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AN EARLY VICTORIAN SEVEN LIGHT SILVER CANDELABRUMBy E J & W Barnard, London 1840With foliate branches with detachable nozzles and scroll feet, engraved armorial, 75cm high, weight 183oz.Footnotes:These are the arms of the Revd, Francis LEAR (1789-1850), rector of Bishopstone Wiltshire and Dean of Salisbury, and his wife, who he married in 1822, Isabella Mary MAJENDIE (1797-1862) daughter of Revd. Henry William MAJENDIE (1754-1830) by Anne ROUTLEDGE (1754-1830). Francis LEAR was educated at Oriel and Magdalen College Oxford becoming a fellow. He gained livings from Chilmark and Bishopstone, Wiltshire and was appointed Archdeacon of Salisbury in 1836 and later Dean. He was the son of Revd. Thomas LEAR (1744-1828) who was the incumbent at Downton, Wiltshire by Ethelinda HEWETT (1760-1789). The LEAR family had earlier origins in Rustington, Sussex and before that at Braintree, Essex. Notably the son of Francis and Isabella Mary LEAR, also Francis, was later also rector of Bishopstone and Arch Deacon of Salisbury. Also engraved with the seal of the Diocese of Sarum (Salisbury): A dove rising holding in the beak an olive branch and inscribed SIGIIANM DOMINI ARCHIDIACONI SARVMFor further information on this lot please visit Bonhams.com

A LATE VICTORIAN SILVER CRADLE By Edward and Son, Glasgow, 1899The hooded cradle embossed and chased with Greenock Town Hall on one side and a view of the house Bagatelle; on the other, cherubs' heads, birds, flowers, and a medallion depicting the town arms and motto 'God Speed Greenock', with a waved edge, all suspended between ormolu supports on rectangular pink marble base with silver presentation plaque detailing the gift of the cradle from the Town council of Greenock, the silver cradle, 48 x 22 x 23cm , length 66cm, weight 59oz.Footnotes:This cradle was presented to Walter Washington Buchanan Rodger of Greenock, who was a well-known figure and force in harbour and municipal affairs in Greenock, of which town he was Provost from 1889 until 1892. He began his career as a civil engineer, and was an apprentice with Forman and McCall of Glasgow, whilst this firm was engaged with the Gryffe waterworks, Greenock. Later he assisted Mr. Waltor Kinipple at the harbour works, and was subsequently surveyor for Gourock and Innellan.For further information on this lot please visit Bonhams.com

NAVAL INTEREST: A GERMAN VARI-COLOUR GOLD SNUFF BOXCharles, Collins & Sohne, Hanau, circa 1825 The hinged cover with central engine-turned panel within an unusual border of applied yellow, white and rose gold foliage and scrolls on a matted ground, the interior engraved with two crests and an inscription detailing the presentation of the box to Capt W H Webley Parry by the wardroom officers of H M S Price Regent, length 8.4cm, weight 85gms.Footnotes:William Henry Webley Parry (1764-1837) was born on 3 March 1764, the youngest of seven children, many of whom died early, of a leading lawyer, William Webley.Webley entered the Navy in 1779 aboard the Britannia 100, Captain Charles Morice Pole, the flagship of Vice-Admiral George Darby in the Channel Fleet, who succeeded to the command of that force in September 1780 with Captain James Bradby serving as his flag-captain. Webley was present at the Relief of Gibraltar in April 1781, and following the change of government in March 1782 and the return to service of a number of senior officers he continued on the Britannia under Vice-Admiral Hon. Samuel Barrington and Captain Benjamin Hill. An obituary has stated that in 1782 his ship formed part of a squadron sent to intercept an East India fleet that was departing from Brest, and Webley was credited with towing the 'frigate' Lively alongside a French frigate, being slightly wounded under fire; however this claim has not been verified. He did serve under Barrington at the Relief of Gibraltar in October and the subsequent battle of Cape Spartel, and he received the admiral's personal approbation when acting as his aide-de-camp in the latter engagement.Webley was next employed aboard the Grampus 50, Commodore Edward Thompson, who was appointed to command off West Africa in July 1783. Having briefly returned home in 1784 suffering from yellow fever, Thompson died aboard the Grampus of a tropical fever on 17 January 1786, and Webley suffered the disappointment of not having an acting-lieutenancy confirmed. He then joined the sloop Nautilus 16 under Captain Thompson's nephew, Commander Thomas Boulden Thompson, remaining on the African station and surveying the coast from the Cape of Good Hope to Cape Negro. The Nautilus returned to Portsmouth in July prior to leaving port at the end of September, and in the following April Webley was involved in the colonisation of Sierra Leone. Further service took the Nautilus to the North American, West Indian and Newfoundland stations prior to her being paid off in December 1788. A period aboard the Salisbury 50, Captain Edward Pellew, flying the flag of Vice-Admiral Mark Milbanke at Newfoundland, followed from June 1790, in which vessel Webley was finally commissioned lieutenant on 21 September 1790, and the Salisbury was eventually paid off in December 1791.Webley was aboard the Amphitrite 24, Captain John Child Purvis, at the start of the French Revolutionary War in February 1793, as Pellew's request that he be appointed his first lieutenant aboard the Nymphe 36 had been rejected by the Admiralty because he was deemed insufficiently senior. After the captaincy of the Amphitrite changed hands in May he joined Captain Samuel Hood aboard the Juno 32, going out to the Mediterranean. He was the third lieutenant of this frigate when she sailed in to Toulon on 11 January 1794 after the port had been re-occupied by the French, and Webley was mentioned by Hood in his dispatches for his prominent role in engineering her escape by audacious seamanship. He continued with the Juno during the Corsican campaign from February, being present in the attack on the Martello Tower in the bay of that name, and after commanding thirty seamen in the assault on San Fiorenzo and serving as an aide-de-camp to Major-General Thomas Dundas he later commanded a boat at the capture of Bastia.Webley next volunteered his services as the first lieutenant of the San Fiorenzo 36, Captain Charles Tyler, which French frigate had been salvaged at the capture of Calvi, but when that officer was removed to the Diadem 64 during August 1794 whilst sailing the prize to Gibraltar, Webley rejoined Hood, who in the meantime had been appointed to the Aigle 36. A year was spent in the eastern Mediterranean, and after Hood transferred to the Zealous 74 in April 1796 Webley remained aboard the Aigle to which Captain Tyler had been appointed, seeing service in the Adriatic to assist the Austrian army from August. In the spring of 1797 the Aigle rendezvoused with the Mediterranean Fleet in the Tagus, having passed though the defeated Spanish fleet following the Battle of Cape St. Vincent on 14 February, and it was later reported that during this period Webley had gallantly jumped into a heaving sea with a rope to rescue three men who had fallen overboard from the frigate.Rejoining Captain Hood in the Tagus as the senior lieutenant aboard the Zealous 74, he commanded a boat in attacks upon the blockaded Spanish fleet in Cadiz during the summer of 1797, and from 21-25 July was present in Rear-Admiral Sir Horatio Nelson's unsuccessful assault on Santa Cruz, Tenerife. Returning to Cadiz, Webley boarded and carried a Spanish vessel, the Isabella 10, and when the Zealous was sent into the Mediterranean as part of Nelson's detached force in 1798 he fought at the Battle of the Nile on 1 August. As a reward for his participation in the battle he was promoted commander, but he spent the next nine months on the coast of Egypt and Syria, being dispatched on one occasion to confer with the pasha at Acre, and it was not until June 1799 that he reached England with dispatches from Admiral the Earl of St. Vincent and Rear-Admiral Lord Nelson.In August 1800 he was appointed to the sloop Savage 14, which arrived at Plymouth on 20 October with a convoy from the Downs via Portsmouth and by the end of November was back in the Downs. On 9 December she set off for Portsmouth prior to returning on 21 December, nine days later she departed for Portsmouth with two East Indiamen and a fleet of coasters and victuallers from where she again returned to the Downs, having been briefly forced to turn back for the Hampshire port due to adverse winds. On 8 January she departed the Downs for Le Havre with French prisoners of war, by the 16th she was back off Deal, and thereafter she appears to have remained on the Kentish station through February. The pattern of convoy duty to Portsmouth resumed throughout the spring and summer until 21 August when she arrived at Sheerness with a convoy of victuallers from the Downs, prior to going into harbours for repairs. Here a court-martial dismissed the vessel's surgeon for drunkenness and for not attending to his duty, and the vessel also experienced a tragedy when a ship's boy lost his life after tumbling down the main hatchway.On 23 September 1801 the Savage left Sheerness for the Downs, and two days later she sailed from that station for the westward in the company of the Amazon 38, Captain William Parker, which was flying the flag of Rear-Admiral Lord Nelson, although that frigate soon put back. Webley's command then reportedly went out on a cruise in November, was back in the Downs by December, and undertook a further cruise in the new year. She came into the Downs from Plymouth on 12 March 1802, prior to apparently enjoying another cruise, and on 21 April she arrived at Portsmouth from the Downs, with Webley being praised in the Press for helping to preserve the cargo of a richly-laden vessel that had gone aground on Beachy Head.  For further information on this lot please visit Bonhams.com

A rare 12-bore self-cocking hammer gun by Holland & Holland, no. 4117Incorporating T. Perke's self-cocking hammer gun patent no. 129 of 1876 (Patent use 213), push-forward snap-action underlever operating a bar rising from the head of the action to raise the hammers to half- and full-cock (original self-cocking spring repaired and included), top-tang and rib numbered 'I', the action-body with best foliate-scroll engraving, elongated top-tang, replacement stock (original stock included but cracked through the hand and repaired), the damascus barrels (pitted) with game-rib engraved 'Holland & Holland, 98 New Bond Street, London'Weight 7lb. 1oz., 14½in. stock, 29⅞in. barrels, both approx. Cyl., 2½in. chambers, London nitro reproofIn a leather case with Holland & Holland trade-label for gun no. 21757Footnotes:The makers have kindly confirmed that this gun was completed as the No.1 of a pair with 4118 for a 'Lord Cecil', this could pertain to Brownlow Henry George Cecil, 4th Marquess of Exeter who was educated at Eton and University College, Oxford before sitting for the conservative party for the constituency of Darwen (then called North-East Lancashire) before being elevated to the House of Lords in 1903LiteratureI. M. Crudgington & D. J. Baker, The British Shotgun Vol.2 1871-1890, p. 63This lot is subject to the following lot symbols: S2S2 Section 2 lots require a valid British Shotgun certificate, RFD (Registered Firearms Dealer) Licence or import licence.For further information on this lot please visit Bonhams.com

* PAT DOUTHWAITE (SCOTTISH 1939 - 2002), UNTITLED pastel on paper, signed and dated '87mounted, framed and under glassimage size 84cm x 60cm, overall size 106cm x 82cmProvenance: The Corrymella Scott Gallery.Note: "She should no longer be seen as an exotic maverick but acknowledged as one of the true originals of Scottish art." A concluding comment on Pat Douthwaite’s 1993 solo exhibition, made by The Scotsman’s art critic Edward Gage. The ‘maverick’ label is often attached to Douthwaite to encompass a variety of the artist’s more striking traits: her troubled personality, the restless, nomadic lifestyle that took her across the world in search of subjects and meaning and her complete disregard for anything that did not further the development of her artwork, despite it making her a difficult figure to manage and work with. A good example is an incident in which she broke into a house and stole back one of her paintings from a buyer whom she did not consider worthy of owning her work. This demanding, uncompromising commitment and all-encompassing focus on her work paid off. She developed and sustained a distinctive, signature style characterised by raw feeling and idiosyncratic lines. Douthwaite was fascinated by historical heroines including Greek deities, Mary Queen of Scots and the aviator Amy Johnson and often depicted them as well as herself. Her images of women remain the most powerful and popular of her works, truly encapsulating the pain and suffering women can experience and endure. This exploration of suffering means there is a violence in the work, yet Douthwaite often manages to retain fun, playful touches in their execution. Born in Glasgow in 1934, Douthwaite’s first exposure to creative expression was in the form of dance classes at the dancing school run by Margaret Morris, the bohemian partner of the Scottish Colourist John Duncan Fergusson. She eventually discontinued dancing and decided, aged twenty-four and with no artistic training, to become a painter. Douthwaite showed her work to Fergusson, who recognised her talent and encouraged her endeavours, though he suggested she avoid art school, as he had done. Thus, both Morris and Fergusson had a major impact on Douthwaite’s creative endeavours. Douthwaite’s ever-present wanderlust quickly took over and she left Glasgow to join an artistic community within William Crozier’s house in East Anglia. An informal artistic training in itself, she was surrounded by fellow artists including Robert Colquhoun, Robert MacBryde and Crozier himself. In her lifetime, her work was recognised and championed by key figures in the Scottish art world; including Richard Demarco, who mounted her first major exhibition in Scotland in 1967; Douglas Hall, the former Director of the Scottish National Gallery of Modern Art and the artist and critic Edward Gage. Following her death, her popularity continues to increase as ever more collectors are drawn to her distinctive, expressive style and tales of her mysterious, maverick personality. The prestigious Scottish Gallery (Edinburgh) have long promoted Pat Douthwaite's work and her most recent solo show "Pat Douthwaite, On The Edge" was staged by the gallery between 4th and 27th February 2021.

* FRANCIS BOAG (SCOTTISH b. 1948), SAN PEDRO GREENS oil on board, signed, titled label versomounted, framed and under glass image size 11.5cm x 13cm, overall size 32cm x 32cm Artist's label verso.Note: Born in Dundee in 1948, Francis Boag is a leading figure amongst a group of painters often labelled the ‘New Scottish Colourists’. In a career spanning more than 50 years, he has taught in schools in Dundee, Perth and Aberdeen. His vivid, and instantly recognizable, paintings have found their way into a host of public buildings such as airports and hospitals and are sought after by large corporate collectors including John Lewis plc, Baxters Food Group and the Royal Bank of Scotland. In 1964, at barely 17 years of age, he won a place at Duncan of Jordanstone College of Art and Design in Dundee and studied under the then Head of Painting, the larger than life, Scottish-Italian painter Alberto Morrocco and his Deputy David McClure. Upon graduation, Francis’ professional career was dictated by the rhythm of school life. After completing an MA at Gray’s School of Art in Aberdeen and nearly 30 years teaching, Francis decided to challenge the maxim, ‘those who can, do and those who can’t, teach’ and in 2001 went on to achieve a life-long ambition of making a career as an artist. His paintings are less about copying a scene, than creating a representation of it, a representation which has to be on the one hand a recognisable place or space but also a world where the imagination is unleashed. Polls published in the press in Scotland and Ireland have both placed him in their lists of top 50 best-selling artists, and he is one of only a few artists who has work in the National Collections of both countries. For many years he has donated images of his work to the children’s charity, UNICEF who have recently published a Box set of his Scottish landscapes and in 2015 his Christmas card design was UNICEF’s top seller, raising more than £35,000 for the Charity.

* DONALD BAIN (SCOTTISH 1904 - 1979), MOUNTAIN VIEW oil on canvas, signed, titled and dated 1967 verso framed and under glassimage size 60cm x 50cm, overall size 85cm x 75cmNote: Donald Bain was born in Kilmacolm, Inverclyde, in 1904, the son of a textile designer. Later, the family moved to England to live and Bain eventually began studying art under William York MacGregor (1855 – 1923), one of the Glasgow Boys. It was MacGregor who introduced Bain to the work of the Scottish Colourists and Bain was to become particularly associated with J.D. Fergusson (1874 – 1961), becoming involved with the New Scottish Group from its inception in 1942. He worked in France after the Second World War, but settled in Glasgow in 1948. His work remained largely unknown until a major touring exhibition in 1972-73.

NATALIE SOUTER (SCOTTISH b. 1989), DAWN BREAKS AT IONA oil on canvas, signed, titled versoframedimage size 50.5cm x 50.5cm, overall size 66cm x 66cm Note: Natalie Souter is a Scottish landscape artist who was born in 1989. She is a self-taught artist who has gained recognition for her beautiful depictions of Scotland's rugged landscapes. Natalie's paintings capture the beauty of the Scottish countryside with its rolling hills, wild moors, and dramatic coastlines. Her work is characterised by her use of bold colours and loose brushstrokes, which create a sense of movement and energy. Despite having no formal training in art, Natalie's talent has earned her a loyal following and her work is highly sought after by collectors.

NATALIE SOUTER (SCOTTISH b. 1989), LOW TIDE AT TIREE oil on canvas, signed, titled versoframedimage size 50.5cm x 50.5cm, overall size 66cm x 66cm Note: Natalie Souter is a Scottish landscape artist who was born in 1989. She is a self-taught artist who has gained recognition for her beautiful depictions of Scotland's rugged landscapes. Natalie's paintings capture the beauty of the Scottish countryside with its rolling hills, wild moors, and dramatic coastlines. Her work is characterised by her use of bold colours and loose brushstrokes, which create a sense of movement and energy. Despite having no formal training in art, Natalie's talent has earned her a loyal following and her work is highly sought after by collectors.

* LEONARD GRAY RSW (SCOTTISH 1925 - 2019), EAST NEUK FISHING VILLAGE watercolour and pencil on paper, signedmounted, framed and under glassimage size 38cm x 52cm, overall size 61cm x 74cmNote: Leonard Gray was a quietly industrious painter whose prodigious output, in his signature style of warm, subtle shades with trademark texture, was coveted by private and public collectors including HRH The Duke of Edinburgh. He first began exhibiting more than 65 years ago and produced more than 1000 works, three of which hang in the late Duke’s collection of Scottish paintings at the Palace of Holyrood House. Many of his paintings are based on Scotland’s east coast, perhaps unsurprisingly for a man born in Dundee, who trained in Edinburgh and worked in Fife and Aberdeen. He won numerous awards and prizes including The John Laing (London) Prize for Landscape Painting in 1996, 1997 and 1998. Known collections include: HRH The Duke of Edinburgh’s Collection of Scottish Paintings (3 paintings); Royal Scottish Academy, Edinburgh; City Gallery, Edinburgh; Greenock Art Gallery; National Trust for Scotland; University of Aberdeen; Herriot Watt University, Edinburgh; Education Authority of Edinburgh; Education Authority of Dundee; Education Authority of Grampian; Education Authority of Highland; Edinburgh Royal Hospital; IBM. Computers; Low and Bonnar, Dundee; Royal Bank of Scotland, Edinburgh; Royal Bank of Scotland, Dundee; Clydesdale Bank, Glasgow; Scottish Equitable Insurance Company and Grampian Hospitals Art Trust.Condition is good overall

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SEA KELP gouache on paper, signedmounted, framed and under glass (slipped in the mount)image size 21cm x 29cm, overall size 42cm x 47cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* JOHN CUNNINGHAM RGI D Litt (SCOTTISH 1926 - 1998), TOLEDO oil on board, signedframedimage size 29cm x 39cm, overall size 43cm x 53cmNote: The artist's long obituary in The Glasgow Herald in 1998 began "Dr John Cunningham's death at the age of 72 robs Glasgow of one of its most endearing, well-known and colourful art-world stalwarts". Born in Lanarkshire in 1926, Cunningham attended Glasgow School of Art (GSA) in 1953. From 1967 to 1985, he was a Senior Lecturer at GSA, thus having close contact with several generations of young painters for two decades. John lived in a magnificent and spacious studio flat in the centre of Glasgow which was designed by Sir John Burnett expressly for the use of an artist, and which had previously been owned by other artists including John McGhie and David Gauld. The vision of his paintings was an expression of the man. John Cunningham was a large, charismatic character who loved life abundantly and whose paintings reflected his joy and passion for vibrant colour and contrast, displaying bold, confident brush-strokes along with subtle sensitivity. This gives his work a wonderful freshness and vitality with the immediacy of the moment captured. In 1980 he was elected to the Royal Glasgow Institute of the Fine Arts (RGI) and in 1990 he was awarded an Honorary Doctorate from the University of Strathclyde. He received numerous prestigious awards during his long career. He exhibited throughout the UK also in New York and Hong Kong, and his work is in many public (including Glasgow Galleries & Museums and The Hunterian), corporate and private collections.

* ALLY THOMPSON (SCOTTISH 1955 - 2016), EVENING DREAM pastel on paper, signed, titled versomounted, framed and under glassimage size 53cm x 73cm, overall size 102cm x 120cmNote: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.

* ALLY THOMPSON (SCOTTISH 1955 - 2016), AND BEHOLD, I GLIMPSED A GREAT ANGEL WALKING IN AETHERIA mixed media on paper, signed, titled label versomounted, framed and under glassimage size 54cm x 74cm, overall size 93cm x 111cmNote: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.

* ANNETTE J STEPHEN (SCOTTISH 1910 - 1991), MULL COTTAGE watercolour on paper, signed, titled label versomounted, framed, and under glassimage size 27cm x 35cm, overall 57cm x 64cmLabel verso: Eduardo Alessandro studios, Dundee.Note: Annette Stephen (nee Soper) was born in Aberdeen and raised in Stonehaven. She was a member of the quartet who became known as 'The Catterline School' along with Joan Eardley, Lil Neilson and Angus Neil. Annette studied at Edinburgh College of Art under William G. Gillies whose influence can be seen in her choice of media. Painting mainly in watercolour from her home in Catterline, Annette was influential in the village's artistic success. In 1951, whilst recuperating from mumps, Joan Eardley was first introduced to the village by Annette. Together they found an ideal studio, a disused Customs and Exise watch house, which Annette purchased for less than £50. Annette planted a wild and rambling garden at ''The Watchie'' which delighted visitors to the studio. When Annette died in 1991, The Watchie was bequeathed to Lil Neilson on the understanding that it should continue to be used as a studio for artists, which it still is to this day.

* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), MAINEE AT THE MIRROR mixed media on paper, signed mounted, framed and under glassimage size 50cm x 54cm, overall size 88cm x 92cm Provenance: We are grateful to Lachlan Goudie, artist, writer, broadcaster and the leading authority on the work of his father for authenticating this work and confirming that the lady is Alexander Goudie's wife (Lachlan's mother) Marie-Renee Dorval who was known as "Mainee". Lachlan believes this work is likely to be from the late 1970s.Note: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.

* STIRLING GILLESPIE (SCOTTISH 1908 - 1993), KYLEAKIN watercolour on paper, signed, titled label versomounted, framed and under glassimage size 46cm x 59cm, overall size 64cm  x 79cmLabel verso: Aitken, Dott & Son, Edinburgh.Note: James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. Stirling Gillespie (as he was known professionally) started in journalism first at the Rothesay Express, then the Daily Record, through which he met J Blake Dalrymple who was to bring Gillespie into his film company Elder Dalrymple Productions. Hired to cover the company’s literary and photographic concerns, Gillespie also became involved in the making of films. In 1936 J C Elder and Dalrymple decided to take the company out on Dalrymple’s yacht to make educational films around the world. Gillespie was to act as press correspondent for the Daily Record coverage of the trip. His cabin aboard the yacht was completely fitted out as a developing and printing studio. However, the trip was curtailed prematurely by the Spanish Civil War, so that the only substantial filming to be completed was of a later voyage to the Baltic. In 1937 Gillespie and Dalrymple undertook an overland expedition from Cape Town to Cairo making educational films as they went. Gillespie taking photographs and film, recorded the expedition in a book "Celluloid Safari" and with the film Land of the White Rhino (1939). After the Second World War was over, Gillespie was to make only one more film with Elder Dalrymple "Perchance to Sail" (1947) in which he starred as a young artist at sea. He was then, until his death, to pursue a highly successful career as a watercolour landscape painter.

* GRAEME W BAXTER BEM (SCOTTISH), GLENEAGLES oil on canvas, signed and dated '88framedimage size 61cm x 76cm, overall size 79cm x 94cm Note: Graeme Baxter is the Official Artist to some of the World's most important golf tournaments, such as The Ryder Cup, The Open Championship, The Presidents Cup, The Kraft Nabisco Championship and ANA Inspiration as well as Artist to the PGA Tour and European Tour. With his work displayed in clubhouses at St. Andrews, Augusta, Pebble Beach, Dubai, Mission Hills and Pine Valley in China, Graeme possesses a unique ability to historically record golf landscapes and portraits that capture his passion for the game. Graeme's paintings are displayed in almost 40 countries. Born in Scotland in 1958, it wasn't long before Graeme realized he had a penchant for drawing and he recalls that he not only had a natural talent but also shared a similar passion. A second love was for golf, which was borne out of watching his father play the game, honing his own game in the backyard by hitting into a practice net, plus watching with admiration some of the epic duels between Jack Nicklaus and Tom Watson in the British Open and the U.S. Open. "Art came first, and the love of golf came second", says Graeme, who went on to study at The Glasgow School of Art. It was his painting of the 17th Hole at The Old Course, St. Andrews that helped launch his career. When the painting was shown to Sir Michael Bonallack, the then secretary of the Royal and Ancient Golf Club of St. Andrews, he remarked that it was one of the finest golf paintings he had ever seen. A second painting of the clubhouse at Turnberry, again enthusiastically received, convinced Graeme of his career path. While Graeme considers himself fortunate to be able to marry his two passions, art and golf into a profession, he takes his role of a "Golf Historian" very seriously. "My goal is to record golf history through my paintings" he says. "I like to be accurate but not photographically accurate. I am looking to find the heart of a golf course, grasp the many details and colours, and capture it's key characteristics and natural feel." Since 2008, Graeme has been a member of Mission Hills Country Club in Rancho Mirage, California where he now lives and works and which is home to the Kraft Nabisco Championship and ANA Inspiration, one of the LPGA Tour's Majors and one of the many events for which he is Official Artist. Graeme Baxter's paintings are owned by many of the golfing greats both past and present and by golf enthusiasts around the world. Gleneagles was the venue for the 2014 Ryder Cup with captains Tom Watson and Paul McGinley. Europe famously won by 16.5 points to 11.5 and retained the Cup. Graeme Baxter was awarded the British Empire Medal (BEM) by HM The Queen in 2022.

* JOYCE W CAIRNS PPRSA DEd (hc) HRA (2018-2022) HRHA HRWA HRBA RSW MA (RCA) (SCOTTISH b. 1947), HOMESICK watercolour on paper, signed and dated 1975framed and under glassimage size 49cm x 69cm, overall size 59cm x 79cm Provenance: authenticated by the artist (02.05.23) and although untitled, Ms Cairns suggested "Homesick" as at the time (1975) she was in London and missing her homeland. This is a rare early work by one of Scotland's most significant and critically acclaimed artists of her generation.Note: In 2018 Joyce W Cairns was elected the first woman President of The Royal Scottish Academy in its 192 year history. Given the extraordinary talent of many Scottish women artists both past and present, this honour reflects the high esteem of the Royal Academicians who elected her and her status as one of the most important and respected artists of her time. Note 2: Joyce W Cairns was born and brought up in Edinburgh. She studied painting at Grays School of Art, Aberdeen from 1966 -71 and The Royal College of Art, London 1971 -74. She was awarded a Fellowship at Gloucester College of Art and Design 1974-75 returning to London where she did the Art Teacher’s Certificate Course at Goldsmiths College, University of London 1975-76. In 1976 she returned to Aberdeen where she taught Drawing and Painting at Grays School of Art until 2004 when she took early retirement to complete the vast body of work which culminated in ‘War Tourist’. It was exhibited for 3 months in 2006 at Aberdeen Art Gallery, attracting nearly 30,000 visitors. Her work is mainly autobiographical based on past memories intertwined with present experiences, woven around the backcloth of the once fishing village of Footdee at the mouth of Aberdeen harbour where she has lived for the past 33 years. ‘War Tourist’ was based on her Father’s war backed up by extensive research following in his footsteps through Europe and Tunisia. She now paints in Dundee working in a house and garden overlooking the Tay which will add a further dimension to her work but still retains a residence in Footdee. Cairns has won many awards and is featured in many publications and in the wider media. Cairns’ work has been exhibited in serious group exhibitions since 1970, as well as having numerous celebrated solo exhibitions in Scotland, London and Canada. Her work is held in numerous public collections including Aberdeen Art Gallery, The Scottish Arts Council, BBC Television, Edinburgh City Arts Centre, Fife Regional Council, Fleming’s Bank, Glasgow City Art Gallery & Museum, Glasgow Gallery of Modern Art, Grampian Television, Graves Art Gallery & Museum, Sheffield, Gray’s School of Art, Aberdeen, Lanarkshire County Council, Manchester City Art Gallery, McMaster Museum, Hamilton, Ontario, Mobil, Perth City Art Gallery & Museum, Shell UK, Tidaholm Government Office, Sweden, The Contemporary Arts Society, The Royal Scottish Academy, University of Aberdeen, University of Strathclyde, Unilever, Aberdeen Asset Management, The National Museums of Scotland, The Robert Gordon University, Aberdeen Asset Management,Asia, Singapore, The British Museum, The Victor Murphy Trust, Pier Arts Centre, Inverness Museum and Art Gallery, The Maritime Museum, Irvin, New Hall Art Collection, Cambridge, The National Galleries of Scotland. Further biographical information at: www.joycecairns.co.uk

NATALIE SOUTER (SCOTTISH b. 1989), SPRING NIGHT AT ISLAY oil on canvas, signed, further signed and titled versoframedimage size 31cm x 31cm, overall size 45cm x 45cm Note: Natalie Souter is a Scottish landscape artist who was born in 1989. She is a self-taught artist who has gained recognition for her beautiful depictions of Scotland's rugged landscapes. Natalie's paintings capture the beauty of the Scottish countryside with its rolling hills, wild moors, and dramatic coastlines. Her work is characterised by her use of bold colours and loose brushstrokes, which create a sense of movement and energy. Despite having no formal training in art, Natalie's talent has earned her a loyal following and her work is highly sought after by collectors.

NATALIE SOUTER (SCOTTISH b. 1989), SUNSET AT IONA oil on canvas, signed, further signed and titled versoframedimage size 31cm x 31cm, overall size 45cm x 45cm Note: Natalie Souter is a Scottish landscape artist who was born in 1989. She is a self-taught artist who has gained recognition for her beautiful depictions of Scotland's rugged landscapes. Natalie's paintings capture the beauty of the Scottish countryside with its rolling hills, wild moors, and dramatic coastlines. Her work is characterised by her use of bold colours and loose brushstrokes, which create a sense of movement and energy. Despite having no formal training in art, Natalie's talent has earned her a loyal following and her work is highly sought after by collectors.

* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), RESTLESS WAVE oil on canvas, signed framedimage size 90cm x 90cm, overall size 108cm x 108cmNote: The very obvious title of this fine work "Restless Wave" is also the title chosen by Helen Bellany for her fabulous book "The Restless Wave - My Two Lives with John Bellany" (published in 2018 by Sandstone Press Ltd). The book is essential reading for anyone with an interest in Bellany's work but it's equally a remarkable account of the struggles and successes of a closely knit family living with a genius who fought (and eventually won) a harrowing battle with alcoholism. Note 2: Collector demand has never been higher for the work of John Bellany and numerous examples have been sold in recent months by both McTear's and others at ever more impressive prices. In The Scottish Contemporary Art Auction of 29th May 2022 "The Finnon Smoker" by Bellany sold for £80,000 (hammer) and in the same sale, "Bass Rock Fable" (a 76 x 61cm unframed oil) sold for £12,000 (hammer). In our 21st August 2022 auction, lot 137 "The Newspaper Hat" (a 61 x 51cm oil) sold for £9500 (hammer). "Like-for-like" auction prices for original paintings are usually difficullt to assess, but in The Scottish Contemporary Art Auction of April 2023, two Bellany paintings which had been acquired in our auctions in September and November 2014 were consigned for sale by the same owner. The original 2014 selling prices were £1800 and £4000 and the same paintings sold in April for £3800 and £7000 (all hammer prices). This equates to a growth in value of 86.2% in fewer than nine years.

* PAUL MARTIN (BRITISH 1948 - 2022), WEDDING IN THE FOOTHILLS mixed media (pigment and varnish) on board, signed, titled label versoframed image size 97cm x 97cm, overall size 115cm x 115cm Label verso: Flying Colours Gallery, London.Note: Paul Martin was born in Bournemouth in 1948. He began his studies in the late 1960's at Birmingham School of Art, a college dominated by Abstract Expressionism, before moving to the Royal Academy whose more traditional methods focused largely on life-drawing. Neither approach proved entirely congenial, but Paul described those years as ones of 'productive disagreement'. Martin's own artistic practice was always firmly rooted in nature, but nature seen as a metaphor, never the end but always only the start of the journey. Something similar might be said of his use of the human figure: his figures are tangible yet otherworldly. They exist in the here and now, but also somewhere else, in memory perhaps, or in death. Their eyes engage directly with the viewer, a gaze not challenging, but steady and serene and seeking communion. Paul Martin exhibited widely both at home and abroad, and has work in the collections of The Royal Academy, The British Museum and the BBC. Over the course of his career he garnered many awards including The British Institution prize for Printmaking and The Royal Academy Awards for Painting and Printmaking. Shortly after Paul Martin's death, The Leith School of Art (Edinburgh) posted these words on the LSA website as part of their tribute: Paul was a very significant member of staff at Leith School of Art for over 15 years and retired around 10 years ago. Paul then returned to the School to teach on Continuing Professional Development with Alastair Gordon for a few years. He will be remembered as an extraordinary thinker and artist, and a much valued friend and mentor to both staff and students within the School. Although Paul will be dearly missed, his remarkable legacy as an artist, teacher and colleague will remain with the School and everyone who knew him.

* DONALD BAIN (SCOTTISH 1904 - 1979), THE OPEN SEA oil on canvas, signed, further signed, titled and dated 1944 versoframed image size 72cm x 92cm, overall size 87cm x 107cm Note: partial covered-up portrait verso of canvas.Note 2: Donald Bain was born in Kilmacolm, Inverclyde, in 1904, the son of a textile designer. Later, the family moved to England to live and Bain eventually began studying art under William York MacGregor (1855 – 1923), one of the Glasgow Boys. It was MacGregor who introduced Bain to the work of the Scottish Colourists and Bain was to become particularly associated with J.D. Fergusson (1874 – 1961), becoming involved with the New Scottish Group from its inception in 1942. He worked in France after the Second World War, but settled in Glasgow in 1948. His work remained largely unknown until a major touring exhibition in 1972-73.

A quantity of items relating to nursing including photograph of the nurse who owned these items, her uniform, training material St. Bartholomew's Hospital certificates & a Totnes school photograph from 1933

Novelty gold (touch tests as 18ct) bar brooch with spider who has diamond eyes & blue stone body in an antique red velvet box - 5cm long & 5g total weight ~ the brooch has some distortion & the blue stone has a natural flaw

5 pairs of Native American moccasins, money pouch and papoose, along with photograph of John Gardner who was a Vicar in Ontario Canada and missionary near Saskatchewan and Winnipeg in the mid to late 1800's.

Private Robert N. Shaw (British, early 20th century), The Somme, watercolour, signed and dated lower left "Pte. Robert N. Shaw 1st Batt D.C.L.I. 19/3/18" and inscribed on reverse "The Band played Trelawney (sic) Midday 23rd March 1918, The Somme. 1st/5th Battalion D.C.L.I. were given orders to immediately attack and take the village of Verlaines. Painted 4 days before".* Trelawny, also known as The Song of the Western Man" is a Cornish patriotic folk song, and this would have had special meaning for members of the D.C.L.I (Duke of Cornwall's Light Infantry) such as Private Shaw who executed this watercolour. * Condition: Lightly but evenly faded with slight discolouration at the edges.

A bronze Benin Memorial Head, Probably 20th century, West Africa (Nigeria), having wide open eyes and scarification to forehead, greenish patina, 8½in. (21.6cm.) high.* This is the head of an oba, or king, of the Edo people. The oba’s strength as a leader depends on his personal traits and also on supernatural help from the kings who wore the oba’s cap and collar before him.

Caledonian Railway interest - A exceptionally fine tooled leather-bound illuminated album, the cover with the gilt monogram 'JT', the title page inscribed "Presented to Sir James Thompson, Knight. General Manager of the Caledonian Railway Company. Accompanied by A Service of Plate. Glasgow 30th Septr. 1897", with presentation letter offering congratulations on his knighthood on the occasion of the Queen's Diamond Jubilee, the following two pages signed by numerous colleagues, the album enhanced by five finely executed watercolours of Scottish scenery, including views of Edinburgh Castle and Glasgow University, each page with finely illuminated borders with thistles, coronets and lion rampant roundels, each backed with watered ivory silk, protected in a modern solander slip case, 14¾ x 11in. (37.5 x 27.9cm.).* The album was presented the same year as Sir James was Knighted by Queen Victoria. He was by all accounts a highly esteemed and successful businessman who was hugely popular with his employees. The album is inscribed on the title page "Gilmour & Dean, Fecit, Glasgow". Gilmour & Dean produced maps for the Caledonian Railway Company. * Condition: In fine condition overall - exceptionally well preserved. Very light wear to the corners and edges of the binding, spine lightly sunned. The interior in fine, bright condition - just one small spot of toning to the top edge of the title page, no other spotting or toning.

Joan Stevens - Old Jersey Houses and Those who Lived in Them 1500-1700, illustrated by Charles, Philip and Richard Stevens, pub. The Commercial Art Company, Jersey, 1965; together with Old Jersey Houses vol II, drawings by Charles Stevens, pub. Phillimore & Co, 1977; and GR Balleine, A Biographical Dictionary of Jersey, pub. Staples Press Limited. (3)

A collection of research documents relating to Castle Cornet during the English Civil War, with extensive archive notes regarding the correspondence of Governor Sir Peter Osborne who held the castle in the name of the King during this time, also includes numerous maps and sketches. This appears to have been research collected to be used for a book set during the civil war focusing on Sir Peter Osborne and the siege of Castle Cornet.

Fleming (Ian), The Spy who Loved Me, first edition, first impression 1962, pub. London, Jonathan Cape, orig. black cloth and original dust jacket. * Condition: Ink presentation inscription to ffep, dated 12/4/62. Some spotting to wrapper, toning to margins and dirt soiling to back. Chipping to corners and head & tail of spine. Not price clipped. Some foxing to cloth boards. Foxing to page edges and top edge soiled. Occasional spotting and a few tiny fox marks to title.

Studio of Sir Thomas Lawrence PRA, FRS (British, 1769-1830), Portrait of King George IV (1762-1830) in private dress, wearing the Garter Star and Order of the Golden Fleece, oil on panel bearing printed label for the colourman Robert Davy (c.1771-1843) of 16 Wardour Street, London who it states was "patronised by Sir Thomas Lawrence", 20th century frame, painted and gilded surmounted by a crown, each corner having a rosette,10¾ x 8¾in. (27.3 x 22.2cm.).* This is a reduced copy of Lawrence's original full-length portrait London, commissioned in 1822 and now in in the Wallace Collection, London. The original was given by George IV to his mistress Lady Conyngham and was considered by the King to be the most successful of several portraits that Lawrence painted of him. * Condition: Use of bitumen in dark areas, paint shrinkage, light surface dirt.

After Hans Holbein the Younger (German, 1497-1543), Portrait of Sir Nicholas Carew KG (c.1496-1539), oil on a cradled joined panel, unframed, 32¼ x 38¾in. (81.9 x 98.4cm.).* Sir Nicholas Carew was an English courtier and diplomat who held the position of Master of the Horse to King Henry V111. He was one of Henry's main drinking companions and enjoyed a privileged life until it ended abruptly in 1539 when he was arrested and executed at the Tower of London for his alleged part in the Exeter Conspiracy. The Exeter Conspiracy of 1538 was a supposed attempt to overthrow the King and replace him with his first cousin Henry Courtenay, 1st Marquess of Exeter. It was motivated by Catholics enraged by Henry who had taken control of the Church of England away from the Pope. Sir Nicholas Carew is depicted by Holbein in armour wearing a black cap trimmed with a white plume and an octagonal gold badge. The original painting is in the collection of the Duke of Buccleuch & Queensberry KT at Drumlanrig Castle in Scotland. * Condition: Numerous paint losses across the entire surface. The horizontal joins to the three panels are very obvious however the planks are relatively flat and the cradle is functioning well.

Jerzy Faczynski, (Polish b. 1917), A group of ten drawings and sketches on paper, including portraits, figural studies, abstracts and other compositions, pen and ink and pencil, all signed, most dated, ranging from (19)50 to (19)87, the largest 10½ x 8¼in. (26.7 x 21cm.), all framed and glazed. (10)* Jerzy Faczynski is a Polish Impressionist & Modern artist who was born in 1917 * Condition: Good condition.

A China War Medal 1900 with Relief of Pekin Clasp, named to G.R. Mills Ord., H.M.S. Endymion. There is a George Robert Mills born on the 9th April 1882 in Lockerley Hampshire who served with the Royal Navy. One of 280 China Medals with this clasp to H.M.S. Endymion *Condition: Good condition.

A Great War Pair comprising War Medal and Mercantile Marine War Medal named to Thomas Wingett with a Memorial plaque similarly named to Thomas Wingett. A similar pair named to Thomas C. Wingett. Thomas Wingett was born in 1869 seems to have been chief cook aboard S.S. Minnehaha who died on the 11th September 1917, he is commemorated at the Baltimoare (Tullagh) Graveyard at the tip of Southern Ireland. He was husband to Martha Louisa Wingett of 22 Arundel Gardens, Goodmayes, Essex. The Minnehaha sank on the 7th September 1917 after being torpedoed by U-boat U-48 off the Fastnet. Thomas Charles Wingett was born in London in 1899, following the war living at 17 Kenilworth Gardens, Seven Kings, Essex. It seems likely that Thomas and Thomas Charles were Father and Son. With a quantity of copied research, original envelopes and Buckingham Palace insert *Condition: With outer card cover and inner cover, the inner cover distressed. Envelopes distressed. Medals in good condition.

A Crimea Medal 1854-56 with Sebastopol Clasp named to W. Pyefinch Gr. Rl. Horse Arty. A Gunner William Pyefinch served with the Horse Brigade, Royal Artillery with number 1649. A William Pyefinch is also recorded with number 602, a Sergeant who was awarded his long service and good conduct medal in 1874, he is recorded as serving with the Royal Artillery in Crimea and India. It is conceivable that these records refer to the same man? *Condition: Clasp dented, surface scratches, slight edge dents, cleaned.

Named to 1054 Pte P. Bryan Late 97th Foot. The 97th being the Earl of Ulster's Regiment of Foot. Possibly for Patrick Bryan who was born in Dublin and served with the 97th Foot Regiment being discharged at the age of 39 *Condition: Official correct to Regiment number, original ribbon.

A Messina Earthquake Medal 1908, on green and white ribbon. This medal was awarded by the Ling of Italy to the Royal Navy and others who went to the aid of those who had suffered as a result of the earthquake. Unnamed as issued. 4cm. *Condition: Slight dent to lower edge, otherwise a nice example.

A Great War Group of five comprising 1914-15 Star named to J11946 C. Taylor A.B. R.N. War Medal and Victory Medals similarly named with rank of Petty Officer, Jubilee Medal 1935 and a George V Long Service and Good Conduct Medal named to J11946 C. Taylor P.O. H.M.S. Vernon. Mounted as worn. Petty Officer Claud Taylor's Long Service and Good Conduct medal was awarded on the 30th August 1928. With a silver fob type award 'H.M.S. Vernon Inter-Port Soccer 1929' medal, two copy images of Claud, one an image of 'H.M.S. Vernon Torpedo School Instructional Staff in Spring 1945. Born on the 17th July 1895 in Sheerness. The 1901 census record his mother as a widow working as a Cook at Arnold College in Alumchine Road, at this date Claud was 5 years old with an older brother Gordon who was 12 and working as a kitchen boy. The 1911 census record Claud as a Solocitor's Clerk and as a boarder with the Summers family at 45 Victoria Road, Springbourne, Bournemouth. He signed up for service with the Royal Navy in Portsmouth having previously worked as a Solicitor's Clerk. During the First World War he served aboard Hercules, Vernon, Victory, Foresight, Dolphin, Titania and Fearless. He married on the 12th May 1934 at which time he was living in Gosport. With a Great War Medal named to 34509 Bmbr J.Taylor R.A. According to family tradition Bombardier John Taylor was Claude's brother, he served with the Royal Garrison Artillery and will have been entitled to a Victory Medal. Lacking ribbon. Consigned for sale by a direct descendant of the recipients who has provided the following history of Claude Taylor. My grandpa was born in 1895 and joined the Royal Navy as a Boy sailor, age 16 in 1911. He was promoted to Able seaman in 1915, Leading Seaman in 1916, Petty Officer in 1918, and then was promoted to chief Petty Officer age 34 in 1929. He was discharged in 1935. During the First World War, my grandpa's brother, who I only know as J. Taylor was killed in action in the army. As a result of that my grandpa refused to collect his Second World War medals, claiming that 'war is the failure of politicians'. During the Second world War HMS Vernon, the torpedo base at Portsmouth where my grandpa was due to work was bombed by the Germans. The Royal Navy requisitioned Rodean girls school in Brighton and as a result, my grandpa was sent to work there. My grandmother, father and his brother moved down to be with Grandpa in a house in Saltdean, which the Royal Navy requisitioned for them. During a bombing raid in Brighton in approximately 1943, my grandmother was shot and lost a proportion of her spine. She was in hospital for two years and learnt to walk again. I think this also had some influence on my grandpa's refusal to collect the second world war medals *Condition: Usual light surface marks from wear. A nice group on original ribbons as worn.

British War Medal 1914-1917. A collection of six medals awarded to the Dorset Regiment. Medals named to: 12456 Private C.V. Wilson, 14208 T.A. Hodder, 24797 Private H. Pearce, 27248 Private W(illiam).J. Jewitt, 27868 J.W. Trail, and 43118 Private W(illiam). Bradburn who also served as 61301 with the South Staffordshire Regiment (6) *Condition: All with slight surface marks, Jewitt sightly more rubbed than the others.

A group of six comprising Military Cross, unnamed as issued, 1914-15 Star named to 2520 Pte J. Crabtree L.N.Lan R. War Medal and Victory Medal named to Capt J.J. Crabtree, Second World War Defence and War Medals, unnamed as issued. Mounted as worn. James Joseph (Jimmy) Crabtree (1895-1965) was born in the Lancashire town of Clitheroe, the second son of James Crabtree a Brewer from Burnley who married Margaret a Clitheroe girl in 1884. He was a pupil at Stoneyhurst College, Clitheroe and later worked as a clerk in one of the cotton mills owned by the chairman of Blackburn Rovers Football Club. He was to become a very successful goalkeeper before and after the First World War playing a total of 77 games in the Football League. Initially playing for Stonyhurst College he played for Clitheroe Amateurs and performed so well that he made ten appearances for Blackburn Rovers proir to the War, deputising in goal for the final game in 1914 when Blackburn clinched the championship. He also played in goal for England amateurs in 1914 when England beat Wales 9-1 at Home Park, Plymouth. After the War he made 60 appearances for Rochdale who played in the third Division, despite being the regular keeper, on one occasion he scored two goals whilst playing at left back. In 1924 he joined Accrington Stanley where he managed just six first team appearances. Crabtree's Military career began almost as soon as Britain entered the War, being amongst the first to volunteer joining the 1/5th Loyal North Lancashire Regiment on the 5th September 1914. He left for France on the 11th February the following year and his abilities were soon recognised as he was recommended for Officer Training on the 9th October 1915. He returned to France as a 2nd Lieutenant with the 1st Loyal North Lancs. He was wounded during fighting at the Battle of Morval on the 25th September 1916, the final objective of Flers-Courcelette as part of the Battle of the Somme when this area was held by the German 1st Army. A short spell in Hospital saw him return to his unit by December and he saw further action at the Battle of Arras and then at the Third Battle of Ypres known as Passchendale. Whilst fighting at St Julien, on the 26th September 1917 his courage and leadership led to the award of the Military Cross (London Gazette 26th September 1917, p9974. The London Gazette of the 9th January 1918 p596 providing a citation:. 'For Gallantry and Distinguished Service in the Field: When his company commander had been killed and the other officer wounded, he led his company on and captured his objective in spite of heavy machine gun fire. He afterwards reorganised the company, which had suffered many casualties, and successfully consolidated his position. During the three days which followed, his splendid cheeriness and disregard for personal safety very greatly inspired his men. Four weeks later he was wounded for a second time and returned home to Britain to recover, he would not return to the fighting leaving the Army in 1919. Playing his part for a second time between 1939 and 1945 he served with the Border Regiment and was promoted from a War Substantive Captain to Captain from 1st April 1949 with seniority from the 3rd July 1940. He continued his part in football becoming a linesman and referee in later years. Married to his wife Frances he worked as Travelling representative for a brewery, perhaps his Fathers'. He died on the 1st December 1965 and is buried in his home town of Clitheroe. With the case for the Military Cross, his Amateur International blazer badge, enameled 9ct gold medal for the East Lancs Charity Cup 191-13 Blackburn Rovers, J. Crabtree, 12.19g. Ribblesdale Cricket League 9ct gold Championship medal named to J. Crabtree 1923. 12.89g. Border Regiment shoulder title and cap badge. Clitheroe school badge, Preston Catholic College silver and enamel badge and Lancashire Referees Society badge *Condition: All in good condition with only light rubbing or surface marks.

Five Great War Victory Medals to the Dorset Regiment: 41378 Private J(ohn) W. Jenkin who also served with the Devonshire Regiment with number 73911 and Hampshire Regiment with number 8/20670, 11040 Private A. Kemish, 20728 Private C(harles). Jarvis, 14114 Private F(rank). Shannon, 16762 Private W(aris). S(ydney). Bennett who served from the 11th December 1915 and was discharged as a result of sickness on the 12th February 1919, he was issued silver War Badge number B111811 *Condition: All with slight surface scuffs as usual.

A First World War group of four comprising Military Cross, unnamed as issued, 1914-15 Star named to 2. Lieut J. Longbourne RFA, War Medal and Victory Medal named to Capt J. Longbourne. With two mentioned in dispatches oak leaves, in original packages and delivery boxes with ribbons. MC in box of issue. The medals were issued to Captain Longbourne on the 24th April 1928, they were sent to Loseley Park Near Guildford in Surrey. Captain Longbourne being related to the More-Molyneux family appears to have been living at this address at the time. John Longbourne was born in Southend, Essex, on the 21st December 1892 and died on the 23rd November 1984, he is buried in the church yard at Manaton on the northeast edge of Dartmoor. Having been a border at Radley College and then a cadet at Woolwich prior to the War he joined the Artillery as a temporary 2nd Lieutenant on the 22nd September 1914 rising to a temporary Lieutenant and later Captain. He arrived in France on the 25th July 1915 where he served with the 43rd Brigade of the Royal Field Artillery. He received his Mention in Dispatches on the 15th June 1916 (Gazette p5928) from General Haig for Gallant and Distinguished conduct in the field whilst serving in France. His Military Cross was awarded as part of the King's Birthday Honours List awards published in the London Gazette on the 3rd June 1916 (p5575). In 1919 Captain Longbourne took up his place at Trinity College in Cambridge and graduated in Estate Management and History in 1922. A keen golfer and follower of country sports he had a surprising variety of different jobs which included mink breeding in British Columbia, advertising executive, hotel owner, secretary of Camberley Heath Golf Club. A contributor to Country Life, The Field and similar journals. He is best remembered as author of the book ''Hotspur the Beagle' published by Constable & Co. in 1934 under the name of John Vickerman. This story follows the life and times of 'Hotspur' from puppy to experienced hunting hound. Illustrated with sixteen charming images by Cecil Aldin, this work is still much admired by those who enjoy literature of this type. Offered for sale by a direct descendant of the recipient *Condition: As issued, paper label stuck to inside lid of MC box.

A Second World War Group of four comprising 1939-45 Star, Aircrew Europe Star, Pacific Star and War Medal, unnamed as issued, with a posthumous condolence note named to Squadron Leader J. Turton. The medals mounted for wear, and in home-made case with conformation slip mounted to the lid and side. With the recipients Royal Canadian Air Force Pilot's Flying Log Book. A collection of letters to his sister, a framed photograph of the recipient in uniform signed 'Lots of Love Jack'. Photographs of Turton and his colleagues in 197 Squadron, images from his funeral, copies of sketches by Official War Artist Cuthbert Orde, patches, presentation tankard and other items. Jack Turton of Knowles Road, Batley had a successful career in the RAF Volunteer Reserve during the Second World War. Serving with number 124816 he rose to the rank of Squadron Leader (Pilot) before his tragic death at the age of 24 in a flying accident on active service. Jack Turton's log book detail his flying career, primary training began in 1941 at the U.S. Army Air Corps, Lakeland School of Aeronautics, Florida. By Autumn of 1942 he is with NO. 56 OTU flying Hurricanes, he describes flying in a letter to his sister Sally 'Hurricanes are lovely aeroplanes to fly and we do lots of formation which as I have told you before is real good fun'. He moved on to fly Typhoons with 197 Squadron. Initially formed in Egypt towards the end of the First World War, 197 squadron failed to acquire any aircraft so was re-designated as an artillery observation school. Reformed on the 21st November 1942 at RAF Turnhouse in Edinburgh they flew Typhoons from RAF Manston, Tangmere and Hurn. Operational from January 1943, the Typhoon had taken a while to find its role in the RAF, but once its suitability as a ground attack craft had been established this fighter bomber became one of the most important of the Second World War. Turton's log book lists many hours in the Typhoon undertaking 'Standing Patrol' 'Close Escort' and other tasks noting 'Heavy Flak' and on May 17th 1943 'Bounced 12+ 190s Squirted at a 109 Damaged/Broke up Went out on deck what a distance?'. On September 9th 'Fighter Commands Der Tag - Foo!!!'. October 17th 'Huns at Beecmet Viz 300 yds, Much Panic'. October 31st 'Dive Bombed Aerodrome left it burning slight Flak', similarly on November 3rd 'Flew around looking for target bombed docks & left ruined'. A report of events of the 13th May when 197 Squadron supported a Ramrod Operation. 'F/O. Turton held the enemy aircraft in sights and fired a short burst of 1 sec. when about 350 yards away. Strikes were seen on fuselage about the cock-pit and small bursts of flames noticed on the wings presumably the result of incendiary explosive shells hitting. Enemy aircraft banked steeply then dived vertically with smoke pouring from the cockpit. Last seen at about 4,000 feet going straight down'. A number of the pilots of 197 squadron were subjects for Captain Cuthbert Orde (1888-1968), himself a pilot during the First World War who went on to be highly regarded as a War artist, most famously for the sketches of young Battle of Britain pilots and his volume 'Pilots of Fighter Commend: Sixty Four Portraits'. Orde explained how the pilots who sat for him were chosen 'In no case did I choose the sitter myself. He was selected either by Group Headquarters or by the station commander and, generally speaking four or five in each squadron were chosen, the four or five who were considered the most valuable. So it was for them rather in the nature of a mention in dispatches, I merely being the scribe who wrote out the dispatch'. Copies of the sketch of Turton are included with this lot as are images of Pilot Officer Aherns, S/Ldr Holmes D.F.C., Flight Lieutenants Hyde, Elkington and Mulliner from 197 Squadron. Turton left 197 squadron towards the end of 1943, at this time his ability as a fighter pilot was recorded as 'Above Average'. He joined 146 Squadron at Baigachi in India flying Hurricane Mark IIs before moving to 135 Squadron at Mineriya, Ceylon flying Thuderbolts. He continued to fly regularly, entries for January 1945 include 'Dive Bomb Jap Concentration Good Bombing Myohaung' and 'Bomb Jap Positions with Napalm 2x1000lbs Napalm Fire Bombs + Straffe Kangaw Area'. The last entry is on March 1st, this is followed by a rubber stamp 'Killed on Active Service' Having flown hundreds of missions and accumulated over 766 hours Turton played his part against the German's and Japanese in two different theaters of war as a valuable, effective and highly regarded fighter pilot. Jack Turton died at the age of 24 on the 4th of March 1946 when his plane crashed in Malaysia. The accident occurred during takeoff when his Thunderbolt II stalled and crashed when attempting to clear high ground when taking off from Kuala Lumpur in a semi-stalled condition. He is buried in Kuala Lumpur at the Cheras Road Civil Cemetery, grave number 869. The documents and photographs with this lot include a number relating to his funeral and grave with initial cross and later headstone. Incorrectly named on the Batley War Memorial as R. Turton, it took his mother Mrs Edith Turton of White Lee Road in Batley 18 years of campaigning to get the local authority to correct the error. Offered for sale by a direct descendant of the recipient *Condition: Medals as issued, paperwork tatty in places.

A Second World War Group of four comprising 1939-45, Italy and Africa Stars and War Medal, unnamed as issued, in a postal box addressed to Mrs Burkhardt, 21 Cheam Road, Ewell, Surrey which has been later annotated to suggest this was Nancy Burkardt nee Smith who served with the QARNS/RAMC. With a similar group of four comprising 39-45 and Burma Stars Defence Medal and War Medal, all unnamed as issued, with accompanying miniatures, these mounted for wear, in a cardboard box of issue marked ' Albert 'Bill' Burkhardt RAMC *Condition: Largely as issued.

A group of six comprising a General Service Medal 1918-62 with Palestine clasp named to 366304 A.C.I. J.K. George R.A.F., 1939/45 and Africa Stars, Defence Medal and War Medal unnamed as issued, and a George VI Long Service and Good Conduct award named to 366304 Sgt J.K. George R.A.F. In original delivery box addressed to 366304 F/S George J.K Sgts' Mess R.A.F. Chivenor N.Devon. With his RAF Form 1394 giving a brief statement of service. This records his service from September 1925 and also from October 27 for a period of 24 years. He was discharged on the 21st Nov 1949 'A Senior N.C.O. who has shown superior ability as a supervisor in the trade of Fitter II Airframes. Throughout his service career his character has always been very good' *Condition: Largely as issued.

A Long Service and Good Conduct Medal with second type obverse, reverse 'For Long Service and Good Conduct', on a swivel suspension, named to 'Farrier Major J Birch 3rd Dragoon Guards 1858. This would seem to be John Birch who served with the rank of Farrier Major who is recorded with number 408 serving with the 3rd battalion of the Dragoon Guards and entitled to a £5.00 gratuity in 1858. He is recorded as being entitled to a Long Service and Good Conduct Award. He appears to have been a Private from the 1st January 1841 *Condition: Suspension lacking cross bar, suspension loose, fitted with rings for suspension on a chain. Very lightly scratched to the surface '5407'. Possibly renamed.

A mounted group of four and badges attributed to Lt later Major Kazimierz Klaczynski 1907-1995 9th Malopolski Lancers'. Comprising a September Campaign Cross, 1939, a Polish Republic Order for Military Virtue, unnamed to the reverse, breast badge in silver and enamel. a bronze cross of valour, dated 1920, and numbered 19666 to the reverse, and an army Active Service Medal. Mounted with a cap badge, 'Poland' cloth shoulder title and convex enamel 9th Malopolski Lancers Regiment enamel badge with screw back marked for A. Pamasiuk, Grawer, Warszawa, I. Swietoianska 4/6'. Mounted in a glazed frame with title 'Lt/Major Kazimierz Klaczynski 1907-1995 9th Malopolski Lancers'. 32.5 x 32.5cm square, 5cm deep. According to documents included Kazimierz Klaczynski took part in the Defence of Warsaw with the 9 Malopolski Lancers from the 1st September 1939 until the 29th September 1939. He was held prisoner by the Germans from September 1939 until April 1945 when liberated by the allies. On release he reported for duty with the 1 Polish Armoured Division, 1 Polish Corps in Germany, he was assigned guard duties in the British occupied zone. November 1946 he was transferred to the 2nd Polish corps in Italy. Apparently he was unable to join Polish Forces under British command as military authorities refused to accept him for active service. On evacuation as a civilian to the UK he was attached to the Civilian Families' camp at Stockbridge, Salisbury. The 9th Malopolski Lancers were formed in 1809 and later reformed in November 1918 when Poland won back her independence. After the brief defence of September 1939 the 9th Lancers were re-established briefly in France and then evacuated to England before finding a permanent base in Scotland. It has been suggested that they comprised approximately 40 officers and 800 men. The regiment disbanded at the end of 1947. Apparently Major Klaczynski played an active part in the defence of Poland, being amongst the men who attacked the German tanks on horseback with sabers raised and lying along the side of the horse for protection. He is remembered as an extremely capable horseman, in later years becoming a three-day event coach and teaching riding at the most proficient levels. Following the initial desperate defences he apparently fought with an artillery regiment who only had two guns but did their utmost to make the attackers believe there were more by constantly moving them and varying the point of fire. Alas his resistance was not to last beyond September 1939 and he spent the rest of the war a prisoner. After arriving in the UK he spent much of his life living in what has been described as a hut in the woods near Alresford in Hampshire with his dog who he taught to perform no end of tricks. The September Campaign medal for 'Participation in the Defensive War' was introduced by the Polish People's Republic in 1939 for those who played a part in the Defence of Poland between 1st September and 6th October 1939. The dates on the cross 1.IX and 17 IX refer to the dates of German and Russian aggression against the Polish *Condition: Attractively mounted, and all much as issued.

Bachmann OO Gauge 32-627 5-car Class 221 Virgin Trains Super Voyager DMU No.221122 "Dr. Who", conditions Good Plus to Excellent in Good Plus to Excellent individually boxes contained in Poor to Fair outer box, please note one empty box for packing purposes in the set is missing.

Mary Lowndes (1857-1929), a stained and leaded glass panel dated 1920, depicting Saint John in the wilderness holding a lamb in his arms, signed and dated 'M. Lowndes Des 1920'145 x 90cm, framedThe eldest of four sons and four daughters born to Richard Lowndes and Annie Harriet, Mary Lowndes is best known as a stained glass artist, suffragist and pioneering social reformer. Initially training in drawing and painting at the Slade School of Fine Art, it was not until the completion of her studies that Lowndes unearthed her natural aptitude for stained glass making. Under the supervision of renowned artist, Henry Holiday, Lowndes, whose work was prized for her bold use of colour and innovative design schemes, soon became esteemed in her field, despite cultural attitudes towards female influence in the workplace during the late 19th century.By 1888, Lowndes had joined Powell & Sons of Whitefriars, but an increasing desire for artistic liberty persuaded her to work independently from 1892. Unfortunately, Lowndes found herself restricted by the technical requirements of stained glass making and was frequently travelling from her workshop in Chelsea to Southwark, where her designs were fired and glazed at the Britten and Gilsen studio. Owing to her need for specialist facilities, in 1897, Lowndes, alongside Alfred Drury, the former foreman at Britten and Gilsen's studio, established the eponymous Lowndes and Drury glass studio in Chelsea. Quickly having become one of the most prominent glass studios in London, in 1906 the pair moved their business to custom-built premises in Fulham, which later became known as 'The Glass House'.Quickly evolving into a sanctuary of artistic exchange, the Glass House offered artists a space to share and learn from one another whilst working on their own commissions. Lowndes’ became a particularly important figure in the workshop, not only in regard to her own commissions which were installed in churches, private buildings and private homes throughout the country, but also due to the invaluable instruction she offered to the denizens of the Glass House, particularly female artists who would be denied positions at other workshops.In addition to her work as an artist, Lowndes was also involved in the women's suffrage movement. She joined the Women's Social and Political Union and was an active participant in several protests and demonstrations, including the 1910 "Black Friday" demonstration where she was arrested and imprisoned. Lowndes was also passionate about social reform and worked to improve conditions for working-class women. She established a cooperative for women weavers in South London, which provided them with fair wages and safe working conditions. Mary Lowndes died in 1929, but her legacy continues through her stained glass works and her contributions to the suffrage movement and social reform.The panel is buckling under its own weight within the frame and there is a resultant bulge along the bottom. A couple of cracks and breaks to lead work and some scuffing to painted decoration, but in overall good condition.

§ Walter Horst Nessler (1912-2001) John Denham, Mill Lanesigned and dated 'Nessler / 84' (lower right)mixed media35.5 x 50.5cmRemembered as much for his dreamlike imagery as for his courage and fortitude, German-born artist, Waler Nessler's, work often dealt with themes of social and political injustice. In the 1950s and 1960s, he created a series of powerful anti-war paintings that were inspired by his experiences as a refugee and by the devastating effects of World War II. He also created works that explored issues of poverty, racism and the struggles of the working class.Forced to flee Germany in the 1930s, due to his opposition to the Nazi regime, Nessler lived briefly in Paris before moving to London and joining the army shortly thereafter. During his military service, Nessler continued to produce art, sketching his surroundings and fellow personnel. Following the war, Nessler returned to London to study sculpture at St. Martin’s School of Art, before travelling to Paris, where he mixed with artists including Cocteau, Picasso and Matisse. The bright colours and strong use of line associated with both the School of Paris and Cubism proved to have a huge influence on Nessler’s matured style.In addition to his artwork, Nessler was also a dedicated teacher. He taught at a number of art schools in London, including the Central School of Art and Design and the Royal College of Art. Nessler's work has been exhibited in many major galleries and museums around the world, including the Tate Gallery in London and the Museum of Modern Art in New York. His legacy continues to inspire artists today, particularly those who seek to use their art to engage with political and social issues.Not examined out of the frame, so edges and reverse not available for inspection. Appears in very nice condition with some minor surface blemishes, likely on the sheet during execution of the piece, otherwise good.

§ Martin Bloch (1883-1954) Scuola Grande di San Rocco, Venicesigned 'Bloch' (lower right)charcoal63 x 50cmProvenance:Collection of Michael Black (1928-2022)Michael Black was a Cornishman who came to Cambridge to read English and Modern Languages in 1945 and he remained there throughout his life. After National Service in Austria, he was appointed Assistant Secretary at Cambridge University Press. In 1965, he became Chief Editor and in 1978, University Publisher. Besides his work as publisher, Michael wrote criticism of the novels of D.H. Lawrence and he was a music lover. His interest in painting was certainly influenced by his tutor at Jesus, A.P. Rossiter, in whose room he saw paintings by the German artist, Martin Bloch. In the 1980s, in response to the annual exhibitions of the Cambridge Society of Painters and Sculptors, he began to form a modest collection of paintings, drawings and prints. The first works he acquired were by Elisabeth Vellacott, and Nan Youngman, both of whom became friends. Michael was a regular purchaser at the Cambridge Drawing Society and had a particular interest in printmaking. In the early 1990s he met Caroline Hemming and encouraged her to print more of her linocuts for an exhibition at the Broughton House Gallery in King Street in 1997. He took particular pleasure in supporting living artists through purchasing their work.

§ Aubrey Williams (1926-1990) Essequibosigned and dated 'Aubrey Williams / 64' (lower right); further signed, titled and dated to the reverseoil on canvas53.5 x 42cmCanvas is in plane and with good tension. Some typical drying cracks to the more impasto areas of paint, but otherwise the paint layer appears stable and intact. There are two hair inclusions beneath the paint layer in the centre of the image. This comes from a private individual who purchased at auction.

Mary Tourtel (1874-1948)Rupert Bear: The Examinationsink and pencil11 x 15.5cm Provenance:With Chris Beetles Limited, LondonExhibited:London, The Illustrators. The British Art of Illustration 1837-2011, November 2011 - January 2012, cat. no.283Literature:Brian Stewart, The Rupert Bear Dossier, London, Hawk Books, 1997, p.13Illustrated:Daily Express, 1922, Rupert Goes to School, no.22Mary Tourtel, Rupert Little Bear's Adventures, London, Sampson Low, Marston & Co, 1924The longest-running children’s comic character in the world, Rupert the Bear has been an emblem for our collective childhood for more than a century. Throughout his long life, Rupert has appeared in several guises and has been under the stewardship of several hands.Rupert was born in 1920 when The Daily Express sought to commission a comic strip to rival Teddy Tail and Pip, Squeak and Wilfred, the flagship comics of The Daily Mail and The Daily Mirror, respectively. Herbert Tourtel, the news editor of the Express at the time, was tasked with leading the project. Mr Tourtel, unlike his colleagues, had a secret weapon – his wife, Mary, who was already an established illustrator and author. Capitalising on the popularity of ‘dancing’ bears in travelling circuses and the growing demand for Steiff bears, Mary and Herbert decided that their character would be a small, anthropomorphised bear.Rupert was introduced to readers in the November 8th, 1920, edition of the Express. At this time, Rupert was rather more ursine, with umber fur and a striding gait, however, rising ink costs soon dictated that Rupert was to have white fur. Mary enjoyed a successful tenure as Rupert’s custodian for fifteen years, until 1935 when her eyesight began to deteriorate. Alfred Bestall was brought in as Mary’s successor, but, out of respect for her, Bestall did not sign his works until after Mary’s death in 1948. After thirty years of illustrating Rupert and his Nutwood friends, Bestall retired from illustration and was succeeded by, amongst others John Harrold and, current illustrator, Stuart Trotter.

§ Patrick Venton (1925-1987) Landscape with forms (blue with green), 1964signed, titled and dated to the reverseoil on board121 x 90.5cmProvenance:Sale; Bonhams, 15 July 2008, lot 167Sacrosanctly private and with a profoundly apathetic attitude towards exhibiting, Patrick Venton was an artist in spite of himself. Born in 1925, Venton left school at sixteen to work as a clerk before joining the army two years later. Like so many young men of the day, however, Venton’s military service was defined by trauma. After three years, he was discharged due to clinical depression, for which he received electroconvulsive therapy. Compounding his grief, it was also during this time that Venton’s brother was killed in action at Arnhem. The family never recovered from the tragic death of their son and brother - a loss which would ultimately shape the life and works of Patrick Venton.After being demobbed in 1946, Venton embarked upon a period of study at Birmingham College of Art where he met fellow student, Zena Hitchings, who would become his wife. Venton would later be appointed as a teacher at both Birmingham College of Art and in London, at Heatherley’s College of Art. Although he was encouraged by friends and peers to exhibit, he rarely acquiesced and sold only four paintings during his lifetime. More recently, Venton’s work has been the subject of a major 2006 retrospective, which unveiled a largely unknown body of paintings and renewed interest and appreciation of Venton’s life and work.Rendered in motley blues and punctuated with blocks of green and orange, the present lot is one of a series of works based on the rock formations that Venton observed during his trip to the Isles of Scilly.

§ Michel-Marie Poulain (1906-1991) Back Stage at La Vol de Nuitsigned 'Michel Marie Poulain' (lower right)oil on canvas76.5 x 61cmThere was very little space for convention in Michel-Marie Poulain’s exceptionally vibrant life. Assigned male at birth, Poulain began living as a female from a young age, growing her hair long, wearing dresses and attending the local girls’ school. By adolescence, however, Poulain was sent to the boys’ school where she became the subject of cruel taunts. Far from dissuading the notoriously headstrong Poulain, who could easily out-muscle her tormentors, at this time she spent every Sunday dressing as a woman. Indeed, all sources suggest that Poulain’s family were accepting of her identity, providing her with a room to keep her perfume and dresses in and, at the age of 15, taking her to have her ears pierced for her maiden ball.After serving her mandatory service with the Dragoons, for which she cut off her long hair for the first time, Poulain became a travesti performer, working under the pseudonym Micky. It was during this time that Poulain met and married Solange, a fellow performer, who soon after delivered their daughter, Michele. In addition to her work at the music hall, Poulain was also beginning to experiment with paint and regularly exhibited at the Salon d'Automne, the Salon des Tuileries and the Salon des Indépendants, in Paris. This period of artistic fecundity, however, was interrupted by World War II, in which Poulain served as a senior sergeant. After being captured and interred in a German stalag, Poulain escaped in 1941.Following the War, Poulain took the profound decision to opt for surgical interventions, allegedly self-castrating, despite previously eschewing offers in the 1930s from noted German physician and sexologist, Magnus Hirschfeld. Welcomed by the bohemian Parisian society with open-arms and now living openly as a woman alongside her wife and child, Poulain continued to paint and perform and became a celebrated high-fashion model amongst the social elite. Later, she opened her own nightclub, the subject of the present lot, Le Vol de Nuit.

§ Herbert Gurschner (1901-1975) Tyrolsigned and titled 'H.Gurschner / Tyrol' (lower right); numbered 26/60woodcut11.5 x 11cmThrough his paintings and prints of his native Tyrol, a historical region in the Alps of Northern Italy and western Austria, Herbert Gurschner not only depicted his homeland, but helped to define it. However, in spite of his inextricable association with the Tyrolean landscape, Gurschner spent most of his adult life living in London with his wife, Ella Dolores Erskine, a wealthy British society woman. The union proved to be commercially fertile for Gurschner who gained access to aristocratic circles and rapidly became one of the most sought-after portraitists working in London at the time.In 1939, Gurschner obtained British citizenship and, following World War II, entered into his second marriage. Effectively exiled from the patrician circles he had previously been moving within, Gurschner turned his attention away from portraiture and, instead, reinvented himself as a stage designer for prestigious institutions, including the Globe Theatre and the Royal Opera House.