534297 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenA 1970's Ladderax style book shelf94w x 35d x 208h cmCondition report: Overall looks to be complete and usable. No visible damage or repairs, just some light signs of use and dirt. Shleves look to be made from a laminated board. The metal shows some signs of age with light marks to the gold paint. It slots together in sections and needs to be fixed to the wall to be secure for use.
An early 20th century oak Globe Wernicke style bookcase, having four lead glazed graduated tiers,876w x 31d x 147h cmCondition report: Does not have a label, so we have described it as Globe Wernicke style. All three bookcases are from the same house clearance and the other two are labelled. Condition is usable and complete, but they are unrestored so dirty, with light signs of use and the metal bound parts are corroded. It lifts into sections so can be easily moved. The glass is intact.
2 Figuren. Tiere. Schweine. Holz gefasst. Wohl West Afrika. 30 cm und 23 cm lang. Leichtes Holz, Balsa? Versand dieses Objektes durch Drittanbieter möglich. Liste ausgewählter vertrauenswürdiger Versandpartner liegt jeder Rechnung bei. Das Auktionshaus versendet nicht. 2 figures. Animals. Pigs. Carved and painted wood. Probably West Africa. 30 cm and 23 cm long. Light wood, balsa? Shipping of this object by third party possible. A list of selected trustworthy shipping partners is included with every invoice. The auction house does not ship.
Täbriz Perserteppich. Iran. Feine Knüpfung. 304 cm x 205 cm. Handgeknüpft. Unter anderem Lichtschaden. Kein Versand in die USA. Versand dieses Objektes durch Drittanbieter möglich. Liste ausgewählter vertrauenswürdiger Versandpartner liegt jeder Rechnung bei. Das Auktionshaus versendet nicht. Tabriz Persian carpet. Iran. Fine weave. 304 cm x 205 cm. Hand knotted. Among other things, light damage. Workshop rug. No shipping to the USA. Shipping of this object by a third party possible. List of selected trusted shipping partners attached to each invoice. The auction house does not ship.
THREE DELICATE NAL CERAMIC WARE Indus Valley, Pakistan, Nal culture (around 3100-2700 BCE). The lot consist of three carinated ceramic beakers with thin straight walls, open mouths and small centric feet. Painted with very elegant and carefully made geometric friezes of rhombus, squares and linear motifs to the body. Two of them with bichrome (dark-brown and red, light-brown and red), one of them with dark-brown monochrome decoration. Provenance: Private collection of a German artist and collector living in Southeast Asia. Condition: Good condition with traces of age and use, some chips to the lip, some color fading. Small repair to one vessel. Dimensions: opening diameter 8-9 cm, foot diameter 3-4 cm, Height 5.5-6.5 cm
TWO NAL WARE CERAMIC VESSELS WITH FISH Indus Valley, Pakistan, Nal culture (around 3100-2700 BCE). This lot consists of a biconical ceramic pot with monochrome frieze depiction of five fish and filling pattern of parallel vertical lines in light-brown paint and another carinated ceramic beaker with broad open mouth and small centric foot, painted in dark-brown with depiction of two fish, lines around the rims and triangles. Both vessels were wheel-made which is characteristic only for a fine ware. Provenance: Private collection of a German artist and collector living in Southeast Asia. Condition: Good condition with some traces of age and use, with some fritting to the lip, some color fading and small repairs. Dimensions: opening diameter 9.8-12.8 cm, foot diameter 3.4-7.5 cm, Height 6 -10.2cm
TWO EARLY MEHRGARH SMALL CERAMIC VESSELS Indus Valley, Pakistan, Mehrgarh, Neolithic period (c. 5500 BC – 4500 BC). This lot consists of two pinkish ceramic vessels made on pottery wheel. One is a small jug with an everted spout, low belly, short centric foot as well as six drops of pinkish pigment. The second one is a drinking cup with a harmonious bulbous shape, extended foot and slightly everted lip as well as very simple decoration with a wide light-brown band running around the body. Provenance: Private collection of a German artist and collector living in Southeast Asia. Condition: Good condition with some traces of age and use, with some fritting to the lip and some small chips and discolorations. Dimensions: foot diameter 3.2 cm – 4 cm, opening diameter 3.4 cm – 5.9 cm, Height 6.8 cm – 8 cm
A THAI GILT BRONZE FIGURE OF BUDDHA IN PARINIRVANA, RATTANAKOSIN Thailand, 1732-1932. Cast reclining on a stepped double-lotus base, the head held resting in one hand, the other arm extended along his body, wearing a long flowing monastic robe draped over the left shoulder, the face showing an enlightened expression with almond-shaped eyes over gently arched eyebrows and slender lips, flanked by long earlobes, the hair in tight curls surmounted by a flaming ushnisha. Condition: Very good condition with minor wear and casting flaws, extensive wear to gilt, small nicks and light scratches here and there. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 2,040 g Dimensions: Length 29.8 cm
AN INDIAN MINIATURE PAINTING OF A PRINCELY MAN AND HIS MISTRESS India, around 18th to 19th century. The figures are seated on a high pedestal, both with a golden diadem and feathers. A golden sword is attached to the belt of the male figure with light blue robe. His hands stretched out to touch the female figure seated opposite, dressed in a red garment, a scarf draped around her body. A golden water vessel can be seen behind the man and an older female figure is stretching on the left. Almost half of this book page shows elegant Persian inscriptions, the back page shows only text. Condition: Medium good condition, matted. Provenance: Old Indian-German collection in Berlin. Dimensions: Sheet size 28.6 x 18.12 cm
ERCOL LIGHT ELM 'RENAISSANCE' SUITE, comprising two seater settee 132cms wide, armchair and stool, with yellow loose seats and scatter cushions (3) COLLECTING ITEMS STRICTLY BY PRE-ARRANGED APPOINTMENT / SAFE DELIVERIES CAN BE ARRANGED (PLEASE ENQUIRE)There are a few light scuffs to the arms and to the legs of the stool. There are also a few black marks along the base of the settee.All upholstery looks good.
LATE 19TH CENTURY LIGHT OAK CABINET DRESSER, ogee cornice and pollard oak frieze above triple glazed doors on a chest base, fitted with cushion and regular drawers and cupboards with glass handles, stained bun feet, 172 x 52 x 219cms COLLECTING ITEMS STRICTLY BY PRE-ARRANGED APPOINTMENT / SAFE DELIVERIES CAN BE ARRANGED (PLEASE ENQUIRE)
VICTORIAN-STYLE BROWN LEATHER CHESTERFIELD SOFA, button-upholstered with loose cushions, 183 x 92 x 72cms COLLECTING ITEMS STRICTLY BY PRE-ARRANGED APPOINTMENT / SAFE DELIVERIES CAN BE ARRANGED (PLEASE ENQUIRE)There are a few small scratches on the front underneath. This can only be seen when the chair is lifted up.All buttons are present.Very light wear to the arms.There are no rips or tears, It could do with a clean but otherwise, great condition.
WINTERHALDER & HOFFMEISTER MANTEL CLOCK, mahogany and boxwood strung arched case with strike/silent above the roman dial, 25.5cms high COLLECTING ITEMS STRICTLY BY PRE-ARRANGED APPOINTMENT / SAFE DELIVERIES CAN BE ARRANGED (PLEASE ENQUIRE)There is light general wear, slight fading to the top. No splits.The dial door does not stay closed.The clock is ticking but not chiming on the hour or half hour, no activity.The middle key hole was wound once and the hands started to move the other two key holes, left and right are seized.I could not see a pendulum.
TYPE A22 EKCO RADIO, brown bakelite drum case with cream dial, by Wells Coates for E K Cole Ltd., ser. no. 020659, 35cms high COLLECTING ITEMS STRICTLY BY PRE-ARRANGED APPOINTMENT / SAFE DELIVERIES CAN BE ARRANGED (PLEASE ENQUIRE)The case is black.There is no damage. Very light surface scratches / general wear, hardly noticeable.The dial looks good, no damage or marks.The cloth speaker cover looks good, no rips or tears, slight staining around the edges.There is a small chip just on the left foot, it’s not very noticeable when stood upright.There are also scratches on the underside of both feet.
19TH CENTURY ENGLISH SCHOOL oil on canvas - The Loyal Sentinel, a dog on a chair beside a sleeping child, inscribed verso to stretcher 'Best Bed' (?), 19.5 x 15cms COLLECTING ITEMS STRICTLY BY PRE-ARRANGED APPOINTMENT / SAFE DELIVERIES CAN BE ARRANGED (PLEASE ENQUIRE)There is some light paint cracking in places.There is some restoration at the bottom edge of the paintingThere is general wear to the frame, paint loss, splits and some corner restoration.
HARRY HOLLAND oil on board - female nude standing against a shaft of light from a window, entitled verso on Martin Tinney Gallery label 'Light Shift' and dated 2000, signed, 81 x 59cms Provenance: private collection London Presentation & Condition: original frame, no apparent problems other than light surface marks COLLECTING ITEMS STRICTLY BY PRE-ARRANGED APPOINTMENT / SAFE DELIVERIES CAN BE ARRANGED (PLEASE ENQUIRE)
AN EMBROIDERED LONGGUA LADY'S SURCOAT WITH LANDSCAPE ROUNDELS China, 19th century. Silk with multi-colored and gold threads, inside with pale blue silk lining, three metal buttons and loops at the front. This dark blue coat shows eight finely embroidered roundels with picturesque landscapes amid floral sprays. At the lower end a wave pattern is interchanging with bamboo and rock formations. Light blue silk bands embroidered in relief adorn the sleeves. Condition: Excellent condition with only minimal wear, stains and traces of use. Provenance: Dame Eva Turner, DBE (1892-1990), and thence by descent within the same family. Dame Turner was an English dramatic soprano with an international reputation. Her strong yet steady voice was renowned for its clarion power in Italian and German opera. Her title role in Turandot is legendary and recordings of her from before the war are being released until this day. An autographed photo of Dame Turner, dated London 1939, is accompanying this lot. Dimensions: Maximum width ca. 120 cm (measured from sleeve end to sleeve end) 刺綉蓬萊仙境八團龍褂 中國，十九世紀。真絲具有多色和金綫，內部淡藍色絲綢襯裡，正面有三個金屬對襟扣。 這件石青緞外套顯示了八團精美風景如畫的蓬萊仙境。 褂下方有平水紋、纏枝蓮紋、竹子以及海水江崖紋。袖口飾有淺藍色底博古紋。 品相：狀況極佳，只有極少的磨損、污漬和使用痕跡。 來源：Eva Turner, DBE (1892-1990)夫人，自此保存在同一家族至今。Turner夫人是一位具有國際聲譽的英國戲劇女高音。 她堅韌而穩定的聲音因在意大利和德國歌劇表演中的聞名。 她作爲圖蘭朵（Turandot）中的主角具有傳奇色彩，直到今天，她的歌劇錄音都一直在發行。隨附一張Turner夫人親筆簽名的照片。 尺寸：最寬約120 厘米 (袖口至袖口)
A GILT WIRE-INLAID BRONZE BOMBÉ CENSER, 17TH CENTURY China, 17th century. The compressed globular body with mythical beast-form loop handles rising from a splayed foot to a slightly everted rim, the sides decorated with inlaid gilt wire depicting qilin, the handles with ruyi-head and spiral decorations, the underside cast with a sinuously coiled dragon. Condition: Excellent condition with minor wear and casting flaws, small nicks and light scratches here and there. Provenance: Estate of Joachim Hinz, a collector from Hamburg, Germany. Weight: 854 g Dimensions: Height 7.8 cm, Width 17.5 cm (handle to handle)
TRIPOD VESSEL WITH LID, WESTERN HAN China, 206 BC - 9 AD. Terracotta with original painting. This vessel was not used for cooking, and certainly not as a part of the burial arrangement, but rather served as a symbol for prosperity and status. Characteristic of the vessel is its round form set atop with a three small, but powerful, zoomorphic legs as well as vertically flanging handles located on the sides. The painting, applied onto a dark-gray background, features the colors white, light blue and red soil. The patterns are quite freely and generously painted and derived from those on old bronzes. The painting is especially well preserved on the vaulted lid. Condition: Complete, age-related condition. The paint well preserved. Provenance: Collection of Herbert Keuper, Germany. Dimensions: Height 16 cm. A very similar, approximately same-sized piece, excavated in Luoyang (Henan) is reproduced in Treasures from the Han, on page 90.
A SMALL 'OIL SPOT' BLACK-GLAZED CONICAL BOWL, SONG DYNASTY China, 960-1279. The deep conical sides rising from a short straight foot to a slightly everted rim, covered inside and out with a lustrous black glaze suffused with iridescent bluish silver and russet ‘oil spots’ of varying sizes, the glaze stopping above the foot, the unglazed section revealing the buff ware. Condition: Excellent condition with minor wear and firing flaws. Provenance: Collection of Michel Paciello, Venice. Dr. Koos de Jong, acquired from the above in 1999. Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era and published an extensive study of saddle rugs in Dragon & Horse. Saddle Rugs and Other Horse Tack from China and Beyond. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was director of the European Ceramic Work Center in Den Bosch. Weight: 110.4 g Dimensions: Diameter 10.5 cm The present piece boasts a highly lustrous glaze with iridescent ‘oil spot’ markings that shift from silvery-metallic tones to russet-brown when light shines through them. Bowls of this form and covered in this ‘oil spot’ glaze are quite unusual and extremely rare. The only other known, yet slightly earlier example (to this author) is in the Roy Hu collection in Taipei. Conical bowls were intended primarily for the drinking of tea. The choice of tea during the Song and Jin periods was a white tea that was whisked to produce a white froth on top. Black-glazed bowls such as the present example became increasingly popular as they showed off the frothy white tea to great advantage. Literature comparison: Rose Kerr, Song Ceramics, Victoria and Albert Museum, London 2004, no. 109, p. 108. The Multiplicity of Simplicity, University Museum & Art Gallery of the University of Hong Kong, 2012, no. 103, p. 255. Song Ceramics, Tobu Museum of Art, Tokyo 1999, no. 81, p. 119. 小黑釉油滴斑盞，宋代 中國，960-1279。深圓錐形，短足，向上擴延，邊緣稍稍傾斜，內側和外側覆蓋著一層發亮的黑色釉，上面覆蓋著虹彩的藍銀色和不同大小的紅褐色“油斑”，釉面停在腳上，無釉部分露出内胎。 品相：品相極好，輕微磨損與燒製缺陷 來源：威内斯Michel Paciello收藏。Dr. Koos de Jong 1999年購於上述收藏（發票已遺失）。Drs. de Jong是一位荷蘭藝術史學家， 幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書，內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年，他在《Dragon & Horse：Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間，他曾在荷蘭的許多博物館工作，並曾擔任登博世歐洲陶瓷工作中心的主任。 重量：110.4 克 尺寸：直徑10.5 厘米
A CELADON-GLAZED CERAMIC BOWL China, Song dynasty or later. The earthy bowl with engraved designs on the exterior, all beneath a light celadon glaze. The base unglazed. Condition: With small chips to rims and expected traces of use and wear. Provenance: German private collection. Weight: 440 g Dimensions: Diameter 12.4 cm
A PORCELAIN PLAQUE BY WANG QI (1884-1937) China, signed Zushan taotaozhai Wang Qi. Depiction of Lin Bu with a pupil, carrying a branch of plum blossoms. Painted in fine polychrome enamels. One poem in black ink. One seal. Condition: Good condition with some wear and minimal firing flaws. Provenance: From a private estate in the United Kingdom. Weight: 231.6 g including frame Dimensions: 22.2 x 14.5 cm including the frame Lin Bu (967-1028), art name Hejing, was a Chinese poet during the Northern Song dynasty. One of the most famous verse masters of his time. His works and theatrical solitude won him nationwide fame, and he was offered prestigious government posts, although he refused all civic duties in pursuit of his poetry. Long after he died, Lin’s eccentric attitude and his works retained a vivid place in Song cultural imagination and later works. He wrote countless poems on the plum blossom. Among the most famous is ‘Shanyuan Xiaomei’. It reads ‘Among withered flowers plum trees brightly bloom, dominating garden with beauty unsurpassed.’ With a European frame. (2) Wang Qi (1884-1937) Wang Qi was the most outstanding porcelain painter of his day. The present plaques, lot 359, 360, 361 and 362 are fine examples of his use of rapid and expressionistic brush strokes. After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center of China. Porcelain artists, released from imperial restraints, developed their own styles based upon famous scroll painters of earlier periods. Eight of the leading artists formed a group, which despite calling themselves ‘The Full Moon Society’ came to be known as the ‘Eight Friends of Zushan’. The development of Wang Qi’s mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics, that he started to emulate Huang’s style. This influence can still be seen one some of the present lots with their whimsical, sometimes exaggerated figures and sparse backgrounds juxtaposed with long calligraphic inscriptions in running script. Not content to just emulate Huang’s style, Wang created his own by incrementally incorporating Western techniques in his work. This is also seen in the use of light and shading on faces and clothing of the immortals in the four present plaques, where realism and impressionism are harmoniously blended. 人物瓷板畫，王琦 (1884-1937) 中國，落款“珠山陶陶齋”與“王琦”，描繪詩人林逋植梅圖。設色暈染，題詩，印章。 品相：品相良好，一些磨損和輕微燒製瑕疵 來源：英國私人遺產 重量：231.6 克含框 尺寸：22.2 x 14.5 厘米 含框 王琦 (1884-1937) 王琦是十九世紀末二十世紀初著名陶瓷人物肖像畫藝術家之一。拍號359、360、361及362表現了他部分筆墨特點。王琦是“珠山八友”之首，他的成熟風格的發展可追溯到1916年去上海觀看“揚州八怪”作品展覽，深受黃慎畫風感染。 在他的一些人物肖像瓷板畫中仍然可見黃慎的影響，這些作品構圖誇張，背景稀疏，提款流暢。王琦并不僅僅滿足於模仿黃慎的風格，他不斷在自己的作品中融入西方繪畫技術，由此創造自己的風格。現在的四件肖像瓷板畫中對人物的面部以及衣服部位使用光影都可以看出他把現實主義和印象派和諧地融合在一起。
TWO MONOCHROME PORCELAIN MINIATURE VASES China, late Qing to Republic period (1900-1950). The fist a flattened spherical vase with long straight neck covered with a light celadon glaze, with a wooden base. The second, a Guanyin vase with flared rim covered with an ox-blood glaze; with a matching stand and an apocryphal six-character Kangxi reign mark on the underside. Condition: The Guanyin vase with a damage to the lower section, the other in a very good condition. Provenance: German private collection. Weight: 70 – 140 g Dimensions: Heights 8.5 – 15.9 cm (including base)
A CELADON JADE ‘CHILONG’ BELT BUCKLE AND A SOAPSTONE ‘BUDDHIST LIONS’ SEAL, LATE QING TO REPUBLIC China, late 19th to early 20th century. The jade of a pale celadon tone with natural cloudy white inclusions, carved as two confronting chilong. The seal of oval form surmounted by two Buddhist lions engaged in a scuffle, a ball and ribbons to their side. (2) Condition: Very good condition with minor wear, miniscule nicks and light scratches to the jade, the soapstone with natural fissures, some of which may have developed into hairline cracks over time. Provenance: Estate of Joachim Hinz, a collector from Hamburg, Germany. Weight: 168 g (total) Dimensions: Height 6.8 cm (the seal), Length 5.2 cm (the belt buckle)
A JADE CARVING OF A BIXIE China, Ming dynasty (15th-16th century). The mythical beast carved from a light olive-green jade with amber hue inclusions and with incised detail work and a reticulated mouth. With an associated wood stand, dating c. 1920. Condition: Very good condition with minor wear. Provenance: Italian private collection. Weight: 50 g Dimensions: Length 5 cm (without the base)
A BAMBOO WRIST REST, QING China, 19th - early 20th century. Expressive depiction of Zhong Kui in light relief. Artist seal ‘Xu’. Fine patina. Condition: Very good condition with only minor nicks to edges and some old wear, minor scratches to backside. Provenance: Hungarian private collection. Weight: 212.1 g Dimensions: 30 x 9.7 cm Zhong Kui was a popular subject on carved bamboo statues of the 17th and 18th centuries, but is almost never seen on wrist rests.
LOT OF TWO CHINESE PADLOCKS AND AN OPIUM LIGHT, QING DYNASTY China, 19th – earlier 20th century. Mixed metals with some incised detail work. Condition: Used, with wear and possibly missing parts, some dents and nicks here and there, the glass of the opium light is lost, uncertain if locks and light do still work. Provenance: Austrian private collection. Dimensions: Length of larger lock approximately 13 cm
SIX SMALL TIBETAN BUTTER LAMPS Tibet, Lhasa, 19th- early 20th cent. This lot consist of one silver, one copper with silver rims, another copper and three bronze lamps. Very graceful in their simple form and basic decoration. In the Buddhist tradition the light of the butter lamp flame symbolizes the wisdom of the enlightened mind, dispelling the darkness of delusion and mental obscuration. Condition: Fine condition with traces of age and wear. Dark patina, some small material losses and discolorations. One bronze lamp with an old repair to the base. Provenance: Private collection of a German artist and collector living in Southeast Asia. Weight: 432 g Dimensions: Height 4.3 – 10.8 cm
A SINO-TIBETAN GLASS MEDICINE BOTTLE, QING Sino-Tibetan, 18th century. The bottle of square form with the sides tapering to the short cylindric neck, the sides incised with floral motifs, the shoulder with a lappet band, the glass stopper with a floral finial. Condition: Very good condition with minor wear, miniscule nibbling to the edges, occasional light scratches. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 114 g Dimensions: Height 7.8 cm
IV: Coins of Oliver Cromwell, Halfcrown, 1658, laureate bust left, olivar d g r p ang sco et hib &c pro, rev. pax qværitvr bello, crowned shield, edge lettered, has nisi peritvrvs mihi adimat nemo, 15.00g/231.9gr/6h (Lessen, BNJ 1996, I26; ESC 252 [447]; S 3227A). Light scratch on neck, otherwise extremely fine, old cabinet toning £3,000-£4,000 --- Provenance: With Eedle 1963; bt D.R. Sear March 2009
XI: Hammered Coins of Charles II, First issue, Halfcrown, mm. crown on obv. only, crowned bust left, no inner circles or mark of value, carolvs ii d g mag brit fran et hib rex, rev. christo avspice regno, shield, no stop above, dies 1/1, 14.69g/227.0gr/2h (ESC 270 [448]; N 2759; S 3307). Some light rubbing to high points of obverse, otherwise very fine, dark blue/grey tone, very rare £3,000-£4,000 --- Provenance: E. Burstal Collection, Glendining Auction, 15 May 1968, lot 511; Chris Martin FPL Spring 2004 (H 245). Please note that where dies are numbered in this section, the designations are merely arbitrary for differentiation, not official sequencing
XI: Hammered Coins of Charles II, First issue, Sixpence, mm. crown on obv. only, from the same dies as previous, dies 1/1, 3.05g/47.4gr/3h (ESC 274 [1507]; N 2765; S 3309). Small edge cut and light scratches in obverse field, otherwise good very fine, attractively toned £1,000-£1,200 --- Provenance: St James’s Auction 17, 24 May 2011, lot 119
XI: Hammered Coins of Charles II, Third issue, Halfcrown, mm. crown, crowned bust left, with inner circles and mark of value, carolvs ii d g mag br fr et hib rex, rev. christo avspice regno, shield, 14.62g/225.7gr/2h (ESC 301 [456]; N 2761; S 3321). Some light obverse scratches, otherwise fine, reverse better £200-£260 --- Provenance: Bt CNG March 2010
XI: Hammered Coins of Charles II, Third issue, Shilling, mm. crown, crowned bust left, with inner circles and mark of value, carolvs ii d g mag brit fr et hib rex, rev. christo avspice regno, shield, [90.8gr], 5.86g/90.8gr/11h (ESC 308 [1016]; N 2764; S 3322). Neatly struck on a round flan, good very fine, light olive tone £400-£500 --- Provenance: E.C. Carter Collection; J.F.H. Checkley Collection, Glendining Auction, 10 February 1965, lot 257
XII: Machine-made Coins of Charles II, Broad, 1662, by T. Simon, in gold, from the same dies as previous, edge plain, 8.85g/137.0gr/6h (Lessen, BNJ 1995, type G, and pl. 12, 16, this coin; SCBI Schneider 420; N 2780; S 3337A). Light traces of tooling to right of shield, otherwise about extremely fine with reddish toning, rare £5,000-£7,000 --- Provenance: Christie’s Auction, 26 February 1991, lot 652; bt Dolphin Coins 1993. This coin, and those in the next two lots, are currency production 20 shilling pieces made in March and April 1662. Surviving documentation shows that a gold mill coinage was ordered, that Simon made dies for the purpose, that bullion was supplied and that a few thousand coins were produced, halted only because of mechanical failures, which could have meant the fracturing of the dies. The design and legends match those of the currency hammered coinage. Four obverse and four reverse dies have been recorded from a search of sale catalogues and museum holdings, resulting in five distinct die pairings, two of which are known only from single coins. These five pairs may represent all that were used. All dies were formed from the same puncheons, with hair, wreath, ties, and minor crown and arms details added or modified. At least three of the eight dies exhibit cracks
XII: Machine-made Coins of Charles II, Pattern ‘Reddite’ Crown, 1663, by T. Simon, in pewter, laureate bust right, signed simon in script below, carolvs ii dei gra, rev. mag bri fr et hib rex, crowned cruciform shields, conjoined Cs in angles, Order of the Garter in centre, edge inscribed reddite qvæ cæsaris cæsari & ct post, followed by clouds with sun emerging, 21.46g/331.6gr/12h (Lessen, BNJ 2005, pl. 7, 5 and 8, this coin; L & S 7A; ESC 432 [74]). A few light obverse surface marks, otherwise about extremely fine, excessively rare £10,000-£15,000 --- Provenance: S.S. Spiller Collection; N. Asherson Collection, Spink Auction 6, 10 October 1979, lot 169 [from Spink May 1956]; SNC November 1997 (5616); L.M. LaRivière Collection, Spink Auction 166, 12 November 2003, lot 24. That the production of the new coinage by the Roettiers was well under way by early 1663 (NS) is clear from the following entry in Samuel Pepys’ diary for 9 March 1662/3: ‘There dined with us today Mr. Slingsby of the Mint, who showed us all the new pieces, both gold and silver (examples of them all), that are made for the King by Blondeaus way, and compared them with those made for Oliver – the pictures of the latter made by Symons, and of the King by one Rotyr, a German, I think, that dined with us also. He extolls these of Rotyrs above the others; and endeed, I think they are the better, because the sweeter of the two; but upon my word, those of the Protectors are more like in my mind then the King's - but both very well worth seeing. The Crownes of Cromwell's are now sold it seems for 25s and 30s. a-piece.’ (BNJ 2005, p.95, footnote 23)
XV: Dutch and French Medals, Death of Oliver Cromwell, 1658, a small struck silver medal, late 17th century (?), unsigned (of Dutch origin), after T. Simon, laureate bust left, olivar d g r p ang sco hib pro, rev. non defitient oliva sep 3 1658, shepherd with his flock under an olive tree, landscape in background, edge plain, 28mm, 11.26g (Lessen, BNJ 1982, dies 3/2; Henfrey pl. v, 4; MI I, 434/84; v. Loon II, 420; E 201). Light surface marks in fields, otherwise about extremely fine and toned, very rare of these dies £400-£500 --- Provenance: R.C. and O.M.W. Warner Collection; R.E. Ockenden Collection [from O.M.W.W. 1964]; bt R.E.O.
XVIII: Cast Copies, Restrikes and Electrotypes of Medals, Battle of Dunbar, 1650, a large lead restrike medal, c. 1755 (?), from dies by T. Simon, bust left, battle scene in background, signed tho.simon.fe below, the lord of hosts word at dvnbar septem y 3 1650, rev. view of the Long Parliament, 34 x 29mm, 35.39g (Lessen, BNJ 1981, pp.120-1 and pl. x, 18, this piece; Henfrey pl. i, 1; MI I, 392/14; E 181a3). An early restrike from original dies on a thick flan, about fine with light surface tin pest, rare £90-£120 --- Provenance: Bt Stanley Gibbons 1978. This ‘earliest period’ restrike from the original dies is characterised by a lack of obvious die cracks, and is considered to have been made by Thomas Pingo early in the period 1750-76. However, all of this is difficult to substantiate on a lead example
ENGINE TURNED SILVER AND LAPIS GUILLOCHE ENAMEL CIRCULAR COMPACT,the hinged cover with indented octagonal moulding with outset central basket of flowers inlaid with marcasite, hallmarked London 1929, maker Cohen & Charles also a circular silver compact/pill box with pale blue guilloche enamel hinged cover and a white metal circular compact with light blue guilloche enamel cover with floral centre, of sizes (3)
Dean and Munday. The Gamut and Time-Table, in Verse. For the Instruction of Children. By C[harlotte] Finch. Embellished with Twelve Beautiful Illustrative Coloured Engravings, London: printed and sold by Dean and Munday, Threadneedle-Street, circa 1825, hand-coloured engraved frontispiece, and 11 hand-coloured engravings on letterpress, each with verse below, printed on facing pages only, several leaves with musical notation, some ink notation and marginalia added in an early juvenile hand, light marks and offsetting, front pastedown with ownership name and ink trials of Rose Mary Trew dated 1824, and her name repeated on rear pastedown, original printed blue wrappers, rubbed and slightly ink-marked, spine worn and splitting, with small surface loss to lower right corner of rear cover, slim 8voQty: (1)NOTESGumuchian 2537; Osborne, p.121.
Loading...
![Dean and Munday. The Gamut and Time-Table, in Verse. For the Instruction of Children. By C[harlotte] Finch. Embellished with](https://cdn.globalauctionplatform.com/a83f8a98-ef22-4386-8e98-ac9400fa1bd0/e98ea282-4e25-4b12-b52e-ac95013085ec/468x382.jpg)