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Lot 843
An Excellent Selection of Commonwealth Notes, comprising Jamaica, 5 Shillings, 1957, and 10 Shillings, ND (1964), very fine and extremely fine, Fiji, 5 Shillings, 1961, $10 and $20, ND (1992), first extremely fine, others good very fine, Bahamas, $5, ND (1967), orange, original good extremely fine, Falkland Islands, £1, 1967, prefix E, uncirculated, Belize, $2, $5, $10 and $20, 2007, uncirculated, and Jersey, replacement £1, prefix ZB, also specimen £5 (2), prefixes CB and FB, uncirculated, an overall very useful group (14 notes) £300-£400
Lot 583
Banque de France, 50 Francs, 6 August 1931, serial number B.8706322, 1000 Francs, 28 July 1938, serial number H.3660479, 5000 Francs, 1939, serial number Y.237 027, first with tears in margins, original fine, the second has pinholes, two folds about extremely fine, thirds pinholes, about uncirculated (3 notes) Pick 79, 80, 82 £200-£260
Lot 419
Currency Commission, Irish Free State, specimen 10 Shillings, 13 May 2006 (10 September 1928), serial number A/01 000000, Brennan and McElligott signatures, black specimen overprint and three cancellation holes, light handling, about uncirculated to uncirculated and a rare Waterlow specimen from this first Lady Lavery issue PMI LTN 1, Pick 1As £600-£800
Lot 539
Government of British Honduras, $2, 1 January 1972, serial number H/1 926459, also $1, 1 January 1973, serial number G/6 693782, Cain, Fonesca and Cattouse signatures, first original and fresh paper, two tiny stains in margin, one light paperclip mark, about uncirculated and a lovely example, second with soft central fold, good extremely fine (2 notes) TBB B127a, B128a, Pick 28c, 29c £150-£200
Lot 794
Saudi Arabian Monetary Agency, 5 Riyals, AH1379 (1961), serial number 32/148162, also 10 Riyals (2), AH1379 (1961), serial numbers 20/425372 and 69/492334, first woith stain, staple holes, otherwise about uncirculated, second fine, third in PMG holder 30, very fine, with minor repairs (3 notes) TBB B106a, B107a, Pick 7a, 8a £150-£200
Lot 420
Currency Commission, Irish Free State, partial die proof printed in green for 10 Shillings, ND (1928), Brennan and McElligott signatures, backed on thick card, otherwise as produced, very rare and a lovely looking item with the usual exceptional Waterlow printing quality PMI LTN 1s, Pick 1A £800-£1,000 An image of this remarkable item is featured in the Acknowledgements section of Paper Money of Ireland, first edition
Lot 710
Kuwait Currency Board, a partial set from the 1961 Issue, 1/4 Dinar, serial number A/1 409800, 1 Dinar, serial number A/12 847883 and 5 Dinars (2), serial number A/1 464330 and A/3 108552, Al-Sabah signature, the 1/4 and 1 good fine to very fine, the first 5 dinars PMG 50, extremely fine, second 5 dinars PCGS, number 35, very fine (4 notes) TBB B101a, 103, 104, Pick 1, 3, 4 £200-£300
Lot 396
Bank of Ireland, £1, 23 February 1942, serial number B/18 843674, Adams signature, also £5 (2), 2 December 1940 and 1 October 1958, serial numbers S/15 042651 and S/25 061439, all with original paper, first very fine, second and third extremely fine (3 notes) PMI BA 96, 98, 100, Pick 55b, 52c,d £120-£160
Lot 198
'Keep Calm & Carry On', a World War II Propaganda poster, 1939, printed by the Ministry of Information38 x 25cm Footnote: Emblazoned across tea-towels, mugs, t-shirts, and tote bags, the ‘Keep Calm and Carry On’ motif is today considered an iconic, even ubiquitous, cultural touchstone, synonymous with wartime Britain. However, for many who lived through the Second World War, the re-emergence of the poster, in 2001, would be the first time, alongside the rest of the British public, that they would see the image. Conceived in 1939 by the government appointed Ministry of Information, ‘Keep Calm and Carry On’ was one in a series of three posters intended to boost the morale of the beleaguered British public. Each featuring the same bold font over a coloured background and below the symbolic crown of King George VI, the simple and forthright designs communicated the severity of the political situation with typically British restraint. The first two posters - which read ‘Your Courage, Your Cheerfulness, Your Resolution; Will Bring Us Victory’ and ‘Freedom is in Peril; Defend it with all Your Might’ – were produced by His Majesty’s Stationery Office (HMSO) and were displayed on public transport, upon hoardings and in shop windows across the country. Unlike the previous designs in the series, ‘Keep Calm and Carry On’ was not immediately sanctioned for public release. Though it is often claimed that this design was held in reserve, only to be released in the event of severe attacks on British soil, sources suggest that, whilst this may be true in part, there was also a general feeling of apprehension amongst MOI officials surrounding the tone of the message. Responding to reports that indicated civilian morale pointed more towards boredom than fear, the poster was never officially released for public consumption. Whilst a small number of the posters were retained, it is believed that around 2.45 million copies were pulped in 1940 in an effort to relieve the serious paper shortage facing the government. In 2001, a bookseller in Alnwick, Northumberland, discovered a test printing of the poster amongst a consignment of secondhand books bought at auction. After reproducing the image and selling it through the Victoria and Albert Museum in London, the image, previously rejected for failing to understand the mood of the nation, quickly became a quintessentially British glyph, firmly and irrevocably embedded within the collective psyche of the nation. Condition report: Slight crease mark near the bottom left hand side, 38 x 25cm
Lot 260
Frances Mary Hodgkins (New Zealand/British 1869-1947) The Mill Wheel signed 'Frances Hodgkins' (lower right) watercolour39 x 48cmProvenance: With Alex Reid & Lefevre Ltd., where acquired by the parents of the current owner The present lot is probably the picture which was exhibited in 1943 at the Lefevre Galleries, Gouaches by Frances Hodgkins - A New Series of Gouaches painted during 1942-3, March-April 1943, cat. no. 5. We are grateful to Mary Kisler for her assistance with cataloguing this lot.Footnote: Although she is today considered one of New Zealand’s most distinguished modern artists, it was during her time in Western Europe, particularly in Britain, that Frances Hodgkins developed her distinctive style and palette - deviating from the pervasive influence of Impressionism towards the Modernist style that she would ultimately be recognised for. Born in Dunedin, New Zealand, in 1869 to English emigre, William Mathew Hodgkins, a solicitor, barrister and part-time painter and his Australian wife, Rachel Owen, Hodgkins enjoyed a rich childhood, both materially and culturally. Encouraged by their father, a dedicated votary of watercolour painting and a founding member of the Otago Society of Artists and the Dunedin Public Art Gallery, Frances and her elder sister, Isabel, spent their formative years sketching and painting the New Zealand landscape. Although it is generally accepted that Isabel’s artistic talents, particularly in landscape painting, were more apparent in these early years, Frances’ career would ultimately outpace that of her sister’s. In 1893, following her inaugural exhibition three years prior, Hodgkins began studying under Italian artist, Girolamo Nerli. Whilst the early tutelage provided by her father equipped Hodgkins with her fundamental techniques, her relationship with Nerli undoubtedly changed the trajectory of her career. Under Nerli, Hodgkins’ style evolved, demonstrating a boldness of form and colour previously unseen in her work. In 1901, after studying, and briefly teaching, at the Dunedin School of Art, Hodgkins left New Zealand for Europe. Over the intervening 12 years, Hodgkins travelled extensively, oscillating between continents and imbibing inspiration from every place she visited - in her own words: “I wanted to see the masterpieces of all time; learn what was being done in my chosen medium and measure myself against the moderns”. Although this period in her career does not reflect the full maturation of her style, Hodgkins was nonetheless beginning to receive critical acclaim, winning numerous prizes and having her work exhibited by several eminent institutions, notably, in Paris, the Salon and the Société Internationale d'Aquarellistes. In 1908, Hodgkins settled in Paris, where she became the first woman to be appointed as instructor at the Académie Colarossi and established her own school for watercolour painting. Although this was a professionally fertile time for Hodgkins, the outbreak of the First World War forced her to flee Paris and settle in St Ives, Cornwall. Despite this being a period of great financial hardship for Hodgkins, it was also a time of immense creative freedom and experimentation. In St Ives, Hodgkins was quickly accepted into the artistic circle and soon found herself associated with artists including Henry Moore, Barbara Hepworth, Graham Sutherland and John and Myfanwy Piper. It was also around this time that Hodgkins, encouraged by her close friends, Cedric Morris and Arthur Lett-Haines, began experimenting in oils and developing her distinctive Modernist style. After living and working in Cornwall for eight years, Hodgkins spent several years living between Manchester, Paris and Cornwall, before moving to London in 1927 where she swiftly gained the admiration of influential London dealer, Arthur Howell of St George’s Gallery in Hanover Square. The partnership between Hodgkins and Howell precipitated a longstanding relationship with the Lefevre and Leicester Galleries, which would last until her death in 1947. Although Hodgkins was recognised as an exceptionally gifted artist during her lifetime, as a member of the avant-garde, she remained on the peripheries of the commercial art world and, resultingly, achieved very little financial success. Today, however, Hodgkins’ work is prized by collectors and institutions across the globe. Traversing between styles, hemispheres and disciplines, Hodgkins’ remarkable oeuvre is demonstrative of her fearless spirit and is characterised by her daring palette and bold, simplified forms.Condition report: Watercolour on paper stuck down to cardboard and surrounded by cardboard mount, circa 1943. Possibly some fading, though the palette is characteristic of Hodgkins' watercolours. There is some minor and scattered foxing, and the surface is a little discoloured due to ingrained surface dirt, there is also a small, brown, pinhead sized accretion to the centre of the image. Where there is no paint on the surface, the paper shows typical age toning. There is some typical acid burning beneath the mount and some faint scores across the surface, though these may be intrinsic to the piece.
Lot 261
Eric Ravilious (British 1903-1942) Hull's Millwood engraving printed from the original block, from an edition of 150, published by Merivale Editions, printed by Ian Mortimer on velin d'Arches paper14.5 x 21.5cmCondition report: The plate is likely to date from circa 1936, but was first printed around 1980 when the plate was rediscovered by Ian Mortimer. The print is framed.
Lot 4117
Star Wars: A collection of assorted boxed Star Wars: The Force Awakens items to comprise: Epic Battles Captain Phasma figure; Rey's Speeder (Jakku); 5-Figure Pack including: BB-8, Kylo Ren, Chewbacca, First Order Stormtrooper, and Resistance Trooper; First Order Snowspeeder / Snowtrooper; First Order Special Forces TIE Fighter / TIE Fighter Pilot; and Poe's X-Wing Fighter / Poe Dameron. All boxes are sealed except Poe's X-Wing which appears complete. Boxes generally appear in good order. (one box)
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