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1818 original Horse Guards recruiting department circular discontinuing the enlistment of 'Two Boys per Troop' and discontinuing the enlistment of 'Boys of 5ft 4" in height for Regiments of Infantry at and to the eastward of Cape of Good Hope. 

A PANORAMIC PHOTOGRAPH OF CAPE TOWN, SOUTH AFRICA BY JAMES BLAKEWAY

Victorian School, head and shoulders of a girl in a hooded cape, unsigned, watercolour on paper, 15cm x 10cm.

A Bound Volume "Seven Pillars of Wisdom, a Triumph" by T E Lawrence, Published Johnathan Cape 1935

A lady's mink cape / jacket CONDITION REPORT: This is in good condition, the piece is more a cape however not a jacket as it has no arm holes. The dimensions are roughly 54 cm x 53 cm.

Lynd Ward, two novels in woodcuts, God's Man, 1929 and Man and Madman's Drum, 1930, published by Jonathan Cape, London and Toronto

A COLLECTION OF UNBOXED AND ASSORTED STAR WARS FIGURES, all in playworn condition, majority are missing weapons/accessories, to include a quantity of original twelve figures (all marked GMFGI Hong Kong 1977), small head Hans Solo, Princess Leia (missing cape), Darth Vader (blank raised bar), R2D2, Chewbacca, Death Squad Commander and two x Stormtroopers, other figures, include two x Boba Fett (CPG 1979) and a mixture of mainly early 1980's Hong Kong, China and Taiwan made figures (38)

A COLLECTION OF STAMPS to include four albums with early to mid period Worldwide collection, main value in early Strand album with a few better examples Cape triangular

(See English version below)Marlene Dumas (Kapstadt 1953 – lebt in Amsterdam). „A Long silence“. 1989Farblithografie auf Papier. 25,7 × 25 cm (50,7 × 45 cm) ( 10 ⅛ × 9 ⅞ in. (20 × 17 ¾ in.)). Signiert und datiert.Rüggeberg, Griffelkunst, 257 B1.–Hamburg, Griffelkunst, 1989. [3022]Zustandsbericht: Harmonischer Gesamteindruck. Die Blattkanten ohne Einrisse oder Fehlstellen. Die obere linke Ecke mit leichter, diagonal verlaufender Knickspur (ca. 2 cm). Die untere rechte Ecke leicht bestoßen. In der unteren Blattkante mittig ein vertikal verlaufender Knick (ca. 10,7 cm). Im Randbereich mit vereinzelten schwachen Dellen und lokal schwach fingerfleckig. Vorder- und rückseitig stellenweise hellbraune Fleckchen. Rückseitig minimal beriebenWir berechnen auf den Hammerpreis 30% Aufgeld.Marlene Dumas (Cape Town 1953 – lives in Amsterdam). ”A Long silence”. 1989Colour lithograph on paper. 25,7 × 25 cm (50,7 × 45 cm) ( 10 ⅛ × 9 ⅞ in. (20 × 17 ¾ in.)). Signed and dated.Rüggeberg, Griffelkunst, 257 B1.–Hamburg, Griffelkunst, 1989. [3022]Condition report: Harmonious overall appearance. The sheet edges without tears or losses. A slight diagonal crease mark (approx. 2 cm) in the upper left corner. The lower right corner is lightly bumped. A vertical crease (approx. 10,7 cm) in the centre of the lower sheet edge. In the margins isolated faint dents and locally faintly finger stained. Recto and verso in places small light brown stains. Minimal scuff marks on the reverseWe charge 30% premium on the hammerprice.

(See English version below)Marlene Dumas (Kapstadt 1953 – lebt in Amsterdam). „Amy-Back to“. 2015Farblithografie auf Velin. 40,8 × 47 cm ( 16 ⅛ × 18 ½ in.). Bezeichnet, betitelt, signiert und datiert.Ex. 28 von 100 nummerierten Abzügen. Amsterdam, Bernard Ruijgrok, 2015 (mit dem Prägestempel). [3925]Provenienz: The Blake Byrne Collection, Paris/Los AngelesZustandsbericht: Ex. 28/100. In sehr gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Stellenweise mit minimalen braunen Fleckchen. Unter UV-Licht sind keine Restaurierungen erkennbar. Rückseitig entlang der Kanten mit weißem Textilklebeband am Unterkarton montiert. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis pauschal 30% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.Marlene Dumas (Cape Town 1953 – lives in Amsterdam). ”Amy-Back to”. 2015Colour lithograph on wove paper. 40,8 × 47 cm ( 16 ⅛ × 18 ½ in.). Inscribed, titled, signed and dated.No. 28 of 100 numbered prints. Amsterdam, Bernard Ruijgrok, 2015 (with the blindstamp). [3925]Provenance: The Blake Byrne Collection, Paris/Los AngelesCondition report: No. 28/100. In very good condition. The sheet edges without tears or losses. Minimal brown stains in places. There are no repairs visible under UV-light. Mounted onto the support cardboard on the reverse with white textile adhesive tape along the edges. Fine harmonious overall appearanceWe charge 30% premium and 7% import tax on the hammerprice.

(See English version below)Marlene Dumas (Kapstadt 1953 – lebt in Amsterdam). „The Black Man, the Jew, and the Girl“. 19933 Lithografien auf Karton, einzeln gedruckt, handgefärbt, gekratzt und gefalzt. 25,7 × 63 cm ( 10 ⅛ × 24 ¾ in.). Bezeichnet, signiert und datiert.Ex. 50 von 60 nummerierten Abzügen aus einer Gesamtauflage von 80. Zürich/New York, Parkett Editionen,1993. [3925]Provenienz: The Blake Byrne Collection, Paris/Los AngelesZustandsbericht: Ex. 50/60. In sehr gutem Zustand. Die Blattkanten ohne Einrisse oder Fehlstellen. Die obere linke Ecke mit einer minimalen Anhebespur. Unter UV-Licht sind keine Restaurierungen erkennbar. Rückseitig in den oberen Ecken mit Textilklebeband am Unterkarton montiert. Schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis pauschal 30% Aufgeld und 7% verauslagte Einfuhrumsatzsteuer.Marlene Dumas (Cape Town 1953 – lives in Amsterdam). ”The Black Man, the Jew, and the Girl”. 19933 lithographs on cardboard, single printed, hand dyed, scratched and folded. 25,7 × 63 cm ( 10 ⅛ × 24 ¾ in.). Inscribed, signed and dated.No. 50 of 60 numbered prints from a total edition of 80. Zurich/New York, Parkett Editions,1993. [3925]Provenance: The Blake Byrne Collection, Paris/Los AngelesCondition report: No. 50/60. In very good condition. The sheet edges without tears or losses. In the upper left corner a minimal trace from lifting. There are no repairs visible under UV-light. On the reverse mounted on the support cardboard with textile adhesive tape in the upper corners. Fine harmonious overall appearanceWe charge 30% premium and 7% import tax on the hammerprice.

HERMÈS Armbanduhr "CAPE COD 23mmx23mm", akt. NP.: 2.300,-€. Koll. 2012. Silberfarbenes Uhrengehäuße mit hellrotem Lederband und Dornschließe. Etui anbei. Sehr guter Erhalt. HERMÈS watch "CAPE COD 23mmx23mm", retail price: 2.300,-€, coll.: 2012. Comes with case.

American Arts & Crafts brass jug, with hinged lid by Cape Cod Workshop, 17cm high, together with an English Arts & Crafts pewter casket, (2)

Magic Lantern Slides - approximately 65 Magic Lantern Slides, mainly photographic, including Shipping interest and relating to Cape Horn, Heavy Seas, Patagonia, Wildlife and Polar regions, Whaler ' Eclipse ', HMS Terror, 'Discovery' many annotated, all contained within a Johnson of Hendon Wooden Magic Lantern Slide Box with metal fasteners (detailed list included)

A South Africa medal with ghost date bars for 'Relief of Ladysmith', Tugela heights and Cape Colony

Carved Wooden Figure of a Masked Person wearing a Hooded Cape, possibly South American, 29cms high

Masonic Knights Templar uniform, comprising hooded cape, ceremonial sword marked AR Fabb Bros Ltd, cap, sash, and belt.Click here to view further images, condition reports, sale times & delivery costs for this lot.

BRAUTIGAN, Richard - Trout Fishing in America : cloth in d/w, 8vo, Cape, 1970. With - The Pill Versus The Springhill Mine Disaster, cloth in d/w, Cape, 1970. With - In Watermelon Sugar, cloth in d/w, 1970.(3)

GINSBERG, Allen - T. V. Baby Poems : org. cloth in complete d/w, tall 8vo, Cape Goliard Press, limited to 400 copies, first edition, 1967 (Fine). With four other by or about Ginsberg.(5)

CHATWIN, Bruce - On The Back Hill : cloth in d/w, 8vo, Cape, first ed. 1982. With - Songlines, (1987). Utz, (1988). With - Fleming, Peter, Bayonets to Lhasa, cloth in d/w, Hart-Davis, first ed. 1961.(4)

FLEMING, Ian - You Only Live Twice : org. black cloth with lettering in silver on the spine and gilt on the upper cover, in very slightly edge worn d/w, not price clipped, 8vo, Cape, first edition, 1964. With a copy of Octopussy, and three James Bond Pan paperbacks.(5)

JAMES BOND : Fleming, Ian, gilt-edged bonds, cloth in d/w, (inner hinge spreading), 8vo, Macmillan, first thus, 1961. With - Markham, Robert, Colonel Sun, cloth in d/w, Cape, first ed. 1968. With - Gardner, John, For Special Services, cloth in d/w, first ed. 1982. With - Role of Honour, cloth in d/w, 8vo, Cape, first ed. 1984.(4)

TOWNSEND, Sue - The Secret Diary of Adrian Mole Aged 13 3/4 : cloth in d/w, 8vo, Methuen, first ed.1982. With - Dahl, Roald - Rhyme Stew : illustrated by Quentin Blake, cloth in d/w, 4to, Cape, first ed. 1989. * fine copies(2)

ACERBI, Joseph - Travels Through Sweden, Finland, and Lapland, to the North Cape, in the years 1798 and 1799 : eng. portrait frontispiece, large folding map, plates, full tree calf rebacked, 4to, printed for Joseph Mawman, first edition, 1802.

Arnold Dolmetsch's performance costume, comprising an olive green velvet doublet with silk braiding and attached patterned fabric cape; also a combined foot stool and music desk made for Arnold Dolmetsch as a present and given to him by Rudolph Dolmetsch, Cecile and her husband Leslie Ward, with all three names inscribed on the underside of the stool; also with a photograph of members of the Dolmetsch family in performance, Carl, Cecile, Arnold, Nathalie (Marco Pallis), Mabel and Rudolph; together with a carved chair with wicker seat and back *In the photograph, Arnold is playing the lute and using the foot stool included in this lot *All these items have come directly by descent from the estate of Arnold Dolmetsch

Royal Doulton figure Marrietta HN1343: Impressed date for 1936. (Hairline crack to neck and down back of cape).

Continental School, late 18th century, a lady wearing a hooded cape, an open book in her right hand, oil on canvas, 75 x 62cm. 

Janise Yntema The Inbetween Space I, 2021 Wax Encaustic and Pigment on Board Signed verso 15 x 10cm (5¾ x 3¾ in.) Painter known for work in Wax Encaustic.   Education   BFA Parsons School of Design NYC, MA History and Philosophy of Art, Paris School of Art and Culture   Exhibitions   1993 - present: London, NYC, Amsterdam and Belgium   Group Exhibitions include: BOZAR Museum Brussels, Royal Academy London, Cape Cod Museum of Art MA, Morris Museum NJ, Scottish Gallery Edinburgh Cadogan Contemporary, London   About the postcard artworks   Outside of daily existence lies a contemplative space. I sometimes find it between silence and light, where scale is immeasurable, stillness is audible and the feeling of being is eternal. These small works, composed of beeswax, pigment and resin, refer to this space."   Please visit janiseyntema.com

Janise Yntema The Inbetween Space II, 2021 Wax Encaustic and Pigment on Board Signed verso 15 x 10cm (5¾ x 3¾ in.) Painter known for work in Wax Encaustic.   Education   BFA Parsons School of Design NYC, MA History and Philosophy of Art, Paris School of Art and Culture   Exhibitions   1993 - present: London, NYC, Amsterdam and Belgium   Group Exhibitions include: BOZAR Museum Brussels, Royal Academy London, Cape Cod Museum of Art MA, Morris Museum NJ, Scottish Gallery Edinburgh Cadogan Contemporary, London   About the postcard artworks   Outside of daily existence lies a contemplative space. I sometimes find it between silence and light, where scale is immeasurable, stillness is audible and the feeling of being is eternal. These small works, composed of beeswax, pigment and resin, refer to this space."   Please visit janiseyntema.com

Carla Kranendonk Johanna, 2021 Acrylic, Glue and Paper on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   "Carla Kranendonk (b. 1961, Steggerda, Netherlands) is an artist famous for her richly coloured images of strong African women.   Education   She studied Painting and Drawing at the Rijksacademie van Beeldende Kunsten Amsterdam from 1984 to 1987, and since then has exhibited her paintings across the world. Kranendonk's works combine vivid brushwork with hand-embroidered paper collage, as well as photographic elements. Her work is a tribute to the female characters she portrays, paying homage to black women's beauty, strength, inspiration and power.   Gallery Representation   She is represented by the Rebecca Hossack Art Gallery, London, and her work is held in private collections in New York, Cape Town, the Middle East, Barbados, Curacao, Geneva, Israel and London. She currently lives and works in Amsterdam.   Exhibitions   2019 - Strong - Rebecca Hossack Art Gallery, London 2018 - Odalisque - Rebecca Hossack Art Gallery, London Awards: 2008 - Basisstipendium, Fonds van Beeldende Kunsten Amsterdams 2005 - Black Magic Woman Award 2005 (Winner)Rebecca Hossack Art Gallery   About the postcard artwork   I wanted to paint something positive about black women, showing their beauty and strength. I love to work with colour and patterns. I have been inspired by fabrics I had purchased during my extensive travels throughout Africa, and particularly in Senegal. I am always fascinated by the way women pay such careful attention to their beautiful clothes. I draw on these when creating my own patterns, giving my own signature to each one."

Carla Kranendonk Rose, 2021 Acrylic, Glue and Paper on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   "Carla Kranendonk (b. 1961, Steggerda, Netherlands) is an artist famous for her richly coloured images of strong African women.   Education   She studied Painting and Drawing at the Rijksacademie van Beeldende Kunsten Amsterdam from 1984 to 1987, and since then has exhibited her paintings across the world. Kranendonk's works combine vivid brushwork with hand-embroidered paper collage, as well as photographic elements. Her work is a tribute to the female characters she portrays, paying homage to black women's beauty, strength, inspiration and power.   Gallery Representation   She is represented by the Rebecca Hossack Art Gallery, London, and her work is held in private collections in New York, Cape Town, the Middle East, Barbados, Curacao, Geneva, Israel and London. She currently lives and works in Amsterdam.   Exhibitions   2019 - Strong - Rebecca Hossack Art Gallery, London 2018 - Odalisque - Rebecca Hossack Art Gallery, London Awards: 2008 - Basisstipendium, Fonds van Beeldende Kunsten Amsterdams 2005 - Black Magic Woman Award 2005 (Winner)Rebecca Hossack Art Gallery   About the postcard artwork   I wanted to paint something positive about black women, showing their beauty and strength. I love to work with colour and patterns. I have been inspired by fabrics I had purchased during my extensive travels throughout Africa, and particularly in Senegal. I am always fascinated by the way women pay such careful attention to their beautiful clothes. I draw on these when creating my own patterns, giving my own signature to each one."

Carla Kranendonk Awa, 2021 Acrylic, Glue and Paper on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   "Carla Kranendonk (b. 1961, Steggerda, Netherlands) is an artist famous for her richly coloured images of strong African women.   Education   She studied Painting and Drawing at the Rijksacademie van Beeldende Kunsten Amsterdam from 1984 to 1987, and since then has exhibited her paintings across the world. Kranendonk's works combine vivid brushwork with hand-embroidered paper collage, as well as photographic elements. Her work is a tribute to the female characters she portrays, paying homage to black women's beauty, strength, inspiration and power.   Gallery Representation   She is represented by the Rebecca Hossack Art Gallery, London, and her work is held in private collections in New York, Cape Town, the Middle East, Barbados, Curacao, Geneva, Israel and London. She currently lives and works in Amsterdam.   Exhibitions   2019 - Strong - Rebecca Hossack Art Gallery, London 2018 - Odalisque - Rebecca Hossack Art Gallery, London Awards: 2008 - Basisstipendium, Fonds van Beeldende Kunsten Amsterdams 2005 - Black Magic Woman Award 2005 (Winner)Rebecca Hossack Art Gallery   About the postcard artwork   I wanted to paint something positive about black women, showing their beauty and strength. I love to work with colour and patterns. I have been inspired by fabrics I had purchased during my extensive travels throughout Africa, and particularly in Senegal. I am always fascinated by the way women pay such careful attention to their beautiful clothes. I draw on these when creating my own patterns, giving my own signature to each one."

Carla Kranendonk Mareme, 2021 Acrylic, Glue and Paper on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   "Carla Kranendonk (b. 1961, Steggerda, Netherlands) is an artist famous for her richly coloured images of strong African women.   Education   She studied Painting and Drawing at the Rijksacademie van Beeldende Kunsten Amsterdam from 1984 to 1987, and since then has exhibited her paintings across the world. Kranendonk's works combine vivid brushwork with hand-embroidered paper collage, as well as photographic elements. Her work is a tribute to the female characters she portrays, paying homage to black women's beauty, strength, inspiration and power.   Gallery Representation   She is represented by the Rebecca Hossack Art Gallery, London, and her work is held in private collections in New York, Cape Town, the Middle East, Barbados, Curacao, Geneva, Israel and London. She currently lives and works in Amsterdam.   Exhibitions   2019 - Strong - Rebecca Hossack Art Gallery, London 2018 - Odalisque - Rebecca Hossack Art Gallery, London Awards: 2008 - Basisstipendium, Fonds van Beeldende Kunsten Amsterdams 2005 - Black Magic Woman Award 2005 (Winner)Rebecca Hossack Art Gallery   About the postcard artwork   I wanted to paint something positive about black women, showing their beauty and strength. I love to work with colour and patterns. I have been inspired by fabrics I had purchased during my extensive travels throughout Africa, and particularly in Senegal. I am always fascinated by the way women pay such careful attention to their beautiful clothes. I draw on these when creating my own patterns, giving my own signature to each one."

Ceal Warnants Entitled (Repeat), 2021 Digital Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   b. 1984, Guildford, Surrey. Lives and works in London. The work draws parallels between the youth of 'then' and 'now'. The angst is the same but the pressures are different. Basing work on illustrations from the past helps to lend it an authenticity but also highlights the differences between two timeframes. Innocence is the truth of childhood whatever the era and it is fascinating.   Education   2002 - 2006 BA (Hons) Winchester School of Art (Printmaking) 2006 - 2008 MA RCA (Printmaking)   Exhibitions/Awards   2020 ""HOUSE OF VANS COMMUNITY MARKET"" - HOUSE OF VANS, LONDON 'ROYAL ACADEMY SUMMER (WINTER) EXHIBITION 2020' - ROYAL ACADEMY OF ARTS, LONDON. 'WOMENKIND NORTH"" - WITH LAE CONSULTANCY, PRESTON. 'ART ON A POSTCARD - INTERNATIONAL WOMEN'S DAY' - ALL BRIGHT, MAYFAIR, LONDON.   2019 'NOTICE THE SMALL THINGS"" - JEALOUS GALLERY, LONDON. 'BLISTERS - WAY BACK WHEN' - PRINT CLUB, LONDON.   2018 'THE CUT' - HICKS GALLERY, LONDON 'POP ART FEMMES' - GINA CROSS GALLERY X ARTSY X GUCCI, LONDON 'CHOOSE LOVE' - THE PRINT CLUB @ SOMERSET HOUSE, LONDON 'WEIL ICH EIN MÄDCHEN BIN' - ODAPARK, CENTRUM VOOR HEDENDAAGSE KUNST, NETHERLANDS. 'ROYAL ACADEMY SUMMER EXHIBITION 2018' - ROYAL ACADEMY OF ARTS, LONDON. COLLABORATION WITH ""COCO FENNELL"" FOR SS18 COLLECTION #COCOXCEAL   2017 COLLABORATION WITH ""THE BIG ISSUE"" #WEARABIGISSUE 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS, LONDON. 'GIRLS, GIRLS, GIRLS' - JEALOUS NORTH, LONDON.   2016 'KIDDING' (W/KRISTIAN JONES), JEALOUS GALLERY, LONDON. '20 BEST OF ART ON A POSTCARD' - JEALOUS GALLERY, LONDON.   2015 'FRACTURED FAIRYTALES' (3 PERSON SHOW WITH JESSICA HARRISON & JOE WEBB) - JEALOUS GALLERY, LONDON.   2014 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS, LONDON. 'TIME OF THE MONTH' - JEALOUS GALLERY, LONDON.   2013 'ENGLISH EDITION' - CULTURE GALLERY, CAPE TOWN, SOUTH AFRICA. 'CONTES DE NOËL' - LESS IS MORE PROJECTS, PARIS, FRANCE.   2012 'ASSEMBLY' - HARTINGTON ROAD, LONDON. 'JEALOUS @ HEAL'S, HEAL'S', TOTTENHAM COURT ROAD.   2011 'EXAM.' - TRANSITION GALLERY, LONDON.   2010 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY, LONDON. 'LA COLLECTION DE MONSIEUR X, OU LES AVANTAGES D'ÊTRE UN COLLECTIONNEUR' - ATELIER RICHELIEU, 60, RUE DE RICHELIEU, PARIS.   2009 'MANDERLEY' - JOHN JONES PROJECT SPACE, FINSBURY. 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY, LONDON. 'TATE'S LONG WEEKEND', BOXBOT STAGE - TATE MODERN, SOUTHWARK. 'NEW PRINTS FROM THE ROYAL COLLEGE OF ART SELECTED BY CHRIS ORR RA' - ROYAL ACADEMY OF ARTS, IN THE SIR HUGH CASSON ROOM FOR FRIENDS OF THE ROYAL ACADEMY, LONDON.   2008 '10' - AN EXHIBITION TO CELEBRATE THE 10 YEARS OF CHRIS ORR'S PROFESSORSHIP IN CONJUNCTION WITH THE WORK OF NOTABLE ARTISTS INCLUDING TRACEY EMIN AND MICHAEL CRAIG-MARTIN - ROYAL COLLEGE OF ART GALLERIES, KENSINGTON, LONDON. 'MAKE BELIEVE' - SHOW WITH BOO RITSON, RUTH CLAXTON ET AL. PART OF 'CONCRETE AND GLASS' MUSIC AND ART FESTIVAL NICHOLLS & CLARKE BUILDING, 3-10 SHOREDITCH HIGH STREET. 'BEAUTIFULLY CRAFTED' - NATIONAL GLASS CENTRE, SUNDERLAND. 'SHOW RCA 2008' - HENRY MOORE GALLERY, ROYAL COLLEGE OF ART, KENSINGTON, LONDON. 2007 'IF YOU COULD DO ANYTHING TOMORROW - WHAT WOULD IT BE?' - EXPOSURE GALLERY, LITTLE PORTLAND STREET, LONDON. 'OVER AND OVER AGAIN' - CURATED BY SASHA CRADDOCK - SADLER'S WELLS, ROSEBERY AVENUE, LONDON.   COLLECTIONS CHAPMAN BROTHER'S FAMILY ARCHIVE ROYAL COLLEGE OF ART ARCHIVE WSA LIBRARY ARTIST'S BOOK COLLECTION P RIVATE COLLECTIONS WORLDWIDE   COLLABORATIONS 2018 COCO FENNELL 2017 THE BIG ISSUE #WEARABIGISSUE   SCHOLARSHIPS AND AWARDS 2008 TIM MARA PRIZE - WINNER 2008 PRINTMAKING COUNCIL AWARD - WINNER 2008 SOUTH SQUARE TRUST SCHOLARSHIP - WINNER   Gallery Representation   Jealous Gallery, Gas Gallery, Chappell Contemporary   About the postcard artworks   When considering how to reflect myself within my work I decided to choose a balance of positive and negative. ""And What?"" represents fighting attitudes that I see as being wrong in society, whilst ""Entitled"" depicts my particular position of privilege of which I am very aware."  

Ceal Warnants And What?, 2021 Digital Print on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) b. 1984, Guildford, Surrey. Lives and works in London. The work draws parallels between the youth of 'then' and 'now'. The angst is the same but the pressures are different. Basing work on illustrations from the past helps to lend it an authenticity but also highlights the differences between two timeframes. Innocence is the truth of childhood whatever the era and it is fascinating.   Education   2002 - 2006 BA (Hons) Winchester School of Art (Printmaking) 2006 - 2008 MA RCA (Printmaking)   Exhibitions/Awards   2020 ""HOUSE OF VANS COMMUNITY MARKET"" - HOUSE OF VANS, LONDON 'ROYAL ACADEMY SUMMER (WINTER) EXHIBITION 2020' - ROYAL ACADEMY OF ARTS, LONDON. 'WOMENKIND NORTH"" - WITH LAE CONSULTANCY, PRESTON. 'ART ON A POSTCARD - INTERNATIONAL WOMEN'S DAY' - ALL BRIGHT, MAYFAIR, LONDON.   2019 'NOTICE THE SMALL THINGS"" - JEALOUS GALLERY, LONDON. 'BLISTERS - WAY BACK WHEN' - PRINT CLUB, LONDON.   2018 'THE CUT' - HICKS GALLERY, LONDON 'POP ART FEMMES' - GINA CROSS GALLERY X ARTSY X GUCCI, LONDON 'CHOOSE LOVE' - THE PRINT CLUB @ SOMERSET HOUSE, LONDON 'WEIL ICH EIN MÄDCHEN BIN' - ODAPARK, CENTRUM VOOR HEDENDAAGSE KUNST, NETHERLANDS. 'ROYAL ACADEMY SUMMER EXHIBITION 2018' - ROYAL ACADEMY OF ARTS, LONDON. COLLABORATION WITH ""COCO FENNELL"" FOR SS18 COLLECTION #COCOXCEAL   2017 COLLABORATION WITH ""THE BIG ISSUE"" #WEARABIGISSUE 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS, LONDON. 'GIRLS, GIRLS, GIRLS' - JEALOUS NORTH, LONDON.   2016 'KIDDING' (W/KRISTIAN JONES), JEALOUS GALLERY, LONDON. '20 BEST OF ART ON A POSTCARD' - JEALOUS GALLERY, LONDON.   2015 'FRACTURED FAIRYTALES' (3 PERSON SHOW WITH JESSICA HARRISON & JOE WEBB) - JEALOUS GALLERY, LONDON.   2014 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY OF ARTS, LONDON. 'TIME OF THE MONTH' - JEALOUS GALLERY, LONDON.   2013 'ENGLISH EDITION' - CULTURE GALLERY, CAPE TOWN, SOUTH AFRICA. 'CONTES DE NOËL' - LESS IS MORE PROJECTS, PARIS, FRANCE.   2012 'ASSEMBLY' - HARTINGTON ROAD, LONDON. 'JEALOUS @ HEAL'S, HEAL'S', TOTTENHAM COURT ROAD.   2011 'EXAM.' - TRANSITION GALLERY, LONDON.   2010 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY, LONDON. 'LA COLLECTION DE MONSIEUR X, OU LES AVANTAGES D'ÊTRE UN COLLECTIONNEUR' - ATELIER RICHELIEU, 60, RUE DE RICHELIEU, PARIS.   2009 'MANDERLEY' - JOHN JONES PROJECT SPACE, FINSBURY. 'ROYAL ACADEMY SUMMER EXHIBITION' - ROYAL ACADEMY, LONDON. 'TATE'S LONG WEEKEND', BOXBOT STAGE - TATE MODERN, SOUTHWARK. 'NEW PRINTS FROM THE ROYAL COLLEGE OF ART SELECTED BY CHRIS ORR RA' - ROYAL ACADEMY OF ARTS, IN THE SIR HUGH CASSON ROOM FOR FRIENDS OF THE ROYAL ACADEMY, LONDON.   2008 '10' - AN EXHIBITION TO CELEBRATE THE 10 YEARS OF CHRIS ORR'S PROFESSORSHIP IN CONJUNCTION WITH THE WORK OF NOTABLE ARTISTS INCLUDING TRACEY EMIN AND MICHAEL CRAIG-MARTIN - ROYAL COLLEGE OF ART GALLERIES, KENSINGTON, LONDON. 'MAKE BELIEVE' - SHOW WITH BOO RITSON, RUTH CLAXTON ET AL. PART OF 'CONCRETE AND GLASS' MUSIC AND ART FESTIVAL NICHOLLS & CLARKE BUILDING, 3-10 SHOREDITCH HIGH STREET. 'BEAUTIFULLY CRAFTED' - NATIONAL GLASS CENTRE, SUNDERLAND. 'SHOW RCA 2008' - HENRY MOORE GALLERY, ROYAL COLLEGE OF ART, KENSINGTON, LONDON. 2007 'IF YOU COULD DO ANYTHING TOMORROW - WHAT WOULD IT BE?' - EXPOSURE GALLERY, LITTLE PORTLAND STREET, LONDON. 'OVER AND OVER AGAIN' - CURATED BY SASHA CRADDOCK - SADLER'S WELLS, ROSEBERY AVENUE, LONDON.   COLLECTIONS CHAPMAN BROTHER'S FAMILY ARCHIVE ROYAL COLLEGE OF ART ARCHIVE WSA LIBRARY ARTIST'S BOOK COLLECTION P RIVATE COLLECTIONS WORLDWIDE   COLLABORATIONS 2018 COCO FENNELL 2017 THE BIG ISSUE #WEARABIGISSUE   SCHOLARSHIPS AND AWARDS 2008 TIM MARA PRIZE - WINNER 2008 PRINTMAKING COUNCIL AWARD - WINNER 2008 SOUTH SQUARE TRUST SCHOLARSHIP - WINNER   Gallery Representation   Jealous Gallery, Gas Gallery, Chappell Contemporary   About the postcard artworks   When considering how to reflect myself within my work I decided to choose a balance of positive and negative. ""And What?"" represents fighting attitudes that I see as being wrong in society, whilst ""Entitled"" depicts my particular position of privilege of which I am very aware."

Bea Denton Out of Darkness i, 2021 Digital Print on Hahnemühle Signed verso 15 x 10cm (5¾ x 3¾ in.) Bea Denton's practice explores ideas around death and loss, faith and ritual. Photography, printmaking, found materials and lost images are intrinsic to her creative process. Pushing the boundaries of the technical and physical limitations of photography, her work transcends its realist conventions to achieve a deeper resonance. Denton is a collector and archivist of anonymous lives, departed and reincarnated, in pursuit of an essence in the image: the 'soul'. In her examination of faith and death, Denton attempts to find meaning and dimension through the imprint of time, light and phenomena. In a circuitous process, found images are penetrated, interrogated and excavated through alternate layers of photography, projection, recaptured from the lens of a Camera Obscura, from there back to photography and finally to print. The resulting enigmatic, dislocated images challenge a traditional idea of photography as a faithful record of reality, and instead explore the nature of perception, belief and memory.   Education   Denton graduated from UAL with Distinction in MA Fine Art Printmaking.   Exhibitions/Awards   She has exhibited widely, including publicly-sited work. She won the 2009 Creekside Open prize selected by Jenni Lomax; the 2007 Deptford X MacDonald Egan Award for Public Art, and the 2002 Ardizzone Prize (Major) for Printmaking. Denton has taught at AUB, UAL and in Brazil and China, and is a Trustee for Lewisham Education Arts Network (LEAN). www.beadenton.com / Instagram: Bea_Denton_Art   MA Fine Art Printmaking (Distinction) / University of the Arts London   Selected Exhibitions 2020 A Personal Perspective curated by Liz May / APT Gallery, London RA Summer/Winter Exhibition 2020 Woolwich Contemporary Print Fair National Brain Appeal - Everyday Things 2019 Creekside Open 2019 curated by Sacha Craddock RA Summer Exhibition 2019 National Brain Appeal - A Letter in Mind 2018 RE Masters / Bankside Gallery, London 2016 Ladies and Gentlemen / The Bawden Kingston tile project / Kingston Guildhall and Morley College 2014 PBA Gallery / Featured Artist / London 2012 Occupy My Time / Past and Present RA Summer Exhibition 2012 2009 Creekside Open 2009 selected by Jenni Lomax (Award winner) 2008 Cupboard Love / Site specific work / Greenwich Foot Tunnel (south side), London Electric Blue / Bargehouse Gallery (Oxo Tower), London RA Summer Exhibition 2008 2007 Via Dolorosa / site specific installation / Ha'Penny Hatch Bridge, Deptford (Winner - McDonald Egan Award for Public Art) 100% Glass / Three White Walls Gallery, Birmingham On Earth as it is... / Solo show / Bearspace and Renewal Gallery, London 2006 WhereNow / Six of One group of artists / APT Gallery, London 2005 Sculpture in Gardens / Godington House, Kent 2004 Glass Inspiration / British Glass / Burgdorf, Switzerland Where / Six of One group of artists / The Menier Gallery, London British Glass Biennale / International Festival of Glass Challenge the Nail / Salon Des Arts, London 2003 Art in Heaven / The Meeting House, Sussex University Campus Prints inspired by Poetry / 20:21 Visual Arts Centre, N. Lincolnshire Impact 2003 / Do-Don't/Can-Can't Michaelis School of Fine Art at the University of Cape Town / Rhodes University School of Fine Art, South Africa 2001 Imagining the body; The Figure as a container of experience / Kala Bhavana, Shantiniketan India, The National Art School Sydney Australia and Camberwell College of Art   Awards 2002 The Ardizzone Prize (Major) for Printmaking 2007 The MacDonald Egan Award for Public Art (Via Dolorosa) 2009 Creekside Open 2009 Prize selected and awarded by Jenni Lomax Teaching   2019 Head of School, Preparation for Higher Education, Arts University Bournemouth 2018 Programme Leader, FE Programmes / Escola Britânica de Artes Criativas, Brazil 2017 Curriculum Coordinator / Pathway Leader (Fine Art) Central Saint Martins.   About the postcard artworks   In this work for Art On A Postcard, I have considered resilience inherent in women, exemplified by The Virgin Mary, whose part in the birth of Christ was distinguished by steadfastness, strength, grief and absolute faith. The ephemeral shadow of her stone effigy captured by half-light alludes to these characteristics of resilience; an image revealed by the brilliance of light seeping into darkness, and fixing its place in the soul."  

Bea Denton Out of Darkness ii, 2021 Digital Print on Hahnemühle Signed verso 15 x 10cm (5¾ x 3¾ in.)   Bea Denton's practice explores ideas around death and loss, faith and ritual. Photography, printmaking, found materials and lost images are intrinsic to her creative process. Pushing the boundaries of the technical and physical limitations of photography, her work transcends its realist conventions to achieve a deeper resonance. Denton is a collector and archivist of anonymous lives, departed and reincarnated, in pursuit of an essence in the image: the 'soul'. In her examination of faith and death, Denton attempts to find meaning and dimension through the imprint of time, light and phenomena. In a circuitous process, found images are penetrated, interrogated and excavated through alternate layers of photography, projection, recaptured from the lens of a Camera Obscura, from there back to photography and finally to print. The resulting enigmatic, dislocated images challenge a traditional idea of photography as a faithful record of reality, and instead explore the nature of perception, belief and memory.   Education   Denton graduated from UAL with Distinction in MA Fine Art Printmaking.   Exhibitions/Awards   She has exhibited widely, including publicly-sited work. She won the 2009 Creekside Open prize selected by Jenni Lomax; the 2007 Deptford X MacDonald Egan Award for Public Art, and the 2002 Ardizzone Prize (Major) for Printmaking. Denton has taught at AUB, UAL and in Brazil and China, and is a Trustee for Lewisham Education Arts Network (LEAN). www.beadenton.com / Instagram: Bea_Denton_Art   MA Fine Art Printmaking (Distinction) / University of the Arts London   Selected Exhibitions 2020 A Personal Perspective curated by Liz May / APT Gallery, London RA Summer/Winter Exhibition 2020 Woolwich Contemporary Print Fair National Brain Appeal - Everyday Things 2019 Creekside Open 2019 curated by Sacha Craddock RA Summer Exhibition 2019 National Brain Appeal - A Letter in Mind 2018 RE Masters / Bankside Gallery, London 2016 Ladies and Gentlemen / The Bawden Kingston tile project / Kingston Guildhall and Morley College 2014 PBA Gallery / Featured Artist / London 2012 Occupy My Time / Past and Present RA Summer Exhibition 2012 2009 Creekside Open 2009 selected by Jenni Lomax (Award winner) 2008 Cupboard Love / Site specific work / Greenwich Foot Tunnel (south side), London Electric Blue / Bargehouse Gallery (Oxo Tower), London RA Summer Exhibition 2008 2007 Via Dolorosa / site specific installation / Ha'Penny Hatch Bridge, Deptford (Winner - McDonald Egan Award for Public Art) 100% Glass / Three White Walls Gallery, Birmingham On Earth as it is... / Solo show / Bearspace and Renewal Gallery, London 2006 WhereNow / Six of One group of artists / APT Gallery, London 2005 Sculpture in Gardens / Godington House, Kent 2004 Glass Inspiration / British Glass / Burgdorf, Switzerland Where / Six of One group of artists / The Menier Gallery, London British Glass Biennale / International Festival of Glass Challenge the Nail / Salon Des Arts, London 2003 Art in Heaven / The Meeting House, Sussex University Campus Prints inspired by Poetry / 20:21 Visual Arts Centre, N. Lincolnshire Impact 2003 / Do-Don't/Can-Can't Michaelis School of Fine Art at the University of Cape Town / Rhodes University School of Fine Art, South Africa 2001 Imagining the body; The Figure as a container of experience / Kala Bhavana, Shantiniketan India, The National Art School Sydney Australia and Camberwell College of Art   Awards 2002 The Ardizzone Prize (Major) for Printmaking 2007 The MacDonald Egan Award for Public Art (Via Dolorosa) 2009 Creekside Open 2009 Prize selected and awarded by Jenni Lomax Teaching   2019 Head of School, Preparation for Higher Education, Arts University Bournemouth 2018 Programme Leader, FE Programmes / Escola Britânica de Artes Criativas, Brazil 2017 Curriculum Coordinator / Pathway Leader (Fine Art) Central Saint Martins.   About the postcard artworks   In this work for Art On A Postcard, I have considered resilience inherent in women, exemplified by The Virgin Mary, whose part in the birth of Christ was distinguished by steadfastness, strength, grief and absolute faith. The ephemeral shadow of her stone effigy captured by half-light alludes to these characteristics of resilience; an image revealed by the brilliance of light seeping into darkness, and fixing its place in the soul."

Bea Denton Out of Darkness iii, 2021 Digital Print on Hahnemühle Signed verso 15 x 10cm (5¾ x 3¾ in.) Bea Denton's practice explores ideas around death and loss, faith and ritual. Photography, printmaking, found materials and lost images are intrinsic to her creative process. Pushing the boundaries of the technical and physical limitations of photography, her work transcends its realist conventions to achieve a deeper resonance. Denton is a collector and archivist of anonymous lives, departed and reincarnated, in pursuit of an essence in the image: the 'soul'. In her examination of faith and death, Denton attempts to find meaning and dimension through the imprint of time, light and phenomena. In a circuitous process, found images are penetrated, interrogated and excavated through alternate layers of photography, projection, recaptured from the lens of a Camera Obscura, from there back to photography and finally to print. The resulting enigmatic, dislocated images challenge a traditional idea of photography as a faithful record of reality, and instead explore the nature of perception, belief and memory.   Education   Denton graduated from UAL with Distinction in MA Fine Art Printmaking.   Exhibitions/Awards   She has exhibited widely, including publicly-sited work. She won the 2009 Creekside Open prize selected by Jenni Lomax; the 2007 Deptford X MacDonald Egan Award for Public Art, and the 2002 Ardizzone Prize (Major) for Printmaking. Denton has taught at AUB, UAL and in Brazil and China, and is a Trustee for Lewisham Education Arts Network (LEAN). www.beadenton.com / Instagram: Bea_Denton_Art   MA Fine Art Printmaking (Distinction) / University of the Arts London   Selected Exhibitions 2020 A Personal Perspective curated by Liz May / APT Gallery, London RA Summer/Winter Exhibition 2020 Woolwich Contemporary Print Fair National Brain Appeal - Everyday Things 2019 Creekside Open 2019 curated by Sacha Craddock RA Summer Exhibition 2019 National Brain Appeal - A Letter in Mind 2018 RE Masters / Bankside Gallery, London 2016 Ladies and Gentlemen / The Bawden Kingston tile project / Kingston Guildhall and Morley College 2014 PBA Gallery / Featured Artist / London 2012 Occupy My Time / Past and Present RA Summer Exhibition 2012 2009 Creekside Open 2009 selected by Jenni Lomax (Award winner) 2008 Cupboard Love / Site specific work / Greenwich Foot Tunnel (south side), London Electric Blue / Bargehouse Gallery (Oxo Tower), London RA Summer Exhibition 2008 2007 Via Dolorosa / site specific installation / Ha'Penny Hatch Bridge, Deptford (Winner - McDonald Egan Award for Public Art) 100% Glass / Three White Walls Gallery, Birmingham On Earth as it is... / Solo show / Bearspace and Renewal Gallery, London 2006 WhereNow / Six of One group of artists / APT Gallery, London 2005 Sculpture in Gardens / Godington House, Kent 2004 Glass Inspiration / British Glass / Burgdorf, Switzerland Where / Six of One group of artists / The Menier Gallery, London British Glass Biennale / International Festival of Glass Challenge the Nail / Salon Des Arts, London 2003 Art in Heaven / The Meeting House, Sussex University Campus Prints inspired by Poetry / 20:21 Visual Arts Centre, N. Lincolnshire Impact 2003 / Do-Don't/Can-Can't Michaelis School of Fine Art at the University of Cape Town / Rhodes University School of Fine Art, South Africa 2001 Imagining the body; The Figure as a container of experience / Kala Bhavana, Shantiniketan India, The National Art School Sydney Australia and Camberwell College of Art   Awards 2002 The Ardizzone Prize (Major) for Printmaking 2007 The MacDonald Egan Award for Public Art (Via Dolorosa) 2009 Creekside Open 2009 Prize selected and awarded by Jenni Lomax Teaching   2019 Head of School, Preparation for Higher Education, Arts University Bournemouth 2018 Programme Leader, FE Programmes / Escola Britânica de Artes Criativas, Brazil 2017 Curriculum Coordinator / Pathway Leader (Fine Art) Central Saint Martins.   About the postcard artworks   In this work for Art On A Postcard, I have considered resilience inherent in women, exemplified by The Virgin Mary, whose part in the birth of Christ was distinguished by steadfastness, strength, grief and absolute faith. The ephemeral shadow of her stone effigy captured by half-light alludes to these characteristics of resilience; an image revealed by the brilliance of light seeping into darkness, and fixing its place in the soul."

Tamsin Relly I Am Plant I, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 20cm (5¾ x 7¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

Tamsin Relly I Am Plant II, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

Tamsin Relly I Am Stardust I, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

Tamsin Relly I Am Stardust II, 2021 Water-Based Monotype on Somerset 300gsm Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Tamsin Relly's multi-disciplinary practice includes painting, printmaking and photography. Her work reflects on the increasingly disrupted environmental conditions of a shifting global climate and explores the preservation of arboreal and botanical environments through conservation, urban parks and memory - be it personal, collective or held within the land. Relly was born in Cape Town, South Africa in 1981. She completed her Masters in Fine Art at City & Guilds of London Art School in 2011 and currently lives and works in South East London. Exhibitions Solo Exhibitions: Imagining the Amazon, The Collective, House of St Barnabas, London (2017), Forest Memory, Brocket Galley, London (2017), Jungle Snow, The Place Downstairs, London(2014). Tipping Point, ASC Gallery, London, (2012).   Selected Group Exhibitions: Polar Worlds, National Maritime Museum, London (2020), Drawing Closer, Oliver Projects, London (2020), Summer Exhibition, Royal Academy of Arts, London (2020). Site Works, Experimental Gallery, Cornell University, New York (2019). Hospital Rooms & Eilleen Skellern I, Griffin Gallery, London (2019). Art for the Barbican, The Barbican Centre, London (2018) Paper Cuts, Kristian Day / Saatchi Gallery, London (2018), Dentons Art Prize, Dentons Law Firm, London (2016), Arcadia, SMITH Gallery, Cape Town (2016). Traces, Honore, Gallery Rue Visconti, Paris (2014), Painter Printmakers, Royal Academy of Arts, London (2014). Collections The National Maritime Museum, London. Simmons Contemporary, London. Dentons, London. Hogan Lovells, London. Yellowwoods Art, Cape Town, South Africa. Ellerman House, Cape Town, South Africa. About the postcard artwork This series monotypes, 'I Am Stardust, I Am Plant', reflects on the interdependence between all life forms, and the reciprocal relationship we have with our environment and planet. The varying shapes of the prints trace the outlines of windows and mirrors found in my home and studio.  

Michaela Younge Elvis Is Leaving Soon I, 2021 Pencil Crayon on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Michaela Younge is a South African artist born in Cape Town in 1993. After high school, Michaela attended the Michaelis School of Fine Art, where her father lectured in the Sculpture department. She graduated in 2015 receiving a Bachelor of Fine Arts with distinction. While at Michaelis, she primarily worked in the mediums of sculpture and print, however, after graduating she began working with wool, constructing felt tableaux depicting scenes of the everyday, the violent and the bizarre. Her works are created by needle felting merino wool into textiles as well as found fabrics, such as old curtains and tapestries. The works are textural and are characterised by colourful, busy scenes that often play with perspective. Michaela is interested in the absurdity of everyday life, often finding humour in theatrical scenes of violence or through a comedy of errors. These scenes invite a closer look at human relationships and interactions - sometimes skewering the subjects in the process.   Education: BFA with distinction, Michaelis School of Fine Art, University of Cape Town Exhibitions/Awards: PEEP SHOW, Online (29 October 2020) GATHER, SMAC (19 September 2020) MEDITATION IN COLOUR/ AN INTRODUCTION, C+N Canepaneri Milan (16 September 2020) PINK'S NOT DEAD, Apartment x TheFourth (16 September 2020) FAREWELL TO GOOD GOOD FRIENDS, SMITH Studio (30 July 2020) HARD, BUT SOFT, Glen Carlou Gallery (19 January 2020) RENDEZVOUS II, SMITH Studio (5 December 2019) RENDEZVOUS I, SMITH Studio (5 December 2018) CLOSE ENCOUNTERS, SMITH Studio (4 July 2018) IN TO VIEW, Ebony / Curated (1 March 2018) SALAD, SMITH Studio (14 December 2017) NANO 1.1 I, Barnard Gallery (26 July 2017) OUT OF NOWHERE, SMITH Studio (3 May 2017) FOLLY, SMITH Studio (25 January 2017) ANIMALS, IS Sculpture at Tokara (31 July 2016) JNR PRESENTS BAD HABITUS, Muller's Gallery (3 May 2016) SOLOS & ROOMS Artist Room, SMAC (17 October 2020 - 21 November 2020) Its Low Tide and I'm Scraping the Rocks, SMITH Studio,1-54 Room (3 - 6 October 2019) Nothing Bad, SMITH Studio (8 May 2019 - 8 June 2019)   Gallery Representation: SMAC Gallery Cape Town  

Michaela Younge Elvis Is Leaving Soon II, 2021 Pencil Crayon on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Michaela Younge is a South African artist born in Cape Town in 1993. After high school, Michaela attended the Michaelis School of Fine Art, where her father lectured in the Sculpture department. She graduated in 2015 receiving a Bachelor of Fine Arts with distinction. While at Michaelis, she primarily worked in the mediums of sculpture and print, however, after graduating she began working with wool, constructing felt tableaux depicting scenes of the everyday, the violent and the bizarre. Her works are created by needle felting merino wool into textiles as well as found fabrics, such as old curtains and tapestries. The works are textural and are characterised by colourful, busy scenes that often play with perspective. Michaela is interested in the absurdity of everyday life, often finding humour in theatrical scenes of violence or through a comedy of errors. These scenes invite a closer look at human relationships and interactions - sometimes skewering the subjects in the process.   Education: BFA with distinction, Michaelis School of Fine Art, University of Cape Town Exhibitions/Awards: PEEP SHOW, Online (29 October 2020) GATHER, SMAC (19 September 2020) MEDITATION IN COLOUR/ AN INTRODUCTION, C+N Canepaneri Milan (16 September 2020) PINK'S NOT DEAD, Apartment x TheFourth (16 September 2020) FAREWELL TO GOOD GOOD FRIENDS, SMITH Studio (30 July 2020) HARD, BUT SOFT, Glen Carlou Gallery (19 January 2020) RENDEZVOUS II, SMITH Studio (5 December 2019) RENDEZVOUS I, SMITH Studio (5 December 2018) CLOSE ENCOUNTERS, SMITH Studio (4 July 2018) IN TO VIEW, Ebony / Curated (1 March 2018) SALAD, SMITH Studio (14 December 2017) NANO 1.1 I, Barnard Gallery (26 July 2017) OUT OF NOWHERE, SMITH Studio (3 May 2017) FOLLY, SMITH Studio (25 January 2017) ANIMALS, IS Sculpture at Tokara (31 July 2016) JNR PRESENTS BAD HABITUS, Muller's Gallery (3 May 2016) SOLOS & ROOMS Artist Room, SMAC (17 October 2020 - 21 November 2020) Its Low Tide and I'm Scraping the Rocks, SMITH Studio,1-54 Room (3 - 6 October 2019) Nothing Bad, SMITH Studio (8 May 2019 - 8 June 2019)   Gallery Representation: SMAC Gallery Cape Town  

Fur Jacket and Cape

A framed and glazed American 1969 May 18th first day cover "Apollo 10". Post mark Cape Canaveral Florida 32920. Frame size approx. 23 x 28cm.

17TH/18TH CENTURY CONTINENTAL SCHOOL Madonna and child with Saint Rose of Lima, sanguine chalks heightened in white and squared for transfer, 31.5 x 23.5cm, mounted but unframed John Tetlow Collection stamp (L. 2868) The collection sold at Cape Dunn & Co. Manchester 13 & 14 July 1874 The paper watermarked - possibly a Strasbourg Lily

R PAPPRILL AFTER SAMUEL WALTERS (19TH CENTURY) 'Homeward Bound, Passing the Light-ship, Liverpool', colour engraving, 33 x 38cm; together with a 19th Century lithograph of Cape Aiya; and eight further topographical prints, and Pieter van der Aa (1659-1733) 'De Kusten van Guinea door een Brandenburgs Edelman, met twee Vorstelyke Fregatten besogt, int Jaar 1682', engraved map, 23 x 29.5cm, and another map, 'Partie de la Coste de Guinée' (11)

19TH CENTURY ENGLISH SCHOOL Side profile bust of a lady with coiffed hair and floral pattern cape, pen and ink heightened in white, maple frame, 15 x 11cm; another silhouette portrait, 8.5 x 7.5cm oval; and a cut paper/silhouette depicting Aesop's Fable - The Fox and the Stork, 13 x 11cm (3)

Bryher [Winifred Ellerman] West, Cape, 1925, dust wrapper (priced 4s.6d., chipped); idem, The Heart to Artemis, New York, 1962, signed by the author, dust wrapper; idem, The Heart to Artemis, Collins, 1963, signed by the author, dust wrapper; idem, The Colors of Vaud, New York, 1969, signed by the author, TLS and ALS loosely inserted, dust wrapper; idem, Beowulf, Paris, 1948, original wraps; idem, Development, New York, 1920, original cloth; idem, Gate to the Sea, Collins, 1959, dust wrapper (7)

Bryher [Winifred Ellerman] A Picture Geography for Little Children, Part One: Asia, Cape, 1925, oblong quarto, colour illustrations, original cloth-backed boards

Rushdie (Salman) The Moor's Last Sigh, Jonathan Cape, 1995, first edition, first printing, numbered limited edition of 100, signed by the author, all edges gilt, full morocco binding, cloth slipcaseFine (slipcase tight)

Rushdie (Salman) Haroun and the Sea of Stories, Granta, 1990, special edition of 251 copies, numbered and signed by the author, published simultaneously with the first trade edition, printed on Clan Book Wove and bound in quarter leather; idem, The Moor's Last Sigh, Jonathan Cape, 1995, first edition, first printing, numbered limited edition of 200, signed by the author, cloth, slipcase (2)Fine (slipcase tight)

Rushdie (Salman) Luka and the Fire of Life, Jonathan Cape, 2010, numbered limited edition of 1000, signed by the author, boards and slipcase; idem, The Moor's Last Sigh, Pantheon, 1995, numbered special advance edition of 1000, signed by the author, wraps and card case; idem et al, Best of Young British Novelists 7, Granta, 1983, signed by many of the authors, including Rushdie, Kazuo Ishiguro, Ian McEwan, Martin Amis, etc., paperback; with forty-nine others, all signed by Rushdie, almost all first editions or first printings of special editions or paperbacks and five others, unsigned. (57)Generally VG to Fine

Rushdie (Salman) The Ground Beneath Her Feet, Jonathan Cape, 1999, first edition, first printing, numbered limited edition [of 150], signed by the author, all edges gilt, full morocco binding, cloth slipcaseBook Fine, slipcase VG

Riding (Laura) & Ellidge (George) 14A, Arthur Barker, 1934, first edition, original cloth (faded); Riding (Laura) & Graves (Robert), A Pamphlet Against Anthologies, Jonathan Cape, 1928, first edition, dust wrapper; [Riding (Laura) et al], Focus, vol III, [Mallorca] 1935, original wraps; with three others (6)

Joyce (James) Chamber Music, The Egoist Press, 1923, third edition, original cloth; with a 1927 Cape edition of the same title, original cloth (2)

CROWN 1821, ROYAL LIFE SAVING SOCIETY BRONZE MEDAL, P D MOON DATED JULY 1939, TERRITORIAL FORCE NURSING SERVICE CAPE BADGE, ETC Condition reportAs a lot in good condition, the crown rubbed

* Stuart (Charles, later Baron Stuart de Rothesay, 1779-1845). Collection of autograph letter drafts, Berlin and Vienna, c.1801-4, perhaps 10 discrete letters in all, including 5 addressed to Robert, Lord Hobart (later 4th Earl of Buckinghamshire) as secretary of state for war and the colonies, 1 addressed to 'My Dear Lord' (probably Hobart), and 4 either unaddressed or to 'Sir' or 'My Dear Sir', various extents, about 73 pp. in total, generally 4toQty: (-)NOTESNAPOLEONIC MANUSCRIPTS AND LETTERS INCLUDING SELECTIONS FROM THE CHARLES STUART PAPERS Charles Stuart (1779-1845) entered the diplomatic service in 1801, serving first as secretary of legation at Vienna (1801-4), then secretary of embassy at St Petersburg (1804-8). He subsequently undertook intelligence gathering with the provincial juntas in French-occupied Spain (1808-10) and made himself indispensable to Wellington as minister at Lisbon (1810-14); he was minister at the courts of both the king of the Netherlands and the exiled Louis XVIII during the 'Hundred Days', and at Paris from 1815 to 1824, and in 1825 helped negotiate the treaty by which Brazil became independent from Portugal. These drafts contain a wealth of confidential information and well-informed personal reflections on military affairs, the minutiae of diplomatic relations, and trends in the broader political situation. Of special interest is Stuart's scandalised interpretation of Napoleon's execution of the duc d'Enghien ('Without commenting upon the atrocity of this murder I shall detail a few facts which took place during Mr Pagets absence which induce me to suspect that an indirect communication from hence contributed to hasten the catastrophe'). His dispatch on 'the conquest of the Tyrol & the brilliant successes of the arch duke' (referring possibly to events in the War of the Fifth Coalition in 1809) is a valuable attempt to see through the fog of war ('The exaggerations of the accounts received from the army in Germany renders it difficult to give a true version of the events whch really have taken place in Bavaria'). There are also noteworthy details on the fluctuating relations between France, Russia and Prussia, the relative position of the Ottoman Empire, and British military operations in South America ('Indian troops to rendezous at the Cape to meet 2 British regiments from home, hence to proceed & siege Monte Video on the River Plate … In this quarter it will be adviseable [sic] to employ black troops ie West Indian Regts').

Weddell (James). A Voyage towards the South Pole, performed in the Years 1822-24. Containing n Examination of the Antarctic Sea, to the Seventy-Fourth Degree of Latitude: and a Visit to Tierra del Fuego, with a Particular Account of its Inhabitants, 1st edition, London: Longman, Hurst, Rees, Orme, Brown, and Green, 1825, iv 276 pp., hand-coloured aquatint frontispiece, 6 aquatint plates, 8 engraved maps, (2 of the plates and 6 of the maps folding and backed on linen as issued), errata slip (tipped to p. iv), plates and maps spotted and offset, one map ('The Polar Part of the Northern Hemisphere') with title shaved, front pastedown with contemporary engraved bookplate incorporating earl's coronet, crest of a griffin and motto of the Order of the Garter, bookplate of Kenn Back to front free endpaper, contemporary sprinkled calf, rebacked to style, board-edges rubbed, 8vo (21 x 12.2 cm)Qty: (1)NOTESTHE POLAR AND SOUTH AMERICAN LIBRARY OF BRITISH ANTARCTIC SURVEY METEOROLOGIST KENN BACK Abbey Travel 609; Hill (1974) p. 322; Sabin 102431. Weddell's expedition 'visited and described the Cape Verde Islands, South Orkney Islands, South Shetland Islands, and South Georgia Islands, wintered in the Falkland Islands, and described Tierra del Fuego, Patagonia, and Montevideo. During their southward sailing, they reached the lowest latitude as yet then recorded. This area explored now bears the name Weddell Sea' (Hill).