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Lot 71
‡ SAMUEL PALMER (BRITISH 1805- 1881) THE GLEANING FIELD Oil on canvas 42 x 52cm (16½ x 20¼ in.) Painted circa 1832-33.Provenance: John Giles, a first cousin of the artist (1811-1880) His sale, Christie's, London, 2 February 1881, lot 620, for 135gns Bought at the above sale by The Fine Art Society Possibly William Fothergill Robinson Q.C Possibly Rev. William Fothergill Robinson, Woodspeen, Newbury Herbert A. Edwards (1888-1978), Newbury and thence by descent Private Collection, U.K by 2009 With Lowell Libson Acquired from the above in 2010 Literature: Raymond Lister, Catalogue raisonné of the works of Samuel Palmer, London, 1988, no.167Exhibited: London, Royal Academy, 1833, no.48 London, Fine Art Society, A Collection of Drawings, Paintings and Etchings by the Late Samuel Palmer, 1881, no.2 The reappearance of this exquisitely painted and highly finished large work on board is an exciting addition to the Palmer's oeuvre, dated to circa 1832-33. It was painted towards the end of his celebrated Shoreham period when Palmer's highly personalised artistic voice that had taken shape at Shoreham from the mid-1820s amongst 'The Ancients' was maturing. It is one of only a small handful of known Shoreham period oils to remain in private hands. Palmer first visited the village of Shoreham in Kent in 1824 and settled there in 1826 where he remained for nearly ten years. The landscape around Shoreham was the embodiment of Palmer's visions of pastoral life that he had imagined from his reading and it was there that he translated his intensity of vision into drawings or paintings. The valley at Shoreham teamed with an abundance of crops, corn, fruit and hops harvested by hand using age old methods and eschewing the encroachment of modern life. The village scenery was punctuated by the landmarks of rustic life, a small hamlet of primitive cottages, the mediaeval church with its spire, the carpet of fields and populated with a rollcall of village characters, the rhythm of life directed by the seasons. The resulting works which were executed during Palmer's time living at Shoreham are considered his greatest achievements. Palmer, who had first met the visionary artist William Blake (1757-1827) in 1824, was quickly joined by several friends, other devotees of Blake, who formed themselves into a loose group calling themselves 'The Ancients'. During Palmer's earlier years at Shoreham we see the development of his art and his experimental use of medium, following methods he largely evolved himself. However, by the early 1830s Palmer's companions had largely left the valley and Palmer began to attend to the development of his career due in part to his straightened finances, and as a result the manifestations of his period at Shoreham evolved into a more conventional expression of his vision. Palmer had begun to spend more time in London and submitted work to the Royal Academy in 1830 and 1831 which although rejected was indicative of a desire for wider recognition and engagement the with art establishment. In 1832 the Royal Academy accepted seven works which Palmer had sent in from his recently acquired house in Marylebone, including 'Pastoral' scenes and 'A harvest scene', generic titles which have plagued the future identification of these works. In 1833 Palmer exhibited five works, amongst them 'The gleaning field' (here identified as the present work) and a 'Kentish scene'. The following year Palmer exhibited six pictures at the Royal Academy. The present work, of exhibition scale and highly finished is the most likely candidate for Palmer's Royal Academy exhibit no. 48 of 1833 'The Gleaning Field' being the only painting by Palmer depicting gleaners as the main subject of the composition. The Gleaning Field, circa 1833 (Tate Gallery, London) is smaller in size with many reworkings in pen and ink and competing motifs of the wagon drawn by oxen and the cottage on the edge of the field. As a picture intended for exhibition in London at the Royal Academy it is not farfetched to see Palmer's intention for it to convey a message to the London audience. The early 1830s was a period of rural discontent and political unrest and the resulting restlessness was felt in the Shoreham valley. The established way of life in the countryside was in crisis, the boom years of the Napoleonic Wars were over and hardships were felt especially in rural communities through unemployment, the erosion of rights through the continuing enclosure of common grazing land, the passing of the Poor Laws, the imposition of the Church Tithe and increasing mechanisation. There was widespread unrest, most notably marked by the 'Swing' riots of 1830-1 and widespread outbreaks of arson, machine breaking and wage rioting which started in Kent and spread across the whole of southern and eastern England with the military being deployed to support the local law enforcement. The first threshing machine was destroyed on Saturday 28 August 1830. By the third week of October, over one hundred threshing machines had been destroyed in East Kent. The riots spread rapidly through the southern counties of Surrey, Sussex, Middlesex and Hampshire, before spreading north into the Home Counties, the Midlands and East Anglia, moving on as far as Lincolnshire, Yorkshire and Nottinghamshire. John Giles (1810-80), the first owner of this picture, was Palmer's cousin and a near contemporary. Giles was one of the 'Ancients' and a stockbroker rather than an artist. He managed Palmer's precarious financial affairs and was close to George Richmond and his family and remained a lifelong friend of both men and a great admirer of Palmer's works. Giles died in 1880 and his collection, comprising some 635 lots of which 185 were paintings, was sold by Christie's in 1881. The present work was purchased by the Fine Art Society for the considerable sum of 135 gns in advance of the exhibition they were to devote to the works of Palmer later that year. The picture appears to have been acquired at that time by either George Richmond or his son-in-law, William Fothergill Robinson. Richmond had presented his daughter Julia and Robinson with Palmer's The White Cloud, circa 1833-4 (Ashmolean Museum, Oxford; fig. 2) as an anniversary present and Robinson had also been a purchaser at the Giles' sale acquiring The Bright Cloud, circa 1833-4, Manchester City Galleries. The Shoreham landscape inspired some of the most intensely original pictures of the British Romantic period, works which distilled Palmer's vision and translated it into a representation which contained all the elements of Palmer's pastoral poetry. The present picture marks a particularly important period in the development of Palmer's vision as well as recording a moment of crisis in the political and economical development of late Georgian England. Its appearance at auction represents a rare opportunity to purchase one of only a handful of Shoreham period oils remaining in private hands.
Lot 270
A quantity of assorted collectors' items, including two stainless steel jewellery trees, both height 51cm, a bag of fruit machine tokens, amber glass Collector's Weekly Kermit Texas bottle, height 12cm, early to mid 20th century German autograph album, cased Ferrari cufflinks and Goodyear Eagle pin badge, compact, Moroccan white metal dolphin and Moroccan white metal duck, early 20th century Art Nouveau style brass easel back photograph frame, 17 x 12cm, two silver plated napkin rings, a white metal scratch built model of a ship, postcards, Kellogg's advertising plate, etc.
Lot 1
Barcrest slot machine - a vintage Barcrest Fruit Picker floor standing slot machine taking old style 10 pence coins; machine lights up when plugged in; untested, locking key not available at the time of cataloguing - IMPORTANT NOTE: this lot may be collected strictly by appointment from a WA7 (Runcorn) address following payment [B]
Lot 1239
LES SIX: An interesting group of A.Ls.S. (2) and autograph statements signed by each of the composers collectively known as Les Six, a group of musicians informally associated with Jean Cocteau and Erik Satie, and who worked and lived in the Montparnasse district of Paris in the years following World War I. The lot comprises -(i) Georges Auric (1899-1983) French composer. Autograph statement signed, Georges Auric, one page, 8vo, n.p., n.d. (1951), in French. The composer writes, in full, ´Voici donc "le Groupe des Six" une fois encore réuni, à la faveur d´une exposition dont l´intention est si charmante et si cordiale qu´elle nous permettra, je l´esperè, d´en parler sans etre aussitot accusé d´une fatuité ou d´une vanité qui seraient aujourd´hui assez irsupportables! Remontant à cette occasion la Machine à explorer le Temps, que vois-je tout de suite qui, dans tout cela, me semble le plus saisissant? Non plus un "groupe" de musiciens desireux, "vingt ans après", de reprendre je ne sais trop quelles controverses esthétiques. Mais six camarades qui ont la très grande chance de se retrouver maintenant comme ils se retrouvaient naguère - et dont l´amitié n´a jamais changé. Voila, me semble-t´il, la plus belle leçon de cette petite exposition. Et c´est pourquoi je me rejouis d´y participer´ (Translation: ´So here is the ‘Group of Six’ once again reunited, thanks to an exhibition whose intention is so charming and so cordial that it will allow us, I hope, to talk about it without immediately being accused of a conceit or vanity that would be quite unbearable today! Going back to the Time Machine on this occasion, what do I see immediately that, in all this, seems to me the most striking? No longer a ‘group’ of musicians eager, ‘twenty years later’, to resume I don't know what aesthetic controversies. But six friends who are very lucky to be together now as they were in the past - and whose friendship has never changed. That, it seems to me, is the most important lesson of this little exhibition. And that is why I am delighted to be taking part´).(ii) A.L.S., Georges Auric, to the recto of a printed correspondence card as President of the Société des Auteurs, Compositeurs & Éditeurs de Musique, Paris, 28th November 1972, to a friend, in French. Auric writes, in part, ´Merci pour cette réédition des "Bagatelles" - qui me rajeunit singulierement. Je souhaite vous exprimer tout cela beaucoup mieux que dans ces quelques lignes qui d´ailleurs vous parviendront Dieu sait avec quel retard (parce qu´une nouvelle greve commence aujourd´hui!..)´ (Translation: ´Thank you for this reissue of ‘Bagatelles’ - which makes me feel remarkably young. I would like to express all this to you much better than in these few lines, which will reach you God knows how late (because a new strike starts today!)´ ).(iii) Louis Durey (1888-1979) French composer. Autograph statement signed, Louis Durey, one page, oblong 8vo, n.p., n.d. (1951), in French. Durey writes, in full, ´Quoi qu´aient pu dire certains esprits chagrins, le Groupe des Six aura marqué une étape importante dans l´évolution de la musique francaise. Significatif à cet égard, ce 34e anniversaire où chacun apporte le fruit de son labeur personnel à une petite communauté définitivement scellée par une amitié et une estime réciproque´ (Translation: ´Whatever some naysayers may have said, the Group of Six marked an important stage in the evolution of French music. Significant in this respect is the 34th anniversary, when each member brings the fruit of his personal labour to a small community definitively sealed by friendship and mutual esteem´).(iv) A.L.S., Louis Durey, two pages, 8vo, Rue Boissonade, Paris, 9th January 1952, to a gentleman, in French. Durey writes to his correspondent following a telephone conversation and gives his full consent ´ pour que les documents que je vous ai confiés en vue de l´exposition du "Groupe des Six" figurent dans une série d´expositions à l´etranger´ (Translation: ´for the documents that I entrusted to you for the ‘Groupe des Six’ exhibition to be included in a series of exhibitions abroad´), further adding ´Toutefois je desirerais que les manuscrits de musique dont je ne possède pas de doubles soient photocopiés ou microfilmés avant leur départ. Ce sont, par ordre de préférence: 1. La partition de "l´Occasion" 2. La Fantaisie concertante pour violoncelle et orchestre, ou les deux au cas où serait prévu l´envoi de plusieurs oeuvres. Je désirerais d´autre part retenir les partitions des trois cantates: La Guerre et la Paix, La Longue Marche, Paix aux Hommes par millions dont je pourrais avoir à disposer ici´ (Translation: ´However, I would like the music manuscripts, of which I do not have duplicates, to be photocopied or microfilmed before they are sent. These are, in order of preference: 1. The score of ‘l'Occasion’ 2. The Fantaisie concertante for cello and orchestra. Or both if several works are to be sent. I would also like to have the scores of the three cantatas: War and Peace, The Long March, Peace to Men by the Millions that I may have available here´). Two file holes to the left edge and with a few small, minor tears to the edges.(v) Arthur Honegger (1892-1955) Swiss composer. Autograph statement signed, A Honegger, one page, oblong 8vo, n.p., n.d. (1951), in French. Honegger writes, in full, ´Voici ce que me suggére le trentieme anniversaire de notre groupe des Six: D´abord la satisfaction de nous retrouver aussi amicalement liés que par le passé et toujours aussi different dans nos gouts et nos conceptions. De sentir chez certains cadets ou vieux critiques la confirmation de l´opinion que je me plais a repéter: En musique on passe sans transition de l´etat de jeune fumiste ou de jeune espoir à celui de vieux maitre ou de vieux fossile bon pour la retraite. Que, fort heureusement les interessés n´en soupçonnent rien´ (Translation: ´Here is what the thirtieth anniversary of our group of six suggests to me: First, the satisfaction of finding ourselves as amicably connected as in the past and still as different in our tastes and conceptions. To feel in some younger or older critics confirmation of the opinion that I like to repeat: In music, one passes without transition from the state of young upstart or young hopeful to that of old master or old fossil good for retirement. That, fortunately, those concerned suspect nothing of this´).(vi) Darius Milhaud (1892-1974) French composer and conductor. Autograph statement signed, Milhaud, one page, small 8vo, n.p., n.d. (1951), in French. The composer writes, in full, ´Grace à l´exposition de Six organisée par le centre de Documentation Musique Internationale, nous avons eu la joie de nous retrouver autour de Cocteau comme au bon vieux temps. Quelle joie d´évoquer ensemble en 1951 cette merveilleuse époque d´après 1919....´ (Translation: ´Thanks to the exhibition of the ‘Six’ organised by the International Music Documentation Centre, we had the pleasure of getting together around Cocteau, just like in the good old days. What a joy to evoke together this marvellous period after 1919 in 1951´).A rare and unusual grouping, with some minor faults and age wear, generally G to VG, 8 + 10OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.
Lot 852
PSYCH/ GARAGE/ HEAVY ROCK - 7" PACK (INC DEMOS). A smashing pack of 22 7" singles. Artists/ titles include The Persistent Gods - Come Into The Ash Garden, New York Dolls - Looking For A Kiss, Chamaeleon Church - Your Golden Love, The Fruit Machine - The Wall, Uncle Sound - Beverly Hills, The Guild Light Guage - 14th Annual Fun & Pleasure Fair, Jefferson Airplane - Ballad Of You & Me & Pooneil, The Front End - The Real Thing, Frantic - Midnight To Six Man, Pretty Things - Joey, The Garden Of Eden - Flower Man. The Sound Investment, The Gross National Product, Morticia, Sons Adam, Moving From Texas Sidewalks, Bocephus, Scott Walker, Kiss, Black Sabbath, The Hawks. Condition is generally VG to Ex+.
Lot 2168
19th Century and Later Decorative Cotton Panels and Trims, comprising a red embroidered scalloped edge trim, depicting teacups, cups and saucers, in two pieces, each piece measuring 98cm by 12cm, another similar depicting embroidered baskets of flowers and flowerheads on cream linen, with a blue blanket stitch edge and yellow spots, 285cm by 12cm,another printed with exotic flowerheads and fruit, in green, blue and pink, approximately 1450cm by 16cm,two smaller panels appliquéd with pink roses and blue ribbons, on cotton edged with white chain stitch and mounted onto a cotton backing with lace edging, 135cm by 13cm,a black machine woven trim decorated with exotic pink birds and gilt metal vases of flowers, 225cm by 10cm,and other samples, (one box)
Lot 40
A good quantity Hornby Dublo etc railway. Including 12 various locomotives - Duchess of Montrose, 2x N2 0-6-2 tank, Bo-Bo diesel, 2x diesel shunter, 3x R1 0-6-0 tanks, etc. Together with useful spare body shells. Also a good number, approximately 40 boxed freight wagons, incluing machine wagon Lomac, Preswin Silo wagon, Presflo bulk cement wagon, passenger fruit van and an SR 4 wheeled utility van, a gunpowder van. 2x TPO Mail vans sets, all boxed, some wear/damage. Plus 25 unboxed examples, together with 2 passenger coaches and a kit built SR 2 car multiple unit. Plus a few other small items. GC-VGC, some age wear. £100-150
Lot 5
Palitoy - Playskool - Radio Shack - A collection of vintage games, Pocketeers Bombard, Poker, Time Machine, Space Invader, Rock'N'Roll and Fruit Machine, a boxed Major Morgan The Electronic Organ and a Radio Shack Slot Machine both with clean battery compartments. They appear in Good condition overall, one of the Pocketeers has lost its outer card sleeve. (This does not constitute a guarantee) [ba]
Lot 664
A vintage 'Super Blue Star' one-armed bandit fruit machine CONDITION REPORT Fruit machine has not been tested and its working capacity is therefore undetermined.Our team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself. To that end, we have provided a number of additional images to showcase the lot in further detail.
Lot 666
A vintage continental Sega Grand Prix one-armed bandit fruit machine CONDITION REPORT Fruit machine has not been tested and its working capacity is therefore undetermined.Our team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.
Lot 665
A vintage 'Vale Amusement Supplies' one-armed bandit fruit machine with marble effect sides CONDITION REPORT Fruit machine has not been tested and its working capacity is therefore undetermined.Our team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself. To that end, we have provided a number of additional images to showcase the lot in further detail.
Lot 903
LES SIX: An interesting group of A.Ls.S. (2) and autograph statements signed by each of the composers collectively known as Les Six, a group of musicians informally associated with Jean Cocteau and Erik Satie, and who worked and lived in the Montparnasse district of Paris in the years following World War I. The lot comprises -(i) Georges Auric (1899-1983) French composer. Autograph statement signed, Georges Auric, one page, 8vo, n.p., n.d. (1951), in French. The composer writes, in full, ´Voici donc "le Groupe des Six" une fois encore réuni, à la faveur d´une exposition dont l´intention est si charmante et si cordiale qu´elle nous permettra, je l´esperè, d´en parler sans etre aussitot accusé d´une fatuité ou d´une vanité qui seraient aujourd´hui assez irsupportables! Remontant à cette occasion la Machine à explorer le Temps, que vois-je tout de suite qui, dans tout cela, me semble le plus saisissant? Non plus un "groupe" de musiciens desireux, "vingt ans après", de reprendre je ne sais trop quelles controverses esthétiques. Mais six camarades qui ont la très grande chance de se retrouver maintenant comme ils se retrouvaient naguère - et dont l´amitié n´a jamais changé. Voila, me semble-t´il, la plus belle leçon de cette petite exposition. Et c´est pourquoi je me rejouis d´y participer´ (Translation: ´So here is the ‘Group of Six’ once again reunited, thanks to an exhibition whose intention is so charming and so cordial that it will allow us, I hope, to talk about it without immediately being accused of a conceit or vanity that would be quite unbearable today! Going back to the Time Machine on this occasion, what do I see immediately that, in all this, seems to me the most striking? No longer a ‘group’ of musicians eager, ‘twenty years later’, to resume I don't know what aesthetic controversies. But six friends who are very lucky to be together now as they were in the past - and whose friendship has never changed. That, it seems to me, is the most important lesson of this little exhibition. And that is why I am delighted to be taking part´).(ii) A.L.S., Georges Auric, to the recto of a printed correspondence card as President of the Société des Auteurs, Compositeurs & Éditeurs de Musique, Paris, 28th November 1972, to a friend, in French. Auric writes, in part, ´Merci pour cette réédition des "Bagatelles" - qui me rajeunit singulierement. Je souhaite vous exprimer tout cela beaucoup mieux que dans ces quelques lignes qui d´ailleurs vous parviendront Dieu sait avec quel retard (parce qu´une nouvelle greve commence aujourd´hui!..)´ (Translation: ´Thank you for this reissue of ‘Bagatelles’ - which makes me feel remarkably young. I would like to express all this to you much better than in these few lines, which will reach you God knows how late (because a new strike starts today!)´ ).(iii) Louis Durey (1888-1979) French composer. Autograph statement signed, Louis Durey, one page, oblong 8vo, n.p., n.d. (1951), in French. Durey writes, in full, ´Quoi qu´aient pu dire certains esprits chagrins, le Groupe des Six aura marqué une étape importante dans l´évolution de la musique francaise. Significatif à cet égard, ce 34e anniversaire où chacun apporte le fruit de son labeur personnel à une petite communauté définitivement scellée par une amitié et une estime réciproque´ (Translation: ´Whatever some naysayers may have said, the Group of Six marked an important stage in the evolution of French music. Significant in this respect is the 34th anniversary, when each member brings the fruit of his personal labour to a small community definitively sealed by friendship and mutual esteem´).(iv) A.L.S., Louis Durey, two pages, 8vo, Rue Boissonade, Paris, 9th January 1952, to a gentleman, in French. Durey writes to his correspondent following a telephone conversation and gives his full consent ´ pour que les documents que je vous ai confiés en vue de l´exposition du "Groupe des Six" figurent dans une série d´expositions à l´etranger´ (Translation: ´for the documents that I entrusted to you for the ‘Groupe des Six’ exhibition to be included in a series of exhibitions abroad´), further adding ´Toutefois je desirerais que les manuscrits de musique dont je ne possède pas de doubles soient photocopiés ou microfilmés avant leur départ. Ce sont, par ordre de préférence: 1. La partition de "l´Occasion" 2. La Fantaisie concertante pour violoncelle et orchestre, ou les deux au cas où serait prévu l´envoi de plusieurs oeuvres. Je désirerais d´autre part retenir les partitions des trois cantates: La Guerre et la Paix, La Longue Marche, Paix aux Hommes par millions dont je pourrais avoir à disposer ici´ (Translation: ´However, I would like the music manuscripts, of which I do not have duplicates, to be photocopied or microfilmed before they are sent. These are, in order of preference: 1. The score of ‘l'Occasion’ 2. The Fantaisie concertante for cello and orchestra. Or both if several works are to be sent. I would also like to have the scores of the three cantatas: War and Peace, The Long March, Peace to Men by the Millions that I may have available here´). Two file holes to the left edge and with a few small, minor tears to the edges.(v) Arthur Honegger (1892-1955) Swiss composer. Autograph statement signed, A Honegger, one page, oblong 8vo, n.p., n.d. (1951), in French. Honegger writes, in full, ´Voici ce que me suggére le trentieme anniversaire de notre groupe des Six: D´abord la satisfaction de nous retrouver aussi amicalement liés que par le passé et toujours aussi different dans nos gouts et nos conceptions. De sentir chez certains cadets ou vieux critiques la confirmation de l´opinion que je me plais a repéter: En musique on passe sans transition de l´etat de jeune fumiste ou de jeune espoir à celui de vieux maitre ou de vieux fossile bon pour la retraite. Que, fort heureusement les interessés n´en soupçonnent rien´ (Translation: ´Here is what the thirtieth anniversary of our group of six suggests to me: First, the satisfaction of finding ourselves as amicably connected as in the past and still as different in our tastes and conceptions. To feel in some younger or older critics confirmation of the opinion that I like to repeat: In music, one passes without transition from the state of young upstart or young hopeful to that of old master or old fossil good for retirement. That, fortunately, those concerned suspect nothing of this´).(vi) Darius Milhaud (1892-1974) French composer and conductor. Autograph statement signed, Milhaud, one page, small 8vo, n.p., n.d. (1951), in French. The composer writes, in full, ´Grace à l´exposition de Six organisée par le centre de Documentation Musique Internationale, nous avons eu la joie de nous retrouver autour de Cocteau comme au bon vieux temps. Quelle joie d´évoquer ensemble en 1951 cette merveilleuse époque d´après 1919....´ (Translation: ´Thanks to the exhibition of the ‘Six’ organised by the International Music Documentation Centre, we had the pleasure of getting together around Cocteau, just like in the good old days. What a joy to evoke together this marvellous period after 1919 in 1951´).A rare and unusual grouping, with some minor faults and age wear, generally G to VG, 8 + 10OWING TO RESTRICTIONS IMPOSED BY THE SALEROOM MUCH OF THIS DESCRIPTION CAN NOT BE SHOWN. PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION
Lot 201
Five Recent Issue Tinplate Robots, ME200 Thunder Robot, battery operated, light flickers, but motor not working, battery operated Space-man robot (schyling 2000), boxed mechanical spaceman robot space trooper, two other mechanical robots, working, missing keys, plus plastic battery operated Gantsu Sensui 1970’s Japanese Fruit Machine Robot (not working) and a metal novelty clock robot H. 13cms . (7 items)
Lot 437
The unique and poignant Great War M.C., D.C.M., M.M. group of seven awarded to Sub-Lieutenant C. B. Wheeler, Royal Naval Volunteer Reserve, attached Royal Naval Division, who was twice wounded Later a member of the Federation of Malaya State Volunteer Force, he died of wounds at Singapore in February 1942, while serving as a recently appointed 2nd Lieutenant in the Royal Army Ordnance Corps - or was a victim of the shocking Japanese atrocities Military Cross, G.V.R.; Distinguished Conduct Medal, G.V.R. (CZ-2224 P.O. C. B. Wheeler. Nelson Bn., R.N.V. R.); Military Medal, G.V.R. (CZ-2224 A.L.S. C. B. Wheeler. Nelson Bn., R.N.V.R.); 1914-15 Star (CZ-2224 C. B. Wheeler, A.B., R.N.V.R.); British War and Victory Medals (S. Lt. C. B. Wheeler. R.N.V.R.); Efficiency Medal, G.VI.R., 1st issue, Malaya (Sgt. Colin B. Wheeler, M.C., D.C.M., M.M. F.M.S.V.F.), mounted court-style as worn, generally good very fine (7) £14,000-£18,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Dix Noonan Webb, September 2013. The combination of M.C., D.C.M., M.M. is unique to the Royal Naval Division. M.C. London Gazette 15 February 1919: ‘On 27 September 1918 he was in charge of the section of two Stokes guns and was following his Battalion when the Battalion was suddenly held up by hostile machine gun fire. Taking a Lewis gun he crawled forward and cleared the enemy post thus helping the Infantry to obtain their objective. On 30 September 1918 at the Canal de L’Escaut, he again did good work causing considerable casualties to the enemy with a Lewis gun. Throughout the operations he showed conspicuous gallantry and able leadership.’ D.C.M. London Gazette 17 April 1917: ‘For conspicuous gallantry and devotion to duty. He handled three trench mortars with marked ability, and greatly assisted in clearing up a difficult situation. He set a fine example throughout.’ M.M. London Gazette 26 March 1917. Colin Bain Wheeler was born on 6 July 1896, and enlisted in the Clyde Division of the Royal Naval Volunteer Reserve as an Ordinary Seaman in November 1914. Posted to Nelson Battalion, Royal Naval Division in June 1915, he was embarked for the Dardanelles, but was wounded in Gallipoli on 13 July and admitted to hospital in Alexandria - a sojourn extended by a bout of scarlet fever. Rejoining his battalion at Mudros in January 1916, he was embarked for France in May, and was transferred to 189th Stokes Mortar Battery, R.N.D., in which capacity he won his M.M. as an Acting Leading Seaman. Douglas Jerrold’s history takes up the story: ‘Such was the situation half-an-hour after the attack, when Lt.-Colonel Monro, commanding the Hood Battalion, was wounded, and Lt.- Commander Asquith, who had gone forward on the heels of his old battalion in the slender disguise of staff learner studying the effects of the artillery barrage, took command. To his energy and enthusiasm the success of the 189th Brigade's operations on this occasion was largely due. Well before 8 a.m. on the 4th, Lt.-Commander Asquith had got the Hood Battalion back to their correct alignment, and although touch could not be gained with the Hawke Battalion (who had probably by now edged further to the left, assuming the attack to have failed on the right) the situation was no longer critical. Dawn saw us with a fair hold on all our objectives, but with an awkward gap in the first and second enemy lines, and a machine-gun post still obstructing the consolidation of the essential defensive flank. The history of the rest of the battle is soon told. Several attempts to subdue the two strong points and to close the gaps were made during the morning of the 4th, but without success. At 3.50 p.m., however, the enemy post on our left was rushed by the Nelson and Hawke after an effective bombardment from a Stokes gun, skilfully handled by Leading Seaman Wheeler, of the 189th L.T.M. Battery.’ Having then been advanced to Petty Officer and added the D.C.M. to his accolades for the above cited deeds, he was wounded on 24 April 1917 and evacuated home. Then in October of the same year, he joined an Officer Cadet Battalion in Ayrshire, from which he emerged as a newly commissioned Temporary Sub-Lieutenant in April 1918. Ordered back to France that August, when he joined Anson Battalion, Wheeler was detached for service in the 188th Light Trench Mortar Battery, R.N.D. in the following month, and won his third decoration for his good work with a Lewis gun a few days later - thereby winning the unique distinction of having won the M.C., D.C.M. and M.M. for services in the R.N.D. Demobilised in June 1919, he stated that he intended to take up employment as a tea planter and, true to his word, settled in Malaya. A long-served member of the Federated Malay States Volunteer Force, he was awarded the Efficiency Medal in June 1938 (The F.M.S. Government Gazette refers), but his subsequent part in the desperate struggle for Singapore in February 1942 appears to have been undertaken as a recently appointed 2nd Lieutenant in the Royal Army Ordnance Corps (London Gazette 31 March 1942 refers). By the latter date, however, he was dead, official records listing his demise as 14 February, the day before the surrender of the colony. Moreover, he is listed on the Singapore Civil Hospital Grave Memorial, a sure indication of a sorry end: ‘During the last hours of the battle of Singapore, wounded servicemen taken prisoner and civilians massacred by the Japanese were brought to the hospital in their hundreds. Many were already dead on arrival, many more succumbed later, and the number of fatalities was such that burial in a normal manner was impossible. Before the war an emergency water tank had been dug in the grounds of the hospital, and this was used as a grave. Some 300 civilians and 107 members of the Armed Forces of the Commonwealth were buried in this collective grave ... A bronze panel, affixed to the memorial over the original grave, bears the inscription, ‘Beneath this Cross lie 107 British soldiers and 300 civilians of many races, victims of man’s inhumanity to man, who perished in captivity in February 1942. The soldiers are commemorated by name at Kranji War Cemetery.’ The exact nature of Wheeler’s end at the hands of the Japanese will probably never be known, but events at nearby Alexandra Hospital are worthy of mention in the current context. Sinister Twilight, by Noel Barber, takes up the story: ‘While this was happening, other Japanese troops were forcing all the patients to get out of the wards. The men who could not move were bayoneted. In the broiling heat, two hundred patients - together with a few R.A.M.C. personnel - were paraded in the grounds. All the patients were desperately ill. Some could barely hobble. Many collapsed. It made no difference. Herding them into groups of four or five, the Japanese roped them together with their hands behind their backs. They were then marched to the old servants’ quarters behind the hospital - a building consisting of several small rooms, ranging in size from nine feet by nine to ten by twelve. Between fifty and seventy patients were jammed into each room. Wedged together, it was impossible for them to sit down and it took several minutes for some patients to get their arms above their heads and make a little more room in this modern version of the Black Hole of Calcutta. There they were left for the night. Water was promised but none arrived - though those nearest the open windows could watch the Japanese soldiers sitting down on the grass, eating tinned fruit. From time to ti...
Lot 2188
Circa 1950s Ladies Printed Cotton and Other Dresses comprising a Peggy Wood Fashions plum and lavender floral printed sleeveless dress with collar, patch pockets, zip fastening, a Tokyo Mode brown and cream abstract printed shirt dress with collar, short sleeves and attached belt, a Fruit of the Loom Tee and Turf Tailored brown cotton dress with white printed details, scoop neck collar, machine lace trims, capped sleeves, side pockets and belt, a Linda Leigh floral printed sleeveless dress with a zig zag neckline, piped scalloped trims, side pockets, bright red buttons to the bodice,a similar style dress printed with trees and flowers in grey and pink, with a wide collar, capped sleeves, full skirt, buttons to the bodice,another in white printed with blue flowerheads, with a boat neckline, matching belt and gathered skirt,a Saint Michael house dress with blue floral sprigs on white, with a sweetheart neckline, capped sleeves, button fastening to the front and patch pockets,a yellow and floral dress with short sleeves, collar, zip and button front, with a pleated skirt,a black, grey and red striped and patterned sleeveless dress with a scooped collar and bow detail, multi-pleated skirt,a blue floral dress with short sleeves, three button fastening to the bodice, front pockets, piping details, a Junior Fashions by Carole King grey and black striped dress with short sleeves, velvet trim to the button placket and cuffs, scooped neckline,a navy and teal woven short sleeved dress with collar, buttons to the front, piped in teal,a Jantzen blue chambray short sleeved top with striped details, size medium,and a blue paisley printed sleeveless shirt with round neck and collar, button fastening with original card label (size 40),(14)Peggy Wood Fashions dress - bust size 42", belt missing, slight yellowing under the arms and fading to the upper back, collar is loose to the reverse, slight wear overall.Tokyo Mode shirt dress - bust size 36", hem altered, slight wear.Fruit of the Loom Tee and Turf Tailored dress - 42" bust, a couple of very small areas of rust spotting overall, some fading and wear, hem altered.Linda Leigh floral dress - 40" bust, possible alterations to the waistband and hem, slight wear.Grey and pink floral dress - 36" bust, loose stitches to the waist, hem repaired, very slight fading to the collar, slight wear overall.White and blue floral dress - 38" bust, slight fading and wear, hem restitched, some discolouration to the fabric beltSaint Michael house dress - 36" bust, stitched repairs around some of the buttons, repairs to the waistband, hem & shoulder seam, matching fabric belt fading and wearYellow and floral dress - 34" bust, lacking belt, waistband seam open, slight wearBlack and red striped dress - 36" bust, couple of stitched repairs to the edges, and slight wearBlue floral dress - 42" bust, stitched repairs around the buttons and button holes, belt missing, the back of the neck seam is loose, a couple of small light stains overall and fading and wearJunior Fashions dress - 36" bust, two areas of stitched repairs to the reverse of the sleeves, a couple of very light small stains overall, some stitched repairs around the buttons and one button missingNavy and teal dress - 38" bust, with the seam under the sleeves loose to one side and restitched to the other, stitched repairs and loose seam to the waist on the side seam, slight wear,Jantzen blue chambray top - 43" bust, some areas of light staining, fading and wearBlue paisley top - unused
Lot 159
An Adders & Ladders fruit machine, with original instructions and keys, adders and ladders lights not connected, does not accept modern £1 coins, the amount of money you have in the pot reads £3.20 rather than what you have in. not fully tested, display lights up Location: GMIf there is no condition report shown, please request
Lot 122
Oliver Whales, Redcar, Rowntree's Fruit Gums, Allwin Style Penny Arcade Machine. Circa 1950s. 1d Play. Believed to be in working order, but no ball to test, no keys but unlocked. Measuring approx. 32" height, 19" width, 7" depth. Please note: All the lots within this auction are located off-site in Kent. Collection will be by appointment from this location which will be made known to buyers upon purchase.
Lot 115
Bryan's Automatic Machine Works, Fruit Bowl, Penny Slot Machine. Circa 1965. Converted to 1p Play. Working order, with key. Measuring approx. 31" height, 18" width, 10" depth. Please note: All the lots within this auction are located off-site in Kent. Collection will be by appointment from this location which will be made known to buyers upon purchase.
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