A small collection of silver coins, comprising: Aethelred II (978-1016), Penny, bare headed bust, R. voided long cross, (S 1151) about fine; Edward I (1272-1307), Penny, new coinage, Edward in full, clipped, fair or better; Edward III (1327-77), Half-Groat, 4th coinage, London, clipped, fair or better; Elizabeth I, Sixpence, 1570, rose and date, clipped, fair; another similar, 1569, clipped, poor; James I, Sixpence, 1603, mm thistle, clipped, fair, reverse better; William III, Sixpence, 1697, Exeter, R. large crowns (S 3541), adjustment marks, good fine or better; another similar, 1696, fair; Anne, Shilling 1707, Edinburgh (S 3608), fair or nearly fine; George IV, Shilling, third reverse, fair. [10]
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A Naval General Service Medal 1915-62 to Able Seaman R.A. Mackney, Royal Navy, Elizabeth II, clasp: Near East (C/ JX. 921871. R. A. MACKNEY A.B. R.N.), toned, nearly extremely fine; together with a miniature Victoria Cross, suspension link lacking, otherwise extremely fine; and a miniature Air Force Cross (ER II), nearly extremely fine. [3]
Four hammered coins: Henry VIII (1509-47), silver half-groat, Canterbury, R. CIVITAS CANTOR WA, mm 121 (S 2343); Edward VI (1547-53), silver shilling, mm appears to be TC monogram (Bristol); Elizabeth I, silver sixpence, 1568, small flan, rose and date, mm coronet; Charles I, (1625-49), silver shilling, Briot's bust, mm triangle (1639-40); the second about fair, the others fine, some degree of clipping to each.[4]
A small collection of medals, including: O.B.E. (Military), attributable to Lt-Col William T. Forsdyke, R.A.S.C., cased with transmission slip, toned, extremely fine; a Great War pair and Memorial Plaque to Charles Victor Roy Tuck, Oxford And Bucks Light Infantry (30118 PTE. C.V.R. TUCK. OXF. & BUCKS. L.I.), good very fine; a Great War Pair (110194 GNR. R.V. TRAVERS. R.A.), very fine; a Territorial Force Efficiency Medal, George V (203895 SJT: R.J. HAMBROOK. 4/ ESSEX R.), nearly extremely fine; two mounted miniature groups; and other items.
A 20th century gouache study of a house beneath a stormy sky, signed bottom right R Constable and dated February 5th 1972, inscribed verso Suffolk Farmhouse by Richard Constable, with Suffolk Exhibition details, 27 x 23 cm approx in distressed frame together with a humorous coloured print of an Edwardian style motoring scene after Chas Crombie, framed
Robert Griffiths Hodgins (South African 1920-2010) THREE MEN WAITING signed, dated 1998/9 and inscribed with the title on the reverse oil on canvas 91,5 by 122cm Robert Hodgins’ drive to experiment with light and colour is one of the things that make his works so visually enthralling. He was greatly influenced by the works of Bridget Riley and Francis Bacon; however it was his interpretations of Alfred Jarry’s greedy theatrical character of Ubu that led him on a visual expedition of painting that has been rarely observed with such fervour by any South African painter. THREE MEN WAITING is only one of a myriad of works created by Hodgins shortly after he participated in the Ubu 101 exhibition that hosted both South African and international artists at the Gertrude Posel Gallery at the University of the Witwatersrand, Johannesburg in 1997. Atkinson (2002:13) writes: “Ubu’s diverse presence is felt, not only in the physical characteristics of a host of barely human Hodgins figures – most obviously the truculent, at times oddly vulnerable, businessman – but also in the affective cross current that is the source of power in his work.” In THREE MEN WAITING the viewer is confronted by Hodgins’ theatrical use of colour and an odd Meta referential subtext. The figures are looking out in anticipation, but their presence is unclear; Hodgins animates them in a discomforting posture by grouping the three figures together in this outsized composition. Each character dressed in corporate attire as a subtle reference to Ubu. CS References: • Smith, K. 2000. ROBERT HODGINS. Artthrob, Issue no 34. June 2000. [O] ACCESSED on the 27/01/2017 http://artthrob.co.za/00jun/artbio.html • Atkinson, B. Hodgins, R. Becker, R. Powell, I. Geers, K. & Godby, M. 2002. ROBERT HODGINS. Tafelberg Publishers. Cape Town.
Brenthurst Press FIRST SERIES, VOL. 1 - 10 Johannesburg: Brenthurst Press, 1975 - 1984 First edition. One of 25 sets bound in full leather numbered A to Y. This is set 'C' that belonged to the general editor of the First series, Prof. Eric Axelson. Col. & b/w illustrations. Full leather marbled endpapers, gilt edges with leather-spined cloth-covered velvet-lined boxes. Box 1 is parchment-lined. Spines of leather boxes are sunned. ? Vol. 1: The Brenthurst Baines signed by the two authors Marius and Joy Diemont ? Vol. 3: Contains the booklet 'De Meillon's People of Colour' by Shell, R. C-H. with a copy in very good condition of Eric Axelson's book "Portuguese in South-East Africa 1600 - 1700", 1960, first edition, dustjacket ? Vol. 6: Paterson's Cape Travels signed by both author V. S. Forbes and J. Rourke. (11)
Robert Griffiths Hodgins (South African 1920-2010) THE GREEN TABLE signed, dated 2009 and inscribed with the title on the reverse oil on canvas PROVENANCE Acquired directly from the artist. 60 by 60cm Robert Hodgins was born in England in 1920, and died in 2010. From 1954 to 1962 he presided as a Lecturer at the School of Art, Pretoria Technical College, after which he took up a position as reporter for Newscheck magazine. Between 1966 and 1983 Hodgins Lectured at the University of the Witwatersrand in the Fine Art Department, but it was only at the end of 1983 that he retired and took up painting full-time. The title of this painting is reminiscent of another creative production, The Green Table, a popular Ballet by the German choreographer Kurt Jooss - considered by many to be his greatest work. The ballet’s plot centres on the peace negotiations of the 1930s in Europe. Concerned neither with any specific individuals’ struggles and redemption, nor with working out a gallant fate for mankind, Jooss’ moral position is irreproachable and he drives home his message in a series of stark images. Each scene of the Ballet is a variation on the same theme, like the 41 woodcuts in Hans Holbein's The Dance of Death. The premise is that Death eventually becomes everyone's partner, effectively seducing them into his dance on the same terms by which they had lived their lives. No decisive action, change, or resolution is suggested, and in framing the "Dance of Death" as an iconographic attribute, Jooss seems to say none can be expected in the anticipation of imminent death. As it was not unusual for Hodgins to occasionally reference theatre productions based on universal concerns of the time, it could be argued that this was very well what he intended with THE GREEN TABLE painting. The painting was created a year prior to his death and Hodgins illustrates two figures side by side in an ostensibly familiar manner. Perhaps, the artist here, in this work concedes death as an inevitable partner by titling the work in reference to Jooss’ ballet as a process of self-reflection. The painting was acquired directly from the artist by the current owner. CS References: • Wikipedia. 2011. The Green Table Ballet. [O] ACCESSED on the 27/01/2017 https://en.wikipedia.org/wiki/The_Green_Table • Siegel, M. 1989. The Green Table: Sources of a Classic. Dance Research Journal, Vol. 21, No. 1 (Spring, 1989), pp. 15-21. • Atkinson, B. Hodgins, R. Becker, R. Powell, I. Geers, K. & Godby, M. 2002. ROBERT HODGINS. Tafelberg Publishers. Cape Town.
Ancient Coins, Vespasian (69-79 AD), aureus, IMP CAESAR VESP AVG, laur. head. r., rev. FORTVNA AVGVST, Fortuna stg. l. on a base decorated with rams’ heads and wreaths, holding a rudder in her right and cornucopiae in her left hand, wt. 7.35gms. (RIC.81), extremely fine Vespasian was the first emperor that did not belong to the old Roman aristocracy. Instead, he came from a provincial middle-class family. He had a successful military career, which included commanding a legion during the Roman invasion of Britain in AD43. He emerged as an emperor after the civil war that followed the death of Nero in AD68. Appropriately the reverse of this coin depicts FORTVNA AVGVST(I) - 'The Luck of the Emperor'.
British Coins, Wessex, Aethelstan (924-939), penny, Winchester mint, portrait type, AETHELSTAN REX, crowned bust r. breaking the inner circle, rev. AMELRIC.M.O VVINI around small cross, plain inner circle, wt. 1.43gms. (S.1095; N.675; BMC viii-ix), slight crease, good very fine, of exceptionally fine style and strike, very rare

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