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Preisdatenbank abonnierenCONTINENTAL SCHOOL (18th/19th century)The CrucifixionOil on panel40 x 52 cm, unframed CONDITION REPORTS: Generally good condition, expected wear, old repairs with associated over painting, some old worm damage with slight losses, slight paint losses, could do with a light clean, rubbing to gilding.
A mixed group of reproduction seax knives comprising: one with black horn whittle-tang hilt, steel single-edged blade with notched back and lateral 'fullers', etched; one similar with unworked antler hilt, leather thong loop, stamped running triquetra to the baluster, blade with etched wavy line to each face; one similar with unworked antler hilt, damascene blade with notched back, baluster with ropework detailing; supplied with two leather saddle-stitched sheaths. 1.3 kg total, 47-49cm (18 1/2 - 19 1/4"). Ex Kelway collection; formed between 1975 and 2015. The knives are all edged and sharp, NOT combat-safe re-enactment weapons. [3] Very fine condition, light usage wear.
18th century AD. A rectangular gem-cut light citrine crystal seal depicting the arms of the Scottish Allerdice family 'Argent three boar's heads erased Sable' (three black boar's heads on a silver field) with a demi-savage crest over and the motto 'DREAD GOD' below. 9.31 grams, 29mm (1 1/4"). Property of an Essex gentleman; acquired on the UK art market. Dr. Bonewitz notes: 'The citrine is flawless and the carving is very fine quality. A lovely thing.' Very fine condition.
1935-1959. A bronze handbell with balustered handle and clapper, marked 'Nürnberg'. 1.1 kg, 22cm (8 1/2"). Property of a Hertfordshire collector; acquired 1980s. The Kriegmarine light cruiser 'Nürnberg' was commissioned in 1935 and saw active service in the North Atlantic and Baltic areas until 1945 when it was captured by the Soviets. After World War ii it was reclassified as a training ship Admiral Makarov by the Russian navy and sent for scrapping in 1959. [No Reserve] Fine condition.
Fell 1947. A collection of six complete pieces of the the Sikhote-Alin meteorite, showing the characteristic outer surface. Classified as an iron meteorite belonging to the chemical group IIAB and with a coarse octahedrite structure; see Meteoritical Bulletin and database.170 grams total, 18-42mm (3/4 - 1 3/4"). From the family collection of a London gentleman; previously acquired on the UK meteorite market; found Sikhote-Alin Mountains, in southeastern Russia. The Sikhote-Alin meteorite fell during daylight at 10:38 am local time on 12th February, 1947. Witnesses reported a fireball that was brighter than the sun. It came from out of the north, about 15 degrees east of north and descended at an angle of 41 degrees. It left a trail of smoke and dust 20 miles long which lingered for several hours. Light and sound of the fall were observed for two hundred miles around the point of impact. Very fine condition.
18th-19th century AD. A light brown smoky quartz plano-convex gaming piece with carved design of heart-shaped foliage. 85 grams, 42mm (1 3/4"). Property of a London collector, acquired early 1990s. Dr. Bonewitz notes: 'A very nice piece of light smoky quartz, nicely carved. Very tactile.' Very fine condition.
1469 AD. First reign, light coinage, type IX. Obv: facing bust with quatrefoil each side within tressure with EDWARD DI GRA REX ANGL Z FRANC legend and 'sun' mintmark. Rev: long cross and pellets with POSVI DEVM ADIVTORE MEVM and CIVITAS LONDON legends for London mint. S. 2000; N. 1573. See Portable Antiquities Scheme, reference DUR-B9FA68 and Treasure Act, 1996, reference 2015-T11 (disclaimed"). 2.99 grams.Ex Warkworth Hoard, coin number 93, Northumberland, UK, 2015; with British Museum packet giving details. The Warkworth Hoard was found in the grounds of a school in 2015 and comprised 128 groats and halfgroats of Edward IV and Henry VII, plus some French issues of Charles the Bold of the same period; the Portable Antiquities Scheme record provides a full listing, with photographs for each coin. Fine.
1467-1468 AD. First reign, light coinage, class VIII. Obv: facing bust with quatrefoils at neck and on breast within tressure with EDWARD DI GRA REX ANGL Z FRANC legend with 'crown' mintmark. Rev: long cross and pellets with POSVI DEVM ADIVTORE MEVM and CIVITAS LONDON legends with 'sun' mintmark for London mint. S. 2001; N. 1571.2.97 grams.[No Reserve] Very fine.
1464-1470 AD. Light coinage. Obv: facing bust with 'n' on breast and quatrefoil each side of neck within tressure with EDWARD DI GRA REX ANGL Z FRA legend. Rev: long cross and pellets with POSVI DEVM ADIVTORE MEVM and CIVITAS NORVIC legends and 'rose' mintmark for the Norwich mint. S. 2011; N. 1582.2.66 grams. Near very fine; slightly irregular flan and small edge split. Rare.
1466-1467 AD. First reign, light coinage, type VII. Obv: facing bust with E on breast and quatrefoil at sides within tressure with EDWARD DI GRA REX ANGLZ FRANC legend and 'crown' mintmark. Rev: long cross and pellets with POSVI DEVM ADIVTORE MEVM and CIVITAS EBORACI legends and 'lis' mintmark for York mint. S. 2012; N. 1583.3.18 grams.Ex Morton & Eden Ltd sale; formerly in the Archbishop John Sharp (1644-1714) collection. Dr John Sharp (1644-1714), Archbishop of York from 1691 was an enthusiastic collector and student of coins and medals; his interest seems to have begun around 1687 when, as Rector of St Giles in the Fields, he ‘found it a good divertisement in the evening’. In contrast to nearly all his numismatic forbears and contemporaries who were interested in Ancient Greece and Rome, Sharp selected the coinages of the British Isles and, to a lesser extent, the Colonies and Continental Europe, as his chosen fields. He wrote his ‘Observations on the Coinage of England with a letter to Mr [Ralph] Thoresby’ in 1698-99, which was to circulate amongst numismatists in manuscript form for nearly a century before being finally printed in 1785. Subsequent owners of the Sharp collection evidently added to the collection. The historical sequence of ownership of the collection runs as follows: (i) Dr John Sharp (1644-1714), Archbishop of York; (ii).John Sharp (1674-1726), eldest son of the Archbishop, of Grafton Park, Northamptonshire; (iii) Dr Thomas Sharp (1693-1758), his brother, who was Archdeacon of Northumberland and Prebendary of Durham; (iv).His son Dr John Sharp (1723-1792), Vicar of Hartburn, Perpetual Curate of Bamburgh, who succeeded his father as Archdeacon of Northumberland and who oversaw extensive restoration of the largely-ruined Bamburgh Castle; (v) His daughter Anne Jemima Sharp (1762-1816), who bequeathed it in her will to her uncle Granville Sharp (1735-1813), the prominent Anti-Slavery campaigner. In the event Granville died before his niece, so that on her death in 1819 it passed to her first cousin, another great-granddaughter of the Archbishop: (vi) Catherine Sharp (1770-1843) of Clare Hall, near Barnet, whose husband Rev. Andrew Boult took the name Sharp on marriage; (vii) Her nephew Thomas Barwick Lloyd-Baker (1807-86), the social reformer and ornithologist who was also a direct descendant of the Archbishop through his maternal grandfather William Sharp (1729-1810), George III’s surgeon; thence by descent. During the 1960s and 1970s material from the celebrated Archbishop Sharp Collection was sold through the agency of dealers A.H. Baldwin & Sons, and Owen Parsons of Gloucester. There were auctions of Continental Coins (Sotheby & Co., 14 March 1966) and the particularly important English Coins and Medals Charles I – Anne (and Colonial Coins) held by Glendining & Co., 5 October 1977. The cataloguer of the latter sale drew attention to the distinctive toning found on many of the Archbishop Sharp silver coins, a feature which applies equally to the pieces offered here. Some of these have been studied and occasionally referenced in the past. Good very fine; old tone.
1464-1470 and 1480-1483 AD. First reign, light coinage, local dies. Obv: facing bust with G left and key right with EDWARD DEI GRA REX ANG legend and 'plain cross' mintmark. Rev: long cross and pellets with quatrefoil and CIVI TAS EBO RACI legend for York mint. Second reign, type XXI. Obv: facing bust with T left and slanting key right with EDWARD DI GRA REX ANGL legend and 'rose' mintmark. Rev: long cross and pellets with quatrefoil and CIVI TAS EBO RACI legend for York mint. S. 2062; N. 1594/S. 2134; N. 1654.0.75, 0.73 grams.Ex Morton & Eden Ltd sale; formerly in the Archbishop John Sharp (1644-1714) collection. Dr John Sharp (1644-1714), Archbishop of York from 1691 was an enthusiastic collector and student of coins and medals; his interest seems to have begun around 1687 when, as Rector of St Giles in the Fields, he ‘found it a good divertisement in the evening’. In contrast to nearly all his numismatic forbears and contemporaries who were interested in Ancient Greece and Rome, Sharp selected the coinages of the British Isles and, to a lesser extent, the Colonies and Continental Europe, as his chosen fields. He wrote his ‘Observations on the Coinage of England with a letter to Mr [Ralph] Thoresby’ in 1698-99, which was to circulate amongst numismatists in manuscript form for nearly a century before being finally printed in 1785. Subsequent owners of the Sharp collection evidently added to the collection. The historical sequence of ownership of the collection runs as follows: (i) Dr John Sharp (1644-1714), Archbishop of York; (ii).John Sharp (1674-1726), eldest son of the Archbishop, of Grafton Park, Northamptonshire; (iii) Dr Thomas Sharp (1693-1758), his brother, who was Archdeacon of Northumberland and Prebendary of Durham; (iv).His son Dr John Sharp (1723-1792), Vicar of Hartburn, Perpetual Curate of Bamburgh, who succeeded his father as Archdeacon of Northumberland and who oversaw extensive restoration of the largely-ruined Bamburgh Castle; (v) His daughter Anne Jemima Sharp (1762-1816), who bequeathed it in her will to her uncle Granville Sharp (1735-1813), the prominent Anti-Slavery campaigner. In the event Granville died before his niece, so that on her death in 1819 it passed to her first cousin, another great-granddaughter of the Archbishop: (vi) Catherine Sharp (1770-1843) of Clare Hall, near Barnet, whose husband Rev. Andrew Boult took the name Sharp on marriage; (vii) Her nephew Thomas Barwick Lloyd-Baker (1807-86), the social reformer and ornithologist who was also a direct descendant of the Archbishop through his maternal grandfather William Sharp (1729-1810), George III’s surgeon; thence by descent. During the 1960s and 1970s material from the celebrated Archbishop Sharp Collection was sold through the agency of dealers A.H. Baldwin & Sons, and Owen Parsons of Gloucester. There were auctions of Continental Coins (Sotheby & Co., 14 March 1966) and the particularly important English Coins and Medals Charles I – Anne (and Colonial Coins) held by Glendining & Co., 5 October 1977. The cataloguer of the latter sale drew attention to the distinctive toning found on many of the Archbishop Sharp silver coins, a feature which applies equally to the pieces offered here. Some of these have been studied and occasionally referenced in the past. [2, No Reserve] Good fine; old tone.
Nick Drake, Bryter Layter LP - Original UK First Pressing Album released on Island 1970 (ILPS 9134) - Textured E J Day Sleeve, Pink rim 'Palm Tree' Labels with 'stereo' text and Joe Boyd credit on one line - A-1U and B-1U Matrix Numbers. Sleeve has light rubbing to front and some wear to edges and corners - Labels and Vinyl in Excellent condition
Nick Drake, Pink Moon LP - Original UK First Pressing Album released on Island 1972 (ILPS 9184) - Gatefold Tinsley Robor Sleeve with blue inner, Pink rim 'Palm Tree' Labels - A-1U and B-1U Matrix Numbers. Sleeve has light wear to corners, otherwise excellent - Labels Excellent and Vinyl in Ex- condition
The Beatles / Acetate, Strawberry Fields Forever / Penny Lane - double sided 7" acetate with Emidisc labels and written titles. This has been play checked and does appear to be the same mix on both sides as the final single release apart from longer audible runouts, but that is only an opinion! The record grades visually as Good with a number of marks on each side. the acetate has been play checked and plays very well on our turntable with no pops or skips and light background crackle in places
The Bee Gees / Acetate, I Started A Joke - single sided 7" acetate for the proposed but never released UK single - with Emidisc label and written title and visually in Good condition - Play checked and plays very nicely on our turntable with no pops or skips and just light background crackle in places
The Beatles LPs, seven original UK Mono Albums comprising Please Please Me, With The Beatles, Beatles For Sale, Help, A Hard Days Night, Sgt Pepper and a Collection of Beatles Oldies - All Sleeves and vinyl in Excellent to Excellent+ condition except 'Oldies' which has a few light hairlines on one side
Tudor Lodge, Tudor Lodge - Original UK 1st Press LP, issued on Vertigo 6360 043 in 1971 - 1Y//1 & 2Y//1 Matrix numbers. Foldout, Textured Sleeve with Swirl Inner and large swirl label - Sleeve has light wear in places on the edges and corners, otherwise excellent - light 'spidering' on labels - Vinyl Excellent
Small Faces / Roy Orbison / Otis Redding Programmes, two 1967 UK Tour Programmes, one of The Otis Redding Show in VG condition and one featuring Roy Orbison, The Small Faces, Jeff Beck, Paul & Barry Ryan and more - light creasing and wear to cover - inside pages excellent - comes with a signature on a seperate piece of paper
Judas Priest, two polo shirts, one white large with embroidered Judas Priest, Country Club, INTL Golf Team to the left side Dave, one large, light blue with faded collar with Judas Priest Albatross Productions on chest and one black T shirt with 'WLLZ Detroit Wheels' printed on front together with three different autographed promotional photographs 26cm x 20cm of the band, one dedicated to Susan, sold by band member Dave Holland
6th-9th century AD. A broad dish with chamfered rim, punched-point motif to the inner face of a bird with collar and triangular tag within an octagon and eight-pointed star. 166 grams, 14.5cm (5 3/4"). Property of a North West London gentleman; formerly with a central London gallery in 1990. Byzantine silver vessels were a continuation of the Roman tradition of silver table ware that reflected the social status of the owner. Elaborate silver table services were produced for use in the formal dining rooms, or Triclinia, where guests reclined on couches and were entertained by readings from popular literature or music. The use of the vessels was also one of diplomatic gifts, as well as trade, and they were highly prized in other cultures, for example many have been found from the Sasanian Empire, and examples have also been found in Anglo-Saxon graves, most notably the royal burial at Sutton Hoo in England. Very fine condition, light usage wear.
Heinie (Heinrich H.J.) Von Michaelis (South African 1912-1990) MORGENSTER MANOR HOUSE signed oil on board PROVENANCESold: Bonhams, London, 13 October 2009, Lot 27 75 by 90cm Morgenster in Somerset West is today renowned for its award-winning Bordeauxstyle red wines, extra virgin olive oil and stylish restaurant. Built over 300 years ago, Morgenster was originally situated on land that comprised Simon van der Stel’s expansive Vergelegen estate, which was divided and sold when the VOC governor was recalled to the Netherlands on corruption charges. The manor is considered to be one of the finest existing examples of baroque style architecture in the Cape. The front gable is in the ‘holbol’ style and its delicate scrollwork and scallop shell apex frames the morning star - the origin of the Dutch name Morgenster. Heinrich von Michaelis has captured the façade of Morgenster in the early evening light, with stars above, long shadows below and the fiery glow of interior illumination. - Carol Kauffmann
Norman Clive Catherine (South African 1949-) FISH MOUTH signed and numbered 07/015 on the base oil on wood height: 36cm (excluding base) Art critic, Hazel Friedman, writes the following about Norman Catherine’s oeuvre: “History and horror, crime and conflict, sci-fi and sexual transgression. Thus begins the attempt to define the art of Norman Catherine. The lexicon broadens: comic, violent, whimsical, playful, sly, satirical, brutish, anxious, at times even idealistic. And so it continues: vivid, brilliant, psychologically disconcerting, emotionally unforgiving, visually unforgettable. His art is distinctly, defiantly dystopian in vision. His landscapes are surrealistic sites of struggle between a bizarre bestiary of creatures. Contorted forms rendered crudely in brash, cartoon hues cavort in irrational spaces. They resemble mutant products of an experiment gone comically awry. Catherine’s sensibility is as whimsical as it is sardonic—as light as it is dark. It is within the moral desolation of a jagged socio-political Norman Catherine287 Norman Clive Catherine (South African 1949 - )288 Norman Clive Catherine (South African 1949 - )FISH MOUTHsigned and number 07/015 oil on wood height: 36cm (excluding base) R 25 000 - R 30 000YELLOW BENT MANsigned and numbered 07/006 oil on wood height: 34,5cm (excluding base) R 25 000 - R 30 000287 288landscape, lodged between the bookends of apartheid and post-apartheid South Africa, that Catherine’s art is most frequently located. In many respects, he epitomizes the ultimate cynic. He eyeballs South Africa’s heart of darkness with unblinking alienation. He conveys his vision through contorted forms performing macabre rites or dances of dandified revelry against the backdrop of a dissipating empire. Yet just at the point where he galvanises his viewers’ sense of outrage so too does he assuage it through laughter. Like the puppeteer or the ventriloquist, he mediates the message through his marionettes.His prodigious oeuvre is pervaded by a revulsion of hypocrisy and sanctimonious political posturing. But his imagery also straddles the internal worlds of wonder and nightmare, swerving between literal commentary and less palpable hallucinatory realms. His syncopated pas de deux with dualities evokes a madness that is as much of the mind as it is of the material world. Throughout, his work embraces the anarchy that sizzles beneath the seamless appearance of structures and systems. In short, Catherine is an artist who defies neat description in terms of iconography and medium. If easy classifications are required, then call him an artist driven by a defiance towards preconception, dogma and rigid definition. He is simultaneously Velcro and Teflon. Influences attach themselves to his work like dust particles. Yet he also shakes them off with equal ease, leaving the viewer with the raw visceral impact of his imagery, striking in a place where a laugh and a gasp are indistinguishable.”Friedman, H. & Catherine, N., Norman Catherine, Goodman Gallery Editions, Johannesburg, 2000
Norman Clive Catherine (South African 1949-) YELLOW BENT MAN signed and numbered 07/006 on the base oil on wood height: 34,5cm excluding base Art critic, Hazel Friedman, writes the following about Norman Catherine’s oeuvre: “History and horror, crime and conflict, sci-fi and sexual transgression. Thus begins the attempt to define the art of Norman Catherine. The lexicon broadens: comic, violent, whimsical, playful, sly, satirical, brutish, anxious, at times even idealistic. And so it continues: vivid, brilliant, psychologically disconcerting, emotionally unforgiving, visually unforgettable. His art is distinctly, defiantly dystopian in vision. His landscapes are surrealistic sites of struggle between a bizarre bestiary of creatures. Contorted forms rendered crudely in brash, cartoon hues cavort in irrational spaces. They resemble mutant products of an experiment gone comically awry. Catherine’s sensibility is as whimsical as it is sardonic—as light as it is dark. It is within the moral desolation of a jagged socio-political Norman Catherine287 Norman Clive Catherine (South African 1949 - )288 Norman Clive Catherine (South African 1949 - )FISH MOUTHsigned and number 07/015 oil on wood height: 36cm (excluding base) R 25 000 - R 30 000YELLOW BENT MANsigned and numbered 07/006 oil on wood height: 34,5cm (excluding base) R 25 000 - R 30 000287 288landscape, lodged between the bookends of apartheid and post-apartheid South Africa, that Catherine’s art is most frequently located. In many respects, he epitomizes the ultimate cynic. He eyeballs South Africa’s heart of darkness with unblinking alienation. He conveys his vision through contorted forms performing macabre rites or dances of dandified revelry against the backdrop of a dissipating empire. Yet just at the point where he galvanises his viewers’ sense of outrage so too does he assuage it through laughter. Like the puppeteer or the ventriloquist, he mediates the message through his marionettes.His prodigious oeuvre is pervaded by a revulsion of hypocrisy and sanctimonious political posturing. But his imagery also straddles the internal worlds of wonder and nightmare, swerving between literal commentary and less palpable hallucinatory realms. His syncopated pas de deux with dualities evokes a madness that is as much of the mind as it is of the material world. Throughout, his work embraces the anarchy that sizzles beneath the seamless appearance of structures and systems. In short, Catherine is an artist who defies neat description in terms of iconography and medium. If easy classifications are required, then call him an artist driven by a defiance towards preconception, dogma and rigid definition. He is simultaneously Velcro and Teflon. Influences attach themselves to his work like dust particles. Yet he also shakes them off with equal ease, leaving the viewer with the raw visceral impact of his imagery, striking in a place where a laugh and a gasp are indistinguishable.”Friedman, H. & Catherine, N., Norman Catherine, Goodman Gallery Editions, Johannesburg, 2000
A CHINESE COPPER-RED PEAR-SHAPED VASE, ‘YUHUCHUNPING’ the pear-shaped body rising to a narrow neck and flaring mouth rim, all supported on a short spreading foot, the exterior under a light copper-red glaze falling short at the mouth, the base with a pseudo six-character underglaze-blue Qianlong mark27cm high
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![1412-1413 AD. Light coinage. Obv: facing bust with trefoil on breast and +HENRIC [ ] ANGLI legend. Rev: long cross and pellet](https://cdn.globalauctionplatform.com/54b0f7de-d981-4194-954e-a86d00ac0c6b/13171936-bbeb-4eca-838b-db9846a9b639/468x382.jpg)
