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A late 19th century lace lappet, four beaded evening bags, a peacock feather fan, a Chinese black silk embroidered shawl, a Chinese wallet, a crimson and ivory church stole and a Victorian child's cream wool and lace cape Condition Report Chinese shawl very delicate and tearing in places

A 1970s purple wool cape lined with cerise silk, to/w 30" waist kilt, a child's 24" kilt and a sporran Condition Report Child's kilt has moth hole to front and has been cut off (un-hemmed)

A fox fur cape with head and feet detail, a black sable collar and a French squirrel stole with pockets to ends

Raoul Francois Larche (French 1860-1912)/Woman in a Dark Cape Holding a Bunch of Red Flowers/signed and dated 1907/oil on canvas, 55cm x 36cm/in a painted tabernacle frame

A large early 19th century oil painting on canvas portrait of John Toler, first Earl of Norbury seated and in the red robes of the Chief Justice with white fur trimmings to the cape and cuffs, wearing a judicial wig, documents, ink pots and quill pen to hand, shown in a library setting, in substantial gilt wood frame with scrolling detail, crown surmount and with plaque to base inscribed The Rht Honbl Earl Norbury Chief Justice of Common Pleas, external dimensions of frame 170 x 145 cm approx (the Lord Norbury was an Irish lawyer and judge nicknamed The Hanging Judge and Chief Justice of the Irish Common Pleas between 1800 and 1827, this painting was part of the sale of the contents of Thornbury Castle, date TBC)

A collection of early to mid 20th century travel and natural history books, subjects include animals in Australia, Chile, Egypt and Israel, together with an album entitled, Our South African National Parks, printed in South Africa by Cape Times Ltd, Cape Town, with an inscription dated 1941 inside

Jacob Hendrik Pierneef (South African 1886-1957) MOUNTAIN RANGE IN SOUTH WEST AFRICA (NILANT 118) linocut, signed, dated 1932, numbered 39/50 and inscribed 'impr' in pencil in the margin NIlant, F.E.G. Pierneef Linosneë, A.A. Balkema, Cape Town, 1974, illustrated on p. 153, no. 118 De Kamper, G. and De Klerk, C. J.H. Pierneef In Print, Dream Africa Productions and Publishing, Bella Bella, 2014, illustrated on p. 89 sheet size: 15 by 17cm

Various THE EPHEMERA COLLECTION Various Cape Town and Johannesburg Publishers, 1905 - 1961 ? A Chapter of Accidents: Being a profusely illustrated account of Startling Occurrences which took place in the Cape Peninsula between June 13th and 20th, 1905, size: 31 by 24cm, in good condition ? Souvenir of the Visit of the HRH The Prince of Wales to the Cape Peninsula, April 30th to May 4th, 1925, profusely illustrated, size: 24,5 by 18cm, in good condition ? A collection of menus and other S. A. Railway items concerning the opening of the Usakos - Otjiwarongo/Outjo - Otavi Grootfontein -Tsumeb railway lines, 1961 ? Bennett & Baker book: Grocers of Wynberg, 1904 ? 2 sets of postcards in original titled envelopes containing "the newest art colour postcards in High Grade Finish" circa 1910, printed by H. & C. of Port Elizabeth in unused mint condition ? Photograph Souvenir of Natal in mint titled holder; 16 b/w photographic views ? 12 Artistic coloured post cards of Cape Town, circa 1905 in mint condition in presentation booklet ? Two miniature newspapers produced by The Star ? Two facsimile reprints of the Cape Argus, January 2nd 1896 concerning the Jameson Raid in unread condition. (Qty)

Gregoire Johannes Boonzaier (South African 1909-2005) BLUE ORCHIDS signed and dated 1981; signed and titled on the reverse oil on board 44,5 by 34cm Gregoire Boonzaier was born in 1909 in Cape Town and passed away in 2005. The flower studies PINK HIBISCUS and BLUE ORCHIDS bears the characteristic style of Boonzaier’s use of tremulous outlines used to accent the forms of trees, houses and flowers that is reminiscent of Pieter Wenning’s structural devices. He was influenced by Wenning and the Dutch painters he encountered during his time at The Hague School. According to Scott (1965: 15) Boonzaier was also influenced by European artists such as Braque, Utrillo and Cezanne. The pure browns and greys of Braque appealed to Boonzaier’s own colour sense, whereas his approach to still-life themes occasionally varies with strong tones, pure and romantic with a modern approach. By adopting a wide colour range Boonzaier accomplishes a more romantic expression of mood with a distinctive reality and exuberance. Although he exhibited exceeding talent from an early age and enjoyed a career of outstanding artistic popularity, his most valuable contribution to South African art was undoubtedly his driving effort as chairman of the New Group. Boonzaier has been a valuable influence on a large number of Cape painters, almost singlehandedly establishing a secure market for Cape Impressionism, not only in South Africa, but on an international scale. CS Reference: • Scott, F. P. 1964. Gregoire Boonzaier. Tafelberg-Uitgewers, Cape Town.

Robert Griffiths Hodgins (South African 1920-2010) THREE MEN WAITING signed, dated 1998/9 and inscribed with the title on the reverse oil on canvas 91,5 by 122cm Robert Hodgins’ drive to experiment with light and colour is one of the things that make his works so visually enthralling. He was greatly influenced by the works of Bridget Riley and Francis Bacon; however it was his interpretations of Alfred Jarry’s greedy theatrical character of Ubu that led him on a visual expedition of painting that has been rarely observed with such fervour by any South African painter. THREE MEN WAITING is only one of a myriad of works created by Hodgins shortly after he participated in the Ubu 101 exhibition that hosted both South African and international artists at the Gertrude Posel Gallery at the University of the Witwatersrand, Johannesburg in 1997. Atkinson (2002:13) writes: “Ubu’s diverse presence is felt, not only in the physical characteristics of a host of barely human Hodgins figures – most obviously the truculent, at times oddly vulnerable, businessman – but also in the affective cross current that is the source of power in his work.” In THREE MEN WAITING the viewer is confronted by Hodgins’ theatrical use of colour and an odd Meta referential subtext. The figures are looking out in anticipation, but their presence is unclear; Hodgins animates them in a discomforting posture by grouping the three figures together in this outsized composition. Each character dressed in corporate attire as a subtle reference to Ubu. CS References: • Smith, K. 2000. ROBERT HODGINS. Artthrob, Issue no 34. June 2000. [O] ACCESSED on the 27/01/2017 http://artthrob.co.za/00jun/artbio.html • Atkinson, B. Hodgins, R. Becker, R. Powell, I. Geers, K. & Godby, M. 2002. ROBERT HODGINS. Tafelberg Publishers. Cape Town.

Gregoire Johannes Boonzaier (South African 1909-2005) PINK HIBISCUS signed and dated 1980 oil on canvas laid down on board 35 by 25cm Gregoire Boonzaier was born in 1909 in Cape Town and passed away in 2005. The flower studies PINK HIBISCUS and BLUE ORCHIDS bears the characteristic style of Boonzaier’s use of tremulous outlines used to accent the forms of trees, houses and flowers that is reminiscent of Pieter Wenning’s structural devices. He was influenced by Wenning and the Dutch painters he encountered during his time at The Hague School. According to Scott (1965: 15) Boonzaier was also influenced by European artists such as Braque, Utrillo and Cezanne. The pure browns and greys of Braque appealed to Boonzaier’s own colour sense, whereas his approach to still-life themes occasionally varies with strong tones, pure and romantic with a modern approach. By adopting a wide colour range Boonzaier accomplishes a more romantic expression of mood with a distinctive reality and exuberance. Although he exhibited exceeding talent from an early age and enjoyed a career of outstanding artistic popularity, his most valuable contribution to South African art was undoubtedly his driving effort as chairman of the New Group. Boonzaier has been a valuable influence on a large number of Cape painters, almost singlehandedly establishing a secure market for Cape Impressionism, not only in South Africa, but on an international scale. CS Reference: • Scott, F. P. 1964. Gregoire Boonzaier. Tafelberg-Uitgewers, Cape Town.

Skotnes, Pippa WHITE WAGONS: A PORTFOLIO OF ETCHINGS Cape Town: Axeage Private Press, 1993 Edition limited to 25 copies. This is No.16 of 25. Signed and numbered by artist in pencil. Five artist's proofs of The Hietshware - Eastern Khoe Bushmen. In large cloth covered hinged box with a Bushman's painting of a Boer horseman in relief applied to the cloth. Water stain to cloth covered box that does not affect the contents. Accompanied by a Hietshware text recorded by The Rev. S. S. Dornan in 1909 entitled "What we thought of the White Man's Wagons". Skotnes received the Standard Bank Young Artist Award at the Standard Bank National Arts Festival in 1993.

A CAPE BRASS KONFOOR, TESSIE AND MUG, 20TH CENTURY the pierced round konfoor applied with loop handles with removable tray, raised on three outswept feet, the cylindrical urn with moulded bands applied with a loop handle and spout, detachable domed cover with ball finial, stamped C. MATHEWS., distress, 38cm high; and A Cape Brass Mug, same maker, cylindrical with rolled rim and applied loop handle, 12cm high (3)

Jacob Hendrik Pierneef (South African 1886-1957) FARMHOUSE, PRETORIA (NILANT 39) linocut, signed Nilant, F.E.G. Pierneef Linosnee, A.A. Balkema, Cape Town, 1974, illustrated on p 69, no. 39 De Kamper, G. and De Klerk, C. J.H. Pierneef In Print, Dream Africa Production and Publishing, Bella Bella, 2014, illustrated on p 38 sheet size: 14 by 19cm

Campbell, John Rev. TRAVELS IN SOUTH AFRICA UNDERTAKEN AT THE REQUEST OF THE LONDON MISSIONARY SOCIETY BEING A NARRATIVE OF A SECOND JOURNEY IN THE INTERIOR OF THAT COUNTRY, 2 VOLS London: Francis Westley, 1822 First edition. With coloured map and 12 hand-coloured aquatints. These are in sparkling condition with no foxing. Probably the finest example of these seen for many years. Book in unread condition. Internal hinge crack to Vol. 1 but this has not loosened any pages. Half leather and marbled cover boards, new endpapers. Rebind probably carried out 60 years ago. John Campbell (1766 – 1840) was a well-known missionary and traveller. After establishing various philanthropic societies in Scotland he arrived in the Cape in June 1812 to inspect the various missions. His travels inspired “Travels in South Africa, undertaken at the request of the Missionary Society” and was published on his return to London in 1815. (2)

Wim Botha (South African 1974-) UNTITLED (ECSTASY II) Afrikaans bibles, wood and steel height: 56cm Wim Botha’s ECSTASY II was part of an exhibition held at Michael Stevenson in 2011 titled All This. The artist creates composite figurative sculptures often made from bibles, dictionaries, encyclopaedias and wood. This sculpture is only one example of an on-going evolution of paper busts for which Wim Botha is renowned. His works are more often obscure and steeped in connotation. Liese van der Watt (2005:5) notes that “despite the seeming accessibility of his vocabulary, interpretation (of Wim Botha’s artwork) is challenged by a radical act of translation and displacement that typically removes content from context and renders his work strange, ambiguous and only vaguely familiar”. The sculpture is suspended in space, fragmented and could almost be considered to be in a state of transfiguration. While the artwork does contain elements of traditional portraiture that may suggest some sort of rationalised identity, in this case, the artwork delivers nothing concrete and rather leaves the reader with a sense of flux and transition. His artworks often suggest concepts of weight and weightlessness, as he juxtaposes heavy paper and wood sculptures with polystyrene suspended in mid-air or mounted and grounded on plinths. Wim Botha was born in 1974. During his career so far he has presented a prolific amount of solo shows at Michael Stevenson, as well as participating in several group shows both locally and abroad. In 2010 he was awarded the commission for a public sculpture at the headquarters of Nedbank in Johannesburg, producing four monumental, abstracted trees constructed from metal and wood. CS References: • Michael Stevenson. 2010. WIM BOTHA. [O] ACCESSED on the 27/01/2017 http://archive.stevenson.info/exhibitions/botha/index2011.htm • Van der Watt, L. 2005. Wim Botha: Standard Bank Young Artist for Visual Art 2005. Michael Stevenson, Cape Town.

Anon LATE VICTORIAN BRITISH NAVAL OFFICER'S SWORD Etched blade has been nickel plated. Victorian crown over anchor on blade. Brass hilt, 'lion's head' pommel, copper wire bound sharkskin-covered grip with black leather scabbard with brass mounts, faded gold sword knot. Cartouche on hilt with anchor and Victorian crown folding side guard has the name "C. F. Pollard" engraved on it. Pollard later became Paymaster Rear Admiral Sir Charles Fleetwood Pollard KCB, CMG. He had entered the Royal Navy in 1884. He was one of the survivors of the collision of HMS Camperdown and HMS Victoria. The two ships collided off Tripoli on 22 June 1893 when Vice Admiral Tyron, 21 officers and 350 men drowned. Pollard died in the Cape Province in 1938.

Brenthurst Press FIRST SERIES, VOL. 1 - 10 Johannesburg: Brenthurst Press, 1975 - 1984 First edition. One of 25 sets bound in full leather numbered A to Y. This is set 'C' that belonged to the general editor of the First series, Prof. Eric Axelson. Col. & b/w illustrations. Full leather marbled endpapers, gilt edges with leather-spined cloth-covered velvet-lined boxes. Box 1 is parchment-lined. Spines of leather boxes are sunned. ? Vol. 1: The Brenthurst Baines signed by the two authors Marius and Joy Diemont ? Vol. 3: Contains the booklet 'De Meillon's People of Colour' by Shell, R. C-H. with a copy in very good condition of Eric Axelson's book "Portuguese in South-East Africa 1600 - 1700", 1960, first edition, dustjacket ? Vol. 6: Paterson's Cape Travels signed by both author V. S. Forbes and J. Rourke. (11)

John Koenakeefe Mohl (South African 1903-1985) HOME WARD ON SLEDGE signed and dated 59; inscribed on the reverse: "Home Ward on Sledge, Bechuanaland Protectorate (Africa), painted by John Koenakeefe Mohl, painted in 1959" (sic) oil on board PROVENANCE Acquired directly from the artist. 62 by 70cm including artist's handmade frame Elza Miles (1997:57) states that Mohl was a leading figure to his peers; leading by example - his painted landscapes have a strong sense of the historical importance of place – not to mention that his compositions are often framed as windows on South African life and scenery. From 1946 to 1959, when he painted HOME WARD ON A SLEDGE, Mohl was commissioned by the Government and Tribal Administration of Botswana to record scenes of historical importance to the Bechuanas (Miles 1997:57). Miles (1997:58) notes how Mohl inscribed his paintings commissioned by the regent Kgosi Tshekedi Khama, ‘by a Motswana artist. J.K. Mohl’, as a gesture of acknowledging his nationality. What is interesting about this painting is that HOME WARD ON A SLEDGE is inscribed with the title as well as: ‘Bechuanaland Protectorate (Africa) By J. Koenakeefe Mohl. Painted in 1959.’. Although Mohl felt a strong kinship with Bechuanaland, going so far as to refer to his roots as a Motswana artist, he titled this painting HOME WARD…; and inscribed it with a phrase of memento, almost as if he wanted to be reminded of the landscape that he originated from but had to leave. Painted nearing the end of his commissions by Khama, it could be read that although the artist still felt a stronger patriotism to South Africa as his place of birth he still felt very strongly about the preservation of his heritage. The painting has a soft whimsical feel to it, the mountains in the distance pulls the viewer along on the journey where the oxen dominate the landscape, casting their shadows in the setting afternoon sun and dwarfing the two figures on the sledge behind them, accentuating the vastness of the Botswana landscape. CS Reference: • Miles, E. 1997. Land and Lives, A story of early black artists. Published by Human & Rousseau, Cape Town, Pretoria, Johannesburg.

Sydney Alex Kumalo (South African 1935-1988) MOSES'S DISCIPLE bronze PROVENANCE Acquired directly from the artist. Authenticated by the artist's family. height: 31cm Sydney Kumalo started his career at the Polly Street Art Centre in 1953 receiving classes from Cecil Skotnes. Between 1958 and 1960 he worked for the sculptor Edoardo Villa to gain experience. After his first commissions for churches in Kroonstad and Orlando his career took off and by the mid-1960s he was hailed as one of South Africa’s greatest sculptors. MOSES AND HIS DISCIPLES (Aaron and Joshua) were originally part of three free-standing figures sold as a set and exhibited at the Goodman Gallery in Johannesburg as well as the Ann Zinn Gallery in Cape Town during 1979. After the exhibition Kumalo agreed that the sculptures should be sold individually. The sculptures were cast in an edition of 5. In 1982 the Cape Town Civic Centre commissioned Kumalo to create a bronze for the Centre. Kumalo created four maquettes namely The Matriarch, The Blessing, Joy I and Joy II. The work titled, The Blessing was chosen, and Joy II seems to have only been cast for the artist in an edition of 1. Sydney Kumalo passed away in 1988. Following his death the Goodman Gallery and the artist’s family continued to cast work posthumously. For this reason there are several works by the artist that were only cast after his death, especially those works with higher edition numbers and works that were created later in his life. What is the difference you might ask? Although a posthumous cast is not considered fake, the complete work was not approved by the artist and in some art circles it is seen as an inadequate representation of the artist’s work and therefore not an original. Although they can be of the same quality of finishing they will have a lesser value in the secondary art market. CDK

Robert Griffiths Hodgins (South African 1920-2010) THE GREEN TABLE signed, dated 2009 and inscribed with the title on the reverse oil on canvas PROVENANCE Acquired directly from the artist. 60 by 60cm Robert Hodgins was born in England in 1920, and died in 2010. From 1954 to 1962 he presided as a Lecturer at the School of Art, Pretoria Technical College, after which he took up a position as reporter for Newscheck magazine. Between 1966 and 1983 Hodgins Lectured at the University of the Witwatersrand in the Fine Art Department, but it was only at the end of 1983 that he retired and took up painting full-time. The title of this painting is reminiscent of another creative production, The Green Table, a popular Ballet by the German choreographer Kurt Jooss - considered by many to be his greatest work. The ballet’s plot centres on the peace negotiations of the 1930s in Europe. Concerned neither with any specific individuals’ struggles and redemption, nor with working out a gallant fate for mankind, Jooss’ moral position is irreproachable and he drives home his message in a series of stark images. Each scene of the Ballet is a variation on the same theme, like the 41 woodcuts in Hans Holbein's The Dance of Death. The premise is that Death eventually becomes everyone's partner, effectively seducing them into his dance on the same terms by which they had lived their lives. No decisive action, change, or resolution is suggested, and in framing the "Dance of Death" as an iconographic attribute, Jooss seems to say none can be expected in the anticipation of imminent death. As it was not unusual for Hodgins to occasionally reference theatre productions based on universal concerns of the time, it could be argued that this was very well what he intended with THE GREEN TABLE painting. The painting was created a year prior to his death and Hodgins illustrates two figures side by side in an ostensibly familiar manner. Perhaps, the artist here, in this work concedes death as an inevitable partner by titling the work in reference to Jooss’ ballet as a process of self-reflection. The painting was acquired directly from the artist by the current owner. CS References: • Wikipedia. 2011. The Green Table Ballet. [O] ACCESSED on the 27/01/2017 https://en.wikipedia.org/wiki/The_Green_Table • Siegel, M. 1989. The Green Table: Sources of a Classic. Dance Research Journal, Vol. 21, No. 1 (Spring, 1989), pp. 15-21. • Atkinson, B. Hodgins, R. Becker, R. Powell, I. Geers, K. & Godby, M. 2002. ROBERT HODGINS. Tafelberg Publishers. Cape Town.

Sydney Alex Kumalo (South African 1935-1988) JOY II signed bronze PROVENANCE Acquired directly from the artist height: 65cm Sydney Kumalo started his career at the Polly Street Art Centre in 1953 receiving classes from Cecil Skotnes. Between 1958 and 1960 he worked for the sculptor Edoardo Villa to gain experience. After his first commissions for churches in Kroonstad and Orlando his career took off and by the mid-1960s he was hailed as one of South Africa’s greatest sculptors. MOSES AND HIS DISCIPLES (Aaron and Joshua) were originally part of three free-standing figures sold as a set and exhibited at the Goodman Gallery in Johannesburg as well as the Ann Zinn Gallery in Cape Town during 1979. After the exhibition Kumalo agreed that the sculptures should be sold individually. The sculptures were cast in an edition of 5. In 1982 the Cape Town Civic Centre commissioned Kumalo to create a bronze for the Centre. Kumalo created four maquettes namely The Matriarch, The Blessing, Joy I and Joy II. The work titled, The Blessing was chosen, and Joy II seems to have only been cast for the artist in an edition of 1. Sydney Kumalo passed away in 1988. Following his death the Goodman Gallery and the artist’s family continued to cast work posthumously. For this reason there are several works by the artist that were only cast after his death, especially those works with higher edition numbers and works that were created later in his life. What is the difference you might ask? Although a posthumous cast is not considered fake, the complete work was not approved by the artist and in some art circles it is seen as an inadequate representation of the artist’s work and therefore not an original. Although they can be of the same quality of finishing they will have a lesser value in the secondary art market. CDK

A CAPE PAINTED PINE WAKIS, 19TH CENTURY the hinged rectangular top enclosing a compartment, the front panel decorated with stylised leaves, on a plinth base 38cm high, 101cm wide, 40cm deep

British Coins, Victoria, penny, 1860, toothed border, obv. signature on cape, colon dots: after G: of D: G: to a tooth, rev. LCW below shield (S.3954; M. BP 1860 J; F.10; P.1629), tiny ex-carbon spot on obverse below queen’s eye and die crack from edge at 5 o’clock which runs upwards for 4cm. and then forks both left and right, about uncirculated with much lustre, approximately 85-90% both sides

British Coins, Victoria, penny, 1860, toothed border, obv. signature on cape, colon dots: after G: of D: G: to a tooth, rev. LCW below shield, N of ONE over N sideways (S.3954; M. BP 1860 JA; F.- ; P.-), about uncirculated with much subdued lustre probably due to handing in the past, obverse with 60-70% lustre, reverse with 80-85% lustre, rare

British Coins, Victoria, penny, 1860, toothed border, obv. signature on cape, colon dots: after G: of D: G: to a gap between two teeth, rev. LCW below shield (S.3954; M. BP 1860 L; F.13; P.1625), about uncirculated with 85-90% lustre

British Coins, Victoria, penny, 1860, toothed border, obv. signature on cape, colon dots: after G: of D: G: to a gap between two teeth, rev. LCW below shield (S.3954; M. BP 1860 L; F.13; P.1625), about uncirculated with 80-85% lustre

British Coins, Victoria, penny, 1860, toothed border, obv. signature on cape, colon dots: after G: of D: G: to a gap between two teeth, rev. LCW below shield (S.3954; M. BP 1860 L; F.13; P.1625), a couple of very faint die cracks on reverse, about uncirculated with 85-90% lustre

British Coins, Victoria, penny, 1860, toothed border, obv. signature below cape, colon dots: after G: of D: G: to a tooth, rev. LCW below shield (S.3954; M. BP 1860 N; F.15; P.1632), obverse with 50-60% subdued lustre, reverse with 40-50% very subdued lustre, probably due to poor handling, about uncirculated

British Coins, Victoria, penny, 1860, toothed border, obv. signature below cape, colon dots: after G: of D: G: to a tooth, rev. LCW below shield (S.3954; M. BP 1860 N; F. 15; P. 1632), obverse with 50% subdued lustre, reverse with good lustre around legend, more subdued (30-40%) in centre, about uncirculated

British Coins, Victoria, penny, 1860, toothed border, obv. signature below cape, colon dots: after G: of D: G: to a tooth, T of VICTORIA double struck, under-struck T into linear circle, rev. LCW below shield (S.3954; M. BP 1860 Nd; F.[15]; P.[1632]), obverse with 70-75% subdued lustre, reverse with 20-25% very subdued lustre, about uncirculated

A Silk babys christening cape, collection of gloves, evening bags etc

A Queen's South African Medal with Driefontein, Johannesberg, Diamond Hill, Wittenbergen, Cape Colony, South Africa 1901 to 509 Sergeant Major, T.W. White 2nd New South Wales Mounted Infantry Contingent.

Clothing & Accessories - Collection of Victorian clothing, christening wear, Edwardian cape, shoes etc Condition Report Click here for further images, condition, auction times & delivery costs

Clothing & Accessories - Edwardian beaded cape, button hook with Hallmarked silver handle, bone fan and one other, four hair pieces, amethyst stone watch fob and a pair of pince-nez glasses in one box Condition Report Click here for further images, condition, auction times & delivery costs

Clothing & Accessories - Victorian lace and beaded cape and two Victorian skirts (3) Condition Report Click here for further images, condition, auction times & delivery costs

Two medals, Queen's South Africa Medal and King's South Africa Medal, 5794 Pte. S. Roberts S. Stafford: Regt; QSA with three bars, Transvaal, Orange Free State and Cape Colony, KSA with two bars, 1901 and 1902

British Schoool (18th century) Portrait of Alexander Radecliffe Esq. of Foxdenton, half length, wearing a red velvet jacket with black bow tie and white ruffled shirt, in a feigned oval Elizabeth, wife of Alexander Radecliffe Esq. of Foxdenton, half length wearing a fur trimmed red cape, a white chemise and an embroidered dress, in a feigned oval With inscribed label verso to one, the other inscribed recto, oil on canvas, 74cm by 61.5cm (2) It is possible that the sitters were not husband and wife and may have been from different generations. See illustration

Sydney Harpley RA (1927-1992) ''Singapore Girl on a Swing'' Signed in the cast and numbered 4/6, 6 June 1984, on a black slate base and stand, bronze, life size Bronze: 158cm high, 170cm wide (approx.) Base: 45cm high, 88cm wide, 62cm deep Plinth: 8cms high, 84cm wide, 59cm deep Exhibited: Royal Academy Summer Exhibition, 1984, V15 Harrogate Festival Exhibition, 1985 On loan to the Mercer Art Gallery and the Harrogate Town Hall since 1991 *Artists' Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business Sydney Harpley was born in 1927 and served in the army National service 1945-48. Between 1950-53 Harpley studied sculpture at Hammersmith School of Art, where he gained the National Diploma in Art and Design. This was followed with a period spent at the Royal College of Art from 1953-56 and was made an Associate of the Royal College of Art. Harpley first exhibited sculpture at the Young Contemporaries in London and the Royal Academy Summer Exhibition of 1954, subsequently exhibiting at the latter every year. Harpley has held a number of highly successful one man shows, including those at The Society of Arts, Cape Town, South Africa (1964), Adler Fielding Gallery, Johannesburg, South Africa (1964), The White House Gallery, Breda, Holland (1974), Nevil Gallery Bath, UK, (1983) to name but a few amongst others within Europe and the United Kingdom. Mixed exhibitions have also been numerous within England. In 1958/9 Harpley was commissioned by London County Council to produce two sculptures, which was quickly followed by a commission from Hemel Hempstead New Town in 1960 for another four works. Cape Town has an over life size memorial to Jan Christian Smuts, amongst other international commissions, but perhaps ''Girl on Swing'' for the Singapore Botanical Gardens of 1984 is most notable here being no.1 from the edition of 6 and commissioned by his Excellency David Marshall, Singapore Ambassador to France. Harpley also lectured at several art schools within the United Kingdom and acted within various committees including the Selection Committee for RA, the Summer Exhibition (1975-76), Council of RA (1975-6) & 1982-3. Bronzes by this important Neo-Romantic artist can be found in many international and national collections including the National Gallery of New Zealand, the National Gallery of South Africa, Bradford City Art Gallery, University of Leeds (The Stanley and Audrey Burton Gallery), Samuel Josefowitz Collection, Geneva, Fleur Cowles Meyer Collection, London and the Paul Mellon Collection, USA. He has also produced several significant portrait busts on commission which include: HSH Prince Albert of Monaco for HSH Princess Grace of Monaco, Lee Kwan Yew, Prime Minister of Singapore and Viscount Villiers for Lord Jersey to name but a few. Sydney Harpley's work captures the full grace of the female form. ''Girl on a Swing'' should be considered one of his finest works representing neo-romanticism in its purest form and arguably equivalent to some of the earlier work produced by Degas and Rodin of a similar theme.

A Blue Cape, the collar with stars, together with various fur coats

An African Ceremonial Cape together with other related clothing

A Chinese papier mache figure of a worker with straw cape and linen costume, 37cm high and a sectional bone, white metal and enamel opium pipe decorated with figures, 49cm long (2)

An Interesting Group of Covers Relating to Apollo and Skylab Flights. Many stamped on board United States recovery ships, Cape Canaveral or Kennedy Space Centre. One signed by Nasa Bermuda Station Commander Apollo II 1969.

Shelley Regent shape six person tea service decorated with the Cape Gooseberry pattern Condition:

Stamps - Framed display of stamps including penny black, Cape Of Good Hope triangles etc Condition:

Vintage silk kimonos, fur cape, hat box etc

Henry VI pilgrim's badge of solid circular form depicting a standing figure of the King, crowned, wearing cape and long robe, holding an orb and sceptre on a cross-hatched field. The badge would have been sold to pilgrims at King Henry's shrine at Windsor. Complete with integral pin on reverse. Late 15th - 16th century. Found in the river Thames, London.26mm diameterSee: Spencer, Pilgrim souvenirs and secular badges, 208

Henry VI pilgrim's badge of lozenge form depicting a standing figure of the King, crowned, wearing cape and long robe, holding an orb and sceptre. The badge would have been sold to pilgrims at King Henry's shrine at Windsor. Late 15th - 16th century. Found in the river Thames, London.26mm x 25mmSee: Spencer, Pilgrim souvenirs and secular badges, 208a

Henry VI pilgrim's badge of solid circular form depicting a standing figure of the King, crowned, wearing cape and long robe, holding an orb and sceptre. Lombardic h in left field. The badge would have been sold to pilgrims at King Henry's shrine at Windsor. Complete with integral pin on reverse. Late 15th - 16th century. Found in the river Thames, London.31mm diameter.

A Moss Bros top hat in grey; a police constable's cape c.1950 (2)

DAVISON, ALEXANDER AND HORATIO, LORD NELSON AN IMPORTANT GROUP OF DAVISON'S PAPERS RELATING TO PRIZE MONEY IN CONNECTION WITH NELSON'S SPANISH FRIGATES DISPUTE WITH LORD ST VINCENT comprising correspondence relating to the Spanish Prizes "Tetis" and "Santa Brigida", including Davison's retained copy of his letter of claim to the prize agents, on behalf of Lord Nelson, Commander in Chief on the Mediterranean Station, of "Two Thirds of one Eight(h)" of the prize money; with letters to Davison debating the matter by Thomas Maude, Cooke & Halford, Benjamin Tucker (Agent for the Prize Officers of the Mediterranean, several letters:... "I should have been glad of the opportunity of personally giving to you every possible satisfaction relative to the actual situation and consequent right, of the Earl of St Vincent to the share of Commander in Chief of these Prizes..."), Marsh Page & Creed and Frederick Booth ("...if before the 26 Aut and Lord St Vincent was really then Commander in Chief, I fear Lord Nelson cannot support his Claim. - But if the Capture were after the 26 Aut.., tho the ships sailed on .. yet I think they would be prizes to Lord Nelson..") together with Dr Arnold's opinion of the case; a draft letter and copy letter by Davison to Tucker; a letter to Tucker by Winter & Kaye advising of Lord St Vincent's claim and legal action against him; and a copy of Booth & Haslewood's letter to St Vincent endeavouring to reach a settlement before a public tribunal (".. when it is mentioned to be disagreeable to you, that the action for settling the affair should stand in the names of Lord Nelson & your Lordship, we cannot but regret, that this appears to us inevitable..."); also an autograph letter signed by Admiral Lord Hodd, to Sir Andrew Hammond ("... I never made any claim although I was under orders to resume the command at the time my Flag was ordered to be struck...", 16 items, 30 pages in all, chiefly folio and 4to, integral address leaves or blanks, 10 February 1800 to 23 January 1801, occasional light seal tears or stains, Davidson's Letterbook relating to the Spanish Prizes, being copies neatly entered in a secretarial hand of eight letters to and from Davison, Benjamin Tucker, Winter & Kaye, Booth & Haslewood, and, finally from Davison to Lord Nelson (about his discover that St Vincent had received £14,000 of the prize money and their legal suit against him: "..The more I investigate this business, the more am I convinced of Our ultimate success..."), 10 pages, small 4to , blanks, marbled paper covers, 5-15 January 1801, Related Memoranda, comprising: a note by Davison giving comparisons with Lord St Vincent and others in relation to the battles off Cape St Vincent, the Nile and Copenhagen "To shew how little Prize Money" Lord Nelson "received in proportion to Other Admirals", a list of the special jury in the Court of Common Pleas for Lord Nelson v Tucker (May 1801); and a note of expenses submitted to Davison "Respecting power of attorney from Lord Nelson to the act for his lordship generally whilst absent from Great Britain" (July 1801), 3 item, 4 pages, folio and 4to, integral blanks, 1801, occasion slight wear, tear and soiling Provenance: Alexander Davison (1750-1829) thence by direct descent until offered Sotheby's Nelson: The Alexander Davison Collection, 21 October 2002, lot 28, sold to the present vendor after the Sale (£8,603); Sotheby's, Trafalgar Nelson and the Napoleonic Wars 5 October 2015, lot 159 (estimate £8,000-12,000; brought in).

ANGLO BOER WAR PAIR Queen's South Africa Medal three clasps, Cape Colony, Orange Free State and Belfast and King's South Africa Medal, two clasps, South Africa 1901 and South Africa 1902, 2809 PTE C CHIEVERS [CHIVERS on KSA] 14th Hussars

A BOX CONTAINING A BIRMINGHAM GREAT WAR PEACE MEDAL, heavy alloy with ribbon. A WW2 Defence medal with ribbon & a Queens South Africa medal, two bars, Orange Free State, Cape Colony named to 5089 Pte J Stride, Worcester Regiment

A SET OF BOXED CHAD VALLEY SNOW WHITE AND THE SEVEN DWARFS DOLLS, 1930's felt and cloth dolls with painted features, all appear complete and in very good condition, all retain original card swing name tags, Snow White has original dress, knickers, bow, shoes and cape, all in good condition but cape shows some marks and signs of yellowing, has some minor hair loss from wig, dwarfs outfits all appear complete and in fairly good condition, colours are still bright and crisp, all have original boxes with Chad Valley Hygienic Textile Toys pictorial label to one end, each shows name of doll contained, some with catalogue number and some with original price written in pencil, all boxes retain string for securing the doll, some minor bumps, marks and wear to boxes and labels, but this is commensurate with age, height of Snow White approximately 44cm, height of dwarfs approximately 17cm, comes with unmade Storybook and cut out cardboard scenic tableau, some minor wear but appears largely complete, no publisher details, possibly circa 1950's, printed in Sweden

A Victorian cream silk child's cape, with scalloped edges and foliate embroidery, and Three cream silk square pillow cases monogrammed A.M.D. to the corner

Modern Corgi Toys diecast models; CC12507 Heavy Haulage Atkinson Venturer 2 axel king trailer and boiler load 1:50 scale, 24503 Leyland Octopus platform lorry with vats and cape town clock "Walker Southworth LTD" 1:50 scale, both boxed, (2).

10x Vintage Star Wars Action Figures with Return of the Jedi 77 Card Backs, consisting of Luke Skywalker Hoth Battle Gear, Logray Ewok Medicine Man (headdress, bag and staff), Lobot (blaster pistol), Princess Leia Hoth Outfit, Lando Calrissian (cape & blaster), Klaatu Skiff Guard (staff), Imperial Tie Fighter Pilot (blaster pistol), IG-88, Han Solo Bespin Outfit (blaster pistol) and Gamorrean Guard (axe). All bubbles have been removed from cards, figures remain in generally good condition.

10x Vintage Star Wars Action Figures with Return of the Jedi Card Backs, consisting of AT-AT Driver (blaster) 45 back card, 2-1B, AT-AT Commander (blaster), Bib Fortuna (staff), Boskk (blaster rifle), Chewbacca, Star Destroyer Commander (blaster), Death Star Droid, Emperors Royal Guard (cape & skirt) and FX-7. All bubbles have been removed from cards, figures remain in generally good condition.

10x Vintage Star Wars Action Figures with Palitoy / General Mills Tri-Logo Card Backs, consisting of Princess Leia Organa Combat Poncho (gun, helmet & poncho), R5-D4, Han Solo Hoth Gear, Grey Hair Ben Obi-Wan Kenobi (cape and lightsabre), The Emperor (snake stick), Squid Head (cape & blaster), Ugnaught Purple Cape, Han Solo Trench Coat (coat & blaster), Wicket W Warwick (headdress & spear) and Zuckuss (blaster). All bubbles have been removed from cards, figures remain in generally good condition.

12x Vintage Star Wars Action Figures with Palitoy / General Mills Tri-Logo Card Backs, consisting of Prune Face (cape and rifle), C-3PO Removable Limbs (bag), Han Solo Large Head (blaster pistol), Dengar, B-Wing Pilot (blaster pistol), 8D8, Darth Vader (cape and damaged Lightsabre), Leia Organa Besbin turtle neck version (gown), Luke Skywalker Bespin Fatigues (yellow lightsabre & blaster pistol), Imperial Stormtrooper Hoth Battle Gear, Yoda (cloak, belt & stick) and Luke Skywalker Jedi Knight (green Lightsabre & cloak). All bubbles have been removed from cards, figures remain in generally good condition. Estimate: £70 - £100