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Lot 647
Commercial Bank of Scotland Limited, £5 (2), 30 April 1934, serial number 14/R 30410 and 5 January 1943, serial number 15/R 08299, both with Thomson (both different cashiers) and Erskine signatures, both attractive and problem-free very fine examples (2 notes) PMS CO 62c,d, Pick S328c,d £100-£150
Lot 148
Treasury Series, Warren Fisher, a group of notes comprising £1 (6), prefixes R/19, T/2, T/10, T/99, K1/97 and S1/5, also 10 Shillings, prefixes T/58 and W/61, and a Bradbury £1, prefix C/17, mostly very fine to good very fine, a couple a little worse, the Bradbury £1 very good, a very useful lot (9 notes) EPM T24, T31, T33, T16 £200-£260
Lot 485
Central Bank of Ireland, £5, 5 March 1943, serial number 73T 025769, orange War Code R, Brennan and McElligott signatures, graffiti on reverse, very fine PMI LTN 23, Pick 3D £100-£150 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Lot 660
National Bank of Scotland Limited, a small group comprising £1 (3), 1943 and 1957 (2), prefixes A/T and B/R, £5 (3), 1945, 1948 and 1953, prefixes C, C and D, also National Commercial Bank of Scotland, £5 (2), 1959 and 1961, prefixes A and G, the £5 notes good fine, others very fine to extremely fine, a good group (8 notes) PMS NA 47, 51, 56, 57, NC 2, 3 £240-£300
Lot 209
Bank of England, Jasper Q. Hollom, £1 (5) and 10 Shillings, (3), £5, prefix A45, £10, prefix A20, Fforde, £1 (22), R--L prefixes, 10 Shillings (5), with three C01N prefixes, £5, prefix W03, Page, £1 (2), £20, prefix C28, and £5, last series prefix 87Z, Somerset, £1 (2), and £10, prefix AZ11, and Gill, £20, prefix A26, The COINs in PMG holders 64 EPQ, 64 and 55 EPQ, Page £20 about uncirculated, Somerset £10 and Gill £20 uncirculated, other higher denominations generally extremely fine, others mixed but generally nice, a useful group (26 notes) EPM B288, B292, B295, B297, B299, B307, B310, B312, B322, B328, B334, B341, B348, B358 £150-£200 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Lot 379
Northern Bank Limited, £1, 1 January 1940, serial number N-I/H 028921, White signature, £5, 1 April 1943, serial number N-I/R 14611, Forde signature, and £10, 1 November 1943, serial number N-I/N 08255, first original uncirculated, others lightly pressed but no discernible folds, good extremely fine (3 notes) PMI NR 68, 73, 80, Pick 178b, 180b, 181c £200-£260
Lot 166
John Pinches; A Hallmarked Silver The Elizabeth R Jubilee Pendant, with an assortment of costume jewellery, including diamanté brooches, filigree panel bracelet, amber colored drop earrings, Healacraft China crinoline lady pendant, etc, with an ornate shell inlaid jewellery presentation box and a carved wooden box :- One Tray
Lot 482
A late 19th century photogravure of Prince 'Louis Battenberg, Capt. R.N.' (Royal Navy) (1854-1921) - later Louis Alexander Mountbatten, 1st Marquess of Milford Haven, with facsimile signature and date August 1894, the half-length portrait photograph in full ceremonial uniform, 28.5 x 23cm, in a Hogarth frame, label verso inscribed 'Commander R. Oliphant' (probably Rear-Admiral Laurence Richard Oliphant, CBE, RN (1877-1950).
Lot 36
Two 19th century cane ware pie dishes - one by Copeland late-Spode, printed factory mark, oval with relief moulded game bird and hunting trophy decoration, with grouse finial (chip to beak), 21.9cm long; the other probably by Wedgwood, rounded rectangular basket-weave form with matching stand, the cover relief moulded with game and a rabbit finial, impressed '38' (no other marks), chip to rim of lid, 21.75cm long; together with a salt glazed stoneware pint tankard, 13.2cm high; a pewter W. R. Loftus wine funnel; a creamware coffee pot, cracks; and a small stoneware harvest jug, rim chips. (6)
Lot 183
Two pieces: 1. a silver prize ashtray - Ollivant & Botsford, London 1908, with Lytham & St Annes Golf Club crest and 'Captain's Cup Memento (First Division)' inscription dated 19th Dec. 1908, weight 92g. 2. a St. Edward's School white-metal and oak prize tankard with inscription, 'St. Edward's - R. H. Brown - 100 Yds 1891', 13.5 cm high.
Lot 58
An Indian silver small trophy vase, having ornate scrolled handles with leaf detail, on circular footed base, engraved to side "S R M R, Orr Competition", marked ORR SILVER 91, approx. 9cm high; an Eastern white metal bowl, of elaborate design with embossed and cast scrolls and foliate side, ribbed area and partly gadrooned circular footed base, with crimped edge, only marked ASK to base rim, approx. 8cm high x 11.7cm wide, and a pair of unmarked white metal small vases, of part cylindrical shape with stepped circular bases and crimped top rims, both planished, each approx. 6.3cm high. (1 bag) Total gross weight approx. 324.6 grams (10.4ozt) Further details: ornate bowl slightly misshapen to both base and top rims; trophy vase with dent to side; also base rim misshapen; pair of vases with some slight misshape areas and minor dents, all tarnished and with general wear.
Lot 307
A collection of four 18ct gold rings to include two diamond set two tone versions, sizes L and R (two stone missing and white part split, combined total gross weight approx 11.3gms, a plain band, size R and a two tone wave band, size P1/2, combined weight approx 10.9gms Further details: wear and tear, two diamonds missing and split, wear and tear commensurate with age
Lot 111
Original hand-embellished color serigraph on canvas by Korean- artist R. Smith who depicts an autumn rural Americana scene where two children sit across a covered bridge. Signature on lower right: R. Smith. Housed in a wooden frame with a linen mat. Sight size: 23.25"L x 19.25"H. Frame dimensions: 29"L x 25"H x 2"W. Artist: R. Smith (Korean-American 20th century)Issued: c. 1980Dimensions: See DescriptionCountry of Origin: Korea/United StatesCondition: Age related wear.
Lot 27
Igshaan Adams (South African, born 1982)Prada IV, 2015 woven nylon rope and string 210 x 165cm (82 11/16 x 64 15/16in).Footnotes:ProvenanceAspire Art Auctions Inaugural Cape Auction, March 2017, Lot 178;A private collection.ExhibitedCape Town, blank projects; Parda; (June - August 2016);Norway, Vestfossen Kunstlaboratorium, KUBATANA, (May - September 2019).LiteratureJ. Ball, J. Higgins & R. Simbao, Igshaan Adams. Cape Town: blank projects, (Blank Projects), p. 93. (illustrated).Igshaan Adams embodies his captivatingly unruly and strikingly optic textiles in Prada IV, an exceptional example of the artist's ethos. The present work explores the complexities of identity through weaving. Navigating his personal identity through his work, Adams investigates themes of religion, race, and sexuality within himself, as well as his place in the world. Born and raised in South Africa during the Apartheid of the 1980s, Adams observes the hybridity of his identity, as a mixed-race homosexual man from a family of different religious practises in an environment where categorisation of society was intensely concentrated.'Navigating my way around the expectations imbedded within stereotypes of my social roles, I continue to search for new understanding, new ways of seeing my combination of identities.' (Igshaan Adams).Prada IV is a symbolically and metaphorically rich piece. The title itself refers to a veil or shroud, a mask concealing something from the lens of the world, displaying the boundary between one creates around them. The Muslim iconography of the present world indeed reflects Adams own religion and, raised by Christian grandparents, the sense of an intertwined narrative is evoked from the woven textiles. The tassels drooping from the work echo the appearance of Islamic prayer mats. Furthermore, Adams equates the act of weaving itself as having correlations with the action of prayer, explaining in his view that ' it leads to the same result internally'. The commonality of repetition and 'great consciousness and understanding'that the two actions share and also share an emotional navigation for Adams; ' internally what happens is you have to push against the feeling of wanting to give up, it's quite daunting to take on the task of weaving something huge', 'its something I experience when I pray too.'Adams therefore encapsulates the fluidity and malleability of identity, how one can both assemble and undo characteristics to enable an understanding of themselves throughout life. As the artist explains, 'need to unearth, unmask and unveil the mysteries hidden within the depths of the Self, beyond race, class, religion, sexual orientation, and gender. Who am I, beyond my identity?'. Through his work, Adams aims to deep-dive into his subconscious and his position in the cultural tapestry and imbedded ideologies. Holding his first UK solo show in 2021 at the Hayward Gallery, Kicking Dust, and currently on view at The Hepworth Wakefield with Weerhound until November 2024, Adams creates immersive installations with a focus on his weaving technique and textile art. With an extensive list of solo exhibitions globally, Adams' work is also included in the permanent collections at the Guggenheim Museum, New York; the Art Gallery of New South Wales, Sydney; the Moderna Museet, Stockholm; Stedelijk Museum, Amsterdam, Netherlands; Art Institute of Chicago; Baltimore Museum of Art; Inhotim Museum, Brazil; Iziko South African National Gallery, Cape Town; Minneapolis Institute of Art; Standard Bank collection, Johannesburg; and the University of Cape Town.BibliographyIgshaan Adams, quoted in Christine Cronjé, Jonathan Garnham, Hannah Lewis, eds., Igshaan Adams, (Cape Town, 2015), p. 109.Igshaan Adams, transcript from 'Møt Igshaan Adams', Nitja senter for samtidskunst, (YouTube, 2019).For further information on this lot please visit Bonhams.com
Lot 9
Martyn Richardson Mackrill (British, born 1962)As idle as a painted ship signed and dated 'Martyn R Mackrill 2010 -' (lower left)watercolour74.6 x 55.5cm (29 3/8 x 21 7/8in).Footnotes:ProvenanceWith David Messum Fine Art, London. ExhibitedLondon, Messums Fine Art, Martyn Mackrill 2010, no. 66Saleroom notices:Please note artist resale rights are applicable on this lot.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 578
Jean-Léon Gérôme. 1824 Vesoul - 1904 Paris. Monogr. 'Duell Pierrots'. Das Duell nach dem Maskenball. Pierrot stirbt in den Armen des Duc de Guise. Ein Doge untersucht die Wunde, Domino hält sich den Kopf. Der siegreiche Indianer bricht in Begleitung von Harlekin auf.Variation zum Bild im Musée Chantilly. 'In winterlicher Landschaft Maskierte nach dem Duell'. Öl/Holz. 20 x 29,5 cm. R
Lot 647
Hilde Linzen-Gebhardt. 1890 Wahrenbrück - 1965 Weimar. Stud. bei Mackensen in Weimar, von 1919/20 am Bauhaus. 1920 erhielt sie den Auftrag, die Kinder des Mäzen und Textilindustriellen Paul Schulenburg zu malen. Sign. Rs. bet. Andrea. Werknr. 33. Blondes Mädchen in großkariertem Kleid. Öl/Lwd. 88 x 60 cm. R
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297887 item(s)/page