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534310 Los(e)/Seite
Los 449
Eight 19th century/early 20th century documents relating to the town of Thornbury including a £10 share certificate for the Thornbury Gas Light and Coke Co, Mrs Harwood & Co Bankers, Prescott's Bank, together with trading documents for the Swan Hotel etc (framed) together with a copy of the South Gloucestershire Cornicle covering Thornbury, Chipping Sodbury and Berkeley published February 13th 1904
Los 453
Robert Griffiths Hodgins (South African 1920-2010) THREE MEN WAITING signed, dated 1998/9 and inscribed with the title on the reverse oil on canvas 91,5 by 122cm Robert Hodgins’ drive to experiment with light and colour is one of the things that make his works so visually enthralling. He was greatly influenced by the works of Bridget Riley and Francis Bacon; however it was his interpretations of Alfred Jarry’s greedy theatrical character of Ubu that led him on a visual expedition of painting that has been rarely observed with such fervour by any South African painter. THREE MEN WAITING is only one of a myriad of works created by Hodgins shortly after he participated in the Ubu 101 exhibition that hosted both South African and international artists at the Gertrude Posel Gallery at the University of the Witwatersrand, Johannesburg in 1997. Atkinson (2002:13) writes: “Ubu’s diverse presence is felt, not only in the physical characteristics of a host of barely human Hodgins figures – most obviously the truculent, at times oddly vulnerable, businessman – but also in the affective cross current that is the source of power in his work.” In THREE MEN WAITING the viewer is confronted by Hodgins’ theatrical use of colour and an odd Meta referential subtext. The figures are looking out in anticipation, but their presence is unclear; Hodgins animates them in a discomforting posture by grouping the three figures together in this outsized composition. Each character dressed in corporate attire as a subtle reference to Ubu. CS References: • Smith, K. 2000. ROBERT HODGINS. Artthrob, Issue no 34. June 2000. [O] ACCESSED on the 27/01/2017 http://artthrob.co.za/00jun/artbio.html • Atkinson, B. Hodgins, R. Becker, R. Powell, I. Geers, K. & Godby, M. 2002. ROBERT HODGINS. Tafelberg Publishers. Cape Town.
Los 456
Norman Clive Catherine (South African 1949-) UNIDENTIFIED signed and dated 1993 oilstick on paper Friedman, H., Jamal, A., and Bowie, D. Norman Catherine, Goodman Gallery, Johannesburg, 2000, illustrated on p. 111 138,5 by 120cm According to Hazel Friedman multiple identities remain a recurring theme in Norman Catherine’s work; this was especially true of his paintings and drawings from the early nineties such as UNIDENTIFIED (1994). As opposed to looking towards a utopian perspective of post-apartheid South Africa, Catherine’s work is not necessarily pessimistic, but rather remains sincere in its drive to interrogate the spread of corporate crime and bureaucratic deception. Catherine employs animation to create ambiguous portraits - not of individuals that can be physically pointed out, but rather, a composite and monstrous identity of a whole, a system, an institution. Friedman notes: “…Catherine was poking his tongue at institutions rather than ideologies, at the corruption of power as opposed to specifically corrupt acts”. Animation has always been a trademark of Catherine’s work, in the sense that his compendium of beasts and mutants often appear to be in a state of feverish agitation (Friedman 2000: 98). This is no different in the style and depiction of UNIDENTIFIED. The lines and colours vibrate and pulse with movement, the bright red colours exclaim frustration and the monster’s expression is everything but naïve. However this artwork could also be seen in a transitory light, when compared to REQUIEM, also created in 1994. Friedman (2000:113) points out that some of Catherine’s works are occasionally free of agitation and irony and rather become introspective; it is not uncommon for the artist to permeate subjects with religious symbolism. In this regard UNIDENTIFIED could be read as a possible study for REQUIEM where the face of the beast finally becomes identified when it is illustrated in the form a Neptune-like figure carefully drawing a fish out of water. Even in this transition of subject matter the viewer is confronted with a subject in an incongruous environment or situation. CS Reference: • Friedman, H. 2000. Norman Catherine. Goodman Gallery Editions. Tien Wah Press, Singapore.
Los 393
Foreign Coins and Medals, Mexico, Carlos III, 8 reales; 4 reales, 1772FM, Mexico City, crowned shield of arms, rev. crowned shield of arms between pillars (KM.106.1/97.1), both with uneven toning, light scratch on obverse of 8 reales, very fine and good fine (2) The first year of issue for this reverse design and a 2-year only type with inverted assayer’s initials and mintmark.
Los 51
British Coins, Henry VI, first reign, annulet issue (1422-c.1430), noble, London, mm. lis, king with sword and shield stg. facing in ship, annulet by sword arm, rev. ornate cross, h in centre, annulet in one spandrel, wt. 6.98gms. (S.1799; N.1414), very light crease on reverse and some weakness in legends, good very fine, with a most attractive portrait of the king
Los 52
British Coins, Henry VI, first reign, annulet issue (1422-c.1430), noble, London, mm. lis, crowned king stg. facing in ship, king with sword and shield stg. facing in ship, annulet by sword arm, trefoil stops, lis after HENRIC, rev. ornate cross, arms extending from central panel with letter H, crowned leopards in angles, annulet stops, mullet after IHC, wt. 6.87gms. (S.1799; N.1414), light crease, bold obverse, a little weak on reverse, good very fine/very fine
Los 6
British Coins, Archbishops of Canterbury, Plegmund, penny, class I (890-895), Canterbury, Hunfreth, +PLEGMVND ARCHIEP, around DO / RO, lozenge O, within inner-circle, rev. HVNFR / EDMO, in two lines divided by a cross with pellet each side, cross above and below, wt. 1.46gms. (S.898; N.254), light surface marks, very fine, rare
Los 8
British Coins, Kings of East Anglia, Aethelberht I/Alberht (acc. 749), transitional penny, Tilraed, large pellet within inner-circle, runic inscription around, EAELBEHT (runic), interspersed with pellets, rev. TIAELRED (runic), interspersed with pellets, between arms of a long cross extending from inner-circle containing a large pellet, wt. 0.99gms. (cf. S.945c; cf. N.430/3; cf. SCBI 63 (British Museum) 851), good metal, full details on obverse and reverse, reverse slightly dished and off-centre, very fine, extremely rare, only the second known example and a new variety for this king, the only other example in the British Museum Found Suffolk, recorded with the Fitzwilliam Museum (EMC 2017.0009) Alberht is the same name as Aethelberht, with Anglo-Saxon names beginning with the root Aethel- often abbreviated to Al- in later sources. The king who had this coin struck can therefore be named as Aethelbert or Alhbert and is referred to as Aethelberht I to distinguish him from the later Aethelberht II who was killed by Offa of Mercia in 794. As with most of the kings of East Anglia, very little is known about this king. The only reference to him is in the Historia Regum (History of Kings) written some four hundred years later in the eleventh century where it is recorded that the kingdom of East Anglia was divided between Beonna and ‘Alhbert’ in 749. King Beonna is known from coins mainly from the Middle Harling hoard, but Alberht was unknown until a single coin was found with others of Beonna at Burrow Hill in Suffolk. This was acquired by the British Museum in 1992 and until this new coin was found, was the only known coin naming Aethelberht I. This new coin reinforces the historical attestation that Beonna and Aethelberht I were active at the same time as it has much in common to some coins of Beonna that use the Runic letter form on both the obverse and reverse. This new coin, struck from different dies to the British Museum example, is by the same moneyer Tilraed (likely Anglo-Saxon name pronounced Ceolred), who is not known for Beonna or any other issue. The obverse introduces a new variety with the pellet within inner-circle on both sides and a continuous legend which omits the Runic Þ (th) and is unbroken by a cross. The weight aligns better to the known coins of Beonna than the British Museum coin, further reinforcing the connection between the two coinages. The long cross dividing the reverse legend is also a feature on some of Beonna’s coins. It is not known how long Aethelberht I ruled but with his coins extremely rare it would seem his reign may have been short. Archibald writing about the BM coin in 1995, suggested that the Beonna was Beornred, a Mercian ruling East Anglia who, on the murder of Aethelbald of Mercia in 757, seized the Mercian throne only to be ejected a short time later by Offa. At this point he went back to East Anglia where Aethelbert I, a co-ruler since 749, had become the sole ruler. The suggestion in this is that his short reign as sole ruler of East Anglia was terminated by Beonna around 757/58, who then ruled long enough for his moneyer Wihtred to strike light coinage pence for Offa. Numismatically the East Anglian coinage of Beonna and Aethelberht I stands between the earlier smaller flan ‘sceatta’ pence and the later broad flan pence of Offa. Little coinage can be confidently assigned to the years 740-80 in Southern England whilst the Northumbrian kings, notably Eadberht (737-58) along with Archbishop Ecgberht (d.765) were actively producing coinage at this time. The East Anglian coins of Beonna and Aethelberht I therefore seem to be linked to the Northumbrian coinage and were the only Southumbrian coins to be produced in any volume at this time. In common with the Northumbrian coins they name a ruler on one side and a moneyer on the other. The coins, of larger flan size than the ‘sceattas’ but smaller than Offa’s pence, therefore belong to a transitional phase in the Southumbrian coinage and as such not only are Beonna and Aethelberht I the first English kings to be named on silver coins south of the Humber but also their coins are the precursors of the broad flan pence to be widely introduced after c.780.
Los 90
British Coins, Charles II, halfcrown, 1674, V. SEXTO, fourth laur. bust r., rev. crowned cruciform shields, interlinked Cs in angles (S.3367; ESC.476; Bull 466), some light rubbing on high points of obverse, otherwise toned, prooflike and practically as struck A rare date and exceedingly rare in this grade. With an old Spink ticket with a price of £1450.
Los 388
8 Corgi Toys. Land Rover Breakdown Truck (477) in red with yellow plastic rear canopy, boxed. Loose examples – including another 477, but with tin rear canopy. Plus Land Rover in light metallic green with dark green rear canopy, Rice Pony Trailer in light brown with cream roof, Lincoln Continental Limousine in metallic gold with gloss black roof, Rolls Royce Silver Shadow ‘Golden Jacks’ in silver white and light blue, with dark blue interior. Ford Consul Mk1 in light brown. Plus a Lancia Sport Zagato in orange with black bonnet. Also a Husky Ford Series car transporter in white, blue and orange livery. All VGC-Mint, minor wear. Minor wear to box. (9)
Los 246
2 German tinplate Penny Toys. A limousine style saloon car, possibly by Georg Fischer, 85mm, finished in bright blue with yellow and white line litho detailing, grey wheels with red centres. Plus a clockwork British style single deck bus. 80mm in light green/cream with passenger etc litho detailing, cream wheels with red centres, Germany to rear panel. QGC-VGC for age, some wear/marking/rusting to bus
Los 313
6 Franklin/Danbury Mint 1:24 scale Rolls Royce cars. 1907 Silver Ghost in green, 1910 Silver Ghost in bright red and black, 1911 in cream, 1925 Silver Ghost in metallic silver and black, 1938 Phantom 111 in maroon and a 1992 Rolls Royce Corniche IV in cream. QGC-VGC 1910 Ghost damaged. Light cleaning required.
Los 299
60 Matchbox Yesteryears. Limited Edition examples including 1929 Scammell 100 Ton & Truck with locomotive. Rolls Royce Armoured Car. 1820 Passenger Coach & Horses, Fowler Showmans Engine. 1920 Leyland subsidy lorry, Aveling-Porter steam roller, 1931 AEC Trolleybus Diddler, 1922 Foden C type steam wagon and trailer. Plus 2x Morris Courier vans, Kemps and Weetabix. Preston tram, L.T. An Albion 10-ton lorry Libby’s. Hispano Suiza, Mack AC Conoco, Unic Taxi, Morris Cowley van Lindt, Yorkshire steam wagon Fyffes, Ford AA 1 ½ ton truck Peacock. GMC van Baxsters, Garrett steam wagon Chubb’s. Ford TT van Osram. Jaguar SS100, Auburn Speeder, Bedford KD truck, G. Farrar. Morris light van Michelin and a Bugatti Royale etc. All boxed. Minor wear to boxes. Some loose in boxes. Contents VGC-Mint.
Los 294
A small quantity of Various Makes. 2x original issue Schuco clockwork tinplate cars: A Tele-steering car (3000) Fernlenk-Auto, complete with car unusually finished in dark green with 12 bollards, and all accessories, instruction booklet, wires in original packets etc. and a Akustico (2002) in light blue with red seats, fitted with brake and clockwork powered horn. Both boxed, some wear/damage. Together with 2x Tri-ang Minic Jeeps (1:43 scale), one AF. Plus 2 boxed games; Newfooty Table Soccer and an Electric Contact Quiz, and a few other items including a pack of Happy Families. GC-VGC.
Los 368
A quantity of Corgi Classics. Including the larger scale Routemaster bus in Omnibus green/yellow livery. Plus an Atkinson 6 Wheel Truck & Trailer F.B. Atkins, boxed. American LaFrance Aerial Ladder Truck, boxed. Foden S21 C.W.S. Soft Drinks. Heartbeat Morris Commercial, boxed. 4x Bedford O series Pantechnicon – Weetabix, Freeborn’s, Griff. Fender and Shell. Plus 5x Bedford O series coach – Royal Blue, Norfolk’s, Granville Tours, Greenslades Tours etc. 7x Morris 1000 vans – Post Office Telephones, Mitchells Bradford, Bishops Removals, Telegraph & Argus, Corgi Collectors Club etc. 2x Bedford CA – Dandy and The Star. 2x Volkswagen vans- Corgi and Bosch Auto Electrical. Burlingham Seagull coach – Whittles. AEC Ergomatic S. Houseman. 3x AEC Regent buses – Regent, Devon General and Nottingham. Plus a few other items including 25 Corgi Junior etc vehicles. Most VGC light cleaning required.
Los 583
A Third Reich SS Artillery (?) officer’s peaked cap, of light field grey cloth with black velvet band, red piping, black fibre peak and silver bullion cords, the insignia consisting of aluminium SS eagle over death’s head, the inside of the crown with maker’s mark of an eagle over “Sonderklasse”. GC (large scratch to fibre peak).
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534310 Los(e)/Seite