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Click here to subscribeJames Bond - Ian Fleming Casino Royale first edition, first impression book published by Jonathan Cape in 1953. Rebound with full leather cover by George Bayntun incorporating Robert Riviere and Son of London. Bound with high quality back leather and bespoke gold gilding to match the classic dust-jacket. Condition Report: This book is in excellent condition with all pages complete.
A Victorian South Africa medal with Witterbergen, Driefontein, Paardeberg and Cape Colony bars issued to 4980 Pte J. Lawrence 2 Sea Highrs, together with a Victorian Sudan medal issued to 4980 Pte J Lawrence 1 sea Hirs, and the Khedive's Sudan medal 1896-1908 with The Atbara and Khartoum bars issued to 4980 Pte J Lawrence Seaforth Highrs
A Victorian South Africa medal with Belfast, Laing's Nek, Orange Free Sate, Cape Colony, Relief of ladysmith and Tugela Heights bars issued to 18945 Bomb. R.P. Cross 4th M.B, R.G.A together with an Edward VII South Africa medal with South Africa 1901 and 1902 bars issued to 18945 Corpl. R.P Cross Pom Poms Sec R.A., and three World War medals including the 1914-15 star, Victory medal and British War medal issued to Lieut. R.P. Cross R.F.A.
Star Wars - An original vintage 1983 Kenner made MOC carded action figure ' Jawa '. 65 back Return Of The Jedi card. Figure with cloth cape, fully factory sealed. Bubble with some squashing but remaining factory sealed, and card back with fold lines. Contents untouched and mint. Generally G to G+ example.
Marvellous Frik du Preez's 1965 Springbok Blazer: What an opportunity! The iconic Springbok forward's scarce large classic green and gold-trimmed blazer with S African pocket badge and '1965' motif, made by Markham's of Cape Town and with initials Fr Cr H du Preez in black ink to inside label. You will wait a while for another such. Very good condition
Collection of programmes from South Africa to include Johannesburg City v 1959 Rangers, v 1961 Highlands Park x 2; 1963 Addington v Germiston Callies, 1960 Benoni Utd v Highlands Park, 1961 Benoni Utd v Highlands Park, 1962 Iscar v Highlands Park, 1961 Brakpan Utd v Highlands Park, 1961Southern Suburbs v Benoni, 1961 Southern Suburbs v Rangers (Castle Cup) (poor), 1962 Southern Suburbs v Germiston Callies (burn mark), 1963 Durban Utd v Southern Suburbs, 1959 NKana v Nchanga (5 a side tourny) Vol 1 no 1, 1962 Rangers v Cape Town City, 1959 Durban & County FA programme 25 July 1959, 1964 Maritzburg v Durban City, 1960 Randfontein v Benoni, 1963 Port Elizabeth City v Wanderers, 1959 Rangers v Berea Park, 1964 Durban Ramblers v Cape Town City, 1964 Addington v Durban Utd, 1960s (undated) Iscor v Highlands Park, Durban City v 1962 Highlands Park (TNSC Cup), v 1963 Southern Suburbs, v 1964 Port Elizabeth City (Castle Cup), v 1964 Addington; overall fair condition. (A Lot)
Corgi Classics Haulage Vehicles, all boxed, Heavy Haulage CC11802 Leyland DAF 85 with dolly and load, (dirty from display), 16901 Scammell Highwayman low loader Hallett Silbermann, Passage of Time, 24503 Leyland Octopus with load Walter Southworth and Cape Town clock, British Road Services models, 25101 Leyland 4 wheeler, 10101 ERF V dropside, 22501 Bedford TK, 24601 Leyland Octopus, 97895 AEC flat bed and trailer, 22101 Leyland Ergomatic, 19901 Bedford S (minus wing mirrors), British Rail 22401 Bedford TK, 25101 Leyland Artic Smiths of Eccles, 25301 Super Comet Holt Lane, AEC with box trailers, 21401 Walls, 21401 Daniel Stewart, 21301 Ferrymasters, Leyland Beaver 24701 Michelin, F-E, boxes F-VG, (17)
Liverpool Shipwreck and Humane Society, Marine Medal, Third Type to 'Capt Joseph Morton SS 'Anglian' For Having Rescued the Crew Of The Ship 'British Duke, Nov. 12.1888' together with research letter and paperwork.*Notes- Awarded to Captain Morton for the rescue of 27 crew members of the barque 'British Duke' that was wrecked on the 11th November near Cape Francis.
Stunning cold-painted cast bronze of "Alphabet Lady" by Art Deco master Erte (Romain de Tirtoff). This statue embodies Post-WWI Modernist era with the elegant style that Erte imbued in his choice of fashion, colors, poses, and elongated female forms. The female model wears a gold long dress and holds her flowing cape with extended arms. On the base, the letters R, T. phonetically spell the artist's pseudonym. This is a splendid example of Erte's mastery in polychrome statues. Carved signature on lower back: Erte. Carved on the lower left: 1990, Chalk & Vermillion and Sevenarts, 366/375. Includes foundry stamp. Artist: Romain de Tirtoff Erte (Russian/French, 1892-1990)Issued: 1990Dimensions: 10"L x 7"W x 19"HEdition Number: 366 of 375 Country of Origin: Russia/FranceCondition: Age related wear.
Assorted Circa 1950s Ladies Costume and Accesories, comprising a California blue and yellow printed cotton sleeveless day dress, Davisella Model green floral textured sleeveless cocktail dress with a fur trim to the collar, appliquéd bows to the front, Berkertex Mayfair royal blue textured full length sleeveless dress with inverted pleats to the reverse, a Marldena Gowns pale blue linen sleeveless dress with white embroidary overall,Reldan brown velvet two piece suit, and a Reldan chevron striped shirt (size 12), Yves Saint Laurent black velvet straight skirt, an MJ Carroll black short sleeved multi beaded and sequin evening dress (M),Ted Baker Langley pale green net mounted dress, floral embroidered and stone set decoration to the bodice (size 3), Astraka faux fur shoulder cape,Paul Smith Women pink paisley style silk sleeveless dress (size 42),Accessories including an ebonised dressing table set, black velvet hat, Lotus Bon Bon open toe sandals, various pairs of leather gloves,brown leather and suede clutch bag, and a Mappin and Webb lizard bag,(rail and a box)California dress - 38" bust, 30" waist, one button missing, slight wear.Davisella dress - 34" bust, 30" waist, a diamante button missing to the front, slight wear.Berkertex dress - 36" bust, 32" waist, some slight rubbing and wear.Marldena dress - 36" bust, 28" waist, slight wear.Reldan suit - rubbing to velvet overall.YSL skirt - 32" waist, some rubbing to the velvet.MJ Carroll bead dress - some bead loss and slight wear.Ted Baker dress - some stones missing, and two stains to the front of the skirt.Astraka capelet - small stain to the reverse.Paul Smith dress - slighte wear.
19th Century and Later Costume, comprising a black silk long sleeve dress with smock detail to the waist and pleated skirt,black silk cape with bead and sequin appliqué, black lace and ribbon trims, two others,a black silk quilted under skirt with gathered trims,a grey alpaca wool two piece comprising a fitted bodice with black lace trims and modesty panel,(6)Black silk cape - bead and sequin losses, rubbing to the silk edges and trims to the front and back, lining good.Grey two piece - staining under both arms, couple of marks to the front and back of the left sleeve, possible alterations and later trims.Black silk dress - tears, holes and rubbing to the silk in areas under the arms/sleeves, shoulders and front.Silk taffeta and lace cape - alterations, lace loose in places and later added.Cut work cape - stitching inside the cutwork has split in several places, trims are torn and worn.Skirt - silk is rubbed especially to the waist opening, alterations, staining to the lining and hem rubbed.
Assorted Late 19th/ Early 20th Century Childrens Costume comprising a toddlers day dress with short sleeves, white decorative trims overall,a cream wool tiered cape with cream silk embroidery and tassel fringing to the edges,pink silk checked short sleeved drop waist dress,a cream wool and silk coat with attached capelet,silk embroidered toddler dress and a blue smocked dress both with cotton underdresses,two drop waist dresses, a white cotton short sleeve dress with a tiered skirt,a 1930s white satin type dress with floral embroidery, pair of cream wool shorts, cream cotton breeches, young boys white shirt, wool long sleeved jumper, a cream silk bonnet etc,(10 and box)
Modern Ladies Clothing comprising a Gucci double breasted wool checked blazer (size 46) and a brown straight skirt with button detail (size 46),Alexandrine pink slubbed linen sleeveless shift dress, matching jacket with elbow length sleeves, a Waldman Skirt Deluxe pleated skirt in brown and another in black,Ralph Lauren long sleeve shirt woven with polo players,a Daks London reversible cream and checked trench coat with buttton fastening (size M) and a Daks loden green wool cape (size 16),(8)Property of a lady working within the fashion industry for over 40 years, from the 1960s.Sizes are those printed/woven on the labels, for UK equivalents please check the individual makers size charts.
Modern Ladies Clothing comprising Armani Collezioni black wool sleeveless shift dress, matching tailored jacket with gathered inserts to the shoulder seam (size 46), a cream soft leather loose fitting jacket with single button fastening, and another in stone coloured leather (both size 48), five Armani cotton t-shirts,a Jean Muir black suede jacket with punched detail to the edges, round neck, single button fastening (size 14), pair of black suede trousers (size 14), a black jersey type long sleeve top with a ruffle trim and wrap style fastening (size 16), pair of black jersey trousers (size 14),Halston Heritage silk sleeveless tunic top with attached faux cape, ties to the front (size 8),a Roberto Cavelli Class wool mix animal print long sleeved t-shirt, with scooped neck and ties to the cuffs (size 14),(14)Property of a lady working within the fashion industry for over 40 years, from the 1960s.
20th Century Costume including a circa 1930s cream silk bias cut long sleeved wedding dress, with appliqué trims to the neck and belt,1930s black lace mounted evening dress with short sleeves and under dress,1920s white cotton under dress with attached lace trim to the hem depicting Tuttankhamun,a black silk apron with decorative coloured embroidery,a gents mid 19th century double breasted waist coat,1930-50s Reproduction Costume comprising a brown wool suit with multi buttoned fastening to the back, straight skirt and waist tie to the side,a black figured silk drop waist shift dress with matching stole and bolero with long flared sleeves,a feather printed drop waist sleeveless dress with attached shoulder cape and neck tie with belt, made from an original 1920s dress pattern,a yellow cotton halter neck dress with belt and sleeveless fitted jacket,(9)
Assorted 19th Century and Later Costume Accessories and Textiles, comprising a cream wool two tier cape with cream silk embroidery, broderie anglais short white cotton capelet, embroidered linen panels, cream wool embroidered blanket, black silk embroidered velvet apron with lace trim,silk stole, cream silk handkerchieves, printed and lace trimmed handkerchieves, lace stole, evening bags, mittens, ostrich feather and other fans etc,(one box)
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020) BASUTOLAND DUSK Oil on canvas laid to board Signed (lower right), inscribed to label (verso) 91.5 x 46cm (36 x 18 in.) Unframed Stella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer. In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques. Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and purity making it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe, with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: Rubbing to extreme edges. Unframed. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020) STREET SCENE WITH FIGURES Mixed media on canvas laid to board Signed (lower left) 114 x 74cm (44¾ x 29 in.) UnframedStella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer. In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques. Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and purity making it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe, with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: Unframed. Rubbing to the extreme edge and some fraying. Some areas of craquelure in the thickest impasto. Light surface dirt throughout. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020)OX DROVERSOil on canvas laid to board Signed (lower right)49 x 91cm (19¼ x 35¾ in.)UnframedStella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer.In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques.Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and puritymaking it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe,with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: Unframed. Rubbing to the extreme edges. A patch of possible glue residue with tissue attached to the surface in the lower right quadrant. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020) OX AND FARMERS Oil on canvas laid to board Signed and dated 63 (lower right) 31 x 61cm (12 x 24 in.) UnframedStella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer. In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques. Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and purity making it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe, with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: Unframed. Rubbing to the extreme edges. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020) CATTLE GRAZING IN THE WOODLAND Oil on canvas laid to board Signed (lower left) 74 x 113cm (29 x 44¼ in.) Unframed Stella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer. In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques. Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and purity making it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe, with shows in London, Paris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: Rubbing to the extreme edges. Unframed. With some fraying to the lower edge. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020)WORKERS IN THE FIELD Oil on canvas laid to board Signed and dated 1965 (lower right)91 x 45.5cm (35¾ x 17¾ in.)Unframed Stella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer.In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques.Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and puritymaking it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe,with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: Unframed. Rubbing to the extreme edge with some associated losses. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020)FISHERMEN CARRYING THE BOAT Oil on canvas laid to board Signed and dated 50 (lower centre)56 x 112.5cm (22 x 44¼ in.)Unframed Stella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer.In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques.Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and puritymaking it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe,with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media.Condition Report: Unframed. Canvas is coming slightly loose from board and undulating in areas. Light surface dirt and some paint thinning in areas. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020) OX AND PLOUGH Oil on canvas laid to board Signed (lower left) 56 x 122cm (22 x 48 in.) UnframedStella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer. In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques. Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and purity making it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe, with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: Unframed. Some rubbing to the extreme edges. Light surface dirt throughout. A light vertical scratch or fold to the centre of the work. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020)BOATS IN THE HARBOUR Oil on canvas laid to board Signed (lower left)74 x 114cm (29 x 44¾ in.)Unframed Stella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer.In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques.Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and puritymaking it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe,with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: Unframed. Rubbing to the extreme edges and corners with some associated loss most notable to the upper and lower letrf corners. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020)FARMERS WITH OX IN A LANDSCAPE Oil on canvas laid to board Signed and dated 49 (lower right)46 x 91.5cm (18 x 36 in.)Unframed Stella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer.In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques.Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and puritymaking it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe,with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: Unframed. Undulation to the canvas. Loss to upper right corner and diagonal crease to lower right corner. Light surface dirt throughout with some minor areas of possible glue residue where tissue has become stuck to the surface. Some creasing and rubbing to the upper left corner. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020) BOATS AT THE HARBOUR WITH MOUNTAINS BEYOND Oil on canvas laid to board Signed (lower right) 66 x 122cm (25 x 48 in.) Unframed Stella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer. In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques. Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and purity making it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe, with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: The canvas is coming loose from the board in the upper left and lower left corners. Rubbing to the extreme edges and corners with some associated losses. Some additional losses along the lower edge and one small area of flaking to the upper right quadrant. A couple of small areas of craquelure to the thick impasto. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020) BOATS DOCKED BY THE SHORE Oil on canvas laid to board Signed (lower left) 66 x 121.5cm (25 x 47¾ in.) Unframed Stella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer. In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques. Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and purity making it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe, with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: Unframed. Some rubbing to the extreme edges. A couple of small areas of paint shrinkage and craquelure scattered across the surface. Condition Report Disclaimer
STELLA SHAWZIN (SOUTH AFRICAN 1920-2020)HEAD STUDYOil on canvas laid to board Signed (lower left)28.5 x 23.5cm (11 x 9¼ in.)UnframedStella Shawzin was an internationally renowned South African sculptor and painter. Born in the Transvaal, South Africa in 1920. Shawzin trained originally as an actor,singer and dancer and continued to partake in plays and films whilst residing in England during 1940s. It was during this time that Shawzin began having lessons with eminent German colourist Martin Bloch, an artist living in exile in England due to persecution he experienced at the hands of the Nazis. Bloch encouraged her to work as an artist instead of a performer.In the 1950s Shawzin moved to New York, to study at the New York Art Students League, where she was taught by Geroge Bridgman, Frank DuMond, and Yasuo Kuniyoshi. After her time at the Art Students League, she enrolled at the Pratt Institute Workshop for Artists, where Shawzin improved her knowledge of graphic techniques.Despite her wide ranging training in many media, Shawzin decided to work almost exclusively as a sculptor. She established her own foundry in Constantia, Cape Town to cast her bronzes. All her marble sculpures were carved in the studio of Carlo Nicoli in Carrara, Italy. Carrara marble is renowned for its durability and puritymaking it ideal for sculpture and building. Shawzin was a successful and widely recognised figure in her own life time, and was widely exhibited across the globe,with shows in London, Patris, New York, Bologna as well as shows closer to home in Johannesburg and Cape Town. These early works show her early experimentation with media. Condition Report: Some rubbing to the extreme edges and the corners. Unframed. Condition Report Disclaimer
Vanity Fair Print. Titled The Cape. Subject C J Rhodes. Dated 28/3/1891. Approx size 14x11inch. 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 £5.99, EU from £7.99, Rest of World from £10
Edwin S George "Cairo to Cape Four Foot Through Africa", New York, Knickerbocker Press, 1926, first edition, signed and inscribed, original cloth backed boards (worn/soiled), inner joints weak (one copy of COPAC) together with Sir Alan Cobham " Australia and Back", London, A & C Black, 1927, first edition, original pictorial cloth with d/w (2)
Collection of 13 letters/part letters, mostly Boer War, a number on South African Light Horse embossed headed paper. 3 with envelopes addressed to a Miss Alexander, Gouldhurst. Also a 1916 letter to a Mrs Prior offering sympathy on the death of a Captain Sheepshanks. With Boer War casualties full length photo (15cm x 20cm) in uniform of 2nd Lieut John Alexander South African Light Horse who was killed in action at Metz Farm, on May 15th, 1901. He was the son of Mrs George Alexander, of Lidwells, Goudhurst, Kent, born in May 1880, and educated at Cranbrook Grammar School. At the outbreak of the war, 2nd Lieutenant Alexander was in the Argentine Republic where he had saved three men from drowning, and nearly lost his life in doing so. So anxious was he to serve in South Africa, that he managed to get a passage by attending to some horses, and on arrival at Cape Town, joined the South African Light Horse as a trooper. It is stated that of the whole troop of thirty, enrolled by Major Childe, only one survived the war. 2nd Lieutenant Alexander was present at the actions of Acton Homes, Spion Kop, Vaal Kranz, Hussar Hill, Monte Christo, Pieters Hill, and the Relief of Ladysmith. Having contracted severe enteric he was ordered home, but on recovering returned November 1900, and in May 1901, was given his commission. The day he was killed he was one of a party sent to surround two farm houses. He rushed into the farm at Metz, calling on the Boers to surrender, and was mortally wounded as he entered. Lieutenant Colonel Byng, commanding the column reported that "had 2nd Lieutenant Alexander lived, I would have recommended him for the VC, he displayed the greatest coolness and valour in leading his men to the attack and on entering the building he offered the Boers a chance of surrendering before firing, it cost him his life". 2nd Lieutenant Alexander is buried at Springfontein, near Philippolis. A Yorkshire cross was erected over his grave. Reverse of mount inscribed “Here in Remembrance John Alexander South African Light Horse 1899 1900 – 1901 Finis May 15th 1901 at Metz Farm O.R.I. He gave his life for his country & his enemy.” Interesting lot.
A Queen's South Africa with Transvaal, Relief of Ladysmith, Orange Free State, Tugela Heights and Cape Colony bars to 5871 Pte, J. Lynch Welsh Fus, a World War One trio to 6541 Cpl C Lynch Welsh Fus St John's Ambulance medal to C Lynch, a silver date Albert chain, a silver pocket watch engraved C. Lynch dated 1919 to dust cover, and a further British War Medal to 6229 Pte A.E Lawrence 20-Lon Reg.
Part of an 1880s' dress in a deep chocolate brown sateen fabric decorated in hand-painted pink lilies and foliage. The part-smocked and ruched bodice has covered buttons, cuffs decorated in the same floral design and cuffs edged in lace. Part of the skirt is missing at the back and front, and there is a tear in the fabric. (A small remnant comes with the dress.) A very ornate gold thread on beige fine wool 1870/80 Victorian cape with a Nehru collar and gold thread fastening. A pair of boys brown leather boots from around 1910. A pair of babies kid leather shoes - 1 pair with a decorative button - and an odd shoe. A part clay pipe with a decorative holder (top half missing). A seal skin strop in a leather case from the Royal Exchange London (Edwardian). A piece of silk in a small green and blue floral design, a triangular-shaped piece sewn onto paper. The item has a rose and gold thread knot design, could be from 1820 up to 1840. A late Victorian parasol in grey silk with stitched detail and bone handle. A small brocade remnant with Provence on a ticket in the corner of the piece - it might be 200 years old? Vintage embroidered braiding and rust-coloured thin beadwork on a card, Victorian 1900s. Purple silk scarf with embroidered motif. Wide pink silk trim (Victorian silk). Embroidery trimmings etc. A green/red/yellow/blue plaid scarf with fringing (moth holes). (Quantity)
A collection of Victorian mourning attire, to include: A heavily embellished 1870s Victorian panelled high-necked bodice, decorated with beadwork and jet on panels and the cuffs, jet buttons. Another bodice, 1880/90, of sateen with fine crepe pleating down the front, high neck and wide cuffs that fasten with decorative jet buttons, in a heavily boned peplum design, the fabric has a foliage design running through; together with a matching skirt with a long train, fastening with a metal hook. Also a slubbed taffeta black skirt, c.1890, with two pleated cuff design at waistline and inter-sewn seams finished in a red striped ribbon. Also a black satin cape, 1870/80, scalloped round the hemline and with decorative braid work, covered buttons and Peter Pan collar. Also a midnight blue velvet jacket, 1890s, with a narrow black neckline in sateen, peplum in black slubbed sateen, cuffs with a pointed panel of black sateen, and decorative black woven buttons, large size. Also a black brocade mourning skirt, 1890, with an embossed decorative foliage design on the fabric, and two rows of braiding round the hemline which has a 3" hem. (6)
Two fur coats to include: one dark brown with a hint of henna, late 1940s, short to three-quarter length fur coat with covered fur button (very worn round cuffs and down the front); second a brown squirrel fur cape by Victor Segal of London, early 1950s. Also a 1940s fox fur cape with tails. (3)
A large brocade jade and gold evening dress lined in jade taffeta - a shift dress with a 'V' back and side slits, metal zip, late 1960s/early 1970. Together with an 'Abigail's Party' style large cape-design dress by Cresta with decorative turquoise and jade sequins round the collar and 'V' neck design, 1970s, material of a man-made fibre. (2)
A large box of feather boas, to include: a 1960s' decorative peach mini-skirt embellished with ostrich feathers and a diamante waistband; peach feather cape, edged in black, fully lined; 1920s, 60s, 70s feather boas and a collection of feathers; plus a cream feather skirt on a gros-grain waistband; large fan with ostrich feathers on bone sticks (damaged). (Q)
A 1920's/30's black sheer evening dress with button mesh lace to the arms and lower skirt having a separate sheer black slip, 38/40" chest together with an early 20th Century black satin full-length evening cape with hood and 2 pairs of black elbow length evening gloves (in suit carrier). Location:Rail2Condition: One rope tie missing to the cape neck area and one button missing to the shoulder. There is a tear to the lace panel at the hem-see photos for condition report.
A group of modern fur outer-garments to include a navy Jayley rabbit fur waistcoat, a Joseph black rabbit fur cape, an Olsen grey knitted waistcoat with grey rabbit fur trim, all one size only together with a late 20th Century Zelda charcoal plush velveteen fitted box jacket, UK size 8. Location:Rail2
Four original 1970s full length dresses including a Sixth Sense at C & A, a floral green gown with flower detail to front, cape shoulders and a long A-line skirt, size 14, a cream, black and red long dress decorated with large red flowers with a caped top, size 36, a full length polyester gown with faux pearl button detail to front and black velvet waist belt and collar, size 36, and a cream tiered chiffon dress, with V-neck, with a cape top and faux pearl bead and crystal embellishment belt, size 10 (4).Condition Report: All items are in a good vintage condition with no snagging or staining.
TOM BOWKER FOR COTERIE; a short peach strapless evening dress with an unusual layered design and a side bow closure with a peach silk cape, size UK 8, an Amanda Wakeley knee length fitted peach coloured shift dress with elasticated side panels, full length zip to back and unusually designed shoulders, size UK 8 and an Amanda Wakeley knee length teal shift dress with a rounded neck, sleeveless and back zip, size UK 8 (3).Condition Report: Both of the Amanda Wakeley dresses are in a very good unused condition, the peach silk dress has a small stain to the front on one of the tiers.
Four vintage circa 1970s full length dresses, including a Kenneth Milne full length heavy satin evening gown with pink tulle overlay, a bow and belt, appliqued with white flowers with a high neck and back zip, size 40, a Hammalone vintage electric blue silk chiffon full length gown with cape top, embellished with diamante beads, a Marcel Fency designed by Roland Klein full length turquoise blue and white patterned dress, with cape collar and frill to base, size 12, and a circa 1950s short silk dress, decorated with large pink roses with an A-line skirt, short sleeve, cross over body and a waist detail, waist measures 24" (4).Condition Report: The turquoise blue and white dress has a small stain to the front body, the other three dresses are in a good vintage condition.
Chatwin (Bruce). On the Black Hill, 1st edition, London: Jonathan Cape, 1982, original cloth in dust jacket, together withVonnegut (Kurt), Slaughterhouse-Five or the Children's Crusade, 2nd printing, New York: Delacorte Press, April 1969, original cloth in browned and slightly chipped dust jacket, 8vo, plusCalvino (Italo), Baron in the Trees, 1st English edition, London: Collins, 1959, original cloth in dust jacket, a little chipped and browned, 8vo, plus Ficino (Marsilio), The Letters, volumes 1-11, London: Shepheard-Walwyn, 1975-2020, frontispieces, original cloth in dust jackets, earlier volumes a little rubbed and soiled, 8vo, plus other mostly modern fiction including works in English translation, mostly original cloth in dust jackets, 8voQTY: (6 shelves)
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