normal. From there to deducting that their therapeutic qualities came from radioactivity, there was only a step which thermal spas and companies of spring water did not hesitate to cross: the radioactivity became a selling point for convincing their customers and attracting new spa guests.

DIAGHILEV SERGEI: (1872-1929) Russian ballet Impresario, art Critic and Patron who founded the Ballets Russe. An excellent content and very rare A.N.S. `Serge de Diaghilev´, in the third person, one page, 8vo, Paris, n.d., [December 1927], to the verso of the printed stationery of the Grand Hotel at 12 Boulevard des Capucines, Paris, in French. Diaghilev annotates the lists of the works which will be played at the Opera on two two performances, stating `2 soirées des Ballets russes de M. Serge de Diaghilev à l´Opera. Le mardi 27 Décembre: Le Pas d´acier - La chatte - L´oiseaud e feu. Le jeudi 29 Décembre: L´oiseau de feu - La chatte - L´après-midi d´un faune - Les Danses du Prince Igor´ (Translation: "2 soirées of the Ballets Russes of Mr. Serge de Diaghilev at the Opera. Tuesday, December 27: The Steel Step - The Cat - The Firebird. Thursday, December 29: The Firebird - The Cat - The Afternoon of a Faun - The Dances of Prince Igor") With blank integral leaf. VGThe Steel Step is a 1926 ballet in two scenes containing eleven dances composed by Sergei Prokofiev.La Chatte ("The Cat") is a 1926 work by French composer Henri Sauguet. In 1924 Erik Satie introduced Sauguet to Serge Diaghilev. He wrote his first ballet, Les Roses that year. In 1927 Diaghilev's company produced the ballet La Chatte ("The Cat") with music by Sauguet, which premiered in Monte Carlo on April 1930. L´oiseau de Feu ("The Firebird") is a ballet and orchestral concert work by Igor Stravinsky. It was written for the 1910 Paris season of Diaghilev´s Ballets Russes company.L´Après-midi d´un Faune ("The Afternoon of a Faun") is a ballet choreographed by Nijinsky for the Ballets Russes. The ballet is set to Debussy´s symphonic poem Prélude à l´après-midi d´un Faune (1894)Les Danses du Prince Igor is part of the unfinished opera composed by Alexander Borodin.

A modern mahogany metamorphic library step

A 9ct Gold Amethyst and Diamond Ring; set with a rectangular step cut amethyst that measures approx. 7.88mm x 5.93mm and two side pear cut amethysts that each measure approx. 6mm in length and four melee round brilliant cut diamonds, stamped "375 DIA", ring size N, total gross weight approx. 2.7 grams

2 Aluminium step ladders & 1 small step ladder.

An Aluminium folding step ladder

A 2 step, step ladder

A Pioneer wooden step ladder

2 Wooden step ladders

A vintage step ladder

REGGAE/ DUB - LP COLLECTION. Another quality collection of 35 reggae LPs. Artists/ titles include Various - Step Forward Youth (M/ Sealed), Tommy McCook - Horns Man Dub, Barry Issac - African News, Derrick Harriott - Step Softly, Trinity - Three Piece Suit, More Jammys From The Roots, Ramgoat - Pluto, The Dub Funk Association - Raise The Dub, Wailing Souls - Lay It On The Line, Culture - Cumbolo, Burning Spear - Live, Sabebe - The Light of Saba, Luciano - Messenger, Phill Pratt - Star Wars Dub (M/ Sealed), A Rubba Dub, Ini Kamoze - Pirate, Moodie In Dub Vol 3, Prince Buster On Tour, Roland Alphonso, Bunny Striker Lee, The Skatalites, Taxi Connection, Byron Lee, Misty In Roots, Various - Reggae Going International 1967-1976 (M/ Sealed), 20 Reggae Blockbusters. Condition is generally VG+ to Ex+, odd one may drop to VG.

7" PACK - REGGAE / SKA INC RARITIES. A pack of x14 Reggae 7" singles include UK rarities. This pack includes Cimarons - Grandfather Clock d/w Kick Me or I'll Kick You (HR-105 - Vg / Vg), Prince Buster & the All Stars - Johnnie Cool Part 1 (FAB-11 - Vg), Dandy - Reggae in your Jeggae (DT-410 - Vg), Prince Buster - Big Five, Prince Buster & the All Stars - One Step Beyond, Winston Groovey - Funny, Tony Tribe - Red, Red Wine, Prince Buster & the All Stars - My Happiness and Laurel Aitken - Baby Please Don't Go mainly Vg to Vg+ condition. Other artists include Rupie Edwards All Stars, Toots & The Maytals, Black Slate, The Planets and Eddie Lovette in generally Vg+ condition. Please note some have polythene residue and benifit from a clean.

CONTEMPORARY REISSUES 7" PACK - NORTHERN. A pack of x25 contemporary northern soul reissue singles. Titles include The Falcons - Love Look in Her Eyes (BMR 1015 - Ex+), Bobby Sheen - Something New To Do (SB7028 - Ex+), Elbowed-Out - Taking A Step - SJ523 - Ex), The Kindly Shepherds - Lend Me Your Hand, Mr Soul - What Happened To Yesterday, Joe Tex - Under Your Powerful Love, Shirley Hughey - Pink and Green and Mikki Farrow - Set My Heart at Ease in generally Vg+ to Ex+ condition. Other artists include - Angela Davis and The Mighty Chevelles, Sidney Barnes, Chuck Jackson, Soul Stirrers and Tommy Neal in generally Vg+ to Ex+ condition.

70S UK 7" SOUL PACK INCLUDES RARITIES. Pack of x34 70s / 80s 7" soul / funk / disco singles. Titles include Veneice - Step Child (HLU 10372 - Vg+), Backyard Heavies - Just Keep On Truckin' (ACT 4616 - Ex-), Jay W.Mcgee - When We Part (Uptown, Downtown) (ENY 231 - Ex-), Edwin Starr - Time (TMG 1028 - Vg), Wayne Henderson - Dancin' Love Affair, Phyllis Hyman - You Know How To Love ME, Oliver Cheatham - Get Down Saturday Night and Jackie Moore - Both Ends Against The Middle in generally Vg to Ex condition. Other artists include, Johnny Williams, Jimmy James, George Duke, African Music Machine and Alicia Myers in generally Vg to Ex condition.

An unusual natural fancy pink and white diamond pendant, the elongated hexagonal step cut light pink diamond in a rub-over setting, with a row of round brilliant cut diamonds surrounding it and further diamonds to the top and bottom, the pink diamond approximately 0.75ct, fancy pink, SI clarity, natural diamond with natural colour, the white diamond total weight approximately 0.75ct, tested as natural; 2.4cm long, 3.2g gross. Together with a report from AnchorCert *Please note amendment to description 27/02/25 10:36am and 5/03/25 08:50am*

An Important Collection of Early English Silicon Microchip Wafers,A collection of Early English Silicon and Gallium Arsedide wafers, including a case of 25 blank silicon wafers in a plastic case, a chrome coatedglass lithography mask (used to pro by Microfab for Marconi (c.late 1960's) and another smaller lithography mask; a transparent experimental Gallium Arsenide printed wafer; a slicon printed wafer, and a number of single crystal silicon blanks for making alpha particle detectorsThe Photolithography Process in the 1960s1. Silicon Wafer Preparation - the silicon wafer (a thin slice of pure silicon) was first meticulously cleaned to remove any impurities or particles. Any contamination could disrupt the microfabrication process.2. Oxidation Layer - The wafer was coated with a thin layer of silicon dioxide (SiO₂) by heating it in an oxygen-rich environment. This layer acted as an insulating and protective layer.3. Photoresist Application - A light-sensitive material called 'photoresist' was evenly applied to the wafer's surface. This material would react to ultraviolet (UV) light, becoming either soluble or insoluble, depending on whether a positive or negative photoresist was used.4. Aligning the Mask - The 'lithography mask'—a glass or quartz plate with intricate patterns of the circuit or device to be fabricated—was carefully aligned over the wafer. These masks were highly precise and contained the negative or positive image of the circuit layer.5. Exposure to UV Light - The wafer and mask were placed into a **mask aligner or stepper**, which directed UV light through the transparent parts of the mask onto the photoresist. The UV light changed the solubility of the photoresist in the exposed areas.6. Developing the Photoresist - The wafer was then immersed in a chemical developer solution, which washed away the exposed (or unexposed) photoresist, depending on whether it was a positive or negative resist. This left a patterned photoresist layer on the wafer.7. Etching - The exposed areas of the silicon dioxide (not protected by the photoresist) were etched away using either a **chemical etchant** (wet etching) or **plasma etching** (dry etching). This created a pattern in the oxide layer that matched the mask design.8. Doping or Metallization - The patterned wafer was subjected to further processes - Doping: Introducing impurities into the exposed silicon areas to modify its electrical properties: Metallization - Depositing metal layers (like aluminum or gold) to form connections and contacts.9. Photoresist Removal - After etching or doping, the remaining photoresist was stripped away using solvents or plasma. This left behind the desired pattern on the silicon wafer.10. Layer Repetition - For complex circuits, the process was repeated multiple times with different masks for each layer. Each mask corresponded to a specific circuit layer, and the layers had to align perfectly (a process called 'registration') to create functional devices.Role of the Lithography Mask - The lithography masks offered here played a vital role in defining the geometric patterns of the circuit. In the late 1960s, these masks were typically created using chrome-coated glass plates, where patterns were etched into the chrome layer using high-precision tools. These patterns represented transistor arrangements, resistors, capacitors, and wiring, which would eventually become part of the microcircuit.Significance in History - In the 1960s, this process was cutting-edge and foundational for the rapid development of integrated circuits (ICs). Companies like Marconi would have used lithography masks to fabricate transistors, diodes, or other early semiconductor components for telecommunications, defense systems, and other technologies.The mask from MicroFab is a piece of technological history, showcasing the craftsmanship and innovation that laid the groundwork for the modern computing revolution. Early photolithography techniques like this evolved into the extremely sophisticated processes used today, enabling the miniaturization and complexity of modern chips. Footnote: These silicon wafers were purchased from one of the world's leading suppliers of silicon wafers namely, Wacker Chemie in Germany. The wafers were processed at various laboratories including e2v in Chelmsford, SemiFab in Scotland and Southampton University. The end product was to make a Field Effect Transistor used as the first element in the amplifying section of an X-Ray spectrometer. The Field Effect Transistor (JFET) was directly connected to the output of the sensor and matched to the sensor's capacity. They are called JFETs to signify that these were Junction Field Effect Transistors and the original design is credited to Wrangy Kandiah, a Physicist working at the UKAEA facility in Harwell.The work started in the late 1970s and carried on into the early 2000s. These devices have now been superseded by Silicon Drift Detectors where the JFET has been replaced with a CMOS FET embedded into the anode of the sensor. e2v in Lincoln was the first semiconductor foundry in Europe and they specialized in Gallium Arsenide for applications in Radar. The wafers went through various stages in the processing laboratory. The first step was to oxidise the wafer and then to create the JFET structure using Lithography and finally coating the wafers to reveal the electrodes to the transistor. The final step was to saw the wafers and release individual JFETs for use in the spectrometers. The footprint of each JFET was 1mm by 1 mm and the gate width on the Fet was 1 micron.

Document Concerning Lean Foucault's Gyroscope,A collection of Early English Silicon and Gallium Arsedide wafers, including a case of 25 blank silicon wafers in a plastic case, a chrome coatedglass lithography mask (used to pro by Microfab for Marconi (c.late 1960's) and another smaller lithography mask; a transparent experimental Gallium Arsenide printed wafer; a slicon printed wafer, and a number of single crystal silicon blanks for making alpha particle detectorsThe Photolithography Process in the 1960s1. Silicon Wafer Preparation - the silicon wafer (a thin slice of pure silicon) was first meticulously cleaned to remove any impurities or particles. Any contamination could disrupt the microfabrication process.2. Oxidation Layer - The wafer was coated with a thin layer of silicon dioxide (SiO₂) by heating it in an oxygen-rich environment. This layer acted as an insulating and protective layer.3. Photoresist Application - A light-sensitive material called 'photoresist' was evenly applied to the wafer's surface. This material would react to ultraviolet (UV) light, becoming either soluble or insoluble, depending on whether a positive or negative photoresist was used.4. Aligning the Mask - The 'lithography mask'—a glass or quartz plate with intricate patterns of the circuit or device to be fabricated—was carefully aligned over the wafer. These masks were highly precise and contained the negative or positive image of the circuit layer.5. Exposure to UV Light - The wafer and mask were placed into a **mask aligner or stepper**, which directed UV light through the transparent parts of the mask onto the photoresist. The UV light changed the solubility of the photoresist in the exposed areas.6. Developing the Photoresist - The wafer was then immersed in a chemical developer solution, which washed away the exposed (or unexposed) photoresist, depending on whether it was a positive or negative resist. This left a patterned photoresist layer on the wafer.7. Etching - The exposed areas of the silicon dioxide (not protected by the photoresist) were etched away using either a **chemical etchant** (wet etching) or **plasma etching** (dry etching). This created a pattern in the oxide layer that matched the mask design.8. Doping or Metallization - The patterned wafer was subjected to further processes - Doping: Introducing impurities into the exposed silicon areas to modify its electrical properties: Metallization - Depositing metal layers (like aluminum or gold) to form connections and contacts.9. Photoresist Removal - After etching or doping, the remaining photoresist was stripped away using solvents or plasma. This left behind the desired pattern on the silicon wafer.10. Layer Repetition - For complex circuits, the process was repeated multiple times with different masks for each layer. Each mask corresponded to a specific circuit layer, and the layers had to align perfectly (a process called 'registration') to create functional devices.Role of the Lithography Mask - The lithography masks offered here played a vital role in defining the geometric patterns of the circuit. In the late 1960s, these masks were typically created using chrome-coated glass plates, where patterns were etched into the chrome layer using high-precision tools. These patterns represented transistor arrangements, resistors, capacitors, and wiring, which would eventually become part of the microcircuit.Significance in History - In the 1960s, this process was cutting-edge and foundational for the rapid development of integrated circuits (ICs). Companies like Marconi would have used lithography masks to fabricate transistors, diodes, or other early semiconductor components for telecommunications, defense systems, and other technologies.The mask from MicroFab is a piece of technological history, showcasing the craftsmanship and innovation that laid the groundwork for the modern computing revolution. Early photolithography techniques like this evolved into the extremely sophisticated processes used today, enabling the miniaturization and complexity of modern chips. Footnote: These silicon wafers were purchased from one of the world's leading suppliers of silicon wafers namely, Wacker Chemie in Germany. The wafers were processed at various laboratories including e2v in Chelmsford, SemiFab in Scotland and Southampton University. The end product was to make a Field Effect Transistor used as the first element in the amplifying section of an X-Ray spectrometer. The Field Effect Transistor (JFET) was directly connected to the output of the sensor and matched to the sensor's capacity. They are called JFETs to signify that these were Junction Field Effect Transistors and the original design is credited to Wrangy Kandiah, a Physicist working at the UKAEA facility in Harwell.The work started in the late 1970s and carried on into the early 2000s. These devices have now been superseded by Silicon Drift Detectors where the JFET has been replaced with a CMOS FET embedded into the anode of the sensor. e2v in Lincoln was the first semiconductor foundry in Europe and they specialized in Gallium Arsenide for applications in Radar. The wafers went through various stages in the processing laboratory. The first step was to oxidise the wafer and then to create the JFET structure using Lithography and finally coating the wafers to reveal the electrodes to the transistor. The final step was to saw the wafers and release individual JFETs for use in the spectrometers. The footprint of each JFET was 1mm by 1 mm and the gate width on the Fet was 1 micron.

A collection of loose step cut aquamarine stones, various sizes; and a heart shaped moonstone

An 18ct gold aquamarine and diamond cluster ring, the rectangular step cut aquamarine in claw setting and with a row of diamonds around it, to decorative scrolling shoulders, the aquamarine approximately 1.73ct, the diamond total weight approximately 0.50ct, finger size N, 5.64g gross

A contemporary design tanzanite and diamond dress ring, the step cut tanzanite, approximately 1.44ct, set at an angle into the band with a small round diamond to each side also set into the band, acid tests as approximately 18-22ct gold, finger size Q, 7.4g gross

Two pair of folding wooden step ladders, one with four steps, the other with five (2)

The impressive ‘Flag Officer Royal Yachts’ G.C.V.O., Great War C.B. group of thirteen to Admiral Sir Henry Buller, Royal Navy, who commanded H.M.S. Highflyer in her epic engagement with the German cruiser Kaisar Wilhelm der Grosse off Rio de Oro in August 1914, an action extensively portrayed the pages of ‘Deeds That Thrill The Empire’ The Royal Victorian Order, G.C.V.O., Knight Grand Cross set of insignia, comprising sash badge, silver-gilt and enamels and breast star, silver, with gilt and enamel centre, both officially numbered ‘581’ on reverse, in Collingwood, London numbered case of issue; The Most Honourable Order of the Bath, C.B. (Military) Companion’s neck badge, silver-gilt and enamels, in damaged Garrard, London case of issue; 1914-15 Star (Capt. H. T. Buller, M.V.O., R.N.); British War and Victory Medals (Capt. H. T. Buller. R.N.); Defence Medal 1939-45; Jubilee 1935; Coronation 1953; Russia, Empire, Order of St. Anne, Third Class breast badge by Keibel, gold and enamels, two reverse arms chipped, these last seven mounted court-style as worn; Belgium, Order of the Crown, Knight Grand Cross set of insignia, by Wolravens, Brussels, comprising sash badge, silver-gilt and enamels, and breast star, silver with silver-gilt and enamel centre, in case of issue; Roumania, Order of the Star (Military), Second Class set of insignia, by Resch, Bucharest, comprising neck badge, silver-gilt and enamels, and breast star, silver, with silver-gilt and enamel centre, in case of issue, unless otherwise described, good very fine and better (14) £4,000-£5,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Spink, July 2000. G.C.V.O. London Gazette 11 August 1930: For services as Flag Officer Royal Yachts. C.B. London Gazette 1 January 1919: ‘In recognition of services during the War.’ The original recommendation states: ‘Sank Kaiser Wilhelm de Grosse. Extract from letter to Rear-Admiral, Carnarvon: Captain Buller’s action has their Lordship’s complete approval in every respect for the humane and correct manner in which he did his duty.’ Henry Tritton Buller was born in 1873, the son of Admiral Sir Alexander Buller, G.C.B., of Erie Hall, Devon and Belmore House, West Cowes, and entered the Royal Navy as a Cadet in January 1887. Regular seagoing duties aside, his subsequent career appointments also included his services as First Lieutenant of the Royal Yacht Victoria and Albert in 1902-04, for which he was awarded the Russian Order of St. Anne in October 1904 and advanced to Commander, and as Commanding Officer of the Royal Naval College, Dartmouth between January 1908 and June 1911. On the Prince of Wales passing out of the college in 1911, Buller was appointed M.V.O. (London Gazette 12 April 1911, refers) and advanced to Captain. His next appointment was Flag Captain Home Fleets at Portsmouth, 1911-12, whence he was appointed to the command of H.M.S. Highflyer, the training ship for special entry cadets. On the day hostilities broke out in 1914, Buller in Highflyer captured to S.S. Tubantia, carrying German reservists and a gold shipment. Three weeks later, he found the German commerce raider Kaiser Wilhelm Der Grosse, coaling in Spanish territorial waters off the mouth of the Oro River, West Africa. On offering the faster vessel the chance to surrender, Buller received the signal: “Germans never surrender, and you must respect the neutrality of Spain.” But since it was known that the commerce raider had abused Spanish neutrality by using the river mouth as a permanent base for some weeks, Buller gave warning that he would attack in half an hour, allowing time for the colliers to withdraw with such personnel as the German captain felt fit. Deeds That Thrill the Empire takes up the story: ‘As soon as the period of grace had elapsed the Highflyer again inquired if the enemy would surrender, and when the answer came, “We have nothing more to say,” the action opened without further parley. The British cruiser let fly with one of her 6-inch guns at a range of just under 10,000 yards; but the shot fell short. The enemy’s guns were smaller - 4.1-inch - but much more modern, and before our shells began to hit the enemy the German projectiles were falling thickly around and upon the Highflyer. One shell went between a man’s legs and burst just behind him, peppering him with splinters. Another struck the bridge just after the captain had left it to go into the conning-tower, and knocked a searchlight overboard. All this time the Highflyer was steaming in so as to get her guns well within range; and when the 100lb shells began to hit they “kept on target” in a manner that spoke well for the training of our gunners. One shot carried away a 4-inch gun on the after-deck of the enemy. Another burst under the quarter-deck and started a fire; a third - perhaps the decisive shot of the action - struck her amidships on the water-line and tore a great rent in her side. From stem to stern the 6-inch shells tore their destructive way, and it was less than half and hour after the fighting began that the “pride of the Atlantic” began to slacken her fire. The water was pouring into the hole amidships, and she slowly began to heel to port. Three boat loads of men were seen to leave her and make for the shore … The Highflyer immediately signalled that if the enemy wished to abandon ship, they would not be interfered with; and as the guns of the Kaiser Wilhelm had by this time ceased to answer our fire, the Highflyer ceased also, and two boats were sent off with surgeons, sick-berth attendants and medical stores, to do what they could for the enemy’s wounded. The ship herself was battered beyond all hope, and presently heeled over and sank in about fifty feet of water. Although Highflyer had been hit about fifteen times her losses amounted to only one man killed and five slightly wounded. The enemy’s loss is unknown, but it is estimated that at least two hundred were killed or wounded, while nearly four hundred of those who had escaped in the colliers were captured a fortnight later in the Hamburg-America liner Bethania … ’ The same source concludes: ‘It was noteworthy as being the first duel of the naval war and as being the first definite step in the process of “clearing the seas.” It is not often the Admiralty evinces any enthusiasm in the achievements of the Fleet, and the following message despatched to the victorious cruiser is therefore all the more remarkable: “Admiralty to Highflyer – Bravo! You have rendered a service not only to Britain, but to the peaceful commerce of the world. The German officers and crew appear to have carried out their duties with humanity and restraint, and are therefore worthy of all seamanlike consideration.” Buller departed Highflyer in May 1916, when he was appointed Naval Assistant to the Second Sea Lord at the Admiralty, but he returned to sea as Flag Captain in the Barham in April 1918, and as Commanding Officer of the Valiant at the war’s end. A succession of ‘royal appointments’ ensued in the 20s and 30s, commencing with his command of the Malaya during the Duke of Connaught’s visit to India in early 1921. He was appointed C.V.O. (London Gazette 25 March 1921, refers) and advanced to Rear-Admiral. He then served as Officer Commanding H.M.’s Yachts during the period of King George V’s cruise in the Mediterranean, and was appointed K.C.V.O. (London Gazette 22 April 1925, refers). ...

The Second War bomb and mine disposal George Medal awarded to Lieutenant S. E. Jenner, Royal Naval Volunteer Reserve, whose gallant work encompassed the Coventry Blitz of November 1940 George Medal, G.VI.R., 1st issue (Elec Lieut Stanley Edmund Jenner, RNVR.) mounted on original investiture pin, nearly extremely fine £2,800-£3,400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Penrith Farmers and Kidds, March 2000. G.M. London Gazette 27 June 1941: ‘For gallantry and undaunted devotion to duty,’ The original recommendation states: ‘This officer in November 1940 rendered safe three unexploded enemy mines, two at Coventry and one near the R.A.F. Station, Wythall. One mine, which fell in Humphrey Barton Road, Coventry, called for particular courage and coolness. It first had to be towed out of a hole by rope before it could be dealt with, and this task was made more harassing by an unexploded bomb within 10 yards. During this operation Lieutenant Jenner was ably helped by A.B. Tuckwell, G.C., who showed his usual complete disregard of danger.’ Stanley Edmund Jenner was educated at St. Dunstan’s College, London, and was a playing member of Aldershot Rugby Football Club in the mid-1930s. Commissioned as an Electrical Sub Lieutenant in the Royal Naval Volunteer Reserve in September 1940, he was quickly enrolled as a bomb and mine disposal officer at the shore establishment H.M.S. Lucifer. An account of some of his subsequent ‘incidents’ appeared in the Reader’s Digest in September 1942: ‘The land [parachute] mine is wholly unpredictable. If one fails to explode in the usual 22 seconds, it is impossible to guess when its mechanism may suddenly start. Lieutenant Stanley E. Jenner, for example, once rushed off to deal with a mine which had crashed through two upper stories of a Birmingham flour warehouse and was lying on the sixth floor. “I didn’t like the situation at all,” he told me. “Moving it was out of the question and working on it there meant that I had no chance of escape if it should show signs of going off. “Well, I started to work and in about an hour the mechanism suddenly began ticking – the Nazi rattlesnake’s usual 22-second warning. I fell downstairs in a hurry, expecting next step would find me on my way to Kingdon Come in a cloud of flour. But nothing happened, so after a bit I went back upstairs and found that the ticking had stopped. Thirty minutes later the mechanism went into action once more. Again I moved out in a hurry. “This time, when nothing happened, I sat down and smoked a cigarette. I couldn’t leave the mine there, of course – flour is too valuable in England. So back I went for a third try. When the ticking started again 15 minutes later, I stuck on the job as though nothing was wrong. It stopped again and in two hours the mine was as innocent as a baby.” ’ The recommendation for Jenner’s G.M. refers to two parachute mines that he rendered safe in Coventry in November 1940, most likely after the most devastating Luftwaffe raid of them all on the night of the 14th-15th, when the city was attacked by 500 aircraft. But omitted from the recommendation is the following incident, as also described in The Reader’s Digest: ‘Sometimes a deactivating job can be completed in 30 or 40 minutes. Other mines require four of five hours of nerve-racking effort. In one mine that fell on Coventry, Lieutenant Jenner told me, gadgets were not where he expected to find them; the colour of the wires had been changed; things stuck; the whole internal set up seemed to have been altered – and there he was all alone with it in a vast area of gutted buildings. Suddenly the clock started ticking and Jenner raced towards an underground shelter which he had selected in advance. When the explosion came, he was completely buried but they dug him out unharmed.’ Jenner was advanced to Lieutenant in January 1941 and gazetted for his G.M. in June, but it would not be until May 1943 that he was able to attend an investiture. In the interim, for a subsequent act of gallantry in disposing of a UXB aboard the M.V. Empire Salvage, he was mentioned in despatches (London Gazette 2 September 1941, refers). The UXB may well have been one dropped by the Fleet Air Arm on 15 June 1941, when the ex-Dutch ship was in the service of the Kriegsmarine. She was then boarded and taken as a prize. Sold with his Royal Society of St. George membership certificate, dated 8 October 1941, and an original copy of the above quoted edition of The Reader’s Digest.

The Great War D.S.C. and Bar, A.F.C. group of six awarded to Group Captain V. Gaskell-Blackburn, Royal Air Force, late Royal Naval Air Service, who, having participated in the first ever carrier-borne air strike in 1914, spotted for the Severn and Mersey against the Konigsberg in East Africa and was twice decorated for his gallant deeds in the Kut-el-Amara and Ctesiphon operations of 1915-16 Distinguished Service Cross, G.V.R., with Second Award Bar, hallmarked London 1915; Air Force Cross, G.V.R.; 1914-15 Star (Flt. Lieut. V. G. Blackburn, D.S.C. R.N.A.S.); British War and Victory Medals (Lt. Col. V. Gaskell-Blackburn, R.A.F.); Coronation 1937, mounted as worn, generally good very fine (6) £12,000-£16,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Dix Noonan Webb, December 2007. Vivian Gaskell-Blackburn was born in Leeds in 1892 and, shortly after leaving Uppingham, learnt to fly a Bristol biplane at Brooklands, taking his Pilot’s Certificate in September 1913 (No. 617). Commissioned in the Royal Naval Air Service on the outbreak of hostilities, he was quickly in action, piloting an Admiralty Type 74 “Folder” Seaplane in the famous Cuxhaven Raid on Christmas Day 1914, the world’s first carrier air strike. The operation, in essence an air reconnaissance of the Heligoland Bight, including Cuxhaven, was made by nine seaplanes, the pilots and their machines being conveyed to a point about 12 miles to the north of Heligoland before being lowered onto the water from the seaplane carriers Empress, Engadine and Riviera - the Arethusa and Undaunted, and eight destroyers, acted as escort. Seven of the seaplanes rose without any difficulty into the air, but the remaining two machines refused to become airborne with their heavy weight of bombs and had to be swung back on board their parent carriers. The former, with their pilots huddling deeper into their draughty cockpits in the clear, icy air, set course for Cuxhaven. Gaskell-Blackburn’s subsequent experiences, and those of his Observer, C.P.O. Mechanic J. W. Bell, are described in R. D. Layman’s definitive history, The Cuxhaven Raid: ‘After coming under fire from trawlers and destroyers, Gaskell-Blackburn ran into fog that ‘rendered navigation extremely difficult’, so much so that he was unable to tell where he crossed the coastline ... To the north-west he noted a number of destroyers steaming seaward and what appeared to be a British seaplane heading the same direction. Also to the north, Bell observed, were three battlecruisers and about 15 other vessels, all making heavy smoke ... The first three cruisers ‘opened an extremely hot anti-aircraft fire,’ as did the battlecruisers as the Short flew between the two groups of ships. The German fire was accurate for height, but the shells burst behind the planes. He reported, ‘I came then to the outskirts of Wilhelmshaven and was again subjected to an extremely hot anti-aircraft fire ... the most accurate and fiercest fire during the trip.’ A small-calibre shell or a large metal fragment from a heavier missile tore through a main float and damaged a starboard under-carriage strut, damage Bell could see by peering from his cockpit. Gaskell-Blackburn aimed two bombs at what he believed was the land battery responsible; it did not fire again, and my observer reported that he thought we did damage it’ ... With fuel running short, Gaskell-Blackburn decided not to take the return route via Wangeroog and the other Frisian islands, but headed west-north-west over the mainland. The fog closed in again during this inland flight, forcing him to keep to 700 feet. Every time the Short emerged into a momentarily clear patch of sky, he reported, it was fired at by anti-aircraft guns or rifles ... Gaskell-Blackburn reached the coast near Baltrum Island, Norderney’s neighbour to the east, emerging into clear sky, quickly recognising Norderney and heading north to seek the carriers ... ’ Layman next describes Gaskell-Blackburn’s ditching and rescue by the submarine E. 11, the latter already having picked up another pilot: ‘About ten minutes later E. 11’s lookouts spotted an airship to starboard - in fact the Zeppelin L5 commanded by Kapitanleutnant Klaus Hirsch - a complication compounded by the additional arrival of two more R.N.A.S. seaplanes, both dangerously short of fuel (No. 814 crewed by Gaskell-Blackburn and Bell, and No. 815 by Oliver and Bell). Both swept down and landed alongside the submarine, just as Nasmith spotted another looming danger in the form of a periscope (it was, in fact, the British submarine D. 6, hastening to the scene to offer assistance) ... Nasmith, tackling the problem of rescuing four airmen in the face of what appeared to be imminent underwater and aerial attack, acted with the cool-headed precision that would win him fame later in the war. Casting off the tow-line to [Miley’s] No. 120, he manoeuvred E. 11 so close to No. 815 that Oliver and Bell were able to step aboard her, then hailed Gaskell-Blackburn and Bell to swim to the submarine. Doffing their flying clothes and the impedimenta that Malone had insisted upon, they dived from their tilting plane and were hauled, dripping, aboard E. 11. Although the airship was now closing fast, Nasmith was obedient to the orders to destroy abandoned aircraft if possible. Since E. 11, like most British submarines in 1914, as yet lacked a deck gun, he ordered a machine-gun up from below and began to pepper the seaplanes’ floats with it. Oliver joined in with his pistol. Before this fire could have any effect, the aerial menace got too close for comfort, and Nasmith ordered a crash dive. With L5 nearly overhead, he waved his cap defiantly as he made for the conning tower hatch. It has often been claimed that the gesture confused the airshipmen into thinking E. 11 was a U-boat capturing enemy planes and caused them to delay dropping bombs. Gaskell-Blackburn thought so at the time. But there is nothing in German accounts to suggest the gesture was even seen, and Hirsch’s report makes it clear he was quite aware that the submarine was an enemy craft. He saw the rescue of the airmen clearly just before he sent two bombs crashing down. Their explosions shook both E. 11 and D. 6, although the former had time to dive to 40 feet before they went off and the latter was 60 feet down. The men on each submarine thought their boat was the target, but Hirsch’s account indicates he was aiming simply in the general vicinity of the seaplanes and the submerged E. 11, hoping any or all might be damaged. Observing no effect from the bombs, he headed seaward toward the Harwich Force. Nasmith meanwhile took E. 11 down to rest on the seabed, where at 20 fathoms the submariners shared their Christmas turkey and plum pudding with their five unusual guests.’ Gaskell-Blackburn was mentioned in despatches (London Gazette 19 February 1915 refers), and his Observer, C.P.O. Mechanic J. W. Bell, was awarded the D.S.M. In the operations against the Königsberg in East Africa in July 1915, while piloting a Henri Farman biplane out of Mafia Island, Gaskell-Blackburn was commended for his work in spotting the fall of shot from H.M’s monitors Severn and Mersey. And in the following month, on the 15th, he carried out a reconnaissance with Flight Commander Cull, D.S.O., this time in a newly delivered Cauldron G. III aircraft, in order to assess the damage caused the enemy cruiser; an excellent photograph of Gaskell-Blackburn at the helm of his Henri Farman, taken on Mafia Island in July 1915, is in the collection of the Fleet Air Ar...

The rare Arctic convoy PQ-17 B.E.M and Soviet Red Star group of five awarded to Chief Steward R. Quick, Merchant Navy, who survived the loss of the Empire Byron in PQ-17 in July 1942, and an inquisitive U-boat officer who suspected he was the ship’s Master British Empire Medal, (Civil), G.VI.R., 1st issue (Robert Quick); 1939-45 Star; Atlantic Star; War Medal 1939 -45; U.S.S.R., Order of the Red Star, the reverse officially numbered, ‘70811’, mounted for display, extremely fine (5) £1,200-£1,600 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Spink, November 2000. Approximately 20 Soviet Red Stars were awarded to Allied personnel for the 1939-45 War, six of them to members of the Merchant Navy. B.E.M. London Gazette 1 January 1943. The original recommendation states: ‘Chief Officer Prance and Steward Robert Quick were shipmates in a vessel which made three voyages to Russia in the Empire Byron. On her last voyage she was subjected to constant air and sea attack. Despite his previous experiences on the North Russian route, Steward Quick re-engaged in this vessel for a further voyage and faced unflinchingly all dangers and hazards.’ Soviet Red Star London Gazette 17 November 1942: ‘In recognition of gallantry in the convoying of ships to northern ports of the Soviet Union.’ Robert Quick was born in St. Ives, Cornwall on 4 May 1881, and was thus aged 61 when he signed on for his voyage in the S.S. Empire Byron on the Arctic run. Unfortunately for him, it was in the ill-fated Arctic convoy PQ-17. Carrying 3,500 tons of military stores, the Empire Byron sailed with the convoy from Reykjavik on 27 June 1942 and, following receipt of the notorious signal for the convoy to ‘scatter’ on 4 July, altered course by 20 degrees to veer away from the main body. At 0827 hours on the 5th, Kapitänleutnant Bielfeld of the U-703 put a torpedo into the Empire Byron’s main engine room, causing a between decks explosion which trapped a dozen Gunners below. The crew abandoned the sinking ship and under the orders of Captain Wharton concentrated in two boats, one of which had an engine. The officers discarded uniform insignia indicating their rank as the Germans would be sure to seek out the ship’s Master and no doubt take him prisoner aboard the U-Boat. Among those compelled to discard such insignia was John Rimington, a Captain in the R.E.M.E., who was to have advised the Russians on their new Churchill tanks. He remained, however, resplendent in a pure white duffel coat. Meanwhile, Empire Byron’s boiler exploded, tearing a gaping hole in the hull. Water then cascaded in and the ship sank with the loss of 18 gunners and ratings. Bielfeld now gave orders for U-703 to surface and closed on the two lifeboats. According to David Irving’s The Destruction of Convoy P.Q. 17, ‘A tall blond officer,’ accompanied by a German seaman in ‘polished leggings toting a machine-gun,’ then descended on to the U-boat’s deck, and began berating the British seamen who were struggling with unfamiliar oars. As they neared the submarine, the German Officer asked, “Why are you Fighting? You aren’t Communists are you? So why do you risk your lives to take tanks to the Bolsheviks? Who is your Captain?” Nobody stirred or answered, and, as related in the same book, the blond ‘German’s eyes fell on the rather distinguished-looking Chief Steward [Quick], but he hastily said he was not the Captain; finally, the officer saw Captain Rimington, and told him to step on to the submarine’s deck; the army captain’s protests went unheeded, and he was taken down below. At the same time, the lifeboats were handed tins of biscuits and apple-juice, and a piece of sausage. “How far is the nearest land?” asked Captain Wharton. “About 250 miles,” answered the blond officer. A klaxon sounded within the submarine, and she submerged, taking the captured Briton with them.’ Thus, cast adrift, 61-year-old Quick subsequently endured the following ordeal, as detailed by Captain Wharton in his official report: ‘We rowed to the S.E. throughout the afternoon of the 6th until the men became exhausted and then at about 1900 hours we took the other lifeboat in tow and started the motor, steered S.E. and making about four knots. A little before 1900 we saw a submarine on the surface astern signalling to a single aircraft which was circling overhead, but neither of them took any notice of us. Our compass was of little use to us, but we had the sun throughout the 24 hours and were able to steer by it and make a good course. We sighted one German plane on the 7th and also a steamer which was on fire and abandoned, but sighted nothing further until 10th when we sighted the corvette Dianella steaming towards us. Her crow’s nest look-out had sighted our red sails, and we were picked up about 1320 on 10th in position 73.48 N. 41.21 E., having been in the boats for five and a half days, and covering 250 miles towards the land. We remained on board the Daniella and landed at Archangel on 16 July.’ Sold with three original Soviet Red Star membership booklets, one of them with a portrait photograph, the other two with annual coupons dated 1942-46 [for annuity?], together with damaged card box of issue for B.E.M.

‘As an authority on gun matters, he is unrivalled – the greatest authority on Fire Control questions in the British Navy.’ So concluded Admiral Sir John Jellicoe, in assessing the capabilities of Frederic Dreyer, his Flag Captain at Jutland, in a report dated 4 October 1916. The important G.B.E., K.C.B. group of fourteen awarded to Admiral Sir Frederic Dreyer, Royal Navy, Flag Captain to Admiral Sir John Jellicoe in the Iron Duke at Jutland; a noted expert in naval gunnery, Dreyer’s fire-control system was adopted by the Admiralty in the lead up to the Great War, a timely development that undoubtedly contributed to the award of the C.B. (Military) for the battle of Jutland and to Iron Duke’s unrivalled reputation for speed and accuracy The Most Excellent Order of the British Empire, G.B.E. (Military) Knight Grand Cross, 2nd type, set of insignia, comprising sash badge, silver-gilt, and enamels, and breast star, silver and enamels, with full dress sash, in Garrard, London case of issue; The Most Honourable Order of the Bath, K.C.B. (Military) Knight Commander’s, set of insignia by Garrard, London, comprising neck badge, silver-gilt, gold and enamels, minor damage to blue enamel on reverse, and breast star, silver, gold and enamels, in Garrard, London case of issue; The Most Honourable Order of the Bath, C.B. (Civil) Companion’s, breast badge, converted for neck wear; 1914-15 Star (Capt. F. C. Dreyer, R.N.); British War and Victory Medals, with M.I.D. oak leaves (Capt. F. C. Dreyer. R.N.); 1939-45 Star; Africa Star; War Medal 1939-45; Coronation 1911; Jubilee 1935; Coronation 1937; France, 3rd Republic, Legion of Honour, Officer's breast badge, gold and enamels, hairline cracks to white enamel; United States of America, Distinguished Service Medal (Navy), the medals and foreign awards mounted court-style as worn, unless otherwise described, nearly extremely fine (16) £5,000-£7,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Spink, April 2004 G.B.E. London Gazette Coronation Honours List May 1937. K.C.B. London Gazette 3 June 1932. C.B. (Civil) London Gazette 22 June 1914. C.B. (Military) London Gazette 15 September 1916: ‘Commanded and handled the Fleet Flagship most ably during the action. The rapidity with which hitting was established on ships of the enemy’s fleet was the result of long and careful organisation and training of personnel.’ French Legion of Honour, Officer London Gazette 12 December 1918. [Japanese Order of the Rising Sun, 3rd Class London Gazette 8 March 1920] [Russian Order of St. Anne, 2nd Class London Gazette 1 October 1917] U.S.A. Distinguished Service Medal (Navy) London Gazette 16 September 1919. Frederic Charles Dreyer was born on 8 January 1878, the son of a Danish astrologer who was granted British citizenship in March 1885. He entered the Royal Navy as a Cadet in Britannia in July 1891 and was appointed a Midshipman in July 1893. Having then gained advancement to Lieutenant in July 1898, he took a First with Honours in an advanced course for Gunnery and Torpedo Lieutenants and served in that capacity in battleship H.M.S. Exmouth in 1904-07. It was in this period that he commenced his pioneering research into fire control, work which resulted in him joining the revolutionary Dreadnought for an ‘experimental cruise’ in 1907. Of special interest to Dreyer was the fact that she was the first battleship to have a uniform main battery, rather than a few large guns complemented by a secondary armament of smaller guns. The result of his work - Dreyer’s Fire Control Table - was indicative of his approach to gunnery, namely plotting ranges and bearings versus time, using a range clock and other accessories to help relay data, and to develop a continuous hypothesis of range and deflection to send to guns’ crews. Their Lordships of the Admiralty were duly impressed, and he was advanced to Commander and appointed Assistant to the Director of Naval Ordnance. Dreyer’s talents also caught the eye of another noted gunnery expert, Vice-Admiral Sir John Jellicoe, under whom he served as Flag Commander in the Prince of Wales in 1910-12. A spell on the War Staff having then ensued, he was advanced to Captain in June 1913 and awarded the C.B. (Civil) in June 1914. By the outbreak of hostilities, Dreyer was serving as Flag Captain to Jellicoe in the Orion, following which he accompanied the Admiral to his new command, the Iron Duke. Given his senior role in the battle, Dreyer’s name looms large in numerous histories. Few of them fail to pay tribute to his skilful command and the fact that Iron Duke’s gunnery record for speed and accuracy was unrivalled, a record assisted by executing the classic ‘crossing the T’ manoeuvre. It was indeed to Dreyer that Jellicoe turned as the opposing sides closed each other in the early evening of 31 May 1916, requesting his Flag Captain’s opinion as to the most favourable direction in which to engage the enemy fleet, then heading north in pursuit of Admiral Beatty’s squadron. In Dreyer’s own words, ‘I reported to him that the most favourable direction was to the southward, and would [then] draw westwards as the sun sank.’ As evidenced by Iron Duke’s subsequent actions, he was bang on the mark, for at 1830 hours she had a clear view of the Koenig lit up against the sinking sun: in less than five minutes, Iron Duke fired nine salvoes, hitting the Koenig seven times. She also took out the German destroyer S-35. Arguably the most momentous moment aboard Iron Duke was awaiting news of the enemy’s precise position, a period of deep concern for Jellicoe and Dreyer. When Beatty finally imparted that information, Jellicoe reacted swiftly, a moment captured by Dreyer, who was standing by the compasses on the manoeuvring platform: ‘I then heard at one the sharp, distinctive step of the Commander-in-Chief approaching - he had steel strips on his heels. He stepped quickly onto the platform round the compasses and looked in silence at the magnetic compass card for 20 seconds. I watched his keen, brown, weather-beaten face with tremendous interest, wondering what he would do. With iron nerve he had pressed on through the mist with his 24 huge ships, each weighing 25,000 tons or more, until the last possible moment, so as to get into effective range and make the best tactical manoeuvre after obtaining the news of the position of the enemy Battle Fleet, which was his objective. I realised as I watched him that he was as cool and unmoved as ever. Then he looked up and broke the silence with the order in his clear, crisp-cut voice to Commander A. R. W. Woods, the Fleet Signal Officer, who was standing a little abaft me, “Hoist equal-speed pendant, south-east.” Woods said, “Would you make it a point to port, Sir, so that they know it is on the port-wing column?” This was a small matter and not actually necessary in view of Jellicoe’s habit of commencing the deployment in the Iron Duke while the signal was being answered. Jellicoe replied at once, “Very well. Hoist equal-speed pendant south-east by east.” ’ Of such moments, history is made. Jellicoe would later pay tribute to Dreyer in The Grand Fleet 1914-1916: ‘The mist rendered range taking a difficult matter, but the fire of the Squadron was effective. Iron Duke, having previously fired at a light cruiser between the lines, opened fire at 6.30 p.m. on a battleship of the Konig class at a range of 12,000 yards...

The unique Uganda Mutiny C.M.G. group of four awarded to Lieutenant C. W. Fowler, Royal Navy The Most Distinguished Order of St. Michael and St. George, C.M.G., Companion’s, breast badge, silver-gilt and enamels, complete with ribbon buckle; Egypt and Sudan 1882-89, undated reverse, 1 clasp, Suakin 1885 (Lieut. C. W. Fowler, R.N. H.M.S. Carysfort) impressed naming; East and Central Africa 1897-99, 2 clasps, Lubwa’s, Uganda 1897-98 (Lt: C. W. Fowler, R.N.) mounted on original wearing bar together with related ribbon bar, nearly extremely fine (4) £8,000-£10,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- The clasp ‘Lubwa’s’ is unique to the Royal Navy. Charles Wilson Fowler was born in December 1859 in Cookham, Berkshire, the ninth of 13 children of Captain George Campbell Fowler, R.N. Like his father, he joined the Navy as a Cadet in January 1873, becoming Midshipman in June 1875, Sub-Lieutenant in April 1880, and Lieutenant in December 1883. He was Lieutenant of Carysfort during the naval and military operations near Suakin in 1884-85. Fowler was ‘allowed to resign from the navy to avoid court martial after sending a letter to his Captain accusing him without foundation of ‘scandalous conduct.’ He went to Uganda where he was appointed 3rd Class Assistant, Uganda Protectorate, in July 1896. He was Assistant Collector at Port Victoria, January to September 1897, and was at Lubwa’s during the Sudanese mutiny in November 1897. The mutineers were invested in Lubwa’s Fort by Captain E. M. Woodward, Leicester Regiment, with a very small force, and after several skirmishes they evacuated Lubwa’s and moved by launch and canoes up the Nile towards Mruli. Included in the medal rolls is Lieutenant Fowler, R.N., in command of 58 Swahilis. He was appointed 2nd Class Assistant and Superintendent of Marine in April 1898, and invested with the C.M.G. in January 1899 ‘for services rendered during the Uganda Mutiny’. The following extracts are taken from Major J. R. L. Macdonald’s official report and despatches: ‘Lieutenant C. W. Fowler, late R.N., was especially mentioned for his conduct in the engagement at Lubwa’s Hill, 19th October, 1897, again distinguished himself on the 24th November, though ill at the time. He was present at the fights of the 7th and 11th December, 1897, made a gallant effort to sink the enemy’s dhow on the 5th January, 1898, and subsequently served with the Unyoro column, and commanded in the minor engagement of the 10th April, 1898, when he inflicted a severe defeat on Mwanga’s Mahommedans.’ In more detail: Early October 1897: ‘Lieutenant Fowler, late R.N., at Port Victoria, also took steps to defend his fort, and to cut the bridges over the Sio River; but he was only able to partially carry out this step. On hearing that Lieutenant Fowler was in danger, Mr Jackson and I [Macdonald] advanced to his assistance with all the men we could raise.’ ‘On the 19th instant the mutineers, to the number of 300, assisted by some 150 Waganda Mahommedans, attacked our camp. The engagement commenced at 6 a.m. by a fierce attack on two sides of the camp, the mutineers coming on with the greatest determination. This attack was repulsed, but not until some had got within 50 yards of our line. The fight then continued until nearly 11 a.m., the mutineers bringing up supports, and making repeated attacks. About 11 a.m. when they appeared to have somewhat exhausted their attack, I made a counter-attack on the left with 100 Swahilis under Captain Kirkpatrick and Mr Mayes, on the right a few Swahilis under Lieutenant Fowler, assisted by some fifty Wasoga under a sub-Chief called Kyrania. This counter-attack was completely successful, and the enemy were driven down the hill, and retired to the fort, where they have since remained. Our total loss amounted to 16 killed, 18 severely wounded, and 12 slightly wounded. I cannot speak too highly of the gallantry of the Europeans and Indians. The Wasoga, as a result of our victory, came forward in large numbers, and on the 20th we were joined by an army of Waganda under the Sekebobo. The enemy are now invested in the fort.’ ‘Lieutenant Fowler kept his men incessantly at hand, assisted in repulsing the first attack on our right, and took part in the final counter-attack, when his courage and judgement were productive of the best results.’ ‘On the 14th January [1898] Lieutenant Fowler took the steam-launch and a sailing boat which had meanwhile arrived close to the enemy’s new fort under a heavy fire, and shelled their dhow, with a view to rendering it useless.’ ‘On the night between the 4th and 5th January the mutineers began effecting their escape from the fort by means of this vessel. A party of some sixty embarked and crossed to a small promontory lying north of the station... and proceeded to intrench themselves. On the second night Lieutenant Fowler, late R.N., made efforts with canoes and a Maxim to sink the dhow but without success, as the gun jammed, with a broken mainspring, and from that moment his canoemen absolutely refused to go anywhere near the dhow.’ ‘On the 14th January Lieutenant Fowler succeeded in getting near enough to the dhow to severely damage it with Hotchkiss fire, and on the following day the mutineers themselves destroyed it.’ ‘On the 10th April, 1898, Lieutenant Fowler and Corporal Brodie, acting under the orders of Captain Harrison, with a column of under 100 men, surprised the Mahommedan camp in Bugoma, and, after a brisk fight, in which he lost eleven killed and wounded, completely defeated the enemy and vigourously pursued them. The enemy lost fifty-five killed and twenty prisoners, and their camp and baggage.’ His last appointment appears to have been as Sub-Commissioner of the Nile Province. He died on 19 March 1907. The group is accompanied by two fine portrait photographs of Fowler wearing these medals; original letter notifying him of his appointment to be Commander of St Michael and St George ‘for services rendered during the Uganda Mutiny’; and original warrant for C.M.G. and accompanying transmission document, 23 January 1899.

18ct gold blue sapphire seven stone ring with a row of seven rectangular step cut sapphires in 18ct gold channel setting (London 2019). Ring size N½Weight 3.9 grams

Three Step Ladders and Step

90S AND 2000S ARTISTS LP COLLECTION (MODERN PRESSINGS) - a collection of 18 90s and 2000s artist LPs (modern pressings). Collection to include: The Avalanches - Since I Left You (20th-anniversary deluxe edition), Placebo - A Place For Us To Dream: 20 Years Of Placebo, Fugees - The Score, Orbital - Snivilisation, Blur - The Great Escape - Parklife, The Killers - Sam's Town (10th-anniversary), Kylie - Step Back In Time - Disco, My Chemical Romance, Counting Crows, James Blunt, Fun Lovin' Criminals, Justin Currie, Passenger (x3), David Gray. The collection is generally in Ex+ condition.

HIP HOP AND RELATED - LP COLLECTION (INC REISSUES). A smashing collection of 26 hip hop LPs. Artists/ titles include 50 Cent - Guess Who's Back (FCR 2003, records Ex+/ sleeve Ex), DJ Shadow - Entroducing (MW059), Public Enemy - Muse Sick-N-Hour Mess Age, De La Soul inc 3 Feet High And Rising (2LP), Is Dead. Clipse - Lord Willin, Snoop Dog - Doggy Style (2002 reissue), EPMD - Business Never Personal, The Roots - Organix (RRLP 001, Made In USA label), Eric B & Rakim - Don't Sweat The Technique. Ghostface Killah (Transparent smoke vinyl), A Tribe Called Quest, Brother Ali, Beastie Boys, Lauryn Hill, Young Fathers, Objective, Radio Trip, Step In The Arena, Roots Manuva, Kid Capri. Condition is generally VG+ to Ex+.

Two step-ups

An aluminium step ladder

A quantity of various wooden and metal folding step ladders

A SET OF FOUR FOLDING GARDEN CHAIRS, with wrought iron frames and slatted wooden seats and backs, along with a Jobezer folding platform step ladder (5)

A TRAY CONTAINING TERRACOTTA PLANT POTS, twenty four in total of varying sizes along with two step ladders and two sledge hammers etc (29)

A SET OF UNBRANDED FOLDING STEP LADDERS, height 212cm

TWO BOXES OF BOOKS, to include The Grouse in Health and In Disease 1912, two boxed Saturday Books: no 15 1955 and no 28 1968, The Genial Showman Being Reminiscences of Artemus Ward in two volumes EP Hingston, The Marriages of the Bourbons in two volumes Captain the Hon. D Bingham 1890, Wayside and Woodland Trees by Edward Step, with dust jacket, From Eden Vale to the Plains of York by Edmund Bogg, etc (2 boxes) (sd)

Registration – 151D 54244Chassis No. – SALLDHSP7FA465855M.O.T. – TBCOdometer – 69,000 It’s often the case that movie villains have the coolest cars. That was certainly the case in 2015 Bond film “Spectre.” When chasing Bond off the mountain the Spectre heavies used some very tough looking, very highly specified Land Rover Defender 110’s to stalk their prey. This led to a high demand for evocations of the Spectre Land Rovers and also roughly coincided with the retirement of the original Defender, only adding to the furore. ‘151D 54244’ is not only one such thrilling evocation but was also previously owned by Irish MMA icon, Connor McGregor. Given this astounding provenance it will be no surprise that ‘151D 54244’ is a very highly specified Land Rover indeed, but more of that shortly. The Land Rover is a UK supplied and specified crew cab, pick up version of the Defender 110 that was bought new in the UK by McGregor. ‘151D 54244’ was then exported to Ireland and remained in McGregor’s ownership for 3 years. The vendor has not re-registered it in the UK for fear of losing the V5 with McGregor’s name on it. This custom, one-of-one Land Rover is now a two owner vehicle having covered around 69,000 miles and having never been used off road. It has been regularly maintained with its last service at the end of 2024, less than 400 miles ago. ‘151D 54244’ is offered with two keys, the original book pack and a provenance that’s hard to better.Not one for the shy and retiring, ‘151D 54244’ is an absolute feast for the eyes and demands attention like few other Land Rovers….or vehicles of any type. There is so much thrilling detail here that it is hard to know where to start. ‘151D 54244’ presents in “Bond Villian” Black and features a full external, tubular roll cage. A set of 8J x 16-inch Storm alloy wheels are fitted and also finished in black. These are shod with a set of Cooper Discovery tyres in a 315/75 configuration. An identical spare wheel and tyre is mounted in the rear bed. Extra wide Spectre wheel arch extensions are fitted together with a front mounted Bearmach Power Winch housed withing a winch bumper. A KBX front light arrangement is present as is a snorkel, a Puma bonnet and new protective chequer plate to the wing tops. Even the unique Spectre rope arrangement from the film is noted. A movie faithful roof tray is fitted as are four, cage mounted, 7-inch LED spot lamps which are wired in to factory switches. Full length side steps are fitted as is a NAS rear step with integrated tow pack.The interior specification is no less spectacular, either. A full Recaro style interior is fitted and trimmed in leather……black, of course. A Momo steering wheel is fitted, together with a central cubby box, black headlining, front electric windows, central locking, immobiliser, Pioneer double-DIN Bluetooth head unit and alarm. An invertor and three, three pin power outlets are even fitted in the rear bed.A full SuperGaz suspension is fitted, incorporating a 2-inch lift, a steering damper and a full poly-bush set. The running gear is standard 2015 Defender fare in the shape of the 2,198cc ZSD-422 Duratorq turbodiesel engine and six-speed manual transmission. The usual Defender off-road focussed full time four wheel drive and high / low transfer gearbox are all present, of course. In news that will shock no one – every aspect of ‘151D 54244’ is rated as “excellent.”

A VERY LARGE UNMOUNTED KUNZITE SPODUMENE Featuring an emerald step cut kunzite spodumene weighing approximately 55.18 Cts. Accompanied by AIGS Report No. GF24082420 dated 2 September, 2024, stating that the purplish pink stone identified to be a natural spodumene - kunzite. 2.25 x 1.79 x 1.56 cm 55.18 Cts Ownership Statement: This item is offered for sale without disclosing the identity of the owner. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

A VERY LARGE UNMOUNTED LEMON QUARTZ Featuring an emerald step cut lemon quartz weighing approximately 129.15 Cts, eye clean, of a greenish yellow colour. 2.9 x 2.43 x 2.15 cm 129.15 Cts Ownership Statement: This item is offered for sale without disclosing the identity of the owner. For a condition report or further images please email hello@hotlotz.com at least 48 hours prior to the closing date of the auction. This is an auction of preowned and antique items. Many items are of an age or nature which precludes their being in perfect condition and you should expect general wear and tear commensurate with age and use. We strongly advise you to examine items before you bid. Condition reports are provided as a goodwill gesture and are our general assessment of damage and restoration. Whilst care is taken in their drafting, they are for guidance only. We will not be held responsible for oversights concerning damage or restoration.

Collection of Approximately 70 Vintage Vinyl Records This collection features around 70 vintage 12-inch vinyl records, primarily LPs with some singles, housed in their original cardboard sleeves. Labels include Stiff Records, Island Records, Columbia, Proto Records, 2 Tone Records, R&S Records, and Factory Records. Notable artists and titles include Paul Simon (*Graceland*), Grace Jones (*Island Life*), Madness (*Complete Madness*), Depeche Mode, Gary Numan, Devo, and Brian Eno. Genres range widely, encompassing rock, pop, new wave, electronic, ambient, and more. The lot includes various rarities such as white-label pressings, promotional copies, remixes, and limited editions like Erasure’s *It Doesn’t Have To Be (Limited Edition Remix)* and Depeche Mode’s *Behind The Wheel (Remixed by Shep Pettibone)*. Visible spines display distinct typography and design elements, with some bearing identifiers like "Synaesthesia – Feel The Dream" (Vinyl Solution, STORM 44/18336). Sleeves show general signs of age and wear, including edge fraying, minor scuffing, and fading, but remain structurally intact. This diverse collection offers significant appeal to vinyl enthusiasts, collectors, and those interested in vintage music history.Apollo 440 - Astral America, Atomix - Perception Records DJ Promo Copy, Depeche Mode - Master and Servant, Trance Mission - 571 020, 10 Days in an Elevator - Chakk, Paul Simon - Graceland, Robot - A Discocomedy, Madness - Complete Madness, Erasure - Abba-esque: The Remixes, Unknown White Label - Smaller, Flexing Records - Unknown Record, Hard Corps - Je Suis Passée, Mike Oldfield - Ommadawn, New Beat - Take 4 (A.B. Sounds), Deacon Blue - Raintown, Japan - Gentlemen Take Polaroids, SPK - Machine Age Voodoo, Hard Corps - Lucky Charm, Grace Jones - Island Life, Madness - One Step Beyond..., Portion Control - Purge, The B Sides - Volume Three, Lil' Louis & The World - I Called You / French Kiss, Bass Base - Hi Liner, Jah & Spoon - Tales From A Danceographic Ocean, Snap! - Rhythm Is A Dancer, Dream Frequency - Take Me (Featuring Debbie Sharp), Unknown White Label, Mariah Carey - Dreamlover, Ven A Gozar - Unknown Compilation, The Disease - Industrial Records (White Label), Constant Bliss - Unknown Compilation, Synaesthesia - Feel The Dream, De'Lacy - Hideaway (Slip N Slide), Altern 8 - The Vertigo EP, Unknown Red Label Vinyl, Front 242 - Masterhit (Part II & III), Divine - The Story So Far, Billy Orbit - Unknown Record, Depeche Mode - Behind The Wheel (Remixed By Shep Pettibone), Contagious Records - Unknown Red Label Record, Unknown Orange Label Vinyl (Possibly Acid House Compilation), Wildcat - No Turning Back, City Limits - Unknown Compilation, Bio Rhythms - Deck 8-9 I See The Music (Volume 1), Ultraviolet - Kites, Unknown White Label - Broken Vinyl (Balearic Beats Vol. 2), Devo - Peek-A-Boo!, The Cornkisters - Willie Kemp, Tony Wright, Curly Mackay, Love Parasite - Unknown Record, Sonic Solution - Music (R&S Records), Guerilla Records - Code Red, Guerilla Records - Unknown Track, Ambient - Compilation (Volume Unknown), Wild Keyboard - White Label, Fate - A Matter of Attitude, Marillion - Holidays in Eden, The Specials - Self-titled (2 Tone Records), Warrant - Dirty Rotten Filthy Stinking Rich, Guerilla Records - Unknown Track (Code Red Label), C'hantal - The Realm (Powertraxx), Time (Possibly Tropical House Label), Cypress Hill - Self-titled Album or Single, New Beat Sampler - Sound of Belgium, Yazoo - Situation Remix, Quireboys - A Bit of What You Fancy, Yashar - Factory Records (Manchester England), Gary Numan - Assassin, Gary Numan - Living Ornaments '80, Club for Heroes - Compilation of New Romantic Hits, Erasure - It Doesn’t Have to Be (Limited Edition Remix)

**Collection of British Royal and Currency Commemorative Items**This collection includes a diverse array of commemorative items celebrating British history, monarchy, and significant royal milestones. Below is a description of its notable contents:1. **Framed Banknotes:** - Six framed displays titled *"The English One Pound Note 1821-1984"* house genuine Bank of England £1 notes. Each note displays a portrait of Queen Elizabeth II, the denomination, and unique serial numbers such as DU28 448327 and DU27 195074. These commemoratives likely mark the historical usage of £1 notes, gradually replaced by coins in the 1980s. Frames feature the branding "Raffles - One Step Ahead."2. **Commemorative Coins and Packaging:** - **Diamond Wedding Anniversary Coins (1947-2007):** Several coins celebrate the 60th wedding anniversary of Queen Elizabeth II and Prince Philip. One coin features their dual portraits, with inscriptions reading *"Elizabeth and Philip"* alongside the dates "1947" and "2007." These coins are presented with corresponding display cards that detail the occasion. - **Golden Jubilee Coin (2002):** A 50p coin depicting horse imagery commemorates Queen Elizabeth II's Golden Jubilee marking 50 years on the throne. An inscription *"Elizabeth II Dei Gra Reg Fid Def Amor Populi Praesidium Reg"* is also present. - **Queen Mother 90th Birthday Coin (1990):** This silver-coloured coin showcases a central "E" monogram, a crown, and UK floral symbols (rose and thistle), celebrating Queen Elizabeth The Queen Mother's 90th birthday.3. **Postal Memorabilia and Stamps:** - **Princess Diana Stamps (1961–1997):** A folder titled *"Diana Princess of Wales"* contains six commemorative 26p stamps with portraits highlighting her legacy. The folder is themed in a pink floral design and issued by Royal Mail. - **Diamond Wedding Anniversary First-Day Covers:** Envelopes feature commemorative stamps, cancellation marks, royal portraits, postmarked dates (e.g., 31st October 2010), and integrated coins. Imagery includes formal wedding photographs of Queen Elizabeth II and Prince Philip.### Key Features:- This collection spans the late 20th to early 21st century, focusing on milestones of the British monarchy such as the wedding anniversaries of Queen Elizabeth II and Prince Philip, Queen Elizabeth The Queen Mother's 90th birthday, and Princess Diana’s life and legacy.- Items are professionally presented in frames, packaging, or protective encasements, ensuring their appeal as collectibles. This curated assortment is ideal for enthusiasts of British royal and currency history.