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Click here to subscribeBritains set 38, South African Mounted Infantry three FIRST VERSION, fixed arm, and two Officers with pistols (G-F, repaired) 1908, from set 104, seven City Imperial Volunteers on guard in a later original illustrated box (G-F, box P) 1925 and seven other CIV figures, repainted (F-P, some damaged) (19)
CBG Mignot French WWI Medical services, Dead and Wounded with some by other makers, four Dead, four lying Casualties, three Walking Wounded, one seated on ground, two Beds, Bench, Stretcher, two Bearers, eight Nurses and four other Medical Personnel, with a neatly made probably scratchbuilt First Aid Post (G, four F) (31)
Britains Early Infantry and West India Regiment five Box Pack Infantry (F), two Valise Pack Pioneers, UNUSUAL apparently from two different size moulds, Foot Guard taller than the Fusilier (F), three mounted Grenadier Guard Officers with one man at attention (F, one hole, one leg of horse and tip of rifle missing), three officers on 'head down spindly horses' (F), set 19, West India Regiment SECOND VERSION, square bases, with early officer, one Somerset Light Infantry kneeling on guard, Best Quality, FIRST VERSION, with thirteen X series Infantry on guard (F, one leg damaged, one helmet spike missing) three Foot Guards firing with three kneeling Officers with binoculars (F, three tips of scabbards missing), one Royal Sussex, SECOND VERSION, RARE early full trouser type dated 24.2.1910 (F), three FIRST VERSION Royal Sussex repainted as Royal Marine Artillery (F) and a Goat Mascot, early paint style (F, horns missing) (48)
Britains set 20F, Farmers and Gigs FIRST AND SECOND VERSIONS (second version whip missing), additional horse (dented), Farmer, seated Farm Hand, two men Sowing Seed, Carter (empty hand) (E-G) and Farm Picture Packs 5010 and 5027 in original boxes (E, but one lamb leg broken, some paint rubbing from close proximity inside boxes) (35)
Britains Horsedrawn Farm Implements 6F Plough with horses and ploughman in original box (G, reproduction traces, box F-P), 8F Rake with horse and driver in original box (VG, damaged, seat missing, box G), 9F Roller FIRST AND SECOND VERSIONS with horses (stable lads missing), two 12F Timber Carriages with logs and horses including a 'Furry Hoofed' horse (stable lads and one shafts missing, some damage), 129F Timber Trailer (damaged), four additional Ploughmen and six additional horses (G-F, five horses damaged) (31)
Britains Salvation Army two musicians (P, damaged), FIRST VERSION Chauffeur with lamp (F), Referee (G), 592 Curate (G-F), Mother and Father from 641 Motorcycle and Sidecar, Baby Boy to sit on Sleigh (F) and a standard Lorry Driver in peak cap, but in original UNUSUAL dark green, with moustache, perhaps from set 1514, Corporation Ambulance or a Farm Lorry driver colour variation (G) (9)
Crescent set 1231 Fish Shop FIRST VERSION, wooden Counter, diecast Fryer with tinplate backplate and five covers, card sign, Chippie and two Customers, fish tray, battered cod and six plastic chips in original illustrated box (VG, metal fatigue to fryer decoration, some pieces of decoration loose or missing, box G) 1948 (14)
David N Robinson collection - Volumes 1-6 of the minutes of the meetings of the 4th District Commissioners for the 'Drainage & preserving certain low lands called the Fens lying on both sides of the River Witham in the county of Lincoln'. First meeting held at the White Hart, Spilsby 26th July 1762 last meeting 20th September 1854, accompanied by the 4th District index book 1801 to 1901.
A WILLIAM IV SCOTTISH SILVERGILT PRIZE MEDAL shield shaped with a raised border inscribed "For Merit in the practice of music 30th June 1838 Presented by Mr Robertson to Miss Mary Pollock, First of her class", by James Nasmyth, Edinburgh 1834 and a late Victorian silvergilt Scottish clan brooch with four crests and the motto "Strength in Union", unmarked; the latter 1.75" (4.5 cms) diameter; 0.5 oz weighable silver (2)
A Royal Albert "Old Country Roses" tea/dinner service, comprising 6 x 26cm plates, 9 x 21cm plates, 12 x 16cm plates, 6 x soup/fruit dishes, 2 x oval meat plates 33cm and 38cm, 2 x lidded tureens, 2 x oval vegetable dishes, 1 x gravy boat and stand, 8 x teacups, 6 x saucers, teapot, milk jug, sugar bowl, lidded preserve jar, 1 x bread and butter plate, 1 x oblong sandwich plate, 1 x leaf dish with handle, tooth pick holder, vase, 1 x large and 1 x small sweet dishes, first and second quality. (63)
London: Sampson Low, Marston, Searle and Rivington, 1881 FIRST EDITION, 8vo, xi + 426 + 32 ad pp, xi +478 pp, original brown cloth with black and gilt, numerous B&W illustrations, fold in map with one tear, front and back hinge are opening. Vol II: Book plate of Sir Thomas George Freake Bart (2)
London: Sampson Low, Marston, Searle & Rivington, 1890 FIRST EDITION, SIGNED, 8vo, xxiv + 490 + [2] advertisement pp, original decorative red cloth, signed frontis portait, numerous B&W illustrations, one fold out map, one folded facsimile of letter by Mahdi, foxing on edge of text block and margins of pages facing folded maps, hinges starting to open
the ovoid body with amasumpa decoration, distress 29cm high PROVENANCE Field collected by Maynard Bester in the 1990s These pots are used to prepare, store and serve sorghum beer utshwala. Depending on the methods used to brew the beer it may be consumed either as an alcoholic drink or a nutritious food in daily life. In whatever form it is consumed it holds a deeper meaning to the Zulu; as a libation of utshwala which is an important means of commemorating the ancestors, amadlozi. Consequently the pots have an important ritualistic significance; the beer is a gift from the ancestors and a portion of the beer is gifted back to them via offerings. The ancestors are associated with darkness; hence the pots are blackened and are kept in the darkest part of the homestead. Made by women throughout the KwaZulu-Natal region, they are of a terracotta colour after their first, biscuit firing, and usually only the drinking and serving vessels undergo a second firing to blacken and ukufuza the outside of the pot. There are several methods used to blacken pots, however, it is this heating process that most thoroughly ingrains the soot of a carbonizing fire into the pores of the burnished exterior. Holding the pot in the smoke over a fire imparts a glossy black sheen over its entire outer surface; in contrast, the unburnished surfaces within some decorative zones are a matt black. These contrasts not only have a tactile quality but are also valued for their decorative appeal. The fired pots are then rubbed with animal fat to bring out the colour and patina. Designs vary from area to area, but generally they feature geometric patterns including triangles, diamonds, rectangles, circles, squares and arcs. Sometimes individual motifs are repeated at regular intervals to form a continuous band around the pot. The designs tend to be clustered on the upper portion of the pot. The positioning of the design may also afford better grip on a full pot of beer. - Rayda Becker
signed with the artist's initials oil on canvas Thompson, J., Gwelo Goodman: South African Artist, Howard B Timmins, Cape Town, 1951 illustrated on p60-61 59 by 74cmNewlands House, where Robert Gwelo Goodman would make his residence in 1920, had during the time of World War I served as a hospital. Upon seeing the house for the first time not only was he struck by its beauty, but he immediately began to imagine the practical steps he could take to make it liveable, loveable and enjoyable. He saw the house as it used to be, with its magnificent rooms and 5 meter high ceilings, huge windows, and, as depicted in the current lot, a central passage 3.5 meters wide and 28 meters long - a home that was at the same time spacious, cool and wholly beguiling. Gwelo had always held a fascination with furniture and was a keen collector thereof. After placing all the furniture items he had so meticulously collected in England, he found himself with much room to fill, and so began his passion for collecting Cape furniture. This is noticeable in The Hall, Newlands House which is bedecked almost entirely with Cape pieces, showcasing two armoires, a pair of demi-lune tables, a stinkwood occasional table, two gueridons, a caned chair, and a low cupboard upon which a depiction of Ruth Prowse by Moses Kottler, now homed in the IZIKO South African National Gallery, serenely sits. Once Gwelo and his wife had furnished their home to satisfaction, the house took on somewhat of the character of a gracious museum. It was during his time assisting Dora Fairbridge in writing her book, Historic Houses of South Africa, that Gwelo found a fascination in depicting his own home. My Studio of 1919, the present lot: The Hall of 1922 and The Dining Room painted in 1922/3 are considered amongst Gwelo?s finest works during this period. - Kayleen Wrigley
London: Henry Sotheran & Co, 1895 FIRST EDITION, folio, 236 pp, 13 electro etchings and numerous B&W illustrations, original cream cloth with sable and kudu heads to upper board and springbok head on spine, some staining on boards, foxing on ep but otherwise clean, pages loose or loosening from spine as glue is crystalizing
Various. 8vo, five volumes bound in green half morocco over cloth boards, banded spine with gilt titles, dates and decoration, text block gilded on top, A.J. Clay book plate on ep, spine scuffed, corners bumped IN DARKEST AFRICA by Stanley, Henry: Sampson Low, Marston, Searle and Rivington, London, 1890, FIRST EDITION Vol I: 529 pp, one map, numerous illus., foxing thoughout more pronounced on contents and first three pages and last five index pages. Vol II: 472 pp, one fold out map, numerous illus., foxing thoughout more pronounced on contents and first three pages and last three index pages. THE CONGO by Stanley, Henry: Sampson Low, Marston, Searle and Rivington, London, 1885, FIRST EDITION Vol I: 528 pp, one fold out map, numerous illus., clean and bright text, foxing on back ep. Vol II: 483 pp, one fold out map, numerous illus., clean and bright text, foxing on back ep. EMIN PASHA by Mounteney-Jephson, A. J. & Stanley, Henry: Sampson Low, Marston, Searle and Rivington, London, 1890, FIRST EDITION 490 pp, fold out letter, numerous illus., minor foxing on ep and title pages. (5)
FIRST EDITION, FIRST ISSUE, 8vo, quarter bound with marble boards, without half titles and advertisements, book plate, spines cracked, some paper loss to gilt decorated spines, boards scuffed, significant foxing on first few pages and illustrations of each volume with light to moderate foxing throughout rest, some stains. First issue indicated by ?Fireside? plate and ?Boz? title page (3)
London: The Trianon Press, 1955 - 1960 FIRST & LIMITED EDITIONS, folios with publisher?s slip cases. THE WHITE LADY OF THE BRANDBERG, 1955; PHILIPP CAVE, 1957; THE TSIAB RAVINE AND OTHER BRANDBERG SITES, 1959; ANIBIB AND OMANDUMBA, 1960 (4) THE WHITE LADY OF THE BRANDBERG, 1955, tan cloth, no dust jacket, 24 colour and numerous B&W illustrations. Complete, but all the pages are loose, foxing on eps. PHILIPP CAVE, 1957, light blue cloth, wear to dust jacket with tears and paper loss, 29 colour and numerous B&W illustrations, foxing on eps, text pages and one colour plate. THE TSIAB RAVINE AND OTHER BRANDENBERG SITES, 1959, ochre cloth, dust jacket with a few tears and minimal paper loss, 78 colour and numerous B&W illustrations, foxing on eps. ANIBIB AND OMANDUMBA, 1960, blue cloth, dust jacket with a few tears and minimal paper loss, 80 colour plates and numerous B&W illustrations, minimal foxing on eps. (4)
London: Sampson Low, Marston, Searle and Rivington, 1886 FIRST EDITION, 8vo, xx + 475 pp, 2 portraits as frontis pieces, original green cloth with gold and black decoration, numerous B&W illustrations, one folding plan, foxing on eps, name of previous owner on half title page, two bookplates on ep
signed on the reverse stencil and mixed media on metal shelf 91 by 43cm The proceeds of the sale of the following lot will benefit Greatmore Studios Bambi is a contemporary British street artist whose work was first noticed in 2011 in the streets of London. Not much is known about the personal life of the artist who has gained popularity under the pseudonym derived from her childhood family name ?Bambino?. While her identity remains a well-kept secret, she has disclosed that she was previously a prominent singer. Described by many as the female Banksy, her work has been sought after by various collectors including the likes of Rihanna, Robbie Williams, Brad Pitt and Adele. Working in the streets of Northern London, she presents critiques of contemporary culture, often using images of popular contemporary icons to illustrate the commodification of the art world and other social, political and environmental issues. Her work Tata (Yellow) 2013, depicts Nelson Mandela in a signature bright shirt and was created in the same year as his passing. The title, Tata, references Mandela?s nickname which he was often fondly referred to and includes the phrase ?It always seems impossible until it?s done?. This piece is a celebration of Mandela?s hope, strength and resilience that inspire millions around the world to this day. Its popularity is evident when one considers the numerous graphic reproductions of this work that are still being sold. ?I learned that courage was not the absence of fear, but the triumph over it. The brave man is not he who does not feel afraid, but he who conquers that fear. It always seems impossible until it?s done.? -Nelson Mandela - Caitlin Snethlage
London: Sampson Low, Marston, Searle and Rivington, 1881 FIRST EDITION, 8vo, xxx +377 + 32 ad pp, vii + 388 pp, numerous plates and illustrations, two folding maps of which one is in the back pocket, foxing on ep and title pages, spine starting to open along internal hinges of both volumes (2)
signed colour silkscreen and offset lithograph on wallpaper 53 by 52cm Damien Hirst, arguably the most celebrated creative to come from the Young British Artists (YBAs) movement, completed his training at Goldsmiths College in London. In 1988 Hirst conceived and created ?Freeze?an exhibition of his work as well as the work of his fellow students at Goldsmiths. In the 28 years following that show, Hirst has become one of the most prominent artists of his generation. His work is widely recognised, from the shark suspended in formaldehyde, The Physical Impossibility of Death in the Mind of Someone Living (1991) and his spot, spin and butterfly paintings, through to later works like For the Love of God (2007), a diamond encrusted skull. Throughout his work, Hirst takes a direct and challenging approach to ideas about existence. His work calls into question our awareness and convictions about the boundaries that separate desire and fear, life and death, reason and faith, love and hate. Hirst uses the tools and iconography of science and religion, creating sculptures and paintings whose beauty and intensity offer the viewer insight into art that transcends our familiar understanding of those domains. ?There are four important things in life: religion, love, art and science,? the artist has said. ?At their best, they?re all just tools to help you find a path through the darkness. None of them really work that well, but they help. Of them all, science seems to be the one right now. Like religion, it provides the glimmer of hope that maybe it will be alright in the end.? The wallpaper exhibited in lot 816 takes its name from the Tate Britain exhibition in which it was originally used to clad the walls of this highly respected institution. The name for the exhibition, In-A-Gadda-Da-Vida, was borrowed from the title track of an LP released in 1968 by the rock band, Iron Butterfly. The song was originally going to be called ?In the Garden of Eden?. Legend has it that the lead singer was so drunk when he first announced the song?s title that one of the band members wrote down phonetically the slurred words ?In-A-Gadda-Da-Vida?. The title suggests an overt theme: broadly, the contemporary consequences of the original myth of falling from grace, but the exhibition also reveals the differing formal and material approaches of three artists, Sarah Lucas, Angus Fairhurst and Damien Hirst, and how they use metaphor in diverse ways. In this exhibition, Hirst constructed complex installations inside vitrines and displayed grandiose collages using real butterflies and flies in addition to designing the very intricate wallpaper which we see in lot 816.- Barkham, P., Damien Hirst?s Butterflies: Distressing but Weirdly Uplifting, The Guardian, 18 April 2012 Online, available: https://www.theguardian.com/environment/2012/apr/18/damien-hirst-butterflies-weirdly-uplifting- Gagosian, Damien Hirst. Online, available: http://www.gagosian.com/artists/damien-hirst - Tate Britain, In-a-Gadda-Da-Vida: Angus Fairhurst, Damien Hirst and Sarah Lucas, March 2004. Online, available: http://www.tate.org.uk/whats-on/tate-britain/exhibition/gadda-da-vida
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![London: Rowland Ward, 1898 FIRST EDITION, 8vo, xix + 455 + [viii] ad pp, half bound in black leather, shelf wear on spine, or](https://cdn.globalauctionplatform.com/f3ddcb8d-bd32-477e-ac1c-a7f200abbb2f/fa4f1305-f90e-4cfb-fe01-d2756b278e05/468x382.jpg)
![London: Sampson Low, Marston, Searle & Rivington, 1890 FIRST EDITION, SIGNED, 8vo, xxiv + 490 + [2] advertisement pp, origina](https://cdn.globalauctionplatform.com/f3ddcb8d-bd32-477e-ac1c-a7f200abbb2f/d44d2c28-f491-4de7-c019-6e23e162db52/468x382.jpg)
![FIRST EDITION, 4to, xii +118 + [2] ad pp, original faux crocodile cloth, spine replaced, partially torn onlay, 54 plates and](https://cdn.globalauctionplatform.com/f3ddcb8d-bd32-477e-ac1c-a7f200abbb2f/a4192657-ba5f-47b7-c702-3bb91f773be1/468x382.jpg)
