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

A briefcase of good loose mint stamps, including sets, countries include Australia, South Africa, Egypt, Morocco Agencies, Cape of Good Hope, Straits Settlements, Malaya, Pakistan, St Vincent, etc, with envelopes of stamps and sent envelopes, viewing recommended

JOHN LENNON - SPANIARD IN THE WORKS/IN HIS OWN WRITE. Two first editions of John Lennon's collectable works of fiction, both published by Jonathan Cape. Both in Good condition with some loose bindings on IHOW and some foxing to SITW.

APPLE BOUTIQUE THE FOOL VELVET JACKET. A long sleeved burgundy velvet jacket with blue lining and accompanying cape, from the Apple Boutique. Label reads 'Designed By The Fool' and size label reads '36'.

Roland Klein at Marcel Fenez black shift dress with pink details to the collar and down the side panels and sleeves, possibly lacking belt, a Bruce Oldfield turquoise loose top, a Werner Graumann Pret-a-Porter Reine Seide blue silk spotted dress with drape front, three-quarter length sleeves with button detail and a Averardo Bessi pure silk blue printed day dress and a blue viscose maxi dress with full cape back (5) 

1920's/30's black lace dress with net panel insert, full lace collar, a 1920's black lace and chiffon long-sleeved dress (lacking underslip), a black lace 1920's/30's jacket, a black lace Victorian cape with faux-jet detail to the back (this has been altered and is lacking the collar) and a devore blazer jacket wit three-quarter length sleeves (5)  

Pat Farrell chiffon party dress, peplum, faux-jet buttons to the back with matching frilled shawl and tie belt, a chiffon Domino-D pale green dress with caped bodice, a 1970's Liberty-style patterned blouse, a Genesis chiffon halterneck evening dress with cape from the bodice and a Fine Feathers Liberty print cotton dress with smocking to the bodice and button detail to the shoulders and cuffs, with belt 

Cream fur short jacket and a faux-fur white cape (2) 

Issey Miyake vintage brown knit cardigan and an Issye Miyake vintage black cape dress (2)

A small quantity of hallmarked silver items, to include: monogrammed cigarette case Birmingham 1928/9, inscribed to interior From H G C S HMS Cape Town 1928, together with a hallmarked miniature silver ladies handbag, small personal silver edged photo frame London 1896, silver propelling pencil Birmingham 1947 and an EPNS backed desk calendar. Condition Report: 268g approx gross.

E.M. REILLY & CO., LONDONA GOOD 25-BORE/.500 PERCUSSION CAPE-RIFLE, serial no. 12251,for 1859, with expertly re-browned 30in. twist barrels the broad matted raised top-rib signed 'E.M. REILLY & Co. OXFORD ST. LONDON' within an arabesque white metal lined bordered panel, the top-rib also bordered with a white metal line and marked with similarly bordered one inch increments, dove-tailed bead fore-sight, 'Africa' style rear-sight with five flush folding notched leaves, each with platinum central line, and a further shallow standing notch, shell engraved rib-end at breech, platinum plugs, borderline and scroll engraved elongated top-tang, borderline and scroll engraved bar-action locks signed 'E.M. REILLY & Co.', engraved hammers, chequered walnut pistol-grip half-stock (chequering worn smooth), engraved hinged patchbox to right side of butt, iron heel-plate, engraved moulded iron grip-cap, engraved iron trigger-guard tang and bow, single set triggers for both barrels, engraved ramrod throat, plain thimbles and nickel mounted iron ramrod (small pinned working repair behind right hand lock).

A collection of Navigation charts, East Coast of Central America, Newfoundland, Atlantic Coasts of Cape Breton Island and Nova Scotia examples.

A 1920's sequined flappers dress and cape

* NEIL LAMONT (BRITISH b 1955), THEATRE CAPE oil on board, signed 100cm x 80cm Framed

BRITISH SCHOOL (LATE 19TH CENTURY), WOMAN IN BLACK, WITH A FAN AND BLACK LACE VEIL; and WOMAN IN BLACK WITH LACE CAPE a pair of watercolours on paper, each signed indistinctly with monogram and dated Each 10cm x 6cm Each mounted, framed and under glass

Arthur A Wilson (British 20th century): Men O' War off Cape Vincent', watercolour signed and dated '86, 29cm x 42cm Condition Report Click here for further images, condition, auction times & delivery costs

A VICTORIAN INDIA MEDAL to 3674 Pte. J. Allan, Gordon Highlanders with three clasps, Relief of Chitral 1895, Punjab Frontier 1897-98, Tiran 1897 - 98 with a Victorian South Africa medal to Pte. Allan with four clasps, Cape Colony, Paardeberg, Driefontien and Johannesburg, also an Edward VII South Africa medal to Pte. Allan with two clasps, South Africa 1901 and 1902 with his WWI group of three and a WWI group of two to 13890 Pte. D. McI, Mackie H.L.I. (8) Condition Report: Available upon request

A Queen's South Africa Medal 3rd type, with bars to South Africa 1901, Transvaal, Orange Free State and Cape Colony, name removed.

WW2 Third Reich Heer Gas Cape bag: Wasserschutze Polizie Eagle, maker marked "GBM" (no pins) British Army wash roll: Grenadier Guards cap badge: British 7th Armoured Div flash: soccer flash post war ration books: Army Form W3601.

WW1 British Nurse Medal Group to Sister Jane Ellithorn / Sister (Mrs) Jane Stewart TFNS comprising of: WW1 British War Medal, Victory Medal and Territorial War Medal. Along with her Territorial Force Nursing Service Cape badge in JR Gaunt marked box of issue: A cased enamel & silver General Nursing Council of England and Wales membership badge engraved to reverse "J Stewart SRN 11453 dated 16/2/23: a pair of WW1 French Pilots Wings: letter from a Serbian Officer she treated: ASC Sweetheart badge: Service Records: Letters: Photographs: etc.

MEDORA HEATHER BENT (1901-1991) *ARR Figures Before Cottages in a Rolling Landscape with Cattle, watercolour, signed lower right, inscribed verso "A Present from Cape Cornwall, April 1949, from Alannah", 28 x 37cm.

Fleming [Ian]: You Only Live Twice, pub. Jonathan Cape, second impression April 1964, with dustwrapper (clipped), inscribed; Fleming [Ian]: For Your Eyes Only, pub. Jonathan Cape, first edition; Wodehouse [P.G.]: Spring for Ever, pub. Herbert Jenkins Limited, first printing, with dustwrapper. (3)

A c.1940's Dark Brown Fitted Fur Cape, 67cm long, and a three-quarter length brown shaded fur jacket, 90cm long. (2)

A Cream Mink Evening Cape, with split arm detail and three buttons, retailers label for "Joseph Fox Furriers".

A Vintage Burberry Raincoat, in khaki green with classic check and padded lining and a collection of 1970's/80's vintage jackets and coats, including a full length leather coat, coney fur and leather bomber jackets, suede cape. (5)

A KHAKI RAIN CAPE

Irma Stern (South African, 1894-1966)Watussi Chief's Wife, 1946 signed and dated 'Irma Stern 1946' (upper left); signed and inscribed 'Irma Stern Cape Town' (on the reverse), signed, titled and inscribed 'Watussi Chief's Wife Irma Stern The Firs Chapel Road Rosebank Cape Town' (on the stretcher), signed 'Irma Stern' (on the reverse of the frame)oil on canvas in original Zanzibar frame63.2 x 50.5cm (24 7/8 x 19 7/8in).Footnotes:Provenance:Acquired from exhibition in Paris in 1947;Donated as a wedding gift to the current owner's parents, 1949;A private US collection.Exhibited:Paris, Galerie des Beaux Arts, Irma Stern: Peintures d'Afrique, Oct 1947, no. 15.War prevented Stern from travelling further overseas, so in the artist made two trips to the Belgian Congo, one in 1942 and a further trip in 1946.Her first trip was a great success and she returned with over two hundred works and also published her book 'Congo', she exhibited these works in Johannesburg in the following year and these included her noted portraits of the Tutsi King and Queen. In a letter to Richard Feldman she states:'My plans are to go up to Elisabethville by rail - truck my car - then get a chauffeur there - and motor for three days - then the road stops - and I can rail my car for 12 hours then I arrive at Albertville. I shall want to paint the Watussi ....'Her 1946 excursion was very different in that she contracted malaria and more importantly in the four years that had passed political change had taken place, here was resentment at the Belgian colonial government and the population were restless. Stern discussed this with her friend Mona Berman:'It was a hoodoo trip. The last time in the Congo everything went on oiled wheels. This time everything that could go wrong went wrong.....It is all quite a different world as to what I had in mind from former time - ... The Congo this time has a creeping horror for me'That being said she returned with fourteen finished canvasses and many charcoal studies. The above work is one of two portraits of Tutsi (Watussi) aristocracy that were completed by Stern on this second trip and then exhibited in Paris in 1947. The nobility were portrayed as being tall descendants from Nilotic ancestry, exceptionally beautiful and noble in bearing. In his preface to the catalogue Jean Cassou, Director of the Musée National d'Art Moderne praised the artist and stated that she had captured:'An expression of Africa by an African'To Stern the Tutsi were a fascinating group, the elite with their aristocratic demeanour were subjects she wished to paint most fervently. She said: 'I am expecting a Watussi lady in tomorrow. They are grand – they do not walk or work – they are nobility.'The Tutsi are the second tribe in Rwanda and Burundi with the Hutu being the largest, but traditionally the Tutsi had held greater economic and governmental power. In 1994, following the assassination of the Rwandan and Burundi presidents there was a mass genocide of Tutsis, with between seven hundred thousand to one million being slaughtered. Also murdered in this killing spree were many Tutsi aristocracy and the Queen Rosalie Gicanda.The above work is enclosed in a 'Zanzibar frame'. The artist reserved these special frames for her finest works. In a letter to the current owner the artist states:'the frame of the picture is hand carved old Arab framing - taken off an antique Zanzibar - door. The picture was painted off center. I hope you are enjoying both. With best of wishes for the season'.Bibliography:Berman, M, 'Remembering Irma', Cape Town, 2003.Cassou, Jean, 'Irma Stern, peintures, Paris, Galerie des Beaux-Arts, 1947.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Robert Griffiths Hodgins (South African, 1920-2010)Balancing Act: a triptych (2003) bottom panel titled, signed and dated (verso)oil on canvaseach panel 91.5 x 122cm (36 x 48 1/16in).(3)Footnotes:ProvenanceAcquired from Simon Mee Fine Art, London in 2003.ExhibitedLondon, Simon Mee Fine Art, Robert Hodgins, September 2003. 'There are paintings that stem from memory and from a sombre look at the human condition. Paintings about the construction and confusion of contemporary urban life, but also paintings about the pleasures of being alive, pleasures that crowd in upon the pessimism everywhere - that crowd in and refuse to be ignored' (Robert Hodgins, Goodman Gallery, 2000).This triptych, with its vibrant colours and playful composition, perfectly communicates the joys of existence. Looking at the orange, red, and yellow hues, one can almost feel the sun one's face. The comic incongruity of the precariously balanced acrobat in his crisp business suit is a reminder that life's absurdity is something to be celebrated; we should not fall into the trap of taking ourselves too seriously.This drive to find fun, to seek pleasure, was partly born out of the artist's experiences during the Second World War. He joined the South African Union Defence Force in 1940, and saw active service in Kenya and Egypt before being discharged. At the end of the war, he returned to London. This gloomy period, with rationing still in full force and many in mourning, continued to inform his outlook for the rest of his life. One should not take beauty for granted; it should be savoured.Hodgins painted Balancing Act at the age of 83. The impressive scale and energy of the piece reveal a man determined to live life to the full, even in his twilight years.BibliographyS.Fraser, ed. Robert Hodgins, (Cape Town, 2002), pp.12-13.For further information on this lot please visit Bonhams.com

George Milwa Mnyaluza Pemba (South African, 1912-2001)'In Quest of Beauty' (Abstract) twice signed and dated 'MM Pemba / 53' (upper right and vertically along right margin); inscribed with title (verso)oil on board33.5 x 25.5cm (13 3/16 x 10 1/16in).Footnotes:George Pemba lived and painted in the South African city of Port Elizabeth in the Eastern Cape. Widely known as an important artist who documented black South Africans during Apartheid, the present lot is a rare example of his relatively unknown experimentation into abstraction. For a brief period, Pemba was clearly influenced by the cubist movement and specifically with artists such as Georges Braque and Pablo Picasso. In Quest of Beauty is a wonderful example of this with the wild geometric patterns and vivid colour palette. BibliographyB. Feinberg & H.Proud (eds), George Milwa Mnyaluza Pemba: Retrospective Exhibition, (Cape Town, 1996), p.69.S. Hudleston, Against All Odds: George Pemba, his life and works, (Johannesburg, 1996), p.86.For further information on this lot please visit Bonhams.com

Mohau Modisakeng (South African, born 1986)Untitled (Lefa bust), 2017 bronze with walnut base76.5 x 48 x 25cm (30 1/8 x 18 7/8 x 9 13/16in). including base.Footnotes:Modisakeng was born in the South African township of Soweto, Johannesburg. His experience growing up during Apartheid is reflected and intertwined with his work. Using memory to explore different themes of history, body and place. Breaking away from the stereotype of the self-taught black South African artist, Modisakeng is a graduate of the esteemed Michaelis School of Fine Art, Cape Town. It was at Michaelis that Modisakeng was mentored by one of South Africa's most famous female artists, Jane Alexander. Known mostly for producing powerful imagery through photography and film, Alexander's influence of sculpture is nonetheless evident in the present lot. He currently lives and works between the South African cities of Cape Town and Johannesburg and has also been recently exhibited at the Performa 17 Biennial, New York 2017 and the 55th Venice Biennale in 2015 as part of the South African pavilion.This work was conceived in an edition of 10 with 2 artist's proofs.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Irma Stern (South African, 1894-1966)Still life of roses and earthenwaresigned and dated 'Irma Stern 1936' (lower right) oil on canvas 48 x 59cm (18 7/8 x 23 1/4in).Footnotes:Looking at this still life, one can see why the British artist, Jacob Epstein, was of the opinion that 'nobody living' painted flowers better than Irma Stern. The roses scattered across the table are brought to life with thick, sensual strokes of pinks, creams, and yellows. They have a tangible quality; one can almost feel the velvety-soft petals.As was typical of Stern, she has personalised the painting by including two ceramics from her own eclectic collection. She was a voracious traveller and always acquired an objets d'art as a memento. These fuelled her imagination when she was back in her studio in Cape Town, prompting memories and inspiring romantic wanderings. Stern had a keen appreciation for colour, which we can see utilised here. The soft peach tones of the blooms in the foreground are subtly echoed by the pink hues in the drapery behind. It lends a harmonious dynamism to the composition, drawing the viewer's eye from the lower right corner up the curtain and back down along the curved body of the pitcher. BibliographyH. Smuts, At Home with Irma Stern, (Cape Town, 2007), pp.34-35.S. Klopper, Life Force: the Still Lifes of Irma Stern, (RMB Turbine Art Fair exhibition catalogue, 2018), pp.12-13.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Christo Coetzee (South African, 1929-2000)Untitled 1960 signed and dated 'christo coetzee/ 1960' and inscribed '120/FT/christo/coetzee/24/4/60' (verso)152.5 x 204 x 20.5cm (60 1/16 x 80 5/16 x 8 1/16in).Footnotes:Educated at The Slade School of Fine Art, Christo Coetzee was a South African artist who was awarded a scholarship in 1959 by the Japanese Government to study in Japan. This was arguably the result of his first exhibition with Rudolph Stadler in Paris a year earlier, where Coetzee was introduced to the influential French art critic Michel Tapie. Tapie in 1957 received a pamphlet from Gutai, a newly formed avant-garde Japanese art group, and immediately became interested in their experimental post-war practice. In September of that year Tapie traveled to Osaka and was so fascinated and impressed by their work he later introduced the Gutai group to leading figures in the art world both in Europe and the US. However it was during Tapie's initial 1957 trip that he met and introduced the Gutai founder Jiro Yoshihari to informal painting. Yoshihara states that he had to select a work for reproduction and happened to pick one by Christo Coetzee. He further comments that 'the use of ping-pong balls covered with paint, and this bizarre technique seemed to indicate a break with what painting used to be in the past'. This unique style which captivated Yoshihara is nonetheless evident in the present lot, with ping-pong balls attached throughout the center-fold of the canvas by wire disguised in heavily applied paint. Crucially it was through Tapie, that Yoshihara and Coetzee were first introduced to one another in Paris 1958 at Galerie Stadler. The two artists quickly struck up a friendship, with Yoshihari visiting Coetzee's studio by the River Seine with fellow artist Hisao Domoto.In Japan, Coetzee was attached to the department of Aesthetics at Kyoto University, living at the student institute in Osaka. As a result, Yoshihara kindly offered Coetzee a studio at his residence where he produced a series of works; an example was sold in these salerooms on 12 September 2018 (lot 38).Coetzee later went on to exhibit twice in Tokyo, and at the beginning of 1960 at the Takashimaya department store in Osaka.The present lot was executed in 1960 soon after Coetzee returned after his scholarship in Japan and undeniably shows evidence of the Gutai Group's heavy influence on Christo. The small and delicate incisions in the upper half of the canvas clearly resemble Gutai group member Shozo Shimamoto's Holes series. Michio Yoshihara's, son of founder Jiro, commonly used sand and this is also evident in the present lot. This is in addition to the heavily applied paint, evidently applied freshly squeezed from the tube or poured directly on the canvas like the work of Kazuo Shiraga.BibliographyMarco Franciolli et al, Gutai: Painting with Time and Space, (Silvana Editoriale, 2010), pp.204-205.Ai Sawai, GUTAI, (Art U, 2015), p.9Ming Tiampo & Alexandra Munroe, Gutai: Splendid Playground, (Guggenheim, 2013), pp.290-291Stevenson & Viljoen, Christo Coetzee: Paintings from London and Paris 1954-1964, (Cape Town, 2001) pp.29.For further information on this lot please visit Bonhams.com

ϒMrs J. Alice Orde (British, fl. 1895-1899) Portrait of Lt. Col. John Francis Giradot (1829-1902) wearing a brown coat and blue stock Signed and dated A Orde/ 1902 middle left Watercolour on ivory 6cm x 4.5cm, oval In a gold frame, the glazed reverse with label inscribed Lt Col Girardot/ Survivor of the/ Birkenhead/ 2/ Mrs Alice Orde/ Inwoodbarn/ Tongham/ Surrey Provenance: Bonhams, London, Portrait Miniatures & Silhouettes, 28 September 2004, lot 186.Lt. Col. Girardot, son of Rev John Chaucourt Girardot and Sophia (née Chaplin) was born at Averham, Notts. He entered the Army in 1847. In 1852, he was in command of a detachment of the 43rd Light Infantry on board the troopship HMS Birkenhead that sank off the coast near Cape Town. Giradot was cast ashore with others on some driftwood and when this became entangled some distance from the shore he helped a soldier, who was unable to swim, by carrying him on his back. 436 lives were lost when HMS Birkenhead sank and only 207 survived, many due to the personal valour of Giradot. His letter to his father sent from Simon's Bay 1st March 1852 gives graphic details of the sinking and the loss of lives both by drowning and to sharks.He fought in the Kaffir War of 1852-53 including the expedition over the Orange River under General Cathcart and the battle of Berea. At the close of the Kaffir War he proceeded with the 43rd to Madras and Bangalore. He became Adjutant of the Sherwood Foresters Militia in 1856, retaining that position until 1875 retiring in 1880 with the honorary rank of Lieutenant Colonel. He was for many years a Justice of the Peace for Nottinghamshire.In 1894 he married Mary daughter of the late Mr James Evans of Trevanghan, County Carmarthen. He died on September 11th 1902, the year of the 50th Anniversary of the sinking of HMS Birkenhead and is buried in Rownhams churchyard Southampton. The Oxfordshire Light Infantry (formerly the 43rd) placed a memorial in the Royal Hospital Chelsea.This lot is sold together with clippings relating to Lt. Col. Giradot. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

Dahl (Roald) Danny, The Champion of the World', Cape, 1975, first edition, dust wrapper (priced £2.25); Ransome (Arthur), The Imp and the Elf and the Ogre, James Nisbet, 1910, first edition, frontis, two (of three) plates, original quarter cloth gilt (boards worn at edges, some pages torn where crudely opened) (2)

Fleming (Ian) The Man with the Golden Gun, Cape, 1965, first edition, dust wrapper (priced 18s.); idem, On Her Majesty's Secret Service, Cape, 1963, first edition, dust wrapper (priced 16s.); idem, The Spy Who Loved Me, Cape, 1962, first edition, dust wrapper (priced 15s.); idem, You Only Live Twice, Cape, 1964, first edition, dust wrapper (priced 16s.); Lewis (C.S.), Till We Have Faces, Geoffrey Bles, 1956, first edition, dust wrapper (5)

Fleming (Ian) Casino Royale, Cape, 1953, first edition, H.M.S Dolphin stamp and ink number to front pastedown, original black cloth with red heart to upper board and red lettering to spine, lacking dust wrapper

Fleming (Ian) From Russia With Love, Cape, 1957, first edition, original black cloth with red rose and silver revolver to upper board, worn and torn dust wrapper (priced 13s. 6d.); idem, You Only Live Twice, Cape, 1964, first edition (without March), tape stains to free endpapers, original black cloth with gilt Japanese text to upper board, dust wrapper (priced 16s.); Christie (Agatha), Sparkling Cyanide, 1945, Collins Crime Club, damp stains to endpapers, dust wrapper (priced 8s. 6d.); with two others (5)

FLEMING, Ian - For Your Eyes Only: org. cloth (bright) in edge worn and slightly discoloured d/w, staining to lower margin and fore-edge heavy in places, 8vo, Jonathan Cape, first ed, 1960. With - You Only Live Twice, org. cloth (bright) in edge worn lightly discoloured d/w, 8vo, Jonathan Cape, first ed, 1964.(2)

FLEMING, Ian - The Spy Who Loved Me: org. cloth in complete (clean) dust wrapper, 8vo, inscription on f.e.p, Cape, first ed ,1962.

FLEMING, Ian - The Spy Who Loved Me: org. cloth in edge worn d/w, 8vo, Jonathan Cape, first ed, 1962. With a box of modern literature inc. copies of the Paris Revue.

A QUEEN'S SOUTH AFRICA MEDAL awarded to 5471 PTE. J. Hoolahan. Manchester Regiment, with two bars for Orange Free State and Cape Colony (Est. plus 21% premium inc. VAT)

KINGSLEY AMIS, The Folks that Live on the Hill, Hutchinson 1990, signed; The Russian Girl, Hutchinson 1992, signed; and Memoirs, Hutchinson 1991, together with MARTIN AMIS, London Fields, Jonathan Cape 1989, signed; Time's Arrow, Jonathan Cape 1991, signed; The Information, Flamingo 1995, signed (2 copies); Night Train, Jonathan Cape, 1997, signed; Heavy Water, Jonathan Cape 1998, signed and dated; Experience, Jonathan Cape 2000, signed and dated; and Coba The Dread, Jonathan Cape 2002, second pressing, (11)

JIM CRACE, Continent, Heinemann 1986 , with publicity label; Arcadia, Jonathan Cape 1992; Signals of Distress, Viking; Quarantine, Viking 1997, signed and dated, Being Dead, published by Viking 1999, signed and dated (5)

RODDY DOYLE, The Snapper, Secker & Warburg 1990; The Van, Secker & Warburg 1991; The BarrytownTriology, Secker & Warburg 1992; Paddy Clarke Ha Ha Ha, Secker & Warburg 1993, signed and dated, (2 copies); The Woman Who Walked into Doors, Jonathan Cape 1996, signed, (6 copies); A Star called Henry, Jonathan Cape 1999; The Giggler Treatment, Scolastic Press 2000, second pressing; Rory & Ita, Jonathan Cape 2002, together with another copy published by Viking Press 2002 (15)

JOHN LE CARRE, The Russia House, Hodder & Stoughton, 1989; The Night Manager, Hodder & Stoughton, 1993, signed and dated; The Tailor of Panama, Hodder & Stoughton, 1996, signed, with KAZUO ISHIGURO, The Unconsoled, Faber & Faber, 1995, signed; and, When We Were Orphans, Faber & Faber, 2000, signed; with IAN MCEWAN, Black Dogs, Jonathan Cape, 1992, signed. (6)

HILARY MANTEL, A Place of Greater Safety, Viking, 1992, signed; The Giant, O'Brien, Fourth Estate, 1998, signed; with DORIS LESSING, Walking In the Shade, HarperCollins, 1997, signed and dated; Helen Marrer and Dann, Flamingo, 1999, signed and dated; Then In The World, Flamingo, 2000, signed and dated, with MARGARET ATWOOD, Alias Grace, Bloomsbury, 1996, signed; with BERYL BAINBRIDGE, An Awfully Big Adventure, Duckworth, 2nd Impression 1990, signed on a pasted-in slip; Master Georgie, Duckworth, 1998; with ANITA BROOKNER, Brief Lives, Jonathan Cape, 1990, signed; and, A Closed Eye, Jonathan Cape, 1991, signed (10)

SALMAN RUSHDIE, Harroun and the Sea of Stories, Granta, 1990, signed; Imaginary Homelands, Granta, 1991, signed; The Moor's Last Sigh, Jonathan Cape, 1995, signed (3 copies); and The Ground Beneath Her Feet, Jonathan Cape, 1999, signed and dated (4 copies). (9)

JEANETTE WINTERSON, Written on The Body, Jonathan Cape, 1992, signed; Art and Lies, Jonathan Cape, 1994, signed; Gut Symmetries, Granta, 1997; The World and Other Places, Jonathan Cape, 1998, signed and dated; and The Power Book, Jonathan Cape, 2000, signed (5)

J G BALLARD, The Unlimited Dream Company, Jonathan Cape 1979; Myths of the Near Future, Jonathan Cape 1982; Empire of the Sun, Gollancz 1984, signed and inscribed; The Day of Creation, Gollancz 1987; Rushing to Paradise, Flamingo 1994, signed and dated; The Kindness of Women, HarperCollins 1991, signed, (2 copies); Cocaine Nights, Flamingo, 1996, signed and dated; Super-Cannes, Flamingo 2000, signed and dated; together with A Users Guide to the Millennium, Harper Collins 1996, (10)

JULIAN BARNES, The History of the World in 10½ chapters, Jonathan Cape 1989, signed; Talking it Over, Jonathan Cape 1991, signed; Porcupine, Jonathan Cape 1992, signed and dated; England, England, Jonathan Cape 1998, signed and dated; and Love, etc, Jonathan Cape 2000, signed (5)

One Volume Ian Fleming, ' The Man With The Golden Gun ', published Jonathan Cape, 1965 with dust jacket, together with one volume Ian Fleming , ' Moonraker ', published Jonathan Cape 1955 with facsimile dust jacket and one volume Ian Fleming, Italian publication ' Dalla Russia Con Amore ', published by Garzanti with dust jacketFacsimile dust jacket condition as shown in photos

Ernest Hemingway, ' The Old Man and the Sea ', Jonathan Cape, 1952 with dust jacket, together with H.G. Wells ' Men Like Gods ', Cassell and Co. Ltd, 1923

H.E. Bates, ' Mrs Esmond's Life ', No. 84 from a Limited Edition of 300, signed by the author, London 1931, yellow cloth binding, together with one volume ' Sally go Round the Moon ', Whitehall Press 1932, one volume, Robert Frost ' A Witness Tree ', Jonathan Cape 1932 and ' The Story Without an End ', Whitehall Press 1932, with dust jacket

DAVIES (W.H.), five volumes comprising: MY GARDEN, 1st edition, Jonathan Cape Ltd, London 1933, A POET'S CALENDAR, 1st edition, Jonathan Cape, London 1927, COMMON JOYS AND OTHER POEMS, 1st edition, Faber And Faber, London 1941, COLLECTED POEMS, Jonathan Cape, London 1921, and THE AUGUSTAN BOOKS OF MODERN POETRY, Ernest Benn Ltd, London 1931, CLARK KENNEDY (A), LANDSCAPES & ETCHINGS IN VERSE, 1st edition, grey boards with gilt embossed titles, signed by the author, Siegle Hill & Co, London 1910 (6)

A collection of fifty nine Star Wars model figures, to include Darth Vader with vinyl cape, Han Solo, Chewbacca, Obi Wan Kenobi, R2D2, and a Death Star operator all dated 1977, Boba Fett dated 1979, and further later dated figures, all unboxed and in play worn condition, with The Complete Star Wars Trilogy Scrapbook, Star Wars The Essential Guide To Characters, Star Wars Technical Journal, and The Empire Strikes Back Storybook (63)

A collection of Shelley Trios to include: Cape Gooseberry 12299, Purple Dark Rose 12009, Blue Bells 069, Orange / Yellow Daisies 12277 x 2. (5)

Medals: a Lloyd's Medal for Bravery at Sea, to Chief Radio Officer G W Jennings of the MV San Demetrio, 16th March 1942, cased.On 14 March 1942 San Demetrio sailed unescorted from Baltimore, Maryland bound for the UK via Halifax, Nova Scotia with a cargo of 4,000 tons of alcohol and 7,000 tons of aviation spirit. On 17 March she was northwest of Cape Charles, Virginia when the German submarine U-404 torpedoed and sank her. 16 crew and three DEMS gunners were lost and six crew wounded, but survivors managed to launch two lifeboats. Two days later the US tanker SS Beta rescued the Master, 26 crew and five DEMS gunners and took them to Norfolk, Virginia.The Master, Conrad Vidot, was awarded the Lloyd's War Medal. The ship's part in Convoy HX 84 was made into a film, San Demetrio London in 1943.

Antlers/Horns: African Game Trophy Horns, circa late 20th century, Cape Greater Kudu adult male horns on cut upper skull, Gemsbok Oryx adult male horns on cut upper skull, mounted upon a shaped shield (incorrect horns applied), Cape Red Hartebeest adult male horns on cut upper skull, juvenile European Wild Boar flat skin, (qty)

Cape Town: Photographic panorama of Cape Town (unknown photographer), looking towards Lion's Head, Table Mountain and Devil's Peak, comprising four photographs, framed and glazed, c.1902 (pre the Boer War POW camp on Green Point Common) together with Mutwa, Vusamazulu Credo. Indaba My Children. Blue Crane Press, [1964]. 8vo, publisher's green half leather; full-colour frontis., illus to text; signed by author to title, and Editor and Sponsor to their forewords. Deluxe ed.and Tracey, Hugh. Lalela Zulu. African Music Society, [1948]. 8vo, org. cloth in clipped jacket; authorial gift inscription to ffep. First ed. (4)

Two Victorian Queens South Africa Medals 1899-1902 awarded to 6264 Private E King of the Leinster Regiment, South Africa 1901-1902, Transvaal, Orange Free State and Cape Colony clasps and other awarded to 297 Private WE Wilson SAC having South Africa 1901, 1902 Transvaal, Orange Free State and Cape Colony clasps, both with ribbon Condition: **General condition consistent with age

Victorian Second Boer War Queens South Africa Medal 1899-1902 awarded to 3386 Private A Limburn of the 2nd Royal Hampshire Regiment having Paardeberg and Cape Colony clasp, together with similar medal awarded to Sergeant AB Tytheridge of the Imp Yeo Bearer Coy, with Transvaal, Orange Free State and Cape Colony clasps, both on ribbon Condition: **General condition consistent with age