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Lot 170
Marjorie Best (1903-1997) - A still life of flowers in a glass jug, signed, pencil and watercolour, 12.25" x 16.5"; together with a study of yellow flowers by the same artist, signed, pencil and watercolour, 15" x 12"; also a Kim Page still life of white lilies and other flowers, signed, pencil, watercolour and gouache heightened with white, 22" x 15.75" (3)
Lot 204
After Alain Suly - Village amongst hills, indistinctly inscribed also signed by the artist and dated 61 (1961), black and white etching, 6.75" x 15.5" together with four later coloured prints of interior scenes with still-life, a later coloured reproduction of a girl wearing a grey veil with necklace and earrings, a print after Warhol depicting Queen Elizabeth the 2nd, a further print depicting a fashionable lady holding a dog, various sizes (8)
Lot 207
Contemporary School (20th/21st century) - Architectural study of domes with gilded finials, indistinctly signed possibly S Earls-Brigden, pen, ink, watercolour and gilding together with a watercolour depicting a swamp with a single tree in the foreground, also a charcoal drawing, still-life of apples, carrots and onions, and finally an old coloured print of the Princess Royal of England seen three quarter length wearing a blue dress and bonnet, her horse being held by a groom nearby and contained within a decorative foliate engraved border, the picture also contained within a veneered maple wood frame, various sizes (4)
Lot 777
CYRUS AFSARY (AMERICAN b. 1941), STILL LIFE WITH RED POPPIES oil on canvas, signedframed image size 40cm x 46cm, overall size 65cm x 49cm Note: Cyrus Afsary is an American artist known for works of art that not only capture moments in time, but create moods about people and places as well. With an eclectic range of subjects, Afsary moves from portraits to still lifes to landscapes with a magical grace that reflects his sensitive and emotional study of life. As a child, his love for art was evident. And while his father was concerned for his penchant for art, his mother encouraged his talent. Afsary received commissions for painting portraits, which served him well later in his career when he was invited to paint portraits of John Wayne, Sylvester Stallone, Frank Sinatra, Susan Anton, Dean Martin, and Wayne Newton’s horse, Aramis. In college, Afsary earned two Bachelor of Arts degrees, one in Fine Arts and the other in interior design. His education has led him, through the years, to paint a wide variety of subjects in his preferred medium, oil, and sometimes watercolours and pastels. He has been greatly influenced by the artwork of the masters, especially the great Russian artists, Ilya Repin and Valentin Serov and also European artists.
Lot 152
Y TWO MID TO LATE 18TH CENTURY DRESSING TABLE BOXES The first circular box with stained green tortoiseshell sides, base and interior, with a central circular painting of a bouquet of flowers beneath a domed glazed panel; together with a Gutta Percha oval box, with gold hinge and thumb piece, the hinge with Paris 1756-1762 discharge poincon and further rubbed marks, the lid with an enamelled oval panel of a still life, the interior with tortoiseshell lining Size/dimensions: first 8.8cm diameter x 2cm; second 7.3cm x 5cm x 3.5cm Gross weight: 154 grams Condition Report: Circular box - Losses to the top edge of the painting, cover fits tightly to the body Oval box - Various splits and chips to the cover, slight play to the hinge Both with light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 353
SHUZAN: AN EXCEPTIONAL WOOD NETSUKE OF A SNAIL ACROBATBy Shuzan, signed Shuzan 周山Japan, late 18th to early 19th century, Edo period (1615-1868)Published: Bandini, Rosemary (2013) In a Nutshell, A Loan Exhibition of Japanese Netsuke from European Collections, p. 82, no. 161.A very unusual and humorous twist to the classic netsuke subject of a snail emerging from a shell - here the snail's long and fleshy body loops over the shell, forming an arch, its anthropomorphic head upside down, the two antennae touching the shell, the mouth with a smile and the two eyes staring at the viewer, as if seeking some kind of acknowledgment of this incredible feat. The shell shows a clever arrangement of stippled markings to the smoothly polished, spiraling surface. The eyes of the snail are inlaid in dark horn. One large himotoshi to the underside of the shell, the other large opening 'natural' through the side. The dark-reddish wood bearing a superb, unctuous patina. Signed SHUZAN.This remarkably striking and possibly unique design is executed here in a bold manner, while still retaining a high degree of delicacy and imbued with a healthy dose of humor - all the hallmarks of what makes a netsuke truly special.HEIGHT 3.7 cm, LENGTH 4.6 cmCondition: Very good condition, minor typical wear including some light surface scratches and tiny nicks. One eye is likely replaced, but invisible to the naked eye. Beautiful patina.Provenance: Ex-collection Teddy Hahn, Darmstadt. Theodor “Teddy” Hahn was a well-known and respected collector of netsuke and other Asian works of art. After spending time in museums to study the early cultures of the world, finding particular interest in their sculptures, he began collecting, remarking, “I somehow knew it would have a profound influence on my life. How right I was. And how happy I have been.” Teddy Hahn was a passionate collector of snail netsuke, arguably building the greatest collection of snail netsuke ever assembled.
Lot 632
UTAGAWA HIROSHIGE: IWAMI PROVINCE, MOUNT TAKAZUNO, SALT BEACHBy Utagawa Hiroshige (1797-1858), signed Hiroshige hitsuJapan, 1853Color woodblock print on paper. Vertical oban. Signed Hiroshige hitsu censor's seal Aratame; publisher Koshimuraya Heisuke. Titled Iwami, Takazunoyama, Shiohama (Iwami Province: Mount Takazuno, Salt Beach), number 43 from the series Rokujuyoshu meisho zue (Pictures of Famous Places in the Sixty-odd Provinces).The salt flats at Takatsuyama in Iwami.SIZE of the sheet 36.5 x 23.2 cmCondition: Good condition with minor wear and slight browning of paper. Some wormholes. Mounted on Japan paper, the reverse with calligraphy.Provenance: A German private collection. Galerie Zacke, Vienna, 14 May 2015, lot 419. An Austrian private collection, acquired from the above.Utagawa Hiroshige (1797 - 1858), also known as Ando Hiroshige, is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-1834), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison:A closely related woodblock print is in the collection of the British Museum, museum number 1902,0212,0.397.13.
Lot 633
UTAGAWA HIROSHIGE: SHIMA PROVINCE, MOUNT HIYORI AND TOBA HARBORBy Utagawa Hiroshige (1797-1858), signed Hiroshige hitsuJapan, 1853Color woodblock print on paper. Vertical oban. Signed Hiroshige hitsu, censor's seal: Nanushi; publisher Koshimuraya Heisuke. Titled Shima, Hiyoriyama, Toba minato (Shima Province: Mount Hiyori and Toba Harbor), number 8 from the series Rokujuyoshu meisho zue (Pictures of Famous Places in the Sixty-odd Provinces).View of Toba Bay and Mount Hiyori in Shima. SIZE of the sheet 36.5 x 23.2 cmCondition: Good condition with minor wear and slight browning of paper. Few wormholes and some creasing, Backed by Japan paper.Provenance: A German private collection. Galerie Zacke, Vienna, 14 May 2015, lot 420. An Austrian private collection, acquired from the above.Utagawa Hiroshige (1797 - 1858), also known as Ando Hiroshige, is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-1834), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison:A closely related woodblock print is in the collection of the British Museum, museum number 1902,0212,0.397.61. A closely related woodblock print is in the collection of the Museum of Fine Arts, Boston, accession number 11.26227.
Lot 634
UTAGAWA HIROSHIGE: TSUKUDAJIMA FROM EITAI BRIDGEBy Utagawa Hiroshige (1797-1858), signed Hiroshige gaJapan, dated 1857 (Ansei 4), 2nd monthColor woodblock print on paper. Vertical oban. Signed Hiroshige ga, censer's seal aratame, Snake 2; publisher Uoya Eikichi. Titled Eitaibashi Tsukudajima (Tsukudajima from Eitai Bridge), number 4 from the series Meisho Edo hyakkei (One Hundred Famous Views of Edo).View of Tsukudajima from under Eitai Bridge on a moonlit night.SIZE of the sheet 35.4 x 23.2 cmCondition: Good condition with minor wear and browning of paper. The detailed impression with slightly faded colors, trimmed margins, rubbing, minor losses along the edges, and few tiny holes.Provenance: A Viennese private collection. Galerie Zacke, Vienna, 5 October 2013, lot 59. An Austrian private collection, acquired from the above.Utagawa Hiroshige (1797 - 1858), also known as Ando Hiroshige, is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-1834), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison:A closely related woodblock print is in the collection of the British Museum, museum number 1948,0410,0.61. A closely related woodblock print is in the collection of the Museum of Fine Arts, Boston, accession number 11.16728.
Lot 635
UTAGAWA HIROSHIGE: GREEN BIRDS AND HYDRANGEASBy Utagawa Hiroshige I (1797-1858), signed Hiroshige hitsu with sealsJapan, c. 1830sColor woodblock print on paper. Vertical chutanzakuban. Signed Hiroshige hitsu with seals. Titled Green Birds and Hydrangeas. Comes with a label to the backside and a sticker from its former frame: '07096 / Kennedy & Co. / 693-5th Ave / Rare Prints / "Kacho-ga" / Hiroshige (1797-1858)'.A kacho-ga of a pair of greenfinches swooping down next to hydrangeas in full bloom.SIZE of the sheet 35.2 x 12.3 cmCondition: Shows old wear, fading, material loss, trimmed margins, and browning of paper commensurate with age, otherwise presenting well.Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as a master of the ukiyo-e woodblock printing tradition, having created 8,000 prints of everyday life and landscape in Edo-period Japan. Much of Hiroshige's work focuses on landscape. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after traveling that coastal route linking Edo and Kyoto. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison: An identical print is in the collection of the Art Institute Chicago, reference number 1943.643. Another identical print is in the collection of the Allen Memorial Art Museum, Oberlin College, Ohio, object number 1950.1149.Auction comparison:Compare a related print sold at Sotheby's, Japanese Art Online, 7 November 2019, London, lot 16 (sold for GBP 1,500).
Lot 636
UTAGAWA HIROSHIGE: POEM BY KIYOHARA NO MOTOSUKE, WANKYUBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga with chrysanthemum sealJapan, 1845Color woodblock print on paper. Vertical oban. Signed Hiroshige ga with chrysanthemum seal, censor's seal: Watari; publisher Ibaya Senzaburo. Titled Poem by Kiyohara no Motosuke, Wankyu, number 42 from the series Ogura nazorae hyakunin isshu (Ogura Imitation of the Hundred Poets, One Poem Each).Depicting the poor Wankyu dancing with a fan in his right hand and a pole over his shoulder from which hang a gourd and a long scroll, with poem by Kiyowara no Motosuke.Inscriptions: Inscribed, 'Chigiriki na/ katami ni sode o/ shiboritsutsu/ Sue no matsuyama/ nami kosaji to wa' (Our sleeves were wet with tears/ As pledges that our love/ Will last until/ Over Sue's Mount of Pines/ Ocean waves are breaking).SIZE of the sheet 35.5 x 24 cmCondition: Good condition with minor wear and slight browning of paper. Fading of colors, slightly trimmed margins, a centerfold with reinforcements, and minor creasing.Provenance: A Viennese private collection. Galerie Zacke, Vienna, 5 October 2013, lot 48. An Austrian private collection, acquired from the above.Utagawa Hiroshige (1797 - 1858), also known as Ando Hiroshige, is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-1834), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison:A closely related woodblock print is in the collection of the British Museum, museum number 1969,0414,0.13.
Lot 637
UTAGAWA HIROSHIGE: TOTSUKA, MOTOMACHI FORKBy Utagawa Hiroshige (1797-1858), signed Hiroshige gaJapan, c. 1833-34 (Tenpo 4-5)Color woodblock print on paper. Horizontal oban. Signed Hiroshige ga; publishers: Takenouchi Magohachi (Hoeido) and Tsuruya Kiemon (Senkakudo). Titled Totsuka, Motomachi betsudo (Totsuka, Motomachi Fork), number 6 in the series Tokaido gojusan tsugi no uchi (Fifty-three Stations of the Tokaido Road).First version, with man dismounting from a horse.SIZE of the sheet 23 x 34 cmCondition: Good impression with slightly faded colors and trimmed margins, creasing along the centerfold.Provenance: Galerie Wansart, Brussels, 15 February 1949. Collection of Robert and Isabelle de Strycker, acquired from the above. Robert de Strycker (1903-1968) was a French engineer who specialized in metallurgy. He was a Stanford graduate, a professor at the University of Leuven, a director of the Institute of Metallurgy at the Universite Catholique de Louvain, and one of the most influential members of the faculty of applied sciences. After World War II, he made large contributions to France's post-war recovery. Robert and his wife Isabelle (1915-2010) first encountered Chinese art at the British Museum during a stay in London in the 1930s. Enamored with the style and beauty, they both decided to study and collect Japanese and Chinese works of art. In 1938 they eventually began to build their collection, buying from Belgian, Parisian, and English dealers. They kept close contact with the famous English collector Sir Harry Garner (1891-1977) and noted Czech collector and expert Fritz Low-Beer (1906-1976). In 1964, the couple lent 174 objects from their collection to the Belgian city of Leuven's museum for an exhibition titled Oude kunst in Leuvens Privebezit ('Old Art in Private Collections in Leuven'), and in 1967 they lent around thirty Japanese objects to the Royal Museums of Art and History in Brussels for their exhibition Kunst van Japan im belgischen Privatverzameingen ('Japanese Art in Belgian Private Collections').Utagawa Hiroshige (1797 - 1858), also known as Ando Hiroshige, is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-1834), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison:An identical print is in the collection of the Museum of Fine Arts, Boston, accession number 21.5006. Another identical print is in the collection of the Honolulu Museum, source Id 2958.Auction comparison:Compare an identical woodblock print, sold at Christie's, Japanese and Korean Art Including the Collection of David and Nayda Utterberg, 22 March 2022, New York, lot 202 (sold for USD 6,048).
Lot 640
UTAGAWA HIROSHIGE: NIGHT RAIN AT KOIZUMIBy Utagawa Hiroshige (1797-1858), signed Hiroshige gaJapan, c. 1835-39 (Tenpo 6-10)Color woodblock print on paper. Horizontal oban. Signed Hiroshige ga; publisher Koshimuraya Heisuke (Koshihei). Titled Koizumi yau (Night Rain at Koizumi) from the series Kanazawa hakkei (Eight Views of Kanazawa).Inscriptions: Inscribed with a poem, 'Kari-makura/ toma moru ame mo/ sode kake te/ namida furu e no/ mukashi wo zo omou' (Temporary abode, the rain seeping through the thatch was caught by the sleeve. Remembering the bay in tears of the past.)Two figures walk up a slope as it pours down heavily.SIZE of the sheet 21 x 34.6 cmCondition: Good condition with minor wear and browning of paper. The detailed impression with slightly faded colors, trimmed margins, and minor tears along the edges. Mounted on a passepartout with tape.Provenance: From an English private collection.Utagawa Hiroshige (1797 - 1858), also known as Ando Hiroshige, is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-1834), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Museum comparison:A closely related print is in the collection of the Museum of Fine Arts, Boston, accession number 11.2306. A closely related print in the collection of the Yale University Art Gallery, accession number 1973.42.21.
Lot 481
A rare ‘Shannon With Chesapeake’ 2-clasp Naval General Service Medal awarded to Private G. Morris, Royal Marines, combining the Nile, Nelson's first annihilating Fleet Victory, with the Classic American Frigate Action, a Duel the Admiralty considers to be ‘The Finest Single-Ship Action in the Age of Sail’. After a furious exchange of multiple broadsides at very close range, Shannon’s Royal Marines joined their agile but less disciplined seamen comrades to board and capture U.S.S Chesapeake, overpowering their counterparts of the U.S. Marine Corps in vicious hand-to-hand combat Naval General Service 1793-1840, 2 clasps, Nile, Shannon Wh Chesapeake (Griffiths Morris.) good very fine £14,000-£18,000 --- Provenance: Spink, December 1965; Turl Collection, Spink, July 2010. Approximately 42 ‘Shannon Wh. Chesapeake’ clasps issued. One of only two medals issued with this combination of clasps. The name ‘Griffiths Morris’ is unique on the N.G.S. rolls, and his presence during the actions is verified by the muster rolls of both ships. Griffiths Morris was born in Wrexham, Denbighshire, near the border of north-east Wales, in 1772/73. A carpenter by trade, he voluntarily enlisted at Warminster, Wiltshire and attested as a Private in the Marines on 24 February 1796, aged 23. Marines were all volunteers, unlike the seamen, who included in their ranks reluctant-to-serve ‘pressed’ men, orphan boys sent by the Marine Society and ‘Quota men’ often collected from goals, hospitals and workhouses. In 1802 they were awarded the honour of becoming Royal Marines, which meant for Morris a new uniform with ‘royal’ blue cuffs and collar facings. Royal Marines were equipped with a shortened ‘sea service’ musket and were divided for administrative purposes into men with less than 7 years of service, those from 7-14 years and those who had served for over 14 years. Marines were the ship’s security force. On punishment days the Marines would parade under arms in a location overlooking the proceedings, ready to intervene if the crew became mutinous; they took part in boarding, cutting-out and littoral expeditions; they performed ceremonial duties, guarded the sensitive parts of the ship such as the spirit room and the Captain’s quarters and provided extra ‘muscle’ when needed. Marines could be and often were used as crew members of a great gun or to assist in working the ship from the deck, but they could not be ordered onto the yards to work the sails. Some volunteered as topmen, becoming sailors to increase their pay, as even the least skilled seaman, rated as ‘landsman’, was paid £1 2s 6d a lunar month compared to £0 19s 3d for a Marine private. Even after 14 years of service, a private earned just £1 3s 4d per month. When ‘Beat to Quarters’ was ordered, the Marines were stationed in detachments on the Foc’sle, Quarterdeck and in the fighting tops on the masts. Marines were trained to take cover behind the bulwarks and hammock netting while reloading their weapons, and then move to a different firing position. This involved “springing sideways with Life and Spirit”. The command “Marine Firing” allowed individual Marines to pick and engage their own target, then kneel for reloading. “The best marksmen shall be picked out, and ordered to Take Aim, and Fire at the Port-Holes; Two or Three expert Men killed at a Gun may silence it for half an hour.” In a boarding action, Marines fired volleys to clear the way for the agile but less disciplined seamen who were armed with hand-to-hand weapons such as boarding axes, cutlasses and pistols. Marines would help secure the enemy ship’s upper decks, mop up with their bayonets, secure prisoners below at musket point and guard them until they could be sent off the ship. Battle of the Nile Morris served as one of the 67 Marines on board H.M.S. Audacious during Nelson's action in Aboukir Bay, 1 August 1798, as verified by the ship’s muster. Audacious was the third of five battleships to pass the head of the line of French warships anchored close in-shore and then sail down its port side, trapping each of the leading French ships in a crossfire from two British vessels. Audacious anchored between Guerriere and Conquerant, the first and second in the French line of 74s, and engaged them for forty minutes with raking fire until the latter struck her colours, then used a spring to shift its fire onto Spartiate for another two hours. Audacious suffered casualties of one killed, thirty-five (including two marines) wounded. Audacious then took part in the blockades of Malta and Genoa for the rest of 1798 and into 1799. She escorted a convoy to Britain in late 1800, and on arrival was paid off. Morris is recorded as having deserted on 30 June 1802, during the brief peace following the Treaty of Amiens and after six years of service. He re-joined 13 months later, on 28 July 1803, two months after the resumption of hostilities. It is unclear whether he returned of his own volition or was identified as a deserter and reclaimed by the Royal Marines. The desertion probably explains why he was still serving in the same rank after 16 years of service, although with the greater seniority of 2nd Class Private, Plymouth Division, in H.M.S. Shannon (38), during the historic capture of the American frigate Chesapeake (38) in Boston Bay on 1 June 1813. Shannon with Chesapeake In the 1790s the Americans had built six large, heavily armed frigates. When war broke out between Great Britain and the United States, these vessels won a series of single-ship actions; U.S.S. Constitution captured H.M.S. Guerriere and H.M.S. Java whilst U.S.S. United States overwhelmed H.M.S. Macedonian. In response, the Admiralty instituted a closer blockade of American ports. H.M.S. Shannon, commanded by Captain Philip Broke, was one of the ships patrolling the coast of the United States. During his seven years as her Captain, Broke had worked up his ship to a peak of fighting efficiency. His gun crews were trained to fire into the hull of the enemy ship to kill the crew; his Marines were skilful snipers and their government-issue muskets were supplemented with a number of rifled carbines privately purchased for them by their officers. During a long patrol off Boston, Broke sent ashore a number of verbal messages to the Americans intended to provoke a battle, and followed up with a written message to Chesapeake’s Captain: “As the Chesapeake appears now ready for sea, I request you will do me the favour to meet the Shannon with her, ship to ship, to try the fortune of our respective flags...” In the early afternoon of 1 June 1813, the American frigate sailed out to challenge Shannon, accompanied by pleasure boats carrying spectators desirous of witnessing how quickly an American could 'whip' a British frigate. Chesapeake was slightly bigger and heavier, displacing 1,244 tons compared to the 951 tons for Shannon. The broadside weight of their great guns was similar at 540lbs for Shannon compared to 580lbs for Chesapeake; although the Chesapeake carried a greater weight of heavy close-quarter guns, the Shannon’s close action armament was more versatile. The key difference lay in the crews - Broke had 330 men (including 43 Marines) to Chesapeake’s 390 (including 44 US Marines). His superiority in manpower should have given the American Captain an advantage in fighting his ship, but this was blunted because both the Captain and his diverse crew (which included a significant number of Royal Navy deserters) were new on board Chesapeake and had not got used to working together. In contrast, 30...
Lot 867
A German Second World War DLV/NSFK Flyers Knife. A nice clean example of the DLV/NSFK flyers knife, the blade in overall good condition, it has not been abused, some original cross grain finish remaining. Maker marked with the unusual maker for this model of dagger Richard Plumacher & Sohn of Solingen. The thin blue leather washer still in place between the blade and the cross guard. Unusually the dagger does not have any DLV or NSFK markings to the scabbard throat. The leather to both the grip and scabbard excellent, with its original strap. A good patinated colour matching to the upper pommel, central cross guard and lower scabbard mount. All original screws for the scabbard fittings without the heads being turned. No indentations to the lower ball of the scabbard mount. The cross guard has taken two indentations through its life, the enamel in both swastikas front and rear generally good with some abrasions with its original leather strap and sprung loaded belt clip, overall good condition £600-£800 --- This is an age restricted lot: the successful buyer will be required to either collect in person, or arrange specialist shipping.
Lot 94
An exceptionally rare Uganda campaign pair awarded to Miss Gertrude E. Bird, Church Missionary Society, who came to be regarded as the ‘spiritual mother’ of the Ugandan missionaries East and Central Africa 1897-99, 1 clasp, Uganda 1897-98 (Miss. G. E. Bird.); Jubilee 1935, unnamed as issued, on lady’s bow riband, extremely fine and extremely rare (2) £1,400-£1,800 --- Provenance: Ulrich Collection 1952. Gertrude Elizabeth Bird was born in 1864 and lived in Balham, London. A former Lady Superintendent of the Young Women’s Christian Association, she joined the Church Missionary Society in 1894 and was trained at ‘The Olives’, being accepted as a missionary on 4 June 1895. To fully appreciate her remarkable life, it would be appropriate to consider the words of Mr. Albert R. Cook, when speaking of her retirement from the Uganda Mission: ‘Miss G. E. Bird was one of the pioneer lady missionaries in Uganda, and had it not been that she had to leave the mission for five years, from 1909-1914 (being perforce kept at home by family circumstances), she would have had the longest term of service of any Uganda missionary. As it is she had thirty-five years of active work in the Mission. Miss Bird joined the missionary staff in 1895, being stationed for a year at Frere Town on the Coast with the idea of learning sufficient Kiswahili during that time, to be a help to the ladies with the porters of the large missionary caravan which it was purposed to send up to Uganda during the following year. There we found her on October 1, 1896, when our party disembarked at Mombasa, and during the trying two months’ wait at the Coast with its heart-breaking delays in getting the caravan together, and the three months’ strenuous march to Uganda that followed, we learnt to admire the equable temper and the quiet courage of Miss Bird. For it must be remembered that it required a great deal of physical endurance as well as patience and cheerfulness for ladies to undertake such a journey in those days. Few things struck the Prince of Wales more during his visit to Uganda in 1928, than the story of their march. The other two ladies who shared her experience in 1896 were Miss Timpson (now Lady Cook) and Miss Bertha Taylor (now Mrs. Harry Maddox). These three, happily all still alive, arrived at Kampala in Feb., 1897, and Miss Bird was located with Miss Pilgrim to Ngogwe in Kyagwe, where she worked under the Rev. G. K. Baskerville... Here, for nearly four years, Miss Bird found a field worthy of her energies and laid the foundation of her wide knowledge of women’s work in Uganda. Located to Namirembe, she became a real power in Christian work. Visiting, teaching the woman or school children, or taking bible classes, and committee meetings occupied a very full life, and yet I think those who knew her most intimately would agree that it was more what she was than even what she did, that was of greatest value. Few have won a more fragrant tribute from Baganda.’ Bird received the East and Central Africa Medal for her part in staffing the hospital at Namirembe during the Sudanese uprising of 1895-96. Alongside other missionaries, she took care of the wounded and sick Waganda tribespeople. Her Jubilee Medal is further confirmed in the records of the Church Missionary Society: ‘Miss Gertrude Elizabeth Bird, Missionary, Uganda’. Exercising a gracious influence throughout her long life, Gertrude E. Bird died on 17 April 1949. Sold with copied research confirming the above.
Lot 404
Cyma: A stainless steel manual wind British Military issue watchModel: Dirty DozenDate: Circa 1945Movement: 15-jewel Cal.234 manual wind, No.378865Dial: Black, Broad Arrow, gilt Arabic numerals, gilt outer minute track with luminous dot 5 minute markers, subsidiary seconds at 6, polished pointed baton hands with luminous insertsCase: Brushed and polished round, fixed bars, screw down back engraved '↑ W.W.W. P25328 30328', military engravings to inside backStrap/Bracelet: Associated black leatherBuckle/Clasp: Steel buckleSize: 38mmFootnote:During the Second World War the British Ministry of Defence commissioned 12 watch companies to produce watches that were fit for military action. These companies were Buren, Cyma, Eterna, Grana, Jaeger-LeCoultre, Lemania, Longines, IWC, Omega, Record, Timor, and Vertex. The term 'Dirty Dozen', after the 1967 film, has been coined to describe these watches. It is estimated that approximately 150,000 watches were produced with around 20,000 examples delivered by Cyma. Each was stamped with the military broad arrow mark and the initials WWW standing for 'Watch, Wrist, Waterproof'.Condition:Case and back: Micro-abrasions, scratches and some minuscule dints, consistent with age and use.Crystal: Scratches overall.Dial: Some minor tarnishing spots, hour markers and minutes track fair to good, lume baton degraded at 3, remaining loom discoloured but still has some life under UV.Hands: Some minor tarnishing. Lume discoloured but still with some life under UV.Strap: Heavily worn.Movement: Winds, sets and runs.Not guaranteed for timekeeping or water resistance - it is advised that this watch is inspected and serviced by a qualified jeweller or the original manufacturer before full use.
Lot 121
A collection of Prog Rock/Prog Electronic LPs and 7" Singles to include (1) Van Der Graaf Generator - Still Life (1976 UK, CAS 1116, Mad Hatter Label); (2) Tangerine Dream - Zeit (1972 Germany, OMM 2/56.021); (3) Emerson, Lake & Palmer - Trilogy (1972 UK, ILPS-9186, Gatefold); (4) Tangerine Dream - Alpha Centauri (1972 Germany, OMM 556 012); (5) Asia - Don't Cry (1983 Italy 7" Single, GEF A 3580); as well as other titles; All conditions from Very good to Very Good Plus including sleeves. (18)
Lot 41
A collection of Paul Weller/The Jam/Style Council LPs and 7" Singles to include (1) The Style Council - life At A Top Peoples Health Farm (1988 Spain 7" Single, 887 603-7); (2) The Jam - In The City (1977 UK 1st Edition, 2383 447); (3) The Jam - All Mods Cons (2006 US Reissue, PD-6188, Still Factory Sealed); (4) Paul Weller - More Modern Classics (2014 Europe, V 3127/0602537817108, Still Factory Sealed); (5) The Jam - The Bitterest Pill (I Ever Had To Swallow)(1997 UK 7" Single, 571 598-7); (6) The Jam - Eton Rifles/Down In The Tube Station On Midnight (1989 UK 7" Single, OG9896, Part of the Old Gold Series); As well as other titles; All conditions vary from Very Good to Very Good Plus including sleeves. (22)
Lot 70
CLASSIC ROCK & POP - LP COLLECTION. Another smashing collection of around 75 rock LPs. Artists/ titles include Ten Years After inc Sssh, S/T (SML 1029), Camel - Moonmadness, T Rex - Tanx. Hawkwind inc Levitation, Live Seventy Nine, Live 70/73. Pink Fairies - Live At The Roundhouse 1975, Janis Joplin inc In Concert, Pearl. The Rolling Stones inc Milestones, Still Life, Tattoo You, Solid Rock, Get Yer Ya'Ya's Out. George Harrison inc Living In The Material World, Thirty Three & 1/3. John Lennon - Shaved Fish, Eurythmics - Sweet Dreams, Eagles inc Their Greatest Hits, Hotel California. ELO, The Fool, Earth Opera, Brian Auger's Oblivion Express, Taste, Jethro Tull, Pretenders, Julie Driscoll, Nice, The Who, The Byrds, Spencer Davis Group. Condition is generally VG to Ex.
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