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Lot 19
Horse with rider; Han Dynasty, 206 BC-AD 220Polychrome terracotta.The horse has a break in one of its ears.Measurements: 29 x 30 x 13 cm.Sculpture representing a horseman on his horse, a piece from the funerary trousseau made in terracotta in a rounded mass and decorated with cold-applied engobes.The Han dynasty ruled China between 206 BC and 220 AD, more than four centuries during which the political, social and economic structures of China were consolidated, leading the country into the most glorious period of its history. The art of this period is still predominantly funerary, although it reflects the very high artistic level that would be reached in both the capitals and the provinces. These preserved objects provide us with information about the daily life and customs of the time, as the art becomes much more mundane than the bronzes of the Zhou and Shang periods. The structures of the tombs also changed: the Shang tombs were vertical, while the Han tombs were built in the form of underground palaces. They were decorated with reliefs stamped with scenes from the life of the deceased, and a new material, lacquer, was introduced as an artistic medium. The most famous today, however, is Han pottery production, made of terracotta and decorated with cold-applied engobes, mainly black and red.
Lot 120
* DRYSDALE SCOTT (SCOTTISH b. 1963),THE GIFT OF GIVINGoil on boardimage size 91cm x 102cm, overall size 112cm x 122cmFramed.Label verso: The Lemond Gallery, Glasgow; Drysdale Scott Solo Show July 2016 where acquired by the current vendor.Note: Trained at Glasgow School of Art 1983-1987 and pursued a career in teaching but in recent years his work has been in hot demand from astute collectors. Scott is a painter who specialises in figure compositions portraits and still life. He creates narrative images that are based on modern-day themes and events. Like many of the artists who have had an influence on his work, he has a great interest in “capturing a moment in time”. Composition, realism and strong draughtsmanship are of equal importance to him as is the narrative involved in creating his work. His main influences are – Velazquez, Titian, La Tour, Caravaggio, Hopper, Bacon and Freud.Condition is good overall.
Lot 77
* NAN STARK FERGUSSON (SCOTTISH 1910 - 1984),FLOWERS IN A GREY JUGoil on canvas, signed and titled verso image size 56cm x 76cm, overall size 73cm x 93cm Framed.Note: Born, Southdean, Maxwelltown, Dumfries on 9th May 1910, Nan Fergusson was the eldest of three children. Her father was a lawyer and Session Clerk of St Michael’s Church, Dumfries, and her mother was the noted artist Christian "Chris" J Fergusson (1876- 1957). Their home, constructed in 1907, was designed in an Arts and Crafts style. Both her parents helped to found the Dumfries and Galloway Fine Art Society which is still in existence today. Nan was a painter in oil and watercolour, still life, portrait and also landscape, the latter mainly Scottish, especially Galloway, Arran, Fife and Berwickshire, but also France and Italy. She was educated at the Convent School, Maxwelltown, Dumfries and at Edinburgh College of Art where she studied under William Gillies and Penelope Beaton. She obtained three travelling scholarships as well as a post-diploma award. In 1935 she continued her studies at the Academie Scandinave in Paris under Friesz, then visited Florence, Venice, Rome and Sienna. In 1937 she married the artist James Henderson with whom she exhibited in Edinburgh and elsewhere. When resident in the Borders, they helped to form the Galashiels Studio Club in 1949. Nan, along with other prominent women artists in Edinburgh, exhibited at a group show for a number of years during the Edinburgh International Festival as well as exhibiting regularly at the RSA, RSW and SSA. From 1963 – 1971 she was a teacher of art at George Watson’s Ladies College in Edinburgh, and in the 1970’s was a much respected President of the SSWA. Her landscapes were marked by great individuality, with special regard for design, and well considered composition. Nan successfully brought up five children but continued to paint when the opportunity arose. Her calm and gentle nature hid a determined personality.The Harbour Cottage Gallery, Kirkcudbright staged an exhibition of the work of Chis J Fergusson and Nan Fergusson 29th August - 10th September 2022 which attracted the attention of the BBC and their report can be viewed at this link: Glasgow Girl's art found in attic to go on display - BBC News
Lot 115
* KERRY DARLINGTON (WELSH b. 1964),TREE OF KNOWLEDGEoriginal mixed media and resin on board, signedimage size 36cm x 100cm, overall size 66cm x 129cm Framed.Note: in The Scottish Contemporary Art Auction of 6th March 2022 two new auction records were achieved at £6500 and £9500 (both hammer) for original paintings by Kerry Darlington.Note 2: Kerry Darlington was born in 1974 in Rhyl, North Wales. She was inspired by magical fairy tale picture books and stories during her childhood and held a particular fascination for Arthur Rackham's intricate pen and ink work. This influenced her to take a degree in Illustration, with intentions of becoming a children's book Illustrator. During this period she discovered the Pre-Raphaelite artists and Art Nouveau. She found this work so hauntingly beautiful that it captivated her completely and it still has a profound effect on her own art. In the years that followed, Kerry began to build a reputation for her original, decorative designs using 3D elements and resin which became hugely popular, focusing primarily on trees and nature. Inspiration for these was taken from the Art Nouveau period, particularly Klimt’s infamous ‘Tree of Life’. Today, she continues to paint themes of myth and legend, poetry and stories.Condition is good overall.
Lot 199
* STELLA STEYN (IRISH 1907 - 1987),STILL LIFEoil on canvasoverall size 77cm x 91cm Unframed.Note: Stella Steyn was a distinguished modernist Irish/Jewish artist. She studied in Dublin, Paris & at the Bauhaus. Samuel Beckett, James Joyce & others were her friends and the latter asked her to provide illustrations for an edition of Finnegan`s Wake. Steyn had a one-woman exhibition at the Leicester Galleries in 1951, and three years later a joint show was held there with Ivon Hitchens. Her work was on display at Downing Street during the premiership of Gordon Brown.
Lot 24
* FIONA STURROCK,STILL LIFE OF FLOWERS IN A VASEoil on board, signedimage size 59cm x 59cm, overall size 79cm x 79cm Framed.Note: Fiona Sturrock’s paintings demonstrate her love of colour and the practice of mixing colour, laying down patterns of light, shade and texture to produce bold representations of what she is observing. She tends to work on one painting at a time, giving it full focus and energy, which often translates visibly in the intensity of colour and boldness of the finished piece of work. Fiona paints from a mixture of life scenes, photographs and imagination. She is influenced by historical works of Colourists and Impressionists, and is hugely inspired by the wealth and richness of contemporary Scottish art that surrounds us in the present day. Fiona’s work features across a number of galleries and is held in private collections internationally.
Lot 201
* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950),STILL LIFE WITH HEN & CORMORANToil on canvas, signed, titled label versoimage size 77cm x 77cm, overall size 95cm x 95cm Framed. Artist's label verso.Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.
Lot 166
* GERARD BURNS (SCOTTISH b. 1961),STILL LIFE OF FRUIT IN A SILVER BOWLoil on canvas, signedimage size 50cm x 50cm, overall size 70cm x 70cm Framed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow, portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
Lot 31
* JOHN G BOYD RP RGI (SCOTTISH 1940 - 2001)SHED, BARFED oil on canvas, signed, titled and dated 1973 versoimage size 61cm x 91cm, overall size 78cm x 108cm Framed and under glass. Note: John Boyd was born in Stonehaven, Kincardineshire in 1940. He studied at Gray's School of Art, Aberdeen (1958 - 1962) where he was taught by Robert Henderson Blyth. He briefly studied at Hospitalfield where he met John Byrne and Sandy Fraser, who was to become a lifelong friend. Boyd moved to Glasgow and from 1967 - 1988 he taught at Glasgow School of Art before turning to painting full time. His first solo show was held in Edinburgh in 1967, after which he exhibited regularly at the RA, the RSA, the RGI and RSPP. A major retrospective of his work was held in Glasgow, in 1994. Boyd won numerous awards and was elected a member of the Royal Glasgow Institute of Fine Arts in 1982 and a member of the Royal Society of Portrait Painters in 1989. His work is held in private collections owned by, among others, the Earl of Moray and Lord MacFarlane as well as numerous corporate collections including The Fleming Collection, Bank of Ireland, Murray Johnson and Arthur Anderson. Public collections include the Paisley Art Gallery, the People's Palace, Glasgow Museums and the Lillie Art Gallery, Milngavie. He was noted for his strongly coloured landscapes, portraits and still life's, mostly in oils, with his best work being produced in the last ten years of his life.
Lot 1081
MANUSCRIPT LIFE OF A SOLDIER. Major General John Soame Richardson, CB (1836-1896), for 25 years commander of the 12th Regiment of Foot in New South Wales.Small 4to, 1896. 41pp of Memoirs followed by 78pp of Letters from the Crimea. Written in a very neat hand by Gertrude Steele, probably the daughter of his guardian.The first part of the book, the Memoirs, is largely taken from newspaper articles. The second part, Letters from the Crimea, is a transcript of 23 letters home, some several pages long, written between June 25th 1855 and June 23rd 1856. The letters are detailed and personal and full of interest.Richardson was born in Norfolk but orphaned by the age of 11, after which he was brought up by his guardian and his wife, whom he called ‘Aunt.’ He served as an ensign in the Crimea in the 72nd Highlanders and was present at the fall of Sebastopol. He commanded the military forces of New South Wales from 1865 and led them in the Soudan campaign in 1885, and played a founding role in the establishment of the Australian military tradition, instigating many reforms despite government indifference. He was the first soldier in Australia to be promoted to the rank of major general.Some extracts from his letters from the Crimea:Camp before Sebastopol, August 11th 1855. The trenches are very bad for our health. One goes in about 8 o’clock in the evening, and has to endure the very heavy dews and perhaps rain, sitting in wet clothes by night, and in the day the sun is enough to kill a person, it makes me almost faint…I had just finished my supper consisting of bread and cheese under the parapet close to a wooden hut, and was just getting up to have a look over the parapet to see what was going on, when a round shot came and carried away some earth and a piece of the hut just above my head – a couple of seconds later and my unfortunate head would have gone too – The Russians have also a depraved passion for throwing what we call ‘bouquets’ and the men a ‘handful of devils,’ which consist of about fifteen or twenty hand grenades thrown from a mortar which burst about in all directions, they threw three or four of these bouquets right amongst my working party, and one grenade or devil came so near that I actually felt the scorch as it burst, but really these escapes begin to get so common that one thinks scarcely anything about them…letters are such a delight and make me feel so stout in heart when I think of everybody that I left behind and of England herself…you have no idea, dear Aunt, how they strengthen and uphold me.Camp before Sebastopol, August 22nd 1855. If you will be kind enough to send the following things with the bills etc as soon as convenient, I shall be much obliged. Soyer’s Shilling Cookery Book. A small Shakespeare. 6 pairs of woollen socks, 6 flannel shirts, 2 coarse blue woollen jerseys like sailors wear, 3 pairs of fur gloves, 1 fur cap with ears, 1 pair of thick blankets, 1 comforter, 6 yards of thick flannel for lining. Hair brush and comb, nail brush, 2 toothbrushes, a little soap, 2 lbs of green tea. Ditto coffee (ground), rug and clothing for horse with hood.Kamara, September 6th 1855. The bombardment is continuing, and an assault will be made tomorrow…I have not the slightest idea how we will get on, but I hope well. In case of accident, I have directed a few things of mine to be sent to my Guardian, as I thought and knew you would like to have something to remind you of the wayward boy (whom, bye the bye, I hope will be spared) to render back some of the love and kindness he has met with from his Aunt and Godfather. Though I have no fear of death, still as we are all liable to it, it may happen to me just as much as anyone else. I have had a thought my dear Aunt which I must tell you, because if it is wrong I know you can set me aright. It is a feeling that if I should be killed, I should go to heaven, and that by dying for my Queen and country I should in a measure expiate my many sins. I don’t know why but I often think of it.Kamara, September 10th 1855. Luckily for us some of the Russians deserted the place. The Russians blew up the magazines in the Redan from right to left. I was lying down at the time, and the ground seemed literally to heave, and volumes of fire, dust, smoke and stones were hurled some hundreds of feet into the air – mines continued to explode nearly all the morning, some too near to be pleasant. I am sure we have sustained a great loss. Every place was crowded with dead and dying – there were two dead men lying close to me all night – one had had his stomach torn out by a round shot – the other his head smashed by a piece of shell which I found I had been sitting on. When daylight came it was a shocking sight, the poor fellows lying in heaps and all along the glacis of the Redan just where they had fallen…The noise for eight hours was fearful – in fact a perfect hell, a Babel of large and small guns, musketry and groans. We had few casualties, somewhere about 10 men. Just after we got in and were watching the attack, standing together in little knots, a minié ball came and struck one of our officers, who was standing next to me, in the chin, then in the collar bone, and out again. He went down like a shot, poor fellow, and is not expected to live. It is a most curious noise when a person is hit by a ball, an indescribable crack like a small stone thrown against a stone wall.Richardson spent his last years in a mental institution. He was buried in Waverley cemetery with full military honours, and the huge attendance at his funeral was testimony to the respect and esteem in which he was held. He was one of Australia’s greatest soldiers.Half red morocco with photographic portrait frontis, another photograph of his tomb, the official announcement of his death and relevant newspaper cuttings.
Lot 1284
JOHN THOMPSON (1924-2011); oil on board, 'Still Life', signed, 50 x 40cm, framed and glazed. (D)Additional InformationThe image is in good condiiton, but it is slightly dropped in the frame. Light wear to the frame.This lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
Lot 1329
GORDON RADFORD; oil on board, 'Still Life with Box', signed, inscribed on Tib Lane Gallery label verso, detailing exhibition December 1983, 24 x 34cm, framed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
Lot 8
Workshop of LUIS DE MORALES (Badajoz, 1509 - Alcántara, 1586)."Ecce Homo", ca.1570.Oil on panel.Andalusian frame from the 18th century.It shows damage to the polychromy, losses and restorations.Provenance: Private Collection Barcelona s.XX; Lacalle de Castro Collection, pps. s.XX.Measurements: 75 x 57 cm; 66 x 48 cm (frame).This devotional panel is a direct descendant of the paintings of the same subject by Luis de Morales. Due to the proximity in theme and treatment, it is considered an artist from the workshop of the Flemish-Andalusian master. With his meticulous execution and tenebrist light, he conveys the Passionary moment with his masterly handling of chiaroscuro, having learned from Morales (see the Ecce Homos in the Museo del Prado and the Staatliche Kunstsammlunguen Museum in Dresden). The figure is cut half-length against a black background, emphasising his gaunt anatomy and gaunt skin, his bowed head and sorrowful eyes. With one long-fingered hand he holds the cane like a sceptre. He communicates an intense, emotionally charged pathos, conveying a mystical experience. The theme of the Passion of Christ is one of the most significant aspects of Luis de Morales's iconography. The Ecce Homo and its variant as the Man of Sorrows, in Morales's works, were very popular in his day, and several versions of these themes were produced.The Ecce Homo theme precedes the Crucifixion episode. The words "Ecce Homo" are those pronounced by Pilate when presenting Christ to the crowd; their translation is "behold the man", a phrase by which he mocks Jesus and implies that Christ's power was not such in comparison with that of the leaders who were judging him.Luis de Morales is considered one of the Spanish painters of the second half of the 16th century. His training poses serious problems, although Palomino describes him as a pupil of the Flemish painter who lived in Seville between 1537 and 1563. His use of colouring and sfumato is related to the Lombard tradition of Bernardino Luini and Cristoforo Solario, whom he probably met not on a trip to Italy but possibly to Valencia, in order to keep abreast of the innovations of the Leonardo painters Fernando Yáñez and Fernando de Llanos and the Raphaelesque painters Vicente and Juan Masip. However, the most personal aspect of his painting lies in the tormented, almost hysterical atmosphere in which his figures breathe, more focused on an intense inner life than on action, full of melancholy and ascetic renunciation and characteristic of the climate of tense religiosity imposed in 16th-century Spain by the reform movements, from the less orthodox Erasmianism and Alumbradism to the more genuine mysticism and Trentism. Morales, called the Divine by his first biographer, Antonio Palomino, because he painted only religious subjects with great delicacy and subtlety, reached his peak from 1550 to 1570, when he painted numerous altarpieces, He painted numerous altarpieces, triptychs and isolated canvases that were widely distributed because they satisfied the popular religiosity of the time, although some of his canvases contain quotations and information of literary erudition, the result of his contact with enlightened clients, primarily the bishops of the diocese of Badajoz, in whose service he worked. On the other hand, his presence in the monastery of El Escorial, called by Philip II, is not documented, although it seems that the latter acquired some of his works to give them as gifts. The enormous production and the continuous demand for his most frequent and popular iconographic themes obliged him to maintain a large workshop in which his two sons, Cristóbal and Jerónimo, collaborated; a workshop responsible for many copies that circulate and are still considered to be Morales's autograph works.
Lot 111
WORDSWORTH (WILLIAM)Autograph letter signed ('Wm Wordsworth'), to John Hawkshaw ('Sir'), expressing pleasure and thanks for the volume of Mrs Hawkshaw's Poems but explaining that '...My advanced age & the state of my eyes, which at this season of the year in particular incapacitate me for earnest reading, do not allow of my perusing the Vol. as I could wish...', addressed on third page to John Hawkshaw of Islington, Salford, Manchester, 2 ½ pages on a bifolium, creased, affixed on left edge to album page, 8vo (186 x 117mm.), album page 295 x 214mm., Rydal Mount, 16 December [18]42Footnotes:'MY ADVANCED AGE & THE STATE OF MY EYES INCAPACITATE ME FOR EARNEST READING': AN AGEING WORDSWORTH BEMOANS HIS INCREASING FRAILTY AND FAILING EYESIGHT.Wordsworth had struggled with his eyesight throughout his life, suffering periodic bouts of partial sight, inflammation of the eyelids and sensitivity to bright lights, something which affected his ability to work, although the fear of blindness also served to hasten the publication of his poetry. The symptoms were relieved by wearing green eyeshades which still can be seen at Dove Cottage, together with the blue stone which was used as a cure.Wordsworth here admits his increasing concerns for his health to the husband of poet Ann Hawkshaw (1812-1885), who had presented him with a copy of her first volume of poetry 'Dionysis the Areopagite' and Other Poems, published a month earlier to favourable reviews. She published four volumes of poetry between 1842 and 1871 including Poems for My Children, and Sonnets in Anglo-Saxon History. This ambitious 100-sonnet sequence tracing the history of Britain from prehistoric times to the Norman Conquest was written in response to Wordsworth's own poetic survey of church history, the Ecclesiastical Sketches of 1822, and is described by Debbie Bark in her Collected Works of Ann Hawkshaw, 2014, as '...remarkable, particularly as Wordsworth's use of the sonnet sequence to capture an historical narrative is often considered to be unique...'.For further information on this lot please visit Bonhams.com
Lot 154
A well-documented C.B.E. awarded to Stefan Terlezki Esq., sometime M.P. for Cardiff West, and Chairman of Cardiff City Football Club, who having experienced the horrors of both the Soviet Union and Nazi Germany was a powerful voice against totalitarian governments, and following the collapse of the Soviet Union was an ardent supporter of an independent Ukraine The Most Excellent Order of the British Empire, C.B.E. (Civil) Commander’s 2nd type neck badge, silver-gilt and enamel, with both full and miniature width neck ribands, in Fattorini, Birmingham, case of issue, extremely fine £300-£400 --- C.B.E. London Gazette 13 June 1992: ‘For political and public service.’ Stefan Terlezki was born in Antonivka, Poland (now part of Ukraine), on 29 October 1927. Occupied by the Soviet Forces in 1939 and annexed to the Soviet Union, several of his family were arrested and deported to Siberia. Following the German invasion in 1941, still only 14, Terlezki was sent to Germany as part of a consignment of slave labour, and spent the rest of the War working on farms near Voitsberg. After being ‘liberated’ by the Soviet forces in 1945, he was due to be conscripted into the Red Army to fight the Japanese, but escaped, and ended up in the British Zone of Occupation in Austria. In 1948 he was allowed to emigrate to Britain, and was sent to work as a coal-miner in Wales. After finding alternative work in the canteen of a miners’ hostel, he eventually went into hotel management, and ran his own hotels in Aberystwyth and Cardiff. Terlezki’s political career began in 1968, when he became a Conservative member of Cardiff City Council. He unsuccessfully stood for Parliament in both 1974 elections, losing the Cardiff South East seat on both occasions to James Callaghan. The following year he was appointed Chairman of Cardiff City Football Club, although he refused to travel to the Soviet Union when Cardiff City played Dynamo Tbilisi in the European Cup Winners’ Cup, as he risked being sent to Siberia as a Red Army deserter. As well as serving as the Chairman of various Charitable bodies, Terlezki was elected Conservative Member of Parliament for Cardiff West in the 1983 General Election, succeeding the former Speaker, George Thomas. Whilst in Parliament he remained true to his right-wing reputation, and unsuccessfully introduced a Bill to replace the May Day bank holiday with ‘Sir Winston Churchill Nation Day’ holiday. Despite increasing his vote at the 1987 General Election, he lost his seat to the Labour candidate, with the party holding the seat ever since. Terlezki was appointed H.M. Government's representative on the Council of Europe’s Human Rights Committee in 1989, with his experience of life in both the Soviet Union and Nazi Germany making him a powerful voice against totalitarian governments, and following the collapse of the Soviet Union he became an ardent supporter of an independent Ukraine. He condemned Ukraine’s preservation of close ties with Russia, especially the leasing of naval and military bases in the Crimea, arguing that it allowed Russia to maintain a foothold in the country, and pressed the case for Ukrainian membership of the European Union. He published his memoirs, From War to Westminster, in 2005, and died on 21 February 2006. Sold with an extensive archive, including the Bestowal Document for the C.B.E., this mounted in a glazed frame; named Certificate for the 1977 Silver Jubilee Medal, this similarly mounted in a glazed frame; a photograph of the recipient outside Buckingham Palace having received his C.B.E., and a video ‘still’ of him being invested by H.M. Queen Elizabeth II; photographs of the recipient with various personalities, including H.M. the King (when Prince of Wales), Margaret Thatcher, Michael Heseltine, Geoffrey Howe, and William Hague; the recipient’s British Passport, with various Ukrainian Visas in it; two cartoons featuring the recipient, one whilst Chairman of Cardiff City F.C., both mounted in glazed frames; a copy of the recipient’s autobiography, From War to Westminster, together with a copy of a letter written by the recipient to the then Editor of the Spectator asking him to review it favourably, ‘Please Boris don’t let me down!’; and other ephemera.
Lot 230
A Second War B.E.M. group of five awarded to Private E. V. Woodroffe, Worcestershire Regiment, and later Admiralty Senior Hydrographic Draughtsman British Empire Medal, (Civil) G.VI.R., 1st issue (Ernest V. Woodroffe); 1914-15 Star (12225 L. Cpl. E. Woodroffe. Worc: R.); British War and Victory Medals (12225 Pte. E. Woodroffe. Worc. R.); Defence Medal, unnamed as issued, good very fine or better (5) £300-£400 --- B.E.M. (Civil) London Gazette 1 January 1946: ‘Ernest Victor Woodroffe, Senior Hydrographic Draughtsman, Admiralty.’ Ernest Victor Woodroffe was born on 24 May 1892, at Aston, Warwickshire. He commenced service in the Royal Navy as Boy 2 Class, H.M.S. Ganges I, on 26 April 1908, being appointed to H.M.S. Impregnable on 5 September 1908. He was clearly not suited to naval life and was discharged (invalided with melancholia) on 8 October the same year. On 31 August 1910, he enlisted into the Worcestershire Regiment and served in the 4th and 6th Battalions of that regiment in the Great War, at Gallipoli from 25 April 1915. He sustained a serious gun shot wound to his left hand and was discharged due to wounds on 1 July 1916, no longer physically fit for war service and received Silver War Badge No. 16709 (not with medals). He was appointed to be 2nd Class Draughtsman in the Royal Navy Hydrographic Department, on 16 March 1926, and served through to 1963. By the end of the Second World War he was graded as as Senior Hydrographic Draughtsman, and was awarded the British Empire Medal (Civil) in the New Year's Honour's List of 1946. In the 1939 Register he is recorded as a civil servant residing at Bath. He died on 11 May 1967. Research correspondence with the medals indicate that he was known in the Hydrographic Office as "Splints" Woodroffe and was “quite a "character",a confirmed bachelor, quite a religious man and `careful' with money. He was not only in the Worcestershire Regiment but also said to have been in the Education Corps - perhaps after he was wounded and before joining the Hydrographic Department. However this has not been verified. He joined the Hydrographic Department when it was still at Cricklewood, and came to Taunton when the H.S.E. was established there just before WWII. He retired in 1963, still a Senior Draughtsman. Sold with named card box of issue and Admiralty issue slip for the second and fourth medals, addressed to Jones at an address in Stonehouse, Plymouth; original photograph of the recipient receiving his B.E.M. from Vice Admiral Sir Peter White; original transmittal slip from Buckingham Palace; one good conduct stripe; one embroidered telegrapher’s sleeve badge; press cutting regarding the award of the B.E.M.; ribbon bar, the B.E.M. incorrectly with military ribbon; red fibre identity disk; original small identity card photograph of the recipient; and a photograph of King George VI inspecting a ship in the Home Fleet in September 1942; a copy photograph of the Home Guard platoon formed at the Hydrographic Supplies Establishment, Taunton; together with copied research and copy correspondence regarding his naval service.
Lot 335
Four: Private J. Beech, King’s Royal Rifle Corps, who was wounded in action on the first day of the Battle of the Somme, 1 July 1916, and was wounded and taken Prisoner of War at the Battle of Arras on 3 May 1917 1914-15 Star (R-1118 Pte. J. Beech. K.R. Rif: C.); British War and Victory Medals (R-1118 Pte. J. Beech. K.R. Rif. C.); Imperial Service Medal, E.II.R., 2nd issue (James Beech); together with the recipient’s Silver War Badge, the reverse numbered ‘439070’, good very fine (5) £100-£140 --- James Beech was born in Birmingham on October 1895 and attested there for the King’s Royal Rifle Corps on 2 September 1914. He served with the 8th Battalion during the Great War on the Western Front from 13 August 1915, and was present at the Battle of Loos. He saw further service at the Battle of the Somme, and was wounded in action at Roclincourt on the first day of the Battle, 1 July 1916: ‘At 10:50pm, the Germans exploded a mine under the Battalion’s forward trenches (creating a crater 160 feet wide) and launched an attack supported by heavy artillery fire with 5.9's, 4.2's and trench mortars on the front and communication trenches. The Germans entered the front trenches and commenced to bomb their way forward but were “bombed out” of the trenches by the Battalion’s bombers and a battle developed over the mine crater lips. Breastworks were constructed in the shattered trenches and crater whilst this was going on, with the work parties building it under heavy machine gun and trench mortar fire. By dawn the position was defensible. Casualties were 8 other ranks killed, and 3 Officers and 25 other ranks wounded.’ Beech was again wounded (gun shot wound to the right arm) and taken prisoner of war at the Battle of Arras on 3 May 1917, on which date Battalion casualties were 10 Officers and 270 other ranks. Repatriated to England on 5 May 1918 he was admitted to the King George Hospital, London with his wound still being classified as severe. As a result of his wound, he was medically discharged on 12 August 1918 and was awarded a life disability pension at 30%, as well as receiving a Silver War Badge. He subsequently worked as a telephone mechanic, and was awarded his Imperial Service Medal on retirement in 1960. Sold with copied research, including a photographic image of the recipient.
Lot 459
Three: Police Sergeant W. J. Laker, Eastbourne Borough Police, who was awarded the Royal Humane Society Bronze Medal for rescuing a suicidal man from the sea in 1938 Defence Medal; Police L.S. & G.C., E.II.R., 1st issue (Sergt. William J. Laker) in named card box of issue; Royal Humane Society, small bronze medal (successful) (P.C. William J. Laker. 4th. Aug. 1938.) with integral top riband bar, in Elkington, London, case of issue, extremely fine (3) £140-£180 --- William John Laker was born at Hailsham, Sussex, on 2 September 1908, and joined the Eastbourne Borough Police. He was awarded the Royal Humane Society Bronze Medal (R.H.S. Case no. 54,784) for saving the life of a suicidal man from the sea on 4 August 1938: ‘At six o’clock in the evening on 4 August 1938 the police received a telephone message that a man was in the sea near Langney Point. Acting-Sergeant Anderson and Police Constables Laker and Duff went to the spot in a police car, and saw a man floating face upwards in the sea about 75 yards from the shore. He was fully clothed. They shouted to him to come out of the sea, but he replied “Leave me alone”. Acting-Sergeant Anderson and Police Constable Laker then partly undressed and swam out towards the man, who, however, began to swim still further out. When they reached him he said “Leave me alone, I want to drown.” But they got hold of the man, and in spite of his violent struggles, they brought him back to within 25 yards of the shore. During the struggle Police Constable Laker was kicked in the stomach. In the meantime Police Constable Duff and a Mr. Brook had obtained a rope. They took it to where the man was still struggling in the sea with the other police officers, and at length he was brought ashore in a state of collapse.’ (Eastbourne Gazette, 30 November 1938 refers). Laker and Anderson were presented with their Royal Humane Society Medals by Mr James Price, Chairman of Magistrates. The man that they rescued was reported to have made a full recovery. Laker died in Eastbourne on 6 April 1974. Sold with copied research, including numerous local press extracts that mention the recipient for actions undertaken in the course of his police career.
Lot 344
John Crank (British 1922 - 2008) Bull Finches on branches; and On a Branch,, signed, watercolour heightened with white. 37.9 x 24.4 cm; two colour prints depicting Soldiers from The Third Regiment of Foot Guards 1660; two calendar prints after Pieter Casteels depicting still life subjects; and a colour restrike print after Reynolds depicting Lady Smyth and children, seven (7)
Lot 452
A Royal Worcester cabinet cup and saucer, dated 1923, decorated with a still life of fruit by H. Powell, artist signed, teacup 6cm diameter, saucer 9.6cm diameter; together with a contemporary bone china coffee can by former master Royal Worcester gilder Ken Russell, painted with a small oval cartouche of a fish reserved within a gilt ground with turquoise and white jewelling, after the Dudley Service, artist signed, 6cm high(3)Royal Worcester fruit cup and saucer - Saucer crazed. Small restored rim chip to the cup, approximately 1cm wide.
Lot 462
A large Royal Worcester vase and cover, dated 1910, with twin acanthus-wrapped scroll handles, painted with a still life panel of pink and yellow roses by Roberts and heightened with gilt, artist signed, shape 2354, 38.5cm high (finial and base broken and repaired); sold together with a matching vase, now heavily broken, for restoration and repair to form a pair.(2)Complete vase and cover - cover has been in numerous pieces and repaired. Vase has been broken in two different places near the lower portion of the body and reattached to the foot.Vase in pieces- one handle broken, now in pieces. Vase is further broken from the pedestal but appears to re-assemble quite nicely and there do not appear to be any additional pieces missing. The cover of this vase has two repaired breaks - one to the tip and another around the base of the finial.
Lot 676
WW1 German Prisoner of war ephemera from Stobs Camp in Scotland including two rulers depicting pastoral scenes with ducks on one and geese on the other, both inscribed POW P Mehl, Stobs on the back, still life painting of flowers in a basket by R Suttinger POW, Stobs 16, an identification disc for Lt Herber Grohs, together with a series of letters regarding the safety of prisoners following a fatal incident and a letter detailing the discovery of an escape tunnel by two officers
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