We found 31923 price guide item(s) matching your search

Four Girls Boxed Playsuits, D.Decker Ltd London Nurse, dress, cape, apron with nurse broach/watch, head scarf with red cross, Alexander Nurses outfit, dress, cape, apron, head scarf with red cross, Rosebud made In England Cowgirl Play Costume, Cowgirl hat, Holster and gun belt, plus another, skirt, kneckerchief, Bolero jacket, plus Bonanza trousers and an extra Bolero jacket and an Pla-master play suit USA cowgirl, jacket and skirt, contents are in good to excellent condition, boxes are fair to good.(4 items)

Two Boxed Batman Playsuit Costumes, 1960s 20th Century Original Play Suit, black eye mask, plastic vinyl cape/gauntlets, leather style belt, blue/yellow shirt, with Bat motif and blue/yellow pants, in excellent original condition, illustrated lidded box is fair, batman label has been torn off, some biro graffiti and a 1976 Decker Batman Playsuit costume, vinyl cape/ mask/gloves/boot tops/yellow belt, grey cloth top and pants, in good used condition, illustrated box is fair (2 items)

The excellent postal history section of the collection, beautifully presented and written-up for exhibit in two binders along with a third for postcards, the main volumes with at least 70 franked covers and cards, mostly QV to KGVI, with good commercial usages plus delightful philatelic frankings, highlights including the Boer War PoW section of ten items with cover from the Cape addressed to General Cronje, 1903 set to 1/- and other KEVII issues on registered covers, 1922-37 'badge' issues incl. 2/- single usage (cat. £300), 1½d 'cleft rock' on card to Belgium (cat. £1,000, not tied), ½d on cover with St. Lucia 1930 postage dues, 1935 silver jubilees including FDC set on QV penny post jubilee stationery pair, etc, etc. The postcards also strong, exhibiting subject of 'St. Helena past and present' with early photographic cards in good condition and further PoW-related cards. A much recommended viewing. This collector lived for a time on the island and her love of the remote Atlantic regions is also shown in her interesting thematic group of collections (Lots 182-184).

Two 'Utile' loose-leaf albums with about 3000 mint and used stamps, mainland countries as well as Ascension, St. Helena, Seychelles and Mauritius. Noted early pyramids of Egypt, Gambia with 1912-22 complete, very good range of British Central Africa and Rhodesia, British East Africa from overprints on India issues to 1897/1903 widowhead high values mint, Cape of Good Hope including over a dozen triangulars, 1883 5/- used, over thirty Griqualand overprints, Natal embossed classics, etc, etc. Catalogue approx. £30,000 not including poor condition examples, fiscal cancels, specimen overprints (as these are not in sets), or the Transvaal £5 'V.R.I.' mint (presumed forgery). Recommended viewing.

Collection of several thousand mint and used stamps, mostly of the period from classics to the first issues of QEII, in six loaded stockbooks and a New Ideal album for pre-1920 issues. The latter includes interesting early issues of Antigua, Bahamas (several Chalons and 1/- green), Barbados Britannias from SG.2 onwards imperf and perf, Cape triangles incl. 4d blue mint two margins, Ceylon, Gambia embossed to check, Great Britain line-engraved and 1/- embossed with no obvious faults, 3d surcharge cds and 1884 5d green mint, Grenada Chalons, Ionian Islands used 1d and 2d, Indian Native States to explore, Nova Scotia 3d SG.2 3 margins used, Fiji to 5/-, good Australasia, etc. The stockbooks are also interesting, with lots of classics through to very useful KGVI and QEII, for example the odd MNH 1948 silver wedding high value. Condition on the many earlies of course mixed. Will reward a close viewing.

A blue strand album c.1900 edition, approx. 450 pre-1910 stamps in mixed condition, including 1840 penny black with four margins and clear red maltese cross pmk, unobtrusive vertical crease down right-hand edge, 1840 2d blue sound three margins, 1841 2d blue with maltese cross, four margins but thin, etc, as well as some interesting overseas incl. 1d and 4d Cape of Good Hope triangles, the latter with nice margins. Would be enjoyable to add to, the album being in very decent condition, generally clean pages with very few hinge remains. Please inspect.

The amorphous balance of an Anglesey estate in four tubs, thousands of stamps and hundreds of postal history items of all periods, glassines, album pages, circuit books, etc. A blue folder includes an envelope of a few better items bought from Stanley Gibbons. Elsewhere noted WWII-period covers worldwide incl. Egypt and British North Africa, a series of 1946 commercial covers to Harbin, Manchuria, with large red 'Mail route to destination blockaded, return to sender' handstamps, also seen late 1940s issues MNH in glassines, 4d Cape triangle with huge margins, Canada Jubilees with 6cts mint and 20cts used, GB QV and KEVII 5/- superb cds examples, etc. There will be more to find here given this collector's habit of burying good items.

CONTEMPORARY DESIGNER COFFEE TABLE - CECILE & BOYD, SOUTH AFRICA an unusual coffee table, the top and sides with scalloped indentations and supported on vertical legs. Unmarked, 140cms across, 42cms high *Cecile & Boyd are based in Cape Town and produce designer furniture, lighting and accessories.

19thC School. Figure of a lady seated wearing hooded cape and holding mask, pencil sketch, unsigned, 40cm x 30cm.

A 1980 Isle of Man Pobjoy Mint double sovereign, with additional Queen Mother portrait above the cape to the reverse, approx 16g. CONDITION REPORT There are slight markings to the rim, where it was previously mounted. Further very light surface scratches visible on close inspection. Otherwise appears ok.

An iconic dress worn by Dame Barbara Windsor. A blue and gold bodice and skirt, together with cape and accessories to include; tiara, necklace, earrings and gloves. Designed by award-winning costume designer, Vin Burnham.*Bid for a breakthrough and support Alzheimer’s Research UK!These eye-catching outfits were worn by the late Dame Barbara Windsor, when she starred as the Queen of Bingo, in Jackpotjoy’s TV adverts from 2010 to 2017. The catalogue of regal pieces was kindly donated to Alzheimer’s Research UK by Bally’s Corporation, owners of the online bingo brand, Jackpotjoy, in memory of Dame Barbara, who passed away with Alzheimer’s disease in 2020.Watch this short video where Dame Barbara’s husband and Alzheimer’s Research UK Ambassador, Scott Mitchell, looks back and remembers these iconic dresses. www.youtube.com/watch?v=XQS7-PY6I6s.Hansons Auctioneers is making no charge on the sale of the items, which means 100% of the sale price will be donated to Alzheimer’s Research UK. Bid now to support groundbreaking dementia research and help keep people connected to their families, their worlds and themselves for longer.Alzheimer's Research UK is a registered charity, numbers 1077089 and SC042474. For more information about the latest research and how your support makes a difference, visit www.alzheimersresearchuk.org.

Peter Mammes Childhood, 2022 Gouache Paint and Gold Leaf on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Peter Mammes was born in Krugersdorp, South Africa on July 6, 1986, Into an Afrikaans-speaking community. He moved to Johannesburg at the age of 11 and attended the National School of the Arts in Braamfontein, where he received his only formal training in art. Interested predominantly in drawing and painting, he had his first solo exhibition at the age of 16. Peter started working in isolation after high school, developing his drawing skills and making artworks based on medieval European woodcuts. He set up a studio in India in 2013 and later in Russia, where he researched and developed the themes that have become inherent in his work. In 2018 Peter set up a studio in Cairo, Egypt, where he made a series of drawings informed by his research into both ancient Egyptian art and hieroglyphics and contemporary local politics. Peter travels extensively around the world to find ideas and imagery for his work, collecting patterns that he finds on stone carvings and reliefs on temples, facades and graves. He was recently commissioned to design a commemorative coin for circulation for the South African mint, released in 2019. Peter currently resides in London on an exceptional talent visa. His studio is in Whitechapel.   Select Exhibitions/Awards   Solo Exhibitions 2019 Presumed alive HOXTON 253 art project space London United Kingdom 2018 It's Already Too Late Once The Soldiers Have Arrived Daville Baillie Gallery Johannesburg South Africa 2017 Dawn of the Anthropocene Toffee Gallery Darling South Africa Ethics Priest Gallery Johannesburg South Africa 2016 Reprisal, subjective objects Fried Contemporary Art Gallery Pretoria South Africa Nuances in a narrow spectrum 2.5 Luvey 'n Rose Cape Town South Africa Nuances in a narrow spectrum Lizamore & Associates Johannesburg South Africa 2014 Triumph Prosthetics for the People NIROX projects - Johannesburg South Africa Iconography of the just Room Gallery & Projects Johannesburg South Africa 2010 Antagonistic Harmonies in First Arrangement Johannesburg Art Gallery (JAG) Johannesburg South Africa   Group Exhibitions 2020 Eternity is now // Akaretler // Istanbul // Turkey Reveries // Espacio Gallery // London // United Kingdom Knoop/Knot // University of Stellenbosch Art Gallery // Stellenbosch // South Africa Punk 4 Mental Health // Stash Gallery // London // United Kingdom 2019 FUSION Vol. 2 // Eclectica contemporary // Cape Town // South Africa Speculative Fiction // Candid Arts Trust // London United Kingdom Visible Unreality // Museo civico di Castel Nuovo - Maschio Angioino // Naples // Italy Art Below Chelsea // 2019 ArtBelow // London // United Kingdom Incite // Deepestdarkest // Cape town // South Africa SEAS// Brighton // United Kingdom 2018 Spring Salon // Lizamore & Associates // Johannesburg // South Africa David Baille gallery // Johannesburg // South Africa Untitled gallery // Cape Town // South Africa Absa art Auction // Johannesburg // South Africa Studio G // Cape town // South Africa 2017 Atelier 2017 // Absa Gallery // Johannesburg // South Africa 35 Years- Trailblazers // Lizamore & Associates // Johannesburg // South Africa Confessional // Absa Gallery // Johannesburg // South Africa Sixteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Moore gallery // Franchhoek // South Africa 2016 Clash // Bag Factory // Johannesburg // South Africa Skulls: a group exhibitions of skull interpretations // Fried Contemporary Art Gallery // Pretoria // South Africa Performing Wo/man // Oliewenhuis Art Museum // Bloemfontein // South Africa I had a dream last night (But I Can't remember what it was about) // No End Contemporary Art Space // Johannesburg // South Africa Fifteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Death and Taxes // Fried Contemporary Art Gallery // Pretoria // South Africa Creator/curator // Absa Gallery // Johannesburg // South Africa Remain(s) // DF Contemporary // Cape town // South Africa Art room // Johannesburg // South Africa Basha Uhuru festival at Constitution Hill // Johannesburg // South Africa 1 Eloff street // Johannesburg // South Africa ZERO // SOMA // Johannesburg // South Africa 2015 Equus: the Four Horseman // Cavalli Wine Estate and Gallery // Strand // South Africa No End To This // No End Contemporary Art Space // Johannesburg // South Africa Cross-Sections // Kalashnikovv Gallery // Johannesburg // South Africa REVAMP // Priest Gallery // Johannesburg // South Africa Macabre // Underculture Contemporary // Port Elizabeth // South Africa Atelier Art competition // Absa Gallery // Johannesburg // South Africa Die Burger 100 years of publication // Artscape Theatre Centre // Cape town// 2015 The art room // Johannesburg // South Africa Transitions at the Transvaal Post office // Johannesburg // South Africa Cross section at The Transvaal Post office // Johannesburg // 2015 Revamp at Priest // Johannesburg // South Africa Twillsharp //Johannesburg // South Africa Cabinets of curiosity // Capetown // South Africa Fetish at Artec // Port Elizabeth // South Africa Dirt at Rubixcube // Johannesburg // South Africa 2014 Lizamore And Associates Hosts Two Exhibitions In May // Lizamore & Associates // Johannesburg // South Africa Vista // Carol Lee Fine Art // Johannesburg // South Africa Diedericks/Faber fine art // Cape Town // South Africa Rubixcube at arts on main // Johannesburg // South Africa 2013 Home is wherever I'm with you // Salon Ninety One // Cape Town // South Africa   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Peter Mammes Dodo Pattern, 2022 Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Peter Mammes was born in Krugersdorp, South Africa on July 6, 1986, Into an Afrikaans-speaking community. He moved to Johannesburg at the age of 11 and attended the National School of the Arts in Braamfontein, where he received his only formal training in art. Interested predominantly in drawing and painting, he had his first solo exhibition at the age of 16. Peter started working in isolation after high school, developing his drawing skills and making artworks based on medieval European woodcuts. He set up a studio in India in 2013 and later in Russia, where he researched and developed the themes that have become inherent in his work. In 2018 Peter set up a studio in Cairo, Egypt, where he made a series of drawings informed by his research into both ancient Egyptian art and hieroglyphics and contemporary local politics. Peter travels extensively around the world to find ideas and imagery for his work, collecting patterns that he finds on stone carvings and reliefs on temples, facades and graves. He was recently commissioned to design a commemorative coin for circulation for the South African mint, released in 2019. Peter currently resides in London on an exceptional talent visa. His studio is in Whitechapel.   Select Exhibitions/Awards   Solo Exhibitions 2019 Presumed alive HOXTON 253 art project space London United Kingdom 2018 It's Already Too Late Once The Soldiers Have Arrived Daville Baillie Gallery Johannesburg South Africa 2017 Dawn of the Anthropocene Toffee Gallery Darling South Africa Ethics Priest Gallery Johannesburg South Africa 2016 Reprisal, subjective objects Fried Contemporary Art Gallery Pretoria South Africa Nuances in a narrow spectrum 2.5 Luvey 'n Rose Cape Town South Africa Nuances in a narrow spectrum Lizamore & Associates Johannesburg South Africa 2014 Triumph Prosthetics for the People NIROX projects - Johannesburg South Africa Iconography of the just Room Gallery & Projects Johannesburg South Africa 2010 Antagonistic Harmonies in First Arrangement Johannesburg Art Gallery (JAG) Johannesburg South Africa   Group Exhibitions 2020 Eternity is now // Akaretler // Istanbul // Turkey Reveries // Espacio Gallery // London // United Kingdom Knoop/Knot // University of Stellenbosch Art Gallery // Stellenbosch // South Africa Punk 4 Mental Health // Stash Gallery // London // United Kingdom 2019 FUSION Vol. 2 // Eclectica contemporary // Cape Town // South Africa Speculative Fiction // Candid Arts Trust // London United Kingdom Visible Unreality // Museo civico di Castel Nuovo - Maschio Angioino // Naples // Italy Art Below Chelsea // 2019 ArtBelow // London // United Kingdom Incite // Deepestdarkest // Cape town // South Africa SEAS// Brighton // United Kingdom 2018 Spring Salon // Lizamore & Associates // Johannesburg // South Africa David Baille gallery // Johannesburg // South Africa Untitled gallery // Cape Town // South Africa Absa art Auction // Johannesburg // South Africa Studio G // Cape town // South Africa 2017 Atelier 2017 // Absa Gallery // Johannesburg // South Africa 35 Years- Trailblazers // Lizamore & Associates // Johannesburg // South Africa Confessional // Absa Gallery // Johannesburg // South Africa Sixteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Moore gallery // Franchhoek // South Africa 2016 Clash // Bag Factory // Johannesburg // South Africa Skulls: a group exhibitions of skull interpretations // Fried Contemporary Art Gallery // Pretoria // South Africa Performing Wo/man // Oliewenhuis Art Museum // Bloemfontein // South Africa I had a dream last night (But I Can't remember what it was about) // No End Contemporary Art Space // Johannesburg // South Africa Fifteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Death and Taxes // Fried Contemporary Art Gallery // Pretoria // South Africa Creator/curator // Absa Gallery // Johannesburg // South Africa Remain(s) // DF Contemporary // Cape town // South Africa Art room // Johannesburg // South Africa Basha Uhuru festival at Constitution Hill // Johannesburg // South Africa 1 Eloff street // Johannesburg // South Africa ZERO // SOMA // Johannesburg // South Africa 2015 Equus: the Four Horseman // Cavalli Wine Estate and Gallery // Strand // South Africa No End To This // No End Contemporary Art Space // Johannesburg // South Africa Cross-Sections // Kalashnikovv Gallery // Johannesburg // South Africa REVAMP // Priest Gallery // Johannesburg // South Africa Macabre // Underculture Contemporary // Port Elizabeth // South Africa Atelier Art competition // Absa Gallery // Johannesburg // South Africa Die Burger 100 years of publication // Artscape Theatre Centre // Cape town// 2015 The art room // Johannesburg // South Africa Transitions at the Transvaal Post office // Johannesburg // South Africa Cross section at The Transvaal Post office // Johannesburg // 2015 Revamp at Priest // Johannesburg // South Africa Twillsharp //Johannesburg // South Africa Cabinets of curiosity // Capetown // South Africa Fetish at Artec // Port Elizabeth // South Africa Dirt at Rubixcube // Johannesburg // South Africa 2014 Lizamore And Associates Hosts Two Exhibitions In May // Lizamore & Associates // Johannesburg // South Africa Vista // Carol Lee Fine Art // Johannesburg // South Africa Diedericks/Faber fine art // Cape Town // South Africa Rubixcube at arts on main // Johannesburg // South Africa 2013 Home is wherever I'm with you // Salon Ninety One // Cape Town // South Africa   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Peter Mammes War Crimes, 2022 Cold Cast Brass, Flocking and Gold Leaf Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Peter Mammes was born in Krugersdorp, South Africa on July 6, 1986, Into an Afrikaans-speaking community. He moved to Johannesburg at the age of 11 and attended the National School of the Arts in Braamfontein, where he received his only formal training in art. Interested predominantly in drawing and painting, he had his first solo exhibition at the age of 16. Peter started working in isolation after high school, developing his drawing skills and making artworks based on medieval European woodcuts. He set up a studio in India in 2013 and later in Russia, where he researched and developed the themes that have become inherent in his work. In 2018 Peter set up a studio in Cairo, Egypt, where he made a series of drawings informed by his research into both ancient Egyptian art and hieroglyphics and contemporary local politics. Peter travels extensively around the world to find ideas and imagery for his work, collecting patterns that he finds on stone carvings and reliefs on temples, facades and graves. He was recently commissioned to design a commemorative coin for circulation for the South African mint, released in 2019. Peter currently resides in London on an exceptional talent visa. His studio is in Whitechapel.   Select Exhibitions/Awards   Solo Exhibitions 2019 Presumed alive HOXTON 253 art project space London United Kingdom 2018 It's Already Too Late Once The Soldiers Have Arrived Daville Baillie Gallery Johannesburg South Africa 2017 Dawn of the Anthropocene Toffee Gallery Darling South Africa Ethics Priest Gallery Johannesburg South Africa 2016 Reprisal, subjective objects Fried Contemporary Art Gallery Pretoria South Africa Nuances in a narrow spectrum 2.5 Luvey 'n Rose Cape Town South Africa Nuances in a narrow spectrum Lizamore & Associates Johannesburg South Africa 2014 Triumph Prosthetics for the People NIROX projects - Johannesburg South Africa Iconography of the just Room Gallery & Projects Johannesburg South Africa 2010 Antagonistic Harmonies in First Arrangement Johannesburg Art Gallery (JAG) Johannesburg South Africa   Group Exhibitions 2020 Eternity is now // Akaretler // Istanbul // Turkey Reveries // Espacio Gallery // London // United Kingdom Knoop/Knot // University of Stellenbosch Art Gallery // Stellenbosch // South Africa Punk 4 Mental Health // Stash Gallery // London // United Kingdom 2019 FUSION Vol. 2 // Eclectica contemporary // Cape Town // South Africa Speculative Fiction // Candid Arts Trust // London United Kingdom Visible Unreality // Museo civico di Castel Nuovo - Maschio Angioino // Naples // Italy Art Below Chelsea // 2019 ArtBelow // London // United Kingdom Incite // Deepestdarkest // Cape town // South Africa SEAS// Brighton // United Kingdom 2018 Spring Salon // Lizamore & Associates // Johannesburg // South Africa David Baille gallery // Johannesburg // South Africa Untitled gallery // Cape Town // South Africa Absa art Auction // Johannesburg // South Africa Studio G // Cape town // South Africa 2017 Atelier 2017 // Absa Gallery // Johannesburg // South Africa 35 Years- Trailblazers // Lizamore & Associates // Johannesburg // South Africa Confessional // Absa Gallery // Johannesburg // South Africa Sixteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Moore gallery // Franchhoek // South Africa 2016 Clash // Bag Factory // Johannesburg // South Africa Skulls: a group exhibitions of skull interpretations // Fried Contemporary Art Gallery // Pretoria // South Africa Performing Wo/man // Oliewenhuis Art Museum // Bloemfontein // South Africa I had a dream last night (But I Can't remember what it was about) // No End Contemporary Art Space // Johannesburg // South Africa Fifteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Death and Taxes // Fried Contemporary Art Gallery // Pretoria // South Africa Creator/curator // Absa Gallery // Johannesburg // South Africa Remain(s) // DF Contemporary // Cape town // South Africa Art room // Johannesburg // South Africa Basha Uhuru festival at Constitution Hill // Johannesburg // South Africa 1 Eloff street // Johannesburg // South Africa ZERO // SOMA // Johannesburg // South Africa 2015 Equus: the Four Horseman // Cavalli Wine Estate and Gallery // Strand // South Africa No End To This // No End Contemporary Art Space // Johannesburg // South Africa Cross-Sections // Kalashnikovv Gallery // Johannesburg // South Africa REVAMP // Priest Gallery // Johannesburg // South Africa Macabre // Underculture Contemporary // Port Elizabeth // South Africa Atelier Art competition // Absa Gallery // Johannesburg // South Africa Die Burger 100 years of publication // Artscape Theatre Centre // Cape town// 2015 The art room // Johannesburg // South Africa Transitions at the Transvaal Post office // Johannesburg // South Africa Cross section at The Transvaal Post office // Johannesburg // 2015 Revamp at Priest // Johannesburg // South Africa Twillsharp //Johannesburg // South Africa Cabinets of curiosity // Capetown // South Africa Fetish at Artec // Port Elizabeth // South Africa Dirt at Rubixcube // Johannesburg // South Africa 2014 Lizamore And Associates Hosts Two Exhibitions In May // Lizamore & Associates // Johannesburg // South Africa Vista // Carol Lee Fine Art // Johannesburg // South Africa Diedericks/Faber fine art // Cape Town // South Africa Rubixcube at arts on main // Johannesburg // South Africa 2013 Home is wherever I'm with you // Salon Ninety One // Cape Town // South Africa   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Peter Mammes Fate, 2022 Resin and Gold Leaf on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Peter Mammes was born in Krugersdorp, South Africa on July 6, 1986, Into an Afrikaans-speaking community. He moved to Johannesburg at the age of 11 and attended the National School of the Arts in Braamfontein, where he received his only formal training in art. Interested predominantly in drawing and painting, he had his first solo exhibition at the age of 16. Peter started working in isolation after high school, developing his drawing skills and making artworks based on medieval European woodcuts. He set up a studio in India in 2013 and later in Russia, where he researched and developed the themes that have become inherent in his work. In 2018 Peter set up a studio in Cairo, Egypt, where he made a series of drawings informed by his research into both ancient Egyptian art and hieroglyphics and contemporary local politics. Peter travels extensively around the world to find ideas and imagery for his work, collecting patterns that he finds on stone carvings and reliefs on temples, facades and graves. He was recently commissioned to design a commemorative coin for circulation for the South African mint, released in 2019. Peter currently resides in London on an exceptional talent visa. His studio is in Whitechapel.   Select Exhibitions/Awards   Solo Exhibitions 2019 Presumed alive HOXTON 253 art project space London United Kingdom 2018 It's Already Too Late Once The Soldiers Have Arrived Daville Baillie Gallery Johannesburg South Africa 2017 Dawn of the Anthropocene Toffee Gallery Darling South Africa Ethics Priest Gallery Johannesburg South Africa 2016 Reprisal, subjective objects Fried Contemporary Art Gallery Pretoria South Africa Nuances in a narrow spectrum 2.5 Luvey 'n Rose Cape Town South Africa Nuances in a narrow spectrum Lizamore & Associates Johannesburg South Africa 2014 Triumph Prosthetics for the People NIROX projects - Johannesburg South Africa Iconography of the just Room Gallery & Projects Johannesburg South Africa 2010 Antagonistic Harmonies in First Arrangement Johannesburg Art Gallery (JAG) Johannesburg South Africa   Group Exhibitions 2020 Eternity is now // Akaretler // Istanbul // Turkey Reveries // Espacio Gallery // London // United Kingdom Knoop/Knot // University of Stellenbosch Art Gallery // Stellenbosch // South Africa Punk 4 Mental Health // Stash Gallery // London // United Kingdom 2019 FUSION Vol. 2 // Eclectica contemporary // Cape Town // South Africa Speculative Fiction // Candid Arts Trust // London United Kingdom Visible Unreality // Museo civico di Castel Nuovo - Maschio Angioino // Naples // Italy Art Below Chelsea // 2019 ArtBelow // London // United Kingdom Incite // Deepestdarkest // Cape town // South Africa SEAS// Brighton // United Kingdom 2018 Spring Salon // Lizamore & Associates // Johannesburg // South Africa David Baille gallery // Johannesburg // South Africa Untitled gallery // Cape Town // South Africa Absa art Auction // Johannesburg // South Africa Studio G // Cape town // South Africa 2017 Atelier 2017 // Absa Gallery // Johannesburg // South Africa 35 Years- Trailblazers // Lizamore & Associates // Johannesburg // South Africa Confessional // Absa Gallery // Johannesburg // South Africa Sixteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Moore gallery // Franchhoek // South Africa 2016 Clash // Bag Factory // Johannesburg // South Africa Skulls: a group exhibitions of skull interpretations // Fried Contemporary Art Gallery // Pretoria // South Africa Performing Wo/man // Oliewenhuis Art Museum // Bloemfontein // South Africa I had a dream last night (But I Can't remember what it was about) // No End Contemporary Art Space // Johannesburg // South Africa Fifteen Hundred // No End Contemporary Art Space // Johannesburg // South Africa Death and Taxes // Fried Contemporary Art Gallery // Pretoria // South Africa Creator/curator // Absa Gallery // Johannesburg // South Africa Remain(s) // DF Contemporary // Cape town // South Africa Art room // Johannesburg // South Africa Basha Uhuru festival at Constitution Hill // Johannesburg // South Africa 1 Eloff street // Johannesburg // South Africa ZERO // SOMA // Johannesburg // South Africa 2015 Equus: the Four Horseman // Cavalli Wine Estate and Gallery // Strand // South Africa No End To This // No End Contemporary Art Space // Johannesburg // South Africa Cross-Sections // Kalashnikovv Gallery // Johannesburg // South Africa REVAMP // Priest Gallery // Johannesburg // South Africa Macabre // Underculture Contemporary // Port Elizabeth // South Africa Atelier Art competition // Absa Gallery // Johannesburg // South Africa Die Burger 100 years of publication // Artscape Theatre Centre // Cape town// 2015 The art room // Johannesburg // South Africa Transitions at the Transvaal Post office // Johannesburg // South Africa Cross section at The Transvaal Post office // Johannesburg // 2015 Revamp at Priest // Johannesburg // South Africa Twillsharp //Johannesburg // South Africa Cabinets of curiosity // Capetown // South Africa Fetish at Artec // Port Elizabeth // South Africa Dirt at Rubixcube // Johannesburg // South Africa 2014 Lizamore And Associates Hosts Two Exhibitions In May // Lizamore & Associates // Johannesburg // South Africa Vista // Carol Lee Fine Art // Johannesburg // South Africa Diedericks/Faber fine art // Cape Town // South Africa Rubixcube at arts on main // Johannesburg // South Africa 2013 Home is wherever I'm with you // Salon Ninety One // Cape Town // South Africa   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

Anton Kannemeyer The De-Platformed Blues 1, 2022 Acrylic, Pen and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Anton Kannemeyer is a satirical artist and co-founding editor of "Bitterkomix", an anti-apartheid and socio-political comic magazine in South Africa. Anton lectured at three universities in South Africa as senior lecturer for 15 years, and became a full time gallery artist in 2006.   Education   1991: BA Fine Arts (Graphic Design) at the University of Stellenbosch, South Africa. 1993: Honnours in BA Fine Arts (Illustration) cum laude at the University of Stellenbosch. 1997: MA in Fine Arts cum laude at the University of Stellenbosch, South Africa.   Select Exhibitions/Awards   Anton has exhibited his work extensively in South Africa, Europe and the USA (sixteen solo exhibitions in Johannesburg, New York, Paris, Vienna, Lisbon and Cape Town). He is represented by galeries in New York, Paris, and Vienna. His work has been published in numerous publications and catalogues around the world, and is held in many permanent art collections, including the Museum of Modern Art in New York. His book, "Pappa in Afrika", won the best international graphic novel award at the Amadora BD Festival in Portugal in 2015.   Gallery Representation   Huberty & Breyne, Paris, Jack Shainman, New York and Ernst Hilger, Vienna.   Statement about AOAP Submitted Artwork   Anton Kannemeyer has lately been criticized for his satirical works dealing with race. The exact same works were praised in articles in "The New York Times", "Art in America", "Modern Painters", "Art South Africa", etc. in the past. His work has always been anti-racist, yet after a series of attacks in social media in 2020, it has become impossible for him to show his work in South Africa - no gallery dares to exhibit his political work anymore. The liberal media, academics and journalists that used to support him, are all very quiet today, afraid of a backlash on social media. There is, according to him, a strong reaction against satire and irony today, and especially against controversial art. The submitted artworks are satirical, showing a "white man" in the position of the traditional American blues guitarist, a metaphor for the loss of political power. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Anton Kannemeyer The De-Platformed Blues 2, 2022 Acrylic, Pen and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Anton Kannemeyer is a satirical artist and co-founding editor of "Bitterkomix", an anti-apartheid and socio-political comic magazine in South Africa. Anton lectured at three universities in South Africa as senior lecturer for 15 years, and became a full time gallery artist in 2006.   Education   1991: BA Fine Arts (Graphic Design) at the University of Stellenbosch, South Africa. 1993: Honnours in BA Fine Arts (Illustration) cum laude at the University of Stellenbosch. 1997: MA in Fine Arts cum laude at the University of Stellenbosch, South Africa.   Select Exhibitions/Awards   Anton has exhibited his work extensively in South Africa, Europe and the USA (sixteen solo exhibitions in Johannesburg, New York, Paris, Vienna, Lisbon and Cape Town). He is represented by galeries in New York, Paris, and Vienna. His work has been published in numerous publications and catalogues around the world, and is held in many permanent art collections, including the Museum of Modern Art in New York. His book, "Pappa in Afrika", won the best international graphic novel award at the Amadora BD Festival in Portugal in 2015.   Gallery Representation   Huberty & Breyne, Paris, Jack Shainman, New York and Ernst Hilger, Vienna.   Statement about AOAP Submitted Artwork   Anton Kannemeyer has lately been criticized for his satirical works dealing with race. The exact same works were praised in articles in "The New York Times", "Art in America", "Modern Painters", "Art South Africa", etc. in the past. His work has always been anti-racist, yet after a series of attacks in social media in 2020, it has become impossible for him to show his work in South Africa - no gallery dares to exhibit his political work anymore. The liberal media, academics and journalists that used to support him, are all very quiet today, afraid of a backlash on social media. There is, according to him, a strong reaction against satire and irony today, and especially against controversial art. The submitted artworks are satirical, showing a "white man" in the position of the traditional American blues guitarist, a metaphor for the loss of political power. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Anton Kannemeyer The De-Platformed Blues 3, 2022 Acrylic, Pen and Ink on Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About   Anton Kannemeyer is a satirical artist and co-founding editor of "Bitterkomix", an anti-apartheid and socio-political comic magazine in South Africa. Anton lectured at three universities in South Africa as senior lecturer for 15 years, and became a full time gallery artist in 2006.   Education   1991: BA Fine Arts (Graphic Design) at the University of Stellenbosch, South Africa. 1993: Honnours in BA Fine Arts (Illustration) cum laude at the University of Stellenbosch. 1997: MA in Fine Arts cum laude at the University of Stellenbosch, South Africa.   Select Exhibitions/Awards   Anton has exhibited his work extensively in South Africa, Europe and the USA (sixteen solo exhibitions in Johannesburg, New York, Paris, Vienna, Lisbon and Cape Town). He is represented by galeries in New York, Paris, and Vienna. His work has been published in numerous publications and catalogues around the world, and is held in many permanent art collections, including the Museum of Modern Art in New York. His book, "Pappa in Afrika", won the best international graphic novel award at the Amadora BD Festival in Portugal in 2015.   Gallery Representation   Huberty & Breyne, Paris, Jack Shainman, New York and Ernst Hilger, Vienna.   Statement about AOAP Submitted Artwork   Anton Kannemeyer has lately been criticized for his satirical works dealing with race. The exact same works were praised in articles in "The New York Times", "Art in America", "Modern Painters", "Art South Africa", etc. in the past. His work has always been anti-racist, yet after a series of attacks in social media in 2020, it has become impossible for him to show his work in South Africa - no gallery dares to exhibit his political work anymore. The liberal media, academics and journalists that used to support him, are all very quiet today, afraid of a backlash on social media. There is, according to him, a strong reaction against satire and irony today, and especially against controversial art. The submitted artworks are satirical, showing a "white man" in the position of the traditional American blues guitarist, a metaphor for the loss of political power. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.    

Alanna Hernandez Strike 2, 2022 Coloured Pencil on Paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About   Alanna is an artist and educator living in Midcoast Maine. She creates abstract colored pencil works about trauma and human relationships, and how the effects of these are felt in our bodies.   Education   B.A. University of Massachusetts Amherst, 2010   Select Exhibitions/Awards 2022 INSIDE DRAFTSWOMEN, group exhibition curated by Christine Brey, Feinkunst Kruger, Hamburg, Germany. 2022 DRAWING WITHIN, solo exhibition, Interloc Projects, Rockland, ME 2021 LAUNDRY DAY 3, community exhibition and auction, New Systems Exhibitions, Portland, ME. 2021 IN COLOR, juried exhibition, Cape Cod Cultural Center, South Yarmouth MA 2019 Archipelago, The Island Institute Store, Rockland ME 2018 PLAY: ART INSPIRED BY CHILDRENS' ART, juried exhibition, The Harlow Gallery, Hallowell, ME 2018 HEALING NATURE: HUMAN VISION, ART, & THE ENVIRONMENT, juried exhibtion, Cape Cod Museum of Art, Dennis, MA   Statement about AOAP Submitted Artwork   Alanna is an artist and educator living in Midcoast Maine. She creates abstract work about trauma and human relationships; and how the effects of these are felt in our bodies. She uses abstract ribbon forms that are interrupted, or intruded upon, by external objects to explore bodily feelings like hurt, tenderness, and protection. Her work also explores how we adjust to, or conceal the wounds we receive from trauma. How do we make space in our bodies for these wounds, and our strong emotions? Her process of drawing with colored pencils on wood is disciplined and meditative. It invites the viewer to similarly slow down, and notice. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.  

A LATE VICTORIAN VASE-SHAPED COFFEE POT with a part-fluted body and a 'cape' rim, crested, by Charles Stuart Harris, London 1882 and three Elizabeth II plain wine coasters (a pair and one single), with turned wooden bases and inset bosses; the pot 8.25" (21cm) high; 27 oz weighable silver (4)

An Inuit green stone carving of a fish by Rageek, Cape Dorset, 1989, Canada igloo sticker and carving number '899844' sticker to base, variegated green steatite, stone, 9 ½in. (24.2cm.) long. * Comes with NARWHAL Inuit Art Gallery card with description, but probably sold by Coach House Gallery, Guernsey. * Some natural fractures etc, good.

An Inuit green stone carving of an owl by Eegyuadluk, Cape Dorset, 1980, number sticker to base '097', variegated green steatite, stone, 6 ½in. (16.5cm.) high. * Comes with NARWHAL Inuit Art Gallery card with description, but probably sold by Coach House Gallery, Guernsey. * Natural flaws only, good.

A 20th century Police cape with lion mask clasp, numbered 1914, together with an unbadged helmet. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

Cape of Good Hope Four Pence Stamp

A boxed Oriental bead decorated garment cape

A QUANTITY OF LADIES CLOTHING AND HANDBAGS IN FOUR BOXES AND LOOSE, including a squirrel fur cape and three other fur items, s.d., assorted evening and casual clothing, mostly size 18/20, together with scarves, hats, bags, purses and a small quantity of boots and shoes in sizes 6 and 7, used condition to all items (4 boxes and loose)

English School c.1900, oil on canvas, Portrait of a young lady wearing an ermine trimmed cape, painted to the oval, 77 x 64cm, unframed

A collection of oversized albumen prints, some mounted to original board; some late 19th century. Including photographs of: Honolulu, Emma Square, Magepa 1889;Australia, including:Bondi;Manly (x3);St Patrick's College;Botanic Gardens, Sydney;Circular quay;St Andrew's Cathedral;Paramatta River (x2);a Kangaroo and an Emu (both signed jp);Cape Raoul (with 'H. H. Bailey Hobart' stamp); Banjarmasin;A portrait of four Ainu men (historically called Ezo) (19th century);Four Polynesian (?) men;Ships off a tropical coast;A portrait of a Burmese couple with a child;an interesting photograph (x 4).

14 kt Gold Brillant-Krawattennadel, GG/WG 585/000, in WG mit einem Brillant ca. 0.10 ct get./p, L. ca. 5.5 cm, Schieber verg., ca. 2.5g Schätzpreis: 350, - EUR14 kt gold brilliant-tiepin , YG/WG 585/000,in WG with brilliant approx. 0.10 ct Cape/p, l. approx. 5.5 cm, slide gilt, approx. 2.5 g Valuation Price: 350, - EUR

14 kt Gold Rubin-Brillant-Ring, GG 585/000, 5 Rubin-Navettes zus. ca. 0.50 ct, 8 Brillanten zus. ca. 0.20 ct get./si-p, RW 52, total ca. 3.0 g, Meistermarke T.J. unged.14 kt gold ruby-brilliant-ring , YG 585/000, 5 ruby-marquises total approx. 0.50 ct, 8 brilliants total approx. 0.20 ct Cape/si-p, ringsize 52, total approx. 3.0 g, manufacturer's brand T.J. unidentified

14 kt Gold Ring mit Rubin und Brillanten, GG 585/000, facett. Rubin ca. 0.25 ct, 14 Brillanten zus. ca. 0.20 ct get.Weiß/p, RW 52, total ca. 2.3 g, Meistermarke ungedeutet14 kt gold ring with ruby and brilliants , YG 585/000, bevelled ruby approx. 0.25 ct, 14 brilliants total approx. 0.20 ct Top Cape/p, ringsize 52, total approx. 2.3 g, manufacturer's brand unidentified

Paar 18 kt Gold Saphir-Brillant-Ohrstecker, WG 750/000, 18 Brillanten zus. ca. 0.54 ct get./p, Halbkugel und Kugelabhängung bes. mit ca. 300 rundfacett. Pinksaphiren zus. ca. 8.00ct (beh.), L. ca. 5.5 cm, ca. 20.6 g Schätzpreis: 4600, - EURPair of 18 kt gold sapphire-brilliant-earrings , WG 750/000, 18 brilliants total approx. 0.54 ct Cape/pi, semi-sphere and sphere suspensions set with approx. 300 round bevelled pinksapphires total approx. 8.0ct (treated), l. approx. 5.5 cm, approx. 20.6 g Valuation Price: 4600, - EUR

18 kt Gold Diamant-Collier, WG 750/000, mittig Altschliff-Diamant ca. 3.70 ct l. get.-get. Weiß/p 1, gute Brillanz, umgeben von 12 Brillanten zus. ca. 1.20 ct l.get.-get./ si, total ca. 7.3 g, L. ca. 40 cm18 kt gold diamond-necklace, WG 750/000, centered old cut-diamond approx. 3.70ct l. Cape- Cape/p 1, good brilliance, surrounded by 12 brilliants total approx. 1.20 ct Crystal-Cape/ si, total approx. 7.3 g, l. approx. 40 cm

After Thomas Baines (1820 - 1875, English artist and explorer of British colonial southern Africa and Australia) Three views of Grahamstown, South Africa, circa 1849, offset lithographs, published for the South African Permanent Building Society by Cape Printers, 1964, framed and mounted under glass, 32 cm x 38 cm

Collection of assorted books inc. Army & Navy stores limited general price list/ Peter Fleming, News from Tartary, Jonathan Cape, 1st. 1936/Edgar Rice Burroughs, Tarzan and the Foreign Legion, W.H.Allen, etc....(2 boxes)

FOLLOWER OF JOHN RILEY, portrait miniature of a young man, long blond hair and dark cape, verso inscribed 'Sir Isaac Newton', 8 x 6.5cm

IRISH COUNTRY DANCING GIRLS DRESS,in red velvet, heavily embroidered with swans and Celtic motif, with cape

Kiakshuk (1886-1986 )- Graphic, Ancient meeting , skin stencil numbered 8/50 , cape Dorset Buffin Island 1960 , possibly hand signed on paper. 65X50 cm

3 ladies coats, Daks, Andrew Stewart Mohair Cape coat, etc. size 12/14.

ANDRÉ BUTZER (B. 1973)Untitled (Monochromes Bild) 2007 signed and dated '07 on the reverseoil on canvas340.6 by 260.2 cm.134 1/8 by 102 7/16 in.Footnotes:This work will be included in the forthcoming catalogue raisonné being prepared by the André Butzer Archive, California and Rangsdorf, Germany.ProvenanceAlison Jacques Gallery, LondonSaatchi Collection, LondonSale: Christie's, London, Post-War & Contemporary Art Day Auction, 17 October 2015, Lot 355Acquired directly from the above by the present ownerExhibitedLondon, Alison Jacques Gallery, André Butzer, 2007London, Saatchi Gallery, Gestamtkunstwerk: New Art from Germany, 2011-2012, p. 27, illustrated in colourLiteratureJonathan Cape Ed., GERMANIA, London 2008, p. 235, illustrated in colourThis lot is subject to the following lot symbols: * AR TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Books - Bannerman, David Armitage (1886-1979) - Birds of the Atlantic Islands, Vols two (1965) & three (1966) and History of the Birds of the Cape Verde Islands, Vol four (1968), illustrations by D.M. Reid-Henry, published by Oliver & Boyd, Edinburgh & London (3)

A Kjellander Swedish glass vase, decorated with a figure wearing a cape and holding a staff, height 8.5ins

CAPE OF GOOD HOPE 1863 4d blue pair triangulars used, margins all round (few tight) SG 19 Cat £260 Good

1 hf bt Montana Late Harvest Rhine Riesling 1987 Marlborough 1 bt Giesen Wine Estate Sauvignon Blanc 1993 Marlborough ms, sl bs, foil sl crusted, signs of seepage 1 bt Coleraine Cabernet Sauvignon/ Merlot /Cabernet Franc 1986 Hawkes Bay us/ts, sl stl, foil oxidised 1 bt Cloudy Bay Cabernet Merlot 1987 bottled by Cape Mentelle Ltd i.n, sl bs 1 bt Villa Maria Private Bin Sauvignon Blanc 1995 Marlborough ts 1 bt Jackson Estate Sauvignon Blanc 2004 Marlborough hf 2 bts Foremost Syrah 2015 Hawkes Bay Above seven bottles and one half bottle

1 bt Nederburg Cabernet Sauvignon 1978 Paarl i.n, sl bs, scuffed label 1 bt Siyabonga Pinotage 2002 Western Cape i.n 1 bt Siyabonga Cabernet Sauvignon Merlot 2002 Western Cape i.n 3 bts Goats Do Roam in Villages 2003 Coastal Region i.n 1 hf bt Van Loveren Signature Series Noble Late Harvest Rhine Riesling Reserve 2006 2 hf bts Glen Carlou The Welder Natural Sweet Chenin Blanc 2013 Paarl ind oc Above six bottles and three half bottles

Lot 30 lose Diamanten, zus. ca. 0.45 ct Weiß-get. Weiß/p 1, Brillanten und 8/8- Diamanten Schätzpreis: 350, - EURLot 30 loose diamonds, total approx. 0.45 ct Wesselton-Cape/p 1 , brilliants and 8/8- diamonds Valuation Price: 350, - EUR

Lot lose Diamanten zus. 2.20 ct Weiß-get./si- p 1 Schätzpreis: 1600, - EURLot loose diamonds total 2.20 ct Wesselton- Cape/si- p 1 Valuation Price: 1600, - EUR

Lot 2 lose Diamanten zus. 1.01 ct get. Weiß/p2 Schätzpreis: 1300, - EURLot 2 loose diamonds total 1.01 ct Cape/p2 Valuation Price: 1300, - EUR

Lot lose Diamanten zus. 1.80 ct Weiß-get./p 1 Schätzpreis: 1400, - EURLot loose diamonds total 1.80 ct Wesselton- Cape/p 1 Valuation Price: 1400, - EUR

Lot lose Diamanten zus. 2.14 ct Weiß-get./si- p 1 Schätzpreis: 1550, - EURLot loose diamonds total 2.14 ct Wesselton- Cape/si- p 1 Valuation Price: 1550, - EUR

Lot 33 lose Diamanten zus. 1.11 ct Weiß-get./ p 1 Schätzpreis: 850, - EURLot 33 loose diamonds total 1.11 ct Wesselton-Cape/ p 1 Valuation Price: 850, - EUR

Lot lose Brillanten total ca. 1.77 ct Weiß-get.Weiß/p Schätzpreis: 1300, - EURLot loose brilliants total approx. 1.77 ct Wesselton-Top Cape/p Valuation Price: 1300, - EUR

18 kt Gold Smaragd Diamant Ring, 1940er Jahre, GG/WG 750/000, Smaragd-Achteck ca. 2.0 ct (nat. Merkmale/Kerben), 28 Altschliff-Diam. zus. ca. 0.50 ct Weiß-get./si-p 2, total ca. 10.0 g, RW 59.5 Schätzpreis: 2600, - EUR18 kt gold emerald diamond ring, 1940s, YG/WG 750/000 , emerald-octagon approx. 2.0 ct (nat. characteristics/nicks), 28 old cut diamond total approx. 0.50 ct Wesselton- Cape/si-p 2, total approx. 10.0 g, ringsize 59.5 Valuation Price: 2600, - EUR

14 kt Gold Saphir-Diamant Ring, um 1900, RoseG 585/000, gepr., 1 facett. Saphir ca. 0.60 ct, 10 Altschliff-Diam. zus. ca 0.50 ct Weiß-get. Weiß/p 1, RW 55, sammelwürdig Schätzpreis: 1200, - EUR14 kt gold sapphire-diamond ring, 1900s , RoseG 585/000, tested, 1 bevelled sapphire approx. 0.60 ct, 10 old cut diamond total approx. 0.50 ct Wesselton-Cape/p 1, ringsize 55, collectable Valuation Price: 1200, - EUR

14 kt Gold Art-Deco-Diamant-Ring, GG 585/000, deutsch um 1920/30, in Platin gefasste 2 Altschliffdiamanten zus. ca. 0.90 ct Weiß-get.Weiß/p, umgeben von 34 Diamantrosen und Altschliffdiamanten zus. ca. 0.50 ct, Millegriffverz., RW 56, ca. 3.2 g14 kt gold Art-Deco-diamond-ring , YG 585/000, german approx. 1920/30, in platinum set 2 old cut diamonds total approx. 0.90 ct Wesselton-Top Cape/p, surrounded by 34 diamondroses and old cut diamonds total approx. 0.50 ct, mille grain setting, ringsize 56, approx. 3.2 g

Platin Art-Deco Diamant-Perlen-Brosche, Frankreich um 1925, Platin gepr., länglich, durchbrochen gearbeitet, 17 Altschliffdiamanten zus. ca. 0.80 Weiß- get.Weiß/p, Diamantrosen zus. ca. 0.50 ct Weiß-get. Weiß/p, 2 kl. Zuchtperlen, D. ca. 3.5 mm, L. ca. 7.5 cm, Handarbeit, Millegriffverz., sammelwürdig Schätzpreis: 2800, - EURPlatinum Art-Deco diamond-pearl-brooch, France approx. 1925, platinum tested, fret work, 17 old cut diamonds total approx. 0.80 Wesselton-Top Cape/p, diamond roses total approx. 0.50 ct Wesselton-Cape/p, 2 small cultured pearls, diam. approx. 3.5 mm, l. approx. 7.5 cm, hand-made, mille grain setting, collectable Valuation Price: 2800, - EUR

A COLLECTION OF APPROXIMATELY FIFTY SCENIC / PORTRAITURE CABINET CARDS, examples include Lieut-Col R.S.S. Baden Powell Souvenir of South Africa 1899-1900, two images of Spode china, Alice Atherton as Robinson Crusoe, a Good Morning & Good Night images of babies by G.W.Bacon & Co Strand London, the collection comprising local, British, European and Worldwide examples from places such as Bristol, Burton on Trent, Cardiff, Ceylon, Piza, Napoli, Cape Town etc., a signed sketch portrait and two signed boudoir? cards

A Yoruba Shango post, Nigeria, a seated male figure with animal hide cape and attributes above a seated female, a child at her breast and another in swaddling on her back, above a seated monkey, its hands on its jaws resting upon its knees, the tail curling around the base, 97.5cm; and a Bwa antelope plank mask, Burkina Faso, the mask as a stylised antelope, a male figure standing on the horns, flanks by bands of geometric carved decoration, painted in red and black pigments, with natural fibrous hair, 100cmRoger Todd Collection, London, UK

Henri de Toulouse-Lautrec (1864-1901)Ambassadeurs: Aristide Bruant (Delteil 343; Adriani 3; Wittrock P4) Lithograph in colours, 1892, on two joined sheets of wove paper (as issued), Wittrock's only state, printed by Ancourt, Paris, with the République Française inkstamp, with margins, laid onto linen, with vertical and horizontal folds, skillfully repaired splits and losses and touched-in restorations in places, surface dirt, mainly to the margins, the colours slightly attenuated but still good, framed; together with the original Les Chansonniers de Montmartre songbook, a special edition on Aristide BruantSheet 1364 x 939mm. (57 x 37 7/8 in.)Footnotes:Toulouse-Lautrec's oeuvre includes paintings, prints and drawings and he considered printmaking to be just as important as painting. It was in lithography later in his career that he would excel and seal his reputation as one of the greatest colour lithographers of the 19th century.He moved to Paris in 1882 where he experimented with lithography, using dramatic scale, bold outlines and bright colours, inspired by the aesthetics of Japanese woodblock prints which were popular at the time. Toulouse-Lautrec's studio was in Montmartre and he became very well acquainted with the theatrical world, having accepted commissions in the local dance-halls in the 1880s. His paintings hung at the Moulin Rouge and Le Mirliton, where his friend Aristide Bruant was a cabaret singer.He produced 351 lithographs within a ten-year period. Twenty-eight of these were posters which were incredibly popular. Moulin Rouge-La Goulue, produced for the opening of the eponymous cabaret, was an overnight sensation and more commissions followed.Aristide Bruant commissioned the present poster to advertise his new act at the Ambassadeurs café-concert just off the Champs-Elysées, having moved from Montmartre to the more fashionable boulevards of central Paris. Toulouse-Lautrec's knowledge of this world and his friendship with Bruant gave him an advantage when producing these images. He conveys Bruant's big personality by filling the frame with his imposing figure and depicting him in his recognizable customary attire of cape, broad-brimmed hat and bright red scarf, using primary colours to capture people's attention.Toulouse-Lautrec became adept at producing the effects he wanted to render his subjects in just the right way. For Ambassadeurs he drew directly onto the stone and also employed a brush spatter technique where a fine mist of colour is sprayed onto the stone using a brush and mesh. Separate stones were used for each colour and printed in a particular order so they did not interfere with each other and registration marks ensured that they were all in the correct place. Toulouse-Lautrec was assisted by the Ancourt printing firm to print these posters. Their presses were not large enough to print the posters in a single pull so two sheets were used and stuck together. As a commercial poster it was printed in a large edition on thin wove paper and not intended to last a long time, so it is remarkable that it has endured. This impression has been in the same family since the 1940s when it was acquired by the owner's father during a sojourn in Paris. It is accompanied by a copy of Les Chansonniers de Montmartre songbook, containing the sheet music and words for songs in Bruant's act, a further enticement for the audience. It is a testament to Toulouse-Lautrec's technical skill, his powers of observation and use of colour that these images captured people's imagination and became part of the visual language of the belle époque era.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Queen’s South Africa 1899-1902, 2 clasps, Cape Colony, Orange Free State (89342 Dvr: A. E. Smith, 79th. Bty: R.F.A.) nearly very fine £60-£80