Hillegas (Howard C.). With the Boer Forces, a facsimile reproduction of the book originally published in London by Methuen & Co., 1900, with new foreword and additional photographs, Johannesburg, Scripta Africana, 1987, monochrome plates after photographs, all edges gilt, original maroon padded leather, with slipcase, 4to, limited edition 560/1000, signed by the publisher Hans Strydom, together with Slocum (Captain Sl'H and Reichmann, Captain Carl). Boer War Operations in South Africa 1899-1901, a facsimile reproduction with new foreword and rare historical pictures, Johannesburg, Scripta Africana, 1987, monochrome illustrations, top edge gilt, original maroon cloth gilt with slipcase, 4to, limited edition 317/1000, signed by the publisher Hans Strydom, plus Reitz (Deneys), Commando, A Boer Journal of the Boer War, Johannesburg, Jonathan Ball Publishers, 1990, some colour and numerous monochrome illustrations, original brown cloth in dust wrapper, large 8vo, and other Boer War, South Africa and African history, and related, including MacBride's Brigade, Irish commandos in the Anglo-Boer War, Four Courts Press, 1999, British Regiments in South Africa 1899-1902, by John Stirling, reissued J.B. Hayward, 1994, Australia's Boer War, The War in South African 1899-1902, by Craig Wilcox, Oxford University Press, 2002, Uncle George, The Boer Boyhood, Letters and Battles of Lieutenant-General George Edwin Brink, by Carel Birkby, Jonathan Ball Publishers, 1987, James McKay, Reminiscences of the Last Kafir War, reprinted, Cape Town, C. Struik, 1970, limited edition 932/1000, With the Mounted Infantry and the Mashonaland Field Force 1896, by Lieutenant-Colonel E.A.F. Alderson (Rhodesiana Reprint Library, 20), Bulawayo, 1971, etc., mostly original cloth, many in dust wrappers, mostly 8vo (Qty: 150)
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Vintage Star Wars Action Figures, including Weequay, Klaatu, Prune Face, Boba Fett, Cloud Car Pilot, Hammerhead, 4-Lom, Dengar, Ugnaught, Bib Fortuna, Greedo, Bossk, vinyl cape Jawa (fake), Bespin Guard and others, most with weapons and accessories, F-VG, some weapons reproduction, one figure converted (25+)
William Lionel Wyllie, R.A. (British, 1851-1931)The Dardanelles Campaignsigned and dated 'W.L.Wyllie/1917' (lower left) oil on canvas 29.5 x 88cm (11 5/8 x 34 5/8in).Footnotes:A letter from the artist describes this scene as follows:'On the left is the old battleship Albion then comes Cape Helles and next V Beach where the collier River Clyde is run ashore close to Seddel Bakr. In the middle Queen Elizabeth with shells from the Turkish batteries falling all round her is firing towards the narrows. On the right is Murto Bay.'ProvenanceCommissioned from the artist by Mr Chadwick Kershaw in 1917.Private collection, UK.In the months preceding the outbreak of the First World War, the United Kingdom, France and Russia were keen to ensure the neutrality of the Ottoman Empire. The Central Powers - Germany and the Austro-Hungarian Empire - were keen to bring in the Turks, in the event of war, as a threat to Russia's southern flank. Britain and France were also concerned for their naval domination of the Mediterranean and any threat to the Suez Canal. From 1860, Turkey had been regarded as 'the sick man of Europe' and had been little regarded by the more highly-developed nations, but its strategic position remained important because it controlled the only ice-free supply route to Russia. In July 1914 the Ottoman Empire allied itself with Germany against Russia in return for military and naval assistance and formally joined the Central Powers against all of the Allies on 31st October. German successes during the first months of the war in France, Belgium and Russia prompted an Allied strategy aimed at eliminating the Ottomans, who were seen as a weak link in the Central Alliance, and this was to be achieved by the capture of Constantinople, the Ottoman capital, by means of a naval expedition through the Dardanelles Straits.British and French naval assets attempted to force the waterway in March 1915 but were repelled, principally by skilfully laid mine fields and well-served, although obsolete, artillery. Some of which was manned by German gunners, who were part of a military mission intended to modernise and up-skill the Ottoman Army. The combined fleet lost three battleships sunk and three others were severely damaged. This rebuff led to a change of strategy that required the Army to land and advance parallel to the Straits thereby taking the coastal defences in the rear and eliminating them so as to allow the ships undisputed passage along the waterway. Planning and assembling the force for the landings took about a month, which the Turks used to reinforce their positions. The main landings were made on 25th April 1915 on the tip of the Gallipoli Peninsula at Cape Helles, where a substantial beach-head was formed but held in check by Turkish forces occupying the higher ground inland. A flanking force made up of the Australian and New Zealand Army Corps (ANZAC) landed at Gaba Tepe, subsequently named ANZAC Cove, on the western shore of the peninsula. Its penetration inland was equally problematic. As land artillery was in short supply, the naval escorting force provided as much support as possible with its own guns, but target identification and accurate shooting were difficult. British and Commonwealth troops remained in position despite unbreakable Turkish resistance and mounting casualties from appalling weather, until the turn of the year. The ANZAC positions were evacuated on 20th December and Cape Helles on 9th January 1916. Both departures were achieved, against expectations, with minimal casualties.We are grateful to Dr Andrew Cormack for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Thomas Buttersworth (British, 1768-1828)An English two-decker and an armed naval cutter in the Tagus off the Belem Tower signed 'T Buttersworth' (lower left)oil on canvas42.8 x 53.9cm (16 7/8 x 21 1/4in).Footnotes:This work depicts one of Thomas Buttersworth's favourite locations, the mouth of the River Tagus and, in particular, the historic Belem Tower. Resembling a fortress and indeed often referred to as 'Belem Castle', this picturesque landmark was actually built as a fortified lighthouse and formed the apex of a triangle of three structures intended to guard the approaches to Lisbon. Begun by order of King Manuel I (1515-20) during the first year of his reign and completed in 1521, the tower originally stood on an island in the middle of the Tagus until the course of the river was diverted by an earthquake in 1777, resiting it to its present location adjacent to the northern bank. Designed by Diego and Francisco Arruda in the Manueline style – it is, in fact, Portugal's only pure Manueline building – the tower is decorated with elaborate symbols of national as well as royal power including armillary spheres [King Manuel's badge of honour], crosses of the Military Order of Christ and even some naturalistic elements such as a rhinoceros, the first such representation in stone known in Europe. Subsequently used as a prison and then a telegraph station, occupying French troops destroyed the upper two stories in 1807 and even though these were later reconstructed, Buttersworth depicts the truncated tower just as it appeared to him and his contemporaries.Thomas Buttersworth was born on the Isle of Wight on 5th May 1768 and enlisted into the Royal Navy in August 1795. He joined his first ship, the brand-new frigate Caroline then fitting out at Deptford, as an Able Seaman, a rate which clearly recognised his ability and perhaps indicated some previous mercantile experience. After only three months in Caroline, he was appointed Master-at-Arms and, in 1800, was made a midshipman, a rare promotion from the 'lower deck' at that time. Invalided home from Minorca later that same year, he appears to have left the navy as a result although the nature of his infirmity is not known.Despite his subsequent career as a marine painter, the large number of Buttersworth's paintings – both oils and watercolours – which exist from the period 1797-1800 confirms that he was producing a significant output whilst still serving in the navy. Moreover, his many views of the battle of Cape St. Vincent (14th February 1797), the blockading squadron off Cadiz and of British naval activity in and around the Tagus strongly suggests that he witnessed those events in person. Undoubtedly, his own years with the fleet had given him a graphic understanding of ships and sea warfare to the extent that becoming a professional artist appeared entirely logical when his health seemingly prevented any further service with the Royal Navy.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
Richard Barnett Spencer (British, active 1840-1874)The Battle of Cape St Vincent, 14th February 1797 oil on canvas 86.3 x 137.2cm (34 x 54in).bears inscription on partial label affixed to stretcher versoFootnotes:The Battle of Cape St. Vincent, fought on 14th February 1797, was a much-needed British victory at a time when the war with Revolutionary France and her allies was not going well. At the end of 1796, French and Spanish ships were ordered to Brest to support an invasion of Ireland. The French, based at Toulon, slipped through the Straits of Gibraltar successfully but Admiral Sir John Jervis, cruising off Cape St. Vincent with 15 ships-of-the line including HMS Victory, was determined to intercept the Spaniards and stop the two enemy fleets from joining up. On 13th February 1797 Jervis was joined by Commodore Nelson's squadron from Gibraltar, and together they engaged the Spanish fleet the following day. By late afternoon, Jervis's victory over the much larger enemy fleet of 27 ships-of-the-line was assured thanks to the efficiency of his own Mediterranean Fleet and Nelson's brilliant daring at a critical moment during the battle.It was here that Nelson displayed his grasp of strategy combined with fearless personal leadership for the first time. As the action got under way, he realised that – unseen by Jervis – the bulk of the Spanish fleet was making ready to flee the scene and escape. Without a moment's hesitation Nelson took his ship Captain out of the battle line and, closely followed by Collingwood in Excellent and Troubridge in Culloden, opened fire upon the leading Spanish ships. After a furious duel, Nelson laid Captain alongside the 80-gun San Nicolas and personally led his boarding party over the two ships' sides. Meanwhile, the larger Spanish 114-gun San Josef had collided with and become entangled with San Nicolas, whereupon Nelson, having first accepted the surrender of the San Nicolas, then led his men onto San Josef's decks and promptly took her as well. It was a masterstroke and, in the aftermath of victory, Nelson emerged from it with promotion, official recognition and a reputation which would ultimately become a legend.This lot is subject to the following lot symbols: PP This lot is owned by a private individual. The right of return enjoyed by EU customers is not applicable.For further information on this lot please visit Bonhams.com
T. Kidson (British, 18th century)'A view of the town and fortifications of Cape Francois in Hispaniola, taken at about a mile distance from the shore, with the naked eye. July 1779' signed 'by T.Kidson' (upper centre), titled and extensively inscribed (across the top of the work)pen and ink and watercolour35 x 50.5cm (13 3/4 x 19 7/8in).For further information on this lot please visit Bonhams.com
FLEMING, IAN; two James Bond first editions 'On Her Majesty's Secret Service', fourth impression 1963 and 'The Man with the Golden Gun' first impression 1965, both published by Jonathan Cape, London, also 'The Cruel Sea' by Nicholas Monsarrat, and 'In the Wet' by Nevil Shute, all with original jackets (4).Additional InformationBoth Bonds dust jackets with staining discolouration, some small tears especially to spine, upper and lower section, The Man with the Golden Gun with small inscription 'Two's Up' followed by a signature to the interior flap and this price cut, further quite heavy general wear particularly to the In the Wet.
A Boer War and WWI medal group of five awarded to Private R. Crewe comprising Queen's South Africa Medal with 'Cape Colony' and 'South Africa 1902' clasps, an Edward VII South Africa St Johns Ambulance Brigade Medal and a WWI trio in box of issue; see condition report for naming details.Additional InformationFull naming on QSA 16591 Private R. Crewe R.A.M.C., St Johns Ambulance 165951 Private R. Crewe Preston Corps and the trio 30269 Private R. Crewe R.A.M.C.
47 reference works on mostly blue and white Chinese Ming and Transitional porcelain, incl. Hatcher cargo and kraak waresLa maladie de porcelaine, Eva Ströber Shunzi porcelain, Michael Butler, Julia B. Curtis, Stephen Little Zhangzhou export ceramics, Jorge Welsh Chinese blue and white porcelain, Duncan Macintosh Chinese blue and white ceramics, S.T. Yeo & Jean Martin Chinese export porcelain, Maria Antonia Pinto de Matos Blue and white Chinese porcelain around the world, John Carswell Chinese porcelains from the Ardebil Shrine, John Alexander Pope Supplement to Chinese ceramics, Jan van Campen The art of the Chinese potter, R.L. Hobson & A.L. Hetherington Chinese ceramics of the transitional period, Stephen Little Arts Asiatiques, Daisy Lion-Goldschmidt Chinees porselein en aardewerk, D.F. Lunsingh Scheurleer Porcelain and the Dutch East India Company, T. Volker Chinese porcelain, The Michael Butler Collection The ceramic load of the 'witte leeuw', C.L. van der Pijl-Ketel Sotheby's Concise Encyclopedia of porcelain, David Battie The legacy of the Tek Sing, Nigel Pickford & Michael Hatcher Oriental ceramics at the cape of good hope, C.S. Woodward Miller's Chinese & Japanese Antiques Christies Australia The Binh Thuan Shipwreck Melbourne - 1 & 2 March 2004 Tek Sing Treasures, Nagel Auctions Christie's Amsterdam - Chinese and Japanese ceramics and works of art - 23 October 1986 Christie's Amsterdam - The Nanking Cargo 28 April - 2 May 1986 Christie's London - The peony Pavilion Collection: Chinese tea ceramics for Japan - 12 June 1989 Sotheby's - The George and Cornelia Wingfield digby collection - 12 June 2003 Sotheby's - Japanese and Chinese works of art - 19 February 2003 The Wanli shipwreck and its ceramic cargo, Sten Sjostrand & Sharipah Lok Lok bt. Syed Idrus Ceramic evolution in the middle Ming period, Rosemary Scott & Rose Kerr Swatow, Barbara Harrisson La porcelaine Ming, Daisy Lion-Goldschmidt Kraak porcelain, Jorge Welsh La Céramique Chinoise, He LI Keramik Kuna Yang ditemukan di Indonesia, Sumarah Adhyatman Kraak porcelain, Maura Rinaldi Ming ceramics in the British Museum, Jessica Harrison-Hall Chinese folk painting on porcelain, Bi Keguan Chinese ceramics in the collection of the Rijksmuseum, Amsterdam, Christiaan J.A. Jörg Treasures from the Hoi An hoard - Vol. 1 - Butterfields Treasures from the Hoi An hoard - Vol. 2 - Butterfields Chinese poterie, biscuit, gres Porcelaine de Chine The Hatcher porcelain cargoes, Colin Sheaf & Richard Kilburn A selection from the collection of oriental ceramics, Christiaan J.A. Jörg Chinese porcelain collections in the near East - Topkapi and ardebil - Vol. 1 T. Misugi Chinese porcelain collections in the near East - Topkapi and ardebil - Vol. 2 T. Misugi Chinese porcelain collections in the near East - Topkapi and ardebil - Vol. 3 T. Misugi"
A collection of antique maps of India comprising: Map of the Peninsula of India from the 19th Degree North of Latitude to Cape Comorin by James Wyld, published by Wyld London 1824. On paper size 80 by 56 cm. Scale 20 miles to the inch, with five other scales including Mogully Coss, Royal Coss and Punjabi Coss. Map includes most of Sri Lanka. Heights indicated by shading or hachuring. Was originally colour coded to show the possessions of the various European powers but little colour remains. Occasional foxing to one sea area. Some tears to the margins outside the map have been closed to the reverse with archival quality tape. Survey of India Map: Koko Nor, with parts of China and Tibet. Published by the Survey of India, Calcutta 1926 from an original survey in 1893. On linen size 69 by 62 cm. Scale 1:2,000,000. Stamped “for official use only”. Includes part of the Great Wall. The main town shown is Lauchowfu. Key includes information on roads, boundaries and various railway gauges. Some colour. 2 copies Map of Bombay region. Published by the Survey of India, Calcutta 1926. On paper size 81 by 64 cm. Scale approximately 32 miles to the inch. Colour. Shows British, French and Portuguese possessions. Includes Bombay, Central Province, Hyderabad etc. With a colour coded key to items such as the various railway gauges etc. 3 copies Map of North West India. A Map to Accompany Military Report on the Vth (MHOW) Division. On paper size 93 by 74 cm. Published by the British Army in India circa 1905. On paper size 93 by 74 cm. Scale 32 miles to the inch.
Collection of 20th-century novels, some first editions, to include: The Manchurian Candidate, Richard Condon, uncorrected proof copy in brown paper covers bearing publisher's label, 'Proof Copy for inspection, with the compliments of Michael Joseph Ltd', 1960; The Darling Buds of May, H. E. Bates, London: Michael Joseph, 1958, with dust-jacket; John Lennon In His Own Right, London: Jonathan Cape, 1964; The Short Reign of Pippin IV, John Steinbeck, London: Heinemann, 1957, with d.j.; Ticky, Stella Gibbons, London: Longmans, 1943, with d.j.; Helena, Evelyn Waugh, London: Chapman and Hall, 1950, with d.j.; The Years, Virginia Woolf, London: Leonard and Virginia Woolf at The Hogarth Press, 1937, no d.j.; The Clicking of the Cuthbert, P. G. Wodehouse, London: Herbert Jenkins Limited, 1922, no d.j.; Spectrum II, A Second Science Fiction Anthology, Kingsley Amis & Robert Conquest, London: Victor Gollancz, 1962, with d.j.; A Pink Front Door, Stella Gibbons, London: Hodder and Stoughton, 1959, with d.j.; Ritual in the Dark, Colin Wilson, London: Victor Gollancz, 1960, with d.j.; The Worlds of Science Fiction, Robert P. Mills, London: Victor Gollancz, 1964, with d.j.; When the Going was Good, Evelyn Waugh, London: Duckworth, 1946, no d.j., and others (36)
A silk velvet cape/mantle in black with a plaid lining and edged in lace, seen in family photo worn by elderly lady about 1875-80. Together with a large piece of fabric made up of contrasting strips of cream satin and black velvet joined together with stitching, originally a skirt but now deconstructed. 10'6"x3'4" c. 1860s. (2)
A Victorian Cape in Taffeta embellished in lace and silk ruffles, the back has been embroidered and embossed. The high necklines has silk ruffles, fastenings with a Bow and Hooks and Eyes - 1880s/90s. A Black Small Cape, embellished in open weave appliquéd embroidery and has along tassels 1870/80 cotton lining in black (2)
A Mint Green Chiffon Lingerie consisting of a housecoat and mini dress set made by Charnes in the 1980s/1990s. A pure wool pillar box red cape with one large button made by Caroline Rohmer together with a Burberry Reversable 3/4 raincoat, one side navy and one side red studded tastings. (3)
A Black Peter Pan Collar in stain edged in Black/White trim (1920s). A Large cotton lace Victorian Collar in cream 1880s (slight damage). A Black fishnet scant 1920.30s. A Tulle Cape edged in black fluted rosettes (1930s). An Edwardian spotted ladies car scarf (to keep hat on) with jabot style ends in Tulle/lace. A watered Taffeta Long Scarf and a red satin embroidered tray cloth. A collection of black lace trimmings and chiffon and spotted velvet trims. A black lace pearl dress (1930s). An Art Deco Floral Corsage. A Black Pom Pom hat decorations and a small collection of feathers (Q)
Fleming, Ian. James Bond collection, comprising: Octopussy and The Living Daylights, first edition, Jonathan Cape, 1966, with dust-jacket (10s 6d price); From Russia with Love, Book Club edtion, no date [1957], with d.j.; Dr. No, Book Club, 1958, with d.j.; Goldfinger, Book Club, 1959, with d.j.; For Your Eyes Only, Jonathan Cape, third impression 1962, and reprinted 1964, both with d.j.; For Your Eyes Only, Book Club, 1960 with d.j.; Thunderball, Book Club, 1961, with d.j.; The Spy Who Loved Me, fifth impression, Jonathan Cape, 1963, with d.j.; On Her Majesty's Secret Service, Book Club, 1963, with d.j.; You Only Live Twice, second impression, Jonathan Cape, April 1964, no d.j.; The Man with the Golden Gun, Book Club, 1965, two copies, both with d.j; Thrilling Cities: Part II, Pan paperback, 1963. Together with The James Bond Dossier, Kingsley Amis, first edition, Jonathan Cape, 1965; James Bond in the Cinema, John Brosnan, 1972; For Special Services, John Gardner, 1982; Scorpius, John Gardner, 1988; High Time to Kill, Raymond Benson, no date (20)
Collection of 19 signed children's books, mostly first editions, comprising: Zagazoo, Quentin Blake, London: Jonathan Cape, 1998, 'For Viv! Quentin Blake', hardback; Cops and Robbers, Janet and Allan Ahlberg, London: Heinemann, 1978, 'To Vivien, Best wishes, Janet Ahlberg, Allan Ahlberg' (signed by both), hardback; Son of a Gun, London: Heinemann, 1979, 'To Vivien, with best wishes, Janet Ahlberg, Allan Ahlberg (signed by both), hardback; Each Peach Pear Plum, Janet and Allan Ahlberg, Kestrel Books, 1978, 'Best wishes to Vivien from Allan Ahlberg', hardback; Piggybook, Anthony Browne, London: Julia MacRae Books, 1986, 'For Vivien, Best wishes from Anthony Browne', hardback; Gorilla, Anthony Browne, London: Julia MacRae Books, ('REPRINTED 1983, 1984'), 'To Vivien, with best wishes from Anthony Browne', hardback; Bill and Stanley, Helen Oxbury, London: Ernest Benn, 1981, 'For Vivien with best wishes from Helen Oxbury, 19.5.83.', hardback; The Most Amazing Hide-and-Seek Counting Book, Robert Crowther, Kestrel Books/Viking Press, 1981, 'To Vivien, with Best Wishes, Robert Crowther', hardback; The Most Amazing Hide-and-Seek Alphabet Book, Robert Crowther, Kestrel Books/Viking Press, 1977, signed by the author on letter 'v' (initial of recipient), 'To Vivien, with Best Wishes, Robert Crowther', hardback; A Lion in the Meadow, Margaret Mahy and Jenny Williams, Puffin Books, 1985, 'Best wishes Vivien, Margaret Mahy (with ink drawing of a lion), softcover; Football Crazy, Colin McNaughton, Piccolo, 1982, 'For Brian, Colin McNaughton, howay the lads! (with ink drawing of Bruno kicking football), softcover; Old Mother Hubbard, Colin and Jacqui Hawkins, Magnet, 1985, ink illustration of dog saying 'Hi Vivien', inscribed, Very best wishes from Colin Hawkins, 1987', softcover; Hiawatha's Childhood, illustrated by Errol Le Cain, London: Faber and Faber, 1984, 'To Vivien, With Best Wishes, Errol Le Cain', hardback; Sleeping Beauty, Angela Carter and Michael Foreman, London: Victor Gollancz, 1982, 'For Vivien with love Michael Foreman, 1983', hardback; The Wildman, Kevin Crossley-Holland, London: Andre Deutsch, 1976, 'Vivienne - 'so many of them, almost like me...' Very good wishes. Birmingham 1983. Kevin Crossley-Holland', hardback; Sir Gawain and the Loathly Lady, illustrated by Juan Wijngaard, London: Walker Books, 1985, 'To Vivien, with Best Wishes, Juan Wijngaard', hardback; Beowulf, Kevin Crossley-Holland, London: OUP, 1982, signed and inscribed to Vivien with Anglo-Saxon message, hardback; The Highwayman, illustrated by Charles Keeping, London: OUP, 1981, signed by Keeping, hardback; Le Geant de Zera, Tomi Ungerer, 1988, signed and inscribed to Vivien with an ink drawing of a roast chicken blowing out peas, hardback (19)Provenance: Vendor was a children's librarian and met the authors personally
Collection of books, including some first editions, comprising: Baby Doll, Tennessee Williams, London: Secker & Warburg, 1957; Lolita, Vladimir Nabokov, Olympia Press, fourth printing, 1961; The Old Man and the Sea, Ernest Hemingway, London: Jonathan Cape, 1968; Drunkard, Emile Zola, London: Elek Books, 1958; Mr Loveday's Little Outing, Evelyn Waugh, London: Chapman & Hall, 1936; Men at Arms, Evelyn Waugh, London: Chapman & Hall, 1952; Balle de la Geole de Reading, Oscar Wilde, Paris: Mercure de France, no date; Right Ho, Jeeves, P. G. Wodehouse London: Herbert Jenkins, second printing, no date; four novels by Guy Boothby (Doctor Nikola, 1896; Fascination of the King, 1897; Long Live the King, 1900; The League of Twelve, 1903); A Quiet Corner in a Library, William Henry Hudson, London: Harrap, no date; Capitalism, Socialism or Villagism, Dr Bharatan Kumarappa, foreword by Mahatma Gandhi, 1965; Son of Man, Pictures and Carvings, 1939; The Life of Christ, by Chinese Artists, 1938 (16)
Fleming, Ian. You Only Live Twice, first edition, London: Jonathan Cape, 1966, unclipped dust jacket (priced 16s); very good, clean, bright; shelf lean. Together with On Her Majesty's Secret Service, second impression, London: Jonathan Cape, 1963, dust-jacket, and From Russia with Love, Book Club edition (3)
Blowout Sale! Martin Klebba The Cape hand signed 10x8 photo. This beautiful hand-signed photo depicts Martin Klebba as Rollo in the tv show, The Cape. This signed photo is guaranteed authentic, and is supplied from one of the UK's leading autograph memorabilia companies. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
The Cape. Subject Cecil Rhodes. 28/3/1891. These prints were issued by the Vanity Fair magazine between 1869 1914 as collectors supplements. Size 15. 5x10. 5 colour. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Vladimir Beilin (Russian, 20th C.) "Apollo-Soyuz Docking in Space" Original First Day Cover Watercolor painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Russia Soyuz-Apollo stamp issued May 29, 1992. Its announced goal was to test a docking system designed for use in space rescue missions. But to the people of the United States and Soviet Union, the Soyuz-Apollo joint mission meant much more. First small warming in the Cold War, the mission began on July 15, 1975, with the launches of Soyuz and Apollo spacecraft from the Baikonur Cosmodrome and Cape Canaveral just a few hours apart. The two crafts took two days to maneuver into position for docking 140 miles above the surface of the Earth. Then, in an intricate series of rocket thrusts, the Apollo docking module successfully latched onto the Soyuz. In awkward Russian, astronaut Tom Stafford exulted "We have succeeded!" His Soviet counterpart Alexei Leonov responded in English "Good show!" In the festive atmosphere that followed, astronauts Stafford, Vance Brand and Donald Slayton greeted cosmonauts Leonov and Valery Kubasov with the first "handshake in space." The five men remained together for approximately two days in the joined spacecraft, making space history in the process. Philatelic history was made as well, as both nations honored the event with their historic, first-ever postal Joint Issue. This final Apollo mission marked the end of a long series of U.S. successes in space. And it also signalled a new beginning for the American space program. For the next U.S. manned space flight wouldn't take place until six years later, when, on April 12, 1981, the Space Shuttle Columbia again took Americans closer to man's final frontier. Image Size: 14 x 12 in. Overall Size: 17.75 x 14 in. Unframed. (B13805)
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Low Window" Dated: '94 Oil on Canvas. Signed, dated, titled and sized verso. Having exhibition label verso. Overall Size: 28 x 36 in. (- 4311)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Chris Calle (American, B. 1961) "Blue Planet Space Explorers" Signed lower right. Original Mixed Media on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 29c Blue Planet stamp issued January 25, 1993. In his book From the Earth to the Moon, Jules Verne sent his travelers moonward aboard a hollow projectile fired from a huge cannon. When the novel was written in 1865, propelling people into space via huge guns sounded quite feasible. Of course we now know the space-gun idea will not work. The force of departure at escape velocity would not only kill the astronauts, but atmospheric friction would melt the craft as well. Verne also erred when describing zero gravity. In his story, the intrepid travelers experienced weightlessness only when their projectile arrived at the "neutral" point -- where the Earth's pull balances that of the Moon's. But all things considered, it's astounding how many of Verne's predictions eventually came true. His imaginary cannon was fired not far from Cape Canaveral; the splash-down was quite close to Apollo 1's re-entry, and the enormous fictional telescope Verne built on Colorado's Long's Peak proved to be the precursor of the 200-inch Hale reflector at Mt. Palomar. Verne may have also been the first to envision artificial satellites. In The Begum's Fortune, the malevolent Professor Schultz fired a shell at the metropolis of Frankville. But, alas, the shell was fired with such great velocity it missed Frankville, hurtling into space where it remained in closed orbit round the Earth. As with From the Earth to the Moon, however, the effects of air resistance were ignored. Image Size: 13.75 x 12 in. Overall Size: 23 x 19.25 in. Unframed. (B14126)
Chris Calle (American, B. 1961) "First Successful Orbital Rendezvous" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover of the Malta 25th Anniversary of the Moon Landing stamps issued July 20, 1994. On July 18, 1966, exactly 101 minutes apart, two rockets were launched flawlessly into space from Cape Kennedy, Florida. Timing was critical (a leeway of only 40 seconds could be allowed) because the two spacecraft were to attempt to rendezvous miles above Earth. The manned craft was Gemini 10, piloted by John Young and copiloted by Michael Collins. Their key objective was to dock Gemini 10 with the unmanned Agena spacecraft launched less than two hours earlier. It was important to the entire Gemini Project that the mission succeed; previous such flights had experienced disappointing failures in attempting to accomplish such a rendezvous. After 40 minutes of maneuvering, the Gemini 10 astronauts successfully docked their vehicle with its target. Young and Collins then proceeded to approach Gemini 8's derelict Agena, which had been left behind in an emergency. Collins reached the marooned craft with a 27-minute space walk. Loud cheers could be heard in Mission Control when the astronauts' spacecraft finally splashed down in the Atlantic, for Gemini 10 was the first mission to accomplish all of the objectives required for a lunar mission in the upcoming Apollo program: orbital rendezvous, docking, orbital maneuvering of the composite vehicle and controlled work during extra-vehicular activity. Image Size: 7.25 x 6 in. Overall Size: 11.5 x 9.25 in. Unframed. (B14877)
Lord Nelson Commemorative Bowie Knife, with two piece slab grips. Large swollen bowie type clipped blade etched with “ADMIRAL LORD NELSON – ENGLAND EXPECTS” and his famous battle honours around, “TRAFALGAR, THE NILE, COPENHAGEN and CAPE ST VINCENT”. Housed in a leather and riveted scabbard. Blade 28cms, overall 42cms. Not old.
Walter Whall Battiss (South African, 1906-1982)'The Waterberg' (View from the artist's studio) signed 'Walter Battiss' (lower left); inscribed 'View from my studio window by Walter Battiss/ Pretoria' (verso)oil on canvas laid to board40 x 50.5cm (15 3/4 x 19 7/8in).Footnotes:ProvenanceAcquired by a private UK collector, 2011.The present lot is similar in technique and date to View of Pretoria, 1978 (illustrated in M. Schoonraad, Walter Battiss, Cape Town, 1976, fig.14) and Pretoria farm, Garsfontein (sold in these rooms, 24 March 2010, lot 34).For further information on this lot please visit Bonhams.com
An important and scarce group of medals awarded over three wars: The Second South African (Boer) War; WWI and WWII to Thomas Henry Searby BATES (5008) born 18 May 1881 to include two Distinguished Service Medals (DSM) (George V & VI); Queens South African Medal with South Africa 1899-1902 and Cape Colony Claspe; a 1914/15 Star Victory Medal & RNRLS Medals together with news paper cutting, certificate of service and navigation committee certificate inc. masters in original box (please note there is a slight difference on side engraving). This collection is being sold by the family. Originally from Grimsby petty officer Thomas Bates served in three wars and twice awarded the DSM he served as a skipper of a minesweeper in the second world war. He was awarded his initial DSM for war services in 1914-1918, he also held long service medal having served in three wars. He was 60 years old whilst serving in the second world war but was discharged due to ill health. In peace-time he was in the fishing industry sailing from Grimsby chiefly as a mate although he held a skipper certificate. his two sons served in the Royal Navy and Royal Air Force during the second world war. Medals: Distinguished service medal; South Africa (1899-02) medal; 1914-15 Star; British War & Victory Medals; L.S & G.C. Medal. Side engravings: George VI DSM: JX.179588 H.S.BATES 2-HD R.N.R.; R.N.R LS &GC: 4412C T.H.S.BATES SMN R.N.R.; SOUTH AFRICA: 5008 L/CPL. T.BATES 3-LINC.R; 1914/15 STAR: 4412C. T.H.S.BATES SMN R.N.R.; GEORGE V DSM: 4412C T.H.S.BATES SMN R.N.R ; BRITISH WAR & VICTORY: 4412C T.H.S.BATES SMN R.N.R.
A LIMITED EDITION LIFE SIZE SCULPTURE OF SUPERMAN, created from the same model type produced for the 2006 promotion of the Superman Returns film release, of eight piece painted fibreglass construction with inset realistic glass effect eyes, mounted on a Superman logo plinth and standing at 82" high.All proceeds from the sale of this item will be donated to the NHS Charities Together for their Covid-19 Urgent Appeal.This item was kindly donated by Shane Swallow of Ossett Antiques who feels the sculpture represents the NHS in their fight against Covid 19. Condition Report:-This is a fantastic item in presentable condition, but does carry some wear in places. This is most prevalent at joints where movement or tension has caused minor marks or chips. There is one crack on the joint of the cape which is not obvious when built. There are some surface marks to the face and neck around the cape join. There is also one additional hole for a cape support rod with no rod, but this would be simple to replace.
Fleming (Ian) Thunderball, L. (Cape) 1961. First Edn. hf. title, orig. black boards with skeletal hand on front cover, gilt lettered spine, a few spots on front fore-edge, orig. pict. d.w., sm. hole on front, a few nicks to edge,some finger stains, corners clipped, but not price clipped; also Wodehouse (P.G.) The Mating Season, L. (Jenkins) n.d. 1947. First Edn., orange cloth, faded, no d.w. (2)
WARRIORS CAPE AND CROWN ETHIOPIA velvet, lion pelt, white metal and brass, the velvet stiffened with canvas and embroidered with floral motifs, lion skin covering the chest and shoulders, with white metal charms and bells hanging from the borders and a central brass plaque with a depiction of a lion; the crown composed of lion skin and red velvet attached onto a metal base with inset stones of blue, green and white, bells linked by chains hang below (Dimensions: 93cm tall) Note: For a similar example please see: The British Museum, London, accession number Af1961,04.3.
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