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Lot 200
ERROR: Bank of England, Leslie K. O’Brien, £1 (2), 21 November 1955, serial number M30K 452187 together with another example for comparison purposes, serial numbers on first note far too faintly printed, the indentation from the numbering machine is clear and deep, meaning the machine was probably just running out of ink, extremely fine to about uncirculated, very unusual (2 notes) EPM B273 £120-£160
Lot 659
National Bank of Scotland Limited, every variety of the W & A K Johnston printings of £1 (7), dates 1933, 1941, 1944, 1951, 1954, 1955 and 1956, prefixes A/F, A/Q, A/U, B/C, B/K, B/M and B/O, all lightly pressed very fine to extremely fine, but clean and attractive examples, a wonderful example of all possible types of this note (7 notes) PMS NA 45, 46, 47, 48, 49, 50, 51 £200-£260 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Lot 565
Union Bank of Scotland, uncut pair of printers specimens for £1 (3), 1 June 1933, 12 February 1937 and 1 June 1948, prefixes G/33, G34, K/40, K/40 and X/5, all three pairs with different signature combinations, various types of cancellation holes in all, many printers annotations and handstamps, mounting traces, generally very fine to extremely fine, a really nice set of specimens, becoming far rarer than they once were (6 notes across 3 sheets) PMS UB 63ds,es,fs, Pick S815s £400-£500
Lot 171
Bank of England, Basil G. Catterns, a group of Operation Bernhard notes comprising £10, 16 April 1931, serial number K/120 01963, £20, 15 August 1933, serial number 47/M 59042, and £50, 15 June 1933, serial number 50/N 54360, first and second with pinholes, good very fine to about extremely fine, becoming scarce (3 notes) EPM B229*, B230*, B231* £200-£260
Lot 206
Bank of England, Leslie K. O’Brien, £5, 12 July 1961, serial number J31 000302, in ICG holder 63, uncirculated, a lovely example with a low serial number EPM B280 £100-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Lot 771
A Useful Group of Mostly £1 Notes including, Union Bank of Scotland, remainder, £1, 1947, Royal Bank of Scotland, £1 (21), dates 1994, 1996, 1999, 1997, £5 (2), 2005, £10 2006, Bank of Scotland PLC, £1, 1972, Bank of Ireland, £1, prefix H, Isle of Man, Dawson, 50p (3), States of Jersey, £1 (3), British Armed Forces (7), Bank of England, Page, £1 (2), L K O’Brien, 10/-, Fforde, 10/-, Kentfield £5 (3), P.S Beale 10/-, £1, very fine to uncirculated (51 notes) £150-£200
Lot 252
Three stone-set gold rings, including an early 20th century five stone diamond 15ct gold boat head ring, width approx 3mm, size K, total gross weight approx 1.8gms along with a ruby and diamonds 18ct gold cross over ring, size O1/2 and a cultured pearl and diamond 18ct gold ring, size N1/2,, combined total gross weight approx 5.2gms Further details: all stones present and intact, wear and tear tarnish commensuarte with age
Lot 285
A collection of gold rings, including 18ct gold band, size K, weight approx 2gms, a ruby and diamond weighable stone set ring a/f total gross weight approx 1.9gms, two 9ct gold onyx set signet rings, total gross weight approx 4.5gms, three 9ct gold bands, combined total weight approx 7.7gmsx 9ct (7) Further details: wear commensurate with age, abrasions damage
Lot 147
A synthetic sapphire and gold cocktail ring, comprising a rectangular scissor cut stone approx 13 x 10mm, shell decoration to shoulders, size K, stamped to interior 22k, total gross weight approx 6.4gms Further details: stone intact, sizing evidence to shank, wear and tear commensurate with age
Lot 24
Sydney Alex Kumalo (South African, 1935-1988)Head, 1966 (SK57) signed and editioned ' I/X KUMALO' (lower left side)bronze30 x 13 x 19cm (5 1/8 x 7 1/2 x 11 13/16in). (excluding base)Footnotes:ProvenanceAcquired from Egon Guenther Gallery, 1976;A private collection.ExhibitedJohannesburg, Sydney Kumalo, Bronzes and Drawings, Egon Guenther Gallery, 21 February - 10 March 1967;Pretoria, Sydney Kumalo, Solo Exhibition of Bronzes and Drawings, South African Academy of Arts Gallery, 20 March edition number i/x. 1 April 1967;Durban, Exhibition of Paintings and Sculpture by Hannes Harrs, Sydney Kumalo, Cecil Skotnes, Natal Society of Arts (NSA) Gallery, Hermitage Street, 12-30 September 1967; edition number i/x;Cape Town, Re/discovery and Memory, Norval Foundation, 28 April - 10 September 2018.LiteratureExhibition Catalogue, Sydney Kumalo, Solo Exhibition of Bronzes and Drawings, (Pretoria: South African Association of Arts, 1967), (edition number i/x), catalogue No.16.Gavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), SK57, pp. 44 & 242-244. (different edition of the same work illustrated).Exhibition Catalogue: Exhibition of Paintings and Sculpture by Hannes Harrs, Sydney Kumalo, Cecil Skotnes, (Durban: Natal Society of Arts (NSA) Gallery, , 1967); (edition number i/x); catalogue No.13.Natal Daily News, 'Exhibition, Harrs, Kumalo, Skotnes', (12 September 1967).Basson, Jenny, 'Zulu culture abroad', Bantu, (23(5) June 1976), (illustrated inside cover).Basson, Jenny, 'Sydney Kumalo beeld wese van Afrika uit', Die Brandwag, (21 January 1977), p. 90. (different edition of the same work illustrated).Burroughs, E. and Nel, K., eds, Re/discovery and Memory: The Works of Kumalo, Legae, Nitegeka & Villa. (Cape Town: Norval Foundation, 2018), figure 26, pp. 123 and 150.Born in 1935 and raised in the old suburb of Johannesburg known as Sophiatown, Sydney Kumalo grew up with and became absorbed into a community that would be destroyed by the Apartheid. This catalysed a generation of some of South Africa's most passionate, driven, and famous artists. Being Zulu in this community meant that Kumalo grew up surrounded by people of different political beliefs and cultures; in turn, he developed a grounding of cohesive societal understanding that would reflect in his later works of art. Kumalo was only seventeen when he began studying at the Polly Street Art Centre in Johannesburg under the guidance of Cecil Skotnes and Edoardo Villa, before becoming a teacher there himself in 1964. Kumalo would go on to exhibit alongside Skotnes and Villa (also prominent figures in today's market) in collaborative shows. Given his background, Kumalo would establish himself as a prominent figure in modern African Art who overcame challenging adversity given his position as a Black creative during Apartheid.In reference to Gavin Watkins and Charles Skinner's catalogue raisonné, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, only two editions of the present lot were produced by Egon Guenther Gallery, edition 'i' and edition 'vii' out of 'x' making this an incredibly rare work.Kumalo was invited to the Artist of 'Fame and Promise Exhibition' in 1960, catalysing a highly successful career where he presented at art fairs and participated in both group and solo exhibitions. Kumalo represented South Africa at the Venice Biennale (1966), participated in the Sao Paulo Biennale (1967) and in 1967 won a bursary from the Transvaal Academy, travelling to Europe in 1967 and to the USA in 1985. His work was included in the Cape Town Triennial in 1985 and took part in number of significant South African exhibitions, such as 'The Neglected Tradition Exhibition', held at the Johannesburg Art Gallery in 1988.BibliographyGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 25
William Kentridge (South African, born 1955)Monument I signed and dated 'KENTRIDGE/ 90' (lower right)charcoal on paper119.7 x 148.7cm (47 1/8 x 58 9/16in).Footnotes:ProvenanceA private collection.This image is taken from William Kentridge's second Drawings from Projection film Monument (1990) which thematically explores notions of exploitation, passivity, responsibility, and power. The year that this work was created in was contextually a period of transition from the Apartheid. Kentridge calls into question how the Apartheid will be remembered, commemorated, and even appropriated. Deriving from Samuel Beckett's short play Catastrophe the narrative of the film displays a worker carrying a heavy load outside the city walls before disappearing from sight. Soho Eckstein, the character of a mine owner commonly used by Kentridge in his oeuvre, is presented in this film as the 'civic benefactor' who, after delivering a speech seemingly expressing gratitude, has a statue unveiled presenting an image of the worker, highly celebrated by the surrounding crowd. 'One expects, of course, that the heroic image within the wrapping will turn out to be that of Soho Eckstein himself (Dan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge, (London: Phaidon, 1999), p. 57)). However, when the statue starts breathing at the end of the film, therefore resisting the structural control, the viewer is indeed faced with the fact that the representational figure is indeed human. Conceptually, while it may seem that Soho is acting in a position of gratitude and indeed commemorating the labourer, we are reminded of the complex issues of humanity and representation and the continuing social structure issues that remain ongoing. 'By means of this ritualistic, formulaic gesture of homage to the oppression of the poor, the capitalist position of power and dominance would seem to be confirmed, even extended.' (Cooke, p. 41). Correlations are drawn reflectively by Kentridge between himself and the character of Soho in the complexity of representation. However, differing from Soho, Kentridge displays a sense of self-awareness and a refusal of complicity and ignorance in his position as a spectator.The present work, Monument I, captures the moment just prior to the statue's unveiling. As the crowd is gathered awaiting the concealed lonely figure to be revealed, the work crystallises a moment of anticipation. Trumpets, billboards, and speakers of an urbanised landscape contrast the barren landscape that was seen at the beginning of the film. The concealed figure stands tall, central, and concealed from the landscape (from what we understand in the context of the film) that they had physically created. 'The classic antagonism between the masses rising up in solidarity against the oppressive exploiter, which fuels Monument, or the hostile reciprocity between the dominating class and the victimized individual.' (Lynne Cooke, 'Mundus Inversus, Mundus Perversus, William Kentridge, (Chicago: Museum of Contemporary Art and New York: Harry N. Abrams Publishers, 2001), p. 50.)Kentridge's process of re-working and altering a singular drawing numerous times to display animated movement in the film has resulted in this conclusive drawing. 'The technique I use is to have a sheet of paper stuck up on the studio wall and, half-way across the room, my camera, usually an old Bolex. A drawing is started on the paper, I walk across to the camera, shoot one or two frames, walk back to the paper, change the drawing (marginally), walk back to the camera, walk back to the paper, to the camera, and so on. So that each sequence as opposed to each frame of the film is a single drawing. In all there may be twenty drawings to a film rather than the thousands one expects. It is more like making a drawing than making a film (albeit a gray, battered and rubbed about drawing).' (Lecture, 1993, published in Cycnos: Image et Langage, Problemes, Approches, Méthodes, Nice, vol. 11 no.1, (1994), pp. 163-168. Republished in C. Christov-Bakargiev, William Kentridge, William Kentridge, Societe des Expositions du Palais de Beaux-Arts, (Bruxelles 1998), pp. 61-64)BibliographyLilian Tone, William Kentridge Fortuna, (London: Thames & Hudson, 2013)Margaret K. Koerner, Smoke, Ashes, Fable, William Kentridge In Bruges, (New Haven and London: Yale University Press, 2017)Mark Rosenthal, William Kentridge, Five Themes, (New Haven and London: Yale University Press, 2009)Matthew Kentridge, The Soho Chronicles, 10 Films by William Kentridge, (London, New York & Calcutta: Seagull Books, 2015)Carolyn Christov-Bakargiev, William Kentridge, (Brussels: Societe des Expositions du Palais des Beaux-Arts de Bruxelles/Vereniging voor Tentoonstellingen van het Paleis voor Schone Kunsten Brussel, 1998)Dan Cameron, Carolyn Christov-Bakargiev, J.M. Coetzee, William Kentridge, (London: Phaidon, 1999)Lynne Cooke, William Kentridge, (Chicago: Museum of Contemporary Art and New York: Harry N. Abrams Publishers, 2001)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 244
Selection of diecast military vehicles including Matchbox Battle Kings K-114, K -117 & K-111 plus two other Matchbox Military, Battle Squads & other vehicles (8 boxes)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.
Lot 200
ANDREW CORNHILL A GOLD, SEED PEARL AND ENAMEL OPEN FACE POCKET WATCHMovement: Verge fusee, balloon balance cock, undersprung three armed balance Case: Gold two piece hinged case with blue and white enamel borders, the back cover set with half seed pearls in a flower motif to a blue guilloche enamel ground, stamped J. K 1703 Dial: White enamel Size: 54mm Signed: Movement Accessories: Winding key Condition Report: Movement is currently functioning. Movement has scratches, marks and tarnishing commensurate with general wear visible when viewed under a 4x loupe. Dial appears to have noticeable marks and scratches. Hands appear to be in a generally good condition.Glass has some scratches and marks when viewed under a 4x loupe. Case appears to be in good condition with minor scratches and marks. Hinges appear intact.122g grossThis lot does not come with box or papers.Dreweatts 1759 do not guarantee the working order or accuracy of any lots sold. Due to opening of the case back we recommend this watch is re-sealed by a qualified technician to ensure any stated water resistance is achieved.If you should have any further questions regarding this lot, please contact the Watch Department on 01635 553 553 or at watches@dreweatts.com Condition Report Disclaimer
Lot 267
Three gold rings and another ring: to include a 22ct wedding band hallmarked Birmingham 1987, size O, 3.0g; a 14ct ring hallmarked Birmingham 2003, size T, 1.7g; a 9ct ring hallmarked Birmingham 2002, size T, 2.2g; and an unmarked yellow metal ring (tests as approx. 9ct gold), size J-K, 6.0g, (4)
Lot 73
An 18ct diamond solitaire ring, the round brilliant cut diamond, estimated approx. 0.49cts, claw mounted in white gold with a plain band of yellow gold hallmarked Birmingham 2002, size M, 3.5gdiameter approx. 5.0mm depth approx. 3.2mmcolour estimated approx. J-Kclarity estimated approx. SI1 - SI2light wear throughoutwould benefit from a clean
Lot 544
A diamond-set panel ringthe rectangular plaque set with eleven old brilliant-cut diamonds to the plain tapering shank stamped '18CT'ring size O, plaque 15mm x 12.4mm, 4.1gCondition:Overall condition good.Interesting collection of old round and cushion-shaped diamonds with large culets. Generally SI (a couple more PK), J/K colour
Lot 659
A collection of accessoriesincluding: 9ct gold flattened curb-link chain, stamped with hallmarks; 9ct gold chilli pendant, stamped with hallmarks; 9ct gold Star of David pendant, stamped with hallmarks; 9ct gold heart locket, stamped with hallmarks; an articulated dragon fly brooch, of tri-coloured design, stamped "375"; an Nefertiti bust pendant, stamped "750" and a wedding band, stamped "18K" (qty)ring size K, total approx. length 45.5cm, total approx. weight of 9ct gold 27.5g, total approx. weight of dragon fly brooch 3.7g, total approx. weight of pendant 1.3g, total approx. weight of ring 1.9gCondition:
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137169 item(s)/page