signed and dated 1862oil on card laid down on backing card33,5 by 25,5 cm; 56,5 by 48,5cm including framing Portraiture was Fredrick Timpson I’Ons’ true métier and he was best when depicting amaXhosa and Khoi figures, in groups or individually (Redgrave & Barlow). Lots 461 and 462, depictions of amaXhosa figures in draped traditional attire, are excellent examplars of I’ons classical portraiture style. In Sandile with Subjects, Sandile is regal in his role as chief while receiving a couple. Incidentally, there is a photograph of Sandile in the selfsame pose (SA History). As the men converse the woman shyly bites her finger. In the relaxed scene of Sandile and Bhotomane (also known as Old Botman) sharing snuff, the atmosphere is heightened by the amusing interaction of the dog and frog in the lower right. Typically of I’ons, an aloe is included in both works. There is a liveliness to the paintings that confirms, to quote Redgrave and Barlow (p42), “[t]he subjects of his portraits are not types. They are individuals, observed, understood and interpreted.” -L.R Redgrave, JJ & Bradlow, E, Fredrick I’Ons, Artist, Cape Town: Maskew Miller, 1958SA History, “Xhosa Chief Sandile Killed”, www.sahistory.org.za/dated-event/xhosa-chief-sandile-killed, Accessed 26 May 2022
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signed and dated 2015 on the reverse, Circa London gallery label affixed to the reverse bears the artist's name, title and artwork detailsoil on canvas40,5 by 51cm; unframed EXHIBITEDCirca London, 2015 In 2015 Table Mountain was engulfed in a raging fire that destroyed everything in its path. The multipart Der brennende Wald series emulates the course of the blaze. Hindley documents this destructive force capturing pivotal movements and documenting its terrifying ferocity. From the ground, from the sea, the air, from highways and the slopes, Hindley continually shifts the viewpoints. Grand panoramic vistas alternate with close-ups that almost immerse us in billowing walls of flame that seem so real it scalds our flesh, smoke chokes our throats, and our eyes run. Sometimes the scene is seen in crisp focus, and sometimes the smoke causes blurring so pronounced that the image verges on abstraction. This body of work guides the audience through the struggle, agony, death, defeat and finally the reconciliation and rebirth of the environment.-A.H Everard-read-capetown.co.za. 2022. MATTHEW HINDLEY | Der Brennende Wald XVIII | 2015 | Everard Read - Cape Town. [online] Available at:www.everard-read-capetown.co.za/artist/MATTHEW_HINDLEY/works/434>
signed and inscribed 'Trial Proof' in pencil and embossed with the Artist's Proof Studio chopmark in the marginaquatint etchingsheet size: 67 by 86cm; 81,5 by 99,5cm including framing While discussing his lifelong association with printmaking at a conference held in Cape Town in 2003, William Kentridge related a nostalgic account about a print of a cat from his childhood. This was a print gifted to him by renowned artist, Cecil Skotnes. Kentridge detailed how this print hung on his wall, and in many ways, the moustache-like whiskers and cat-like eyes looked to him like a self-portrait of Skotnes. This ignited a spark and interest in the way an animal or object could take on human qualities, and anthropomorphism is a theme seen throughout Kentridge’s extensive and prolific oeuvre. Cats, in particular, are an important and recurring motif in Kentridge’s work, and metal cats even stand guard at the artist’s front gate and above his studio door. Kentridge maintains that this recognisable and meaningful symbol is indebted to that gifted Skotnes cat. Lot 528, titled Another Cat, is an energetic and dynamic work, where subtle postural nuances, such as the arch in the cat’s back, make the work come alive with a taught yet playful feline energy. Berman states, “The origin of this powerful image is derived from an etching plate begun with Malcolm Christian at Caversham Press over 15 years ago and reminiscent of the famous “Scribble Cat” published by David Krut Studio in 2010. The Kentridge studio found the plate stored away on a shelf, with a single state proof. Interested in breathing it back to life, Kentridge suggested it be continued as a collaboration with APS [Artist Proof Studio]. In response to seeing the trial proof of two plates printed in two different densities of etching ink, Kentridge has added two more layers to each plate; one with energetic drypoint lines and the second with his painterly wash strokes characteristic of the more experimental use of coffee lift. The resulting image embodies both the creative energy of the artist and poised tension of a cat.” (Berman 2020).- A.C Berman, K. 2020. Notes on another cat, Creative Feel [O]: https://creativefeel.co.za/2020/02/notes-on-another-cat/ Accessed 7 May 2022Williamson, S. 2003. Artthrob [O]: https://artthrob.co.za/03sept/diary.html Accessed 7 May 2022
A small bisque head child doll by Schoenau & Hoffmeister circa 1920, with 5 piece bent limb composition body, brown closing eyes, open mouth with teeth, real and painted lashes, wearing a period silk dress and cape plus underskirt, knitted pants and socks. Impressed marks 'SPBH' (with star) '2/o'. Height 32cm. No obvious chips or cracks to bisque head. Not viewed under UV light.
A Kestner bisque head character baby doll, with blue lashed sleeping eyes, bent-limbed composition body, wearing satin dress with blue jacket (worn as cape as cuffs too small), bonnet and bootees. Mould no 262, impressed mark 'K&Co 262/45'. Height 50cm. No obvious cracks or chips to bisque- not viewed under UV light
Collection of early 20th century baby textiles including a cream woollen carry cape/coat length 85cm, a long silk gown length 104cm, 2 pairs cotton nappy pants with button fastening, bonnet, cream silk lined woollen turnover shawl trimmed with ribbon and lace 125x125cm and 2 undergarments (8)
![History, Hackett [Francis] Henry The Eighth, Jonathan Cape. Davies [Emily] The higher Education of Women(1866), The Hambleton](https://cdn.globalauctionplatform.com/0a2f402f-8f1b-499b-9afb-ae9f01064aef/12ad4e7c-94a8-4f3b-8991-aeae010cce3f/468x382.jpg)
A Boer/Great War group of four medals, to include Queen's South Africa (1899-1902) 3rd type reverse with S.A. 1901, 1902, Orange Free State and Cape Colony clasps, naming 3421 PTE. F. SKIPP. RL: FUS:, 1914 Mons Star, British War and Victory, L-1082 SJT. F. SKIPP. 1/R. FUS., together with an Edwardian silver double sided portrait pendant showing Frederick Skipp and his wife. (5)
FLEMING, IAN: CASINO ROYALE London, Jonathan Cape, 1953 FIRST EDITION, IN THE FIRST ISSUE DUST JACKET OF THE FIRST JAMES BOND NOVEL. 8vo., original black cloth lettered in red with red heart on upper cover, original unclipped dust jacket. Contemporary ownership inscription on front free endpaper, small restoration to jacket near head of spine.
FLEMING, IAN: YOU ONLY LIVE TWICE London, Jonathan Cape, 1964 FIRST EDITION. PRESENTATION COPY INSCRIBED BY THE AUTHOR – “To Philip CMG from Ian (failed OBE)†on front free endpaper. 8vo., original black cloth with lettering in gilt and silver, original dust jacket, with a few tiny chips.
Three handbags, to include two small black leather Radley handbags, together with a gazelle fur and brown leather shoulder bag by FSP Collection Cape Town, measuring 18 to 44cm, first with maker's dust bagCondition- Overall good condition- No obvious marks or wear - Two without maker's dust bags- For enquiries about this lot please contact Sophie Higgs at sophie@kinghamsauctioneers.com
Group of two NASA Apollo 13 commemorative works including one postcard and collage. The postcard is stamped April 11, 1970 from Cape Canaveral, Florida and is signed by Fred Haise, lunar module pilot of Apollo 13. The collage features photographs of the crew and Space Shuttle Enterprise and is signed in ink by Fred Haise and annotated "On our way to the Moon! Apollo 13 LMP."Postcard; Height: 3 3/4 in x width: 6 1/2 in. Collage; Height: 8 1/2 in x width: 11 in.
Le Cain (Errol John, 1941-1990). A Sea Deity, possibly Amphitrite, watercolour, highlighted with bodycolour, depicting a fantastical sea deity with one foot on a rock against a background of sea and clouds, dressed in a green tunic of seaweed with over-sized quilted sleeves and pantaloons studded with pearls, and a large billowing cape patterned with swirls, with hair arranged as a shell adorned with a scallop shell, pointed slippers fashioned as fish, and holding a trident with prongs in the shape of 3 fish, signed in ink lower right, 26.5 x 22.7 cm (10 1/2 x 9 ins), framed and glazed (44.5 x 39 cm)QTY: (1)NOTE:Illustrator Errol Le Cain had no formal art training, but from an early age, growing up in Singapore and India, he showed himself highly attuned to the decorative influences around him. By the age of 11 he was producing distinctly stylised and vibrant images which re-interpreted elements from Moorish symmetry, Indonesian shadow puppets, and Baroque fantasy. After an early career in TV and film animation, the artist began illustrating books in 1968. His enchanting and ethereal style was particularly suited to the portrayal of myths, legends and fairy tales, for which he is best known. After twice being runner up for the Kate Greenaway Medal, Le Cain won the award in 1985 for his illustrations to Longfellow's Hiawatha’s Childhood.
Searle (Ronald, 1920-2011). King Penguin, 1951, pen and ink, depiciting a frightened man riding a horse looking back towards a flying cape, wig and hat, signed in blue ink lower right along with 'Sketch for film John Gilpin 1951', 'The Stalls' in pencil to lower left, 26 x 34.7 cm (10 1/4 x 13 5/8 ins), additional pen and ink drawing of a wheel to verso, 20.8 x 12.2 cm, mounted, framed and glazed (43.5 x 51.5 cm), QTY: (1)
Dahl (Roald). The BFG, 1st edition, London: Jonathan Cape, 1982, illustrations by Quentin Blake, slight toning to text block margins and slight vertical creasing (paper flaw?) to pp. 63/64 , original cloth in dust jacket, spine ends a little faded with a few short closed tears, 8voQTY: (1)NOTE:A rare, special double-signed presentation copy. Inscribed to front free endpaper in blue fibre pen, 'HAPPY BIRTHDAY DAISY, Roald Dahl, 1982'. Additionally inscribed to front pastedown with the same pen in large capital letters in a juvenile hand, 'SOPHIE TO DAISY'.Roald Dahl's daughter Tessa was a close friend of Daisy's mother and Tessa's daughter, Sophie, the inspiration for BFG's heroine, would often go to Daisy's house for tea and to play. The vendor, Daisy [Thomson], was given the book on her 5th birthday, which was signed for her by both the young Sophie and her grandfather Roald Dahl. Long before he wrote the book Dahl had told the story of a little boy Jody and the giants to his own children. Later, Jody transformed into Sophie, Dahl's eldest grandchild who, like the book's heroine, wore glasses. Sophie Dahl (born 1977) is an author and former fashion model.
Fleming (Ian). Dr No., 2nd impression, London: Jonathan Cape, May 1958, bookplate of Laurence Clark to front endpaper (with faint clear tape residue mark), original cloth with silhouette of a dancing girl to upper cover, price-clipped dust jacket, small clear tape marks to verso, a few light marks to rear panel, 8vo, together with four others: Casino Royale, 1957 re-issue, Live and Let Die, 1959 reprint, Moonraker, 1958 re-issue, and From Russia, With Love, 1957 reprintQTY: (5)
Fleming (Ian). For Your Eyes Only, 1st edition, London: Jonathan Cape, 1960, bookplate of Laurence Clark to front endpaper (with a couple of faint clear tape residue marks, original cloth, price-clipped dust jacket, small clear tape marks to verso (with show-through to recto spine and panels), 8voQTY: (1)
Fleming (Ian). For Your Eyes Only, 1st edition, London: Jonathan Cape, 1960, tiny closed tear and light marginal crease to p.159, original cloth, dust jacket, small restorations at head of spine and front panel, spine lettering overpainted and partially peeling off onto protective plastic cover, 8vo QTY: (1)
Fleming (Ian). For Your Eyes Only, 1st edition, London: Jonathan Cape, 1960, original publisher's cloth gilt, dust jacket, spine faded and chafed to head, 8vo, together with:From Russia With Love, 1st edition, London: Jonathan Cape, 1957, very faint shelf lean, rear board slightly marked, front board faintly rubbed, later dust jacket, spine extremities rubbed with slight loss, 8vo, withOctopussy, 1st edition, London: Jonathan Cape, 1966, original cloth gilt, dust jacket, broadly price-clipped, 8vo, with two others by FlemingQTY: (5)
Fleming (Ian). From Russia With Love, 1st edition, London: Jonathan Cape, 1957, original cloth, dust jacket, spine toned and chipped at head, some toning to rear panel and at head of flaps, 8vo, together with You Only Live Twice, 1st edition, London: Jonathan Cape, 1964, original cloth, dust jacket, small circular stain to front panel, spine and upper extremities a little toned, 8voQTY: (2)
Graves (Robert). Good-Bye to All That. An Autobiography, 1st edition, 1st issue, London: Jonathan Cape, 1929, portrait frontispiece, 7 plates, one or two light finger marks, original salmon cloth, dust jacket, professionally restored at spine ends, head of rear panel and folds, 8vo QTY: (1)NOTE:First edition, first state with the passages on pages 290 & 341-343. These were included without Siegfried Sassoon's permission and a second issue hastily printed with asterisks on the blank pages where the offending material had been removed.
The Naval General Service Medal with Guadeloupe clasp to C. BROWN, MIDSHIPMAN. together with his portrait in oil. Commander Brown (1789-1869), the Master of HMS Warspite, was the first to circumnavigate the globe in a British ship of the line. When news reached London that the Warspite had arrived safely in Portsmouth on July 28th 1827, the High Admiral, later William IV, coached down from London to give his congratulations. The NGSM and clasp relate to his service on the Lorna schooner at the taking of Guadeloupe in 1810, where he was frequently employed in her boats in the capture of enemy vessels. His c. 1875 portrait by the then-renowned copyist, Isabella May, is believed to be a copy of an original painting, or an original work based on his photograph. Provenance – by direct descent through the family. NAVAL AND MILITARY GAZETTE – Saturday 31 July 1869 Commander Charles Brown, R.N., died at 55 Hans Place, S.W., on July 19, aged 80. He entered the Navy on April 5, 1809, A.B. on board the Laura schooner, Lt-Com. C.N. Hunter. While attached to that vessel, of which he became Midshipman in the following September, and Master's Mate in October 1811, he assisted at the reduction of Guadeloupe, was much employed in her boats, and contributed to the capture of many vessels. On the evening Feb. 18, 1811, he was sent from Antigua to cruise off the island of St. Bartholomew, in a 25ft. cutter, carrying a small brass gun and ten men. At daylight the next morning, a heavy gale having sprung up during the night, the boat went down, about seven or eight miles from the island of St. Kitts. Turning out the gun, ballast, &c., she fortunately came to the surface again, and enabled Mr. Brown and five others, by occasionally holding on to the keel, remain afloat until, after buffeting the waves for six or seven hours, they were gradually blown on shore exhausted, and much hurt in driving through the surf. Of the five men who perished, one was for some time sustained by Mr Brown, whose failing strength at last compelled him to withdraw his support. In Sept. 1812, while navigating a prize to Halifax, he was captured by the American privateer Saratoga, and taken to New York. Being soon, however, exchanged, he proceeded to Halifax, and returned home thence as a Supernumerary, on board the Africa,64, flag-ship of Vice-Adm. H. Sawyer. From Feb. 1813, until Aug. 1815, he served as Master’s Mate and Second Master in the Duncan, 74, Capts. R. Lambert, T. Ussher, and S. Chambers, which ship, after cruising off Brest and Toulon was ordered to the Coast of Brazil for the purpose of conveying Don John of Portugal to Lisbon and actually bore, for a short time whilst lying at Rio de Janeiro, the flags, simultaneously, of Rear-Adms. M. Dixon and Sir J.P. M. Dixon and Sir J P Beresford. On Aug. 2, 1815, Mr Brown passed the examination for Lieut., and the 6th of the following month he passed the one for Master, to which rank he was on the same day promoted. His succeeding appointments afloat were in nearly continuous succession—Sept. 6, 1815, to the Leveret, 10, Capt. J. Theed, on the St Helena Station; July 10, 1818, and June 3, 1820, to the Bann, 20, Capt. A. Mitchell, and Iphigenia, 42, Capt. H. Parker, both in the West Indies; Nov. 5, 1821, to the Andromache, 44, bearing the broad pendants of Commodores J. Nourse and C. R. Moorsom, at the Cape of Good Hope; Sept. 9, 1825, to the Warspite, 76, which ship he served in the East Indies under the flag of Rear-Adm W. H. Gage and the broad pendant of Sir J. Brisbane, returned home under the command of Capt. Hon. R. S. Dundas, and was further employed under the flag of Sir E. Codrington, in the Mediterranean; Jan. 21 and Sept. 17, 1829, and May 1, 1830, to the Kent, 78, Capt. J. F. Devonshire; St Vincent, 102, flag-ship of the Earl of Northesk, and Caledonia, 120, bearing the flags of Sir M. Dixon and Sir E. Codrington, all on the Homo Station; and Jan. 14, 1832, to the command, which he retained until Nov. 21, 1833, of the Romney troop-ship. When Master of the Bann, Mr Brown surveyed the Lasal Bank, in the Gulf of Mexico; and when in the Andromache at the island of Pemba, on the East Coast of Africa, he accomplished the survey of Chak-Chak Bay, which had been unavoidably left incomplete by Capt. W. F. Owen, of the Leven. He brought the Warspite home through Cook Strait, New Zealand, thus accomplishing the circuit of the globe in a line-of-battle ship, the first that ever performed the voyage. During the time he was in her he surveyed Man-of-War Bay in the island of Egeria. While commanding the Romney, Mr Brown was stationed at Lisbon for the reception of British subjects during the Civil war between Dom Pedro and Dom Miguel. He also visited the West Indies and North America. After he left the Romney he was successively employed—ln examining Warrant Officers’ accounts at the Admiralty, from Feb. 19, 1834, until Sept. 11, 1836; as Assistant Master-Attendant at Chatham from Sept. 12, 1836, until Feb. 9, 1837; at Sheerness from Feb. 10, 1837, until Aug. 22, 1840; and at Portsmouth from Aug. 23, 1840, until June 27, 1846; and as Master-Attendant at Portsmouth from June 28, 1846, until June 28, 1850. He was awarded Commander’s rank on the date last mentioned. Com. Brown had received a medal for the capture of Guadeloupe. .
A large and heavy pair of limited edition (marked 1-20 and 2-20) modern bronze figural sculptures by RUSTY PHELPS (American, b. 1936): each depicting a female subject in long flowing cape and headdress (one decorated in oils) and reaching up to four open-winged birds in flight, each bronze full signed and numbered and on conforming moulded oak plinth base (damage to one wrist, hand now away and requiring re-fixing upon original pinion) (each approx. 68cm high including plinth)
A Boer War/First World War Trio, awarded to 6913 PTE.G.H.BURROUGHS, VOL:COY GLOUC.REGT, comprising Queen’s South Africa Medal with four clasps CAPE COLONY, ORANGE FREE STATE, SOUTH AFRICA 1901 and SOUTH AFRICA 1902, British War Medal (LIEUT.) and Victory Medal (LIEUT.), loosely mounted on a display board, together with his slide rule by Keuffel & Esser Co., the reverse inscribed in ink with his name R.G.A., in original box
Taxidermy: a mounted 'Topi' headMounted on a mahogany shield plaque, with oval plate inscribed 'TOPI', 42cm wide, 70cm high (horn length 55cm).Though labelled as a Topi (Damaliscus lunatus jimela), it differs sufficiently in the shape of the horns, positioning of the ears and length of the nose to doubt this attribution. It may actually be a mature Cape Bushbuck (Tragelaphus scriptus) or a variety of antelope.
Battle of Friedland, 1807, a bronzed-lead (?) medal by B. Andrieu & A. Galle, laureate head of Napoleon right, rev. Napoleon standing facing, wearing cape and Greek helmet, placing sword in sheath, dead bodies at his feet, olive tree to right, 40mm (Bramsen 632; BDM II, 197). Some edge marks, otherwise about extremely fine £60-£80
Battle of the First of June, 1794, a gilt-bronze medalet, unsigned, 24mm (BHM 386); Battle of Cape St Vincent, 1797, a copper medal, unsigned, 29mm (BHM 434); Victories Celebrated, 1797, a copper medal, unsigned, 33mm (BHM 442); Preliminaries of Peace, 1801, a brass medalet by H. Kettle, 25mm (BHM 514); Peace of Amiens, 1802, a brass medalet, unsigned, 24mm (BHM 544); Defeat of Napoleon, 1814, medalets (5) by T. Kettle, 25mm (BHM 794, 796-7, 800); Column Erected to Napoleon in the Place Vendôme, 1833, a copper medal by J. Domard, 25mm (Bramsen 1910); Completion of the Arc de Triomphe, 1836, a copper medal by J.-P. Montagny, 26mm; together with assorted other medalets, tokens, etc (17) [29]. Varied state, several pierced £100-£150
![Battle of Cape St Vincent, 1797, a gilt-white metal medal, unsigned [by T. Wyon Sr], 38mm (BHM 433); Opening of Liverpool Mus](https://cdn.globalauctionplatform.com/1ea0ffeb-8ed4-4612-bb8e-aea0011ef661/42f0f02f-1782-46b3-97db-aea10105f6ae/468x382.jpg)
Battle of Cape St Vincent, 1797, a gilt-white metal medal, unsigned [by T. Wyon Sr], 38mm (BHM 433); Opening of Liverpool Museum and Library, 1860, a copper medal by J. Moore, 45mm (BHM 2690); International Health Exhibition, 1884, a copper medal by L.C. Wyon & J. Pinches, 45mm (BHM 3175); Victoria, Golden Jubilee, 1887, a copper medal by Pinches, 37mm (BHM 3275); Battles of Heligoland Bight and Dogger Bank, 1914-15, a white metal medal by Spink, 45mm (BHM 4117); Sinking of the SS Lusitania, 1915, a cast bronze medal after K. Goetz, 55mm (BHM 4118); together with other British and World medals and medalets in silver (3), base metal (17) [26]. Varied state, second scratched on reverse £100-£150
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