the destroyed station from different positions, including images of shattered buildings and a shot of the explosion that destroyed the well. Some four striking and hugely evocative images were taken on the beach at Aqaba in November 1917, a number including “Sherefian Troops” landing and their flag being raised; these presumably the troops of Sherif Hussein bin Ali of Mecca. Accompanying the photographs is an Arab agal worn by Brodie during the campaign (among the images he is pictured wearing one), formed of a double circlet of light grey silk threads bound at intervals with blue-green silk threads and copper wire, terminating in two loops connected by a cord with a tassel of grey silk threads (approx. 990 mm long without cord, a little light soiling and staining, a few threads loose or fraying). The ephemera is headed by an extraordinary survival: two tickets for the Hejaz Railway, both annotated by Brodie, one of which is dated 23 September 1918 at Ma’an station, which coincides with the action known as the Third Transjordan attack (19–25 September). The remaining ephemera comprises a small group of memorabilia pertaining to Brodie’s post-war and posthumous relationship with Lawrence and his legend, including a card from Lawrence’s mother thanking Brodie for his condolences; his invitation to the funeral together with a photograph of him in the cortege; invitations to the service of dedication of the Lawrence memorial at St Paul’s Cathedral, and to the premier of the David Lean film. Also present is the form letter soliciting contributions to T. E. Lawrence by his Friends (1937) and Brodie’s retained copy of his piece for publication – sent to the editor A. W. Lawrence, T. E.’s brother – in which Brodie recounts Lawrence’s arrival at his encampment the night before the attack at Tell Shahm; it was reprinted by A. W. in a slightly altered form. This enthralling archive of exceptional vérité images offers a fascinating insight into operations on the Hejaz Railway and the broader theatre, which will forever be associated with the near- mythical enterprise of “Lawrence of Arabia”. Provenance: by descent from the family. A full description and inventory is available. Quarto (249 × 186 mm). Contemporary red half morocco by Roger de Coverley & Sons, red cloth sides, spine lettered in gilt, top edge gilt, pictorial endpapers with Eric Kennington illustrations. Housed in a contemporary roan chemise. Frontispiece, and 27 (of 66) plates, many coloured or tinted, of which one double-page, by Eric Kennington, William Roberts, Augustus John, William Nicholson, Paul Nash and others, and 58 illustrations in the text, one coloured, by Roberts, Nash, Kennington, Blair-Hughes-Stanton, Gertrude Hermes and others, initials by Edward Wadsworth; four folding coloured maps, i.e. two maps in duplicate, of which one bound in as frontispiece. Extremities lightly rubbed, 2 maps creased at fore and bottom edges, maps reinforced verso with some light finger-soiling confined to margins; the chemise worn, with front lower flap torn and defective, spine slightly soiled. A handsome copy. £175,000 [158275]
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by the inferior weapons. Their commander, Brodie, was a silent Scotsman, never very buoyant and never too anxious, a man who found difficulties shameful to notice, and who stamped himself on his fellows. However hard the duty given them, they always attacked it with such untroubled determination that their will prevailed. On every occasion and in every crisis they would be surely in place at their moment, perspiring but imperturbable, with never a word in explanation or complaint” ( Seven Pillars , present ed., p. 440). Brodie also clearly had a keen eye when it came to range finding (that essential string to a gunner’s bow), and Lawrence describes admiringly his accurate shelling of the Turkish-held station at Tell Shahm in April 1918 as being conducted “with his usual nicety” (ibid., p. 507). The core of the accompanying archive is the collection of more than 150 original photographs, loose and in albums, mostly in smaller “snapshot” formats, but of great immediacy, the majority of them relating directly to the Arab Revolt and with telling annotation relating to location, personnel, and the specifics of action. The majority of these are sepia-toned bromide prints on matte paper. Highlights include a quantity of wonderfully evocative images of Brodie’s unit in the field, including Brodie himself, his second-in-command George Pascoe, and attacks on strategically important stations along the Hejaz railway. Images show Brodie and his unit encamped at Tooth Hill, a regular jumping off point for attacks on the railway. Another image shows the view from an Ottoman strongpoint defending the railway, captured during the attack, showing the railway and Tooth Hill in the background. Other images illustrate the 8 August 1918 attack at Mudawwara, a key strategic station south of the heavily fortified Ottoman stronghold at Ma’an. Brodie’s snapshots show
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