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Preisdatenbank abonnieren1853 Victoria silver 'Gothic' Florin (S 3891, ESC 808, Bull 2826). Obverse: B1, ornate crowned portrait, facing left with 'Victoria d: g: brit: reg: f: d: mdcccliii' around, 'ww' below bust. Reverse: crowned cruciform shields of royal arms with a flower in the centre and national flowers in the angles, 'One florin' above and 'one tenth of a pound' below. Weight: 11.30g. Diameter: 30mm. Grade: EF - Extremely Fine.
1860 Victoria gold Half Sovereign, London (S 3859A, Marsh 434). Obverse: left-facing 'Young Head' portrait with the date (1860) below and 'VICTORIA DEI GRATIA' around. Reverse: shield of royal arms surmounted by a crown with 'BRITANNIARUM REGINA FID: DEF:' around. Weight: 3.98g. Diameter: 19.3mm. Grade: gF - minor blemishes, otherwise good Fine.
2020 End Of The Second World War 75th Anniversary silver proof 5oz £10 Royal Mint coin. Obverse: right-facing portrait of Queen Elizabeth II with 'ELIZABETH II · D · G · REG · FID · DEF · 10 POUNDS ·' around. Reverse: 'WAR' and 'PEACE' intersecting on a textured background with 'THE END OF THE SECOND WORLD WAR' above with '1945 · 2020' below. Composition: 999 silver. Packaging: original box with COA (188/275).
Edward VI silver Shilling, fine issue (1551-1553), tun mintmark (S 2482, North 1937). Obverse: crowned portrait with rose to left and 'XII' value mark to right, tun mintmark and legend that reads 'EDWARD: VI: D.' G.' AGL.' FRA.' Z · HIB.' REX:'. Reverse: shield of royal arms quartered by a long cross, tun mintmark, 'POSVI DEV.' ADIVTORE.' MEV.''. Weight: 5.77g. Grade: VF 30 (# 2915843-012).
Two (2) 2018 1oz silver bullion Britannias with Year of the Dog privy mark to the edge from the Royal Mint. Obverses: portrait of Elizabeth II with 'ELIZABETH II · D · G · REG · F · D · 2 POUNDS ·' around. Reverse: standing Britannia with 'BRITANNIA · 2018 · 1oz · 999 · FINE · SILVER ·' around. Composition: 999 silver. Weight: 31.21g each.
1890 Victoria gold Half Sovereign, London (S 3869C, Marsh 479, DISH L509). Obverse: 'Jubilee Head' portrait with no initials and 'VICTORIA DEI GRATIA' around. Reverse: higher shield of royal arms with crown, date (1890) below and 'BRITANNIARUM REGINA FID: DEF:' around. Weight: 3.98g. Diameter: 19mm. Grade: gF/VF - good Fine/Very Fine, lightly cleaned.
1907 Edward VII gold Half Sovereign, London (S 3974B, Marsh 510). Obverse: bare head portrait facing right with 'EDWARDVS D: G: BRITT: OMN: REX F: D: IND: IMP:' around. Reverse: St George design with 'BP' for Benedetto Pistrucci to the bottom right and the date (1907) below. Weight: 3.96g. Diameter: 19mm. Grade: aVF - about Very Fine.
Edward I silver Farthing, in his own name (1279-1307), London, 'LONDONIENSIS' reverse (S 1445A, North 1053/2). Obverse: facing bust with 'E R ANGLIE' around, no inner circle. Reverse: long cross with trefoil pellets in each angle, 'LON DON IEN SIS' around. Weight: 0.30g. Diameter: 11mm. Grade: VF+ - some edge loss but an excellent portrait, better than Very Fine.
2009 London Olympics Athletics BU 50p Blue Peter coin. Obverse: portrait of Queen Elizabeth II by Ian Rank-Broadley with 'ELIZABETH · II · D · G · REG · F · D · 2009' around. Reverse: Athletics design with the London 2012 Olympics logo above and '50 PENCE' below. Finish: brilliant uncirculated. Grade: MS 65 (# 6675013-006).
John (1199-1216) silver Penny, short cross, class 6a, London, Ravf (S 1353). Obverse: smaller facing portrait with sceptre and smaller 'X' in the legend which reads 'hENRICUS REX'. Reverse: voided short cross with quatrefoils in the angles, '+ RAVF · ON · LVNDE'. Weight: 1.30g. Diameter: 18mm. Grade: F - round flan, obverse struck slightly off-centre, otherwise Fine.
South Africa, 1995 gold tenth 1/10oz Krugerrand (KM 105). Obverse: portrait of Paul Kruger with 'SUID-AFRIKA · SOUTH AFRICA' around. Reverse: springbok with the date (1995) on either side, '1/10 KRUGERRAND' above and 'FYNGOUD 1/10 OZ FINE GOLD' below. Weight: 3.40g. Diameter: 16.5mm. Grade: damaged and graffitied, gold only.
1897 Victoria large bronze Diamond Jubilee medal, official Royal Mint issue in box (Eimer 1817). Obverse: veiled portrait with 'VICTORIA ANNVM REGNI SEXAGESIMNVM FELICITER CLAVDIT XX IVN · MDCCCXCVII ·' around. Reverse: youthful bust with '1837' below amid olive branches, 'LONGITVDO DIERVM IN DEXTERA EIVS ET IN SINISTRA GLORIA' around. Packaging: offered in case of issue with crown and '1837-1897' to the lid.
1862 Victoria silver 'Gothic' Florin (S 3891, ESC 820, Bull 2847). Obverse: left-facing crowned portrait with 'Victoria d: g: brit. Reg: f: d: mdccclxii' around. Reverse: crowned cruciform shield of arms, 'One florin', above and 'one tenth of a pound' below. Weight: 10.28g. Diameter: 30mm. Grade: G - Good.
STUDIO OF ANTON EINSLE (AUSTRIAN 1801-1871) EMPEROR FRANZ JOSEPH I, EMPEROR OF AUSTRIA, KING OF BOHEMIA, KING OF CROATIA, AND APOSTOLIC KING OF HUNGARY Oil on canvas, oval Bears indistinct signature (lower right, under mount) 66 x 66.5cm (25 x 26 in.) Provenance: Sale, Dorotheum, Antiquitaten, 14 November 1991, lot 199, as Attributed to Anton Einsle The painting derives from the full-length portrait by Anton Einsle of 1851 held at the Österreichische Galerie Belvedere, Vienna Condition Report: The canvas is relined and presents a subtle craquelure, most evident on the visage of the sitter. The canvas presents a think varnish across, and a yellow layer of dirt. A simple clean would definitely brighten the colours. A small brown stain is present to the right of the sitter and a small, dotted retouch is visible under UV light to the left of the right eye. Condition Report Disclaimer
DUTCH SCHOOL (16TH CENTURY) A PAIR OF PORTRAITS OF A GENTLEMAN AND A LADY Oil on panel Each 90 x 68.5cm (35¼ x 26¾ in.) (2) Provenance: Sale, Dorotheum, Kunstauktion Alte Meister Auktion 1611, 14 March 1991, lot 69, as Bartholomaus Bruyn the Elder By directly gazing at the viewer the two sitters create an intimate dialogue, which subtly communicates their character. These two excellent portraits are datable, on stylistic grounds and the worn clothing, to the fourth decade of the sixteenth century. Albeit the identity of the sitters remains unknown, the coats of arms present in the works may relate to those of Egmond (for the man) and Gelre (for the woman), two families belonging to the Dutch province of Gelderland. Condition Report: Portrait of a lady: The panel presents an evenly applied varnish across the whole surface. The panel is composed of three sections, and because of this, the splits between them are slightly visible on the surface. UV light inspection reveals various small retouches: a 2 cm retouch beneath the right hand of the figure, a few hardly noticeable dots in the background, a small 3 cm-long retouch to the right of the neck, and various but minor retouches on the veil, where there are also a few scratches that seem to be covered by later additional white paint. The same technique of applying white paint on the surface is also visible in a few spots on the neck. Three small holes are present on the hair of the sitter. To conclude, the thick varnish might conceal a few retouches beneath the hands. A few, but hardly noticeable superficial scratches are present on the dress, and some abrasions on the borders of the panel. Portrait of a gentleman: The panel, just like its pair, is composed by three sections. However, the splits joining the sections are most visible in this case, especially the division to the right, which is not entirely aligned, and clearly visible. UV light reveals a thick applied varnish across the whole surface, and various minor retouches: a few of them are present on the sitter's right cheek, and other smaller ones near the ear and the hair; a wider retouch, which is also visible to the necked eye, is instead present to right of the nose - such retouch is of about 4cm long. A few and smaller retouches are also present on the black dress, and a larger thick retouch of about 10 cm in length is present on the bottom left border. To conclude, there a few superficial scratches, most evidently near the borders. Condition Report Disclaimer
AFTER FRANS POURBUS THE YOUNGER (DUTCH 1570-1622) PORTRAIT OF HEINRICHS IV VON FRANKREICH IN ARMOUR WEARING THE ORDER OF THE HOLY SPIRIT Oil on canvas 42 x 27.5cm (16½ x 10¾ in.) Provenance: Sale, Dorotheum, Kunstauktion Alte Meister Auktion 1611, 14 March 1991, lot 156, as Attributed to Frans Pourbus The Younger After the picture in the Louvre, Paris Condition Report: The canvas has been relined, and presents an unevenly applied varnish across the surface, and a subtle craquelure. UV light reveals few retouches: one on the cloth of the table, in the lower let corner, and another, of about 1.5 cm to left of the sitter's head. The varnish might mask a few retouches on the head, which though are difficult to discern.Condition Report Disclaimer
NICOLAES MAES (DUTCH 1634-1693) PORTRAIT OF A GENTLEMAN; AND PORTRAIT OF A LADY Oil on canvas, a pair The portrait of a Lady is signed (lower right) Each 65 x 56cm (25½ x 22 in.) (2) Provenance: Sale, Dorotheum, 23 June 1992, lot 88, 89 According to label on the verso, the sitters are identified as two members of the House of Montmorency, one of the oldest noble families in France, dating back to the tenth century. The family, since its first appearance in history in the person of Bouchard I of Montmorency in the 10th century, has furnished six constables and twelve marshals of France, several admirals and cardinals, numerous grand officers of the Crown and grand masters of various knightly orders. Henry IV of France once said, that if ever the House of Bourbon should become extinct no European family deserved the French crown more than the House of Montmorency. The absence of heraldic symbols or distinguished countenance traits leaves the identity of the sitters uncertain. Condition Report: Portrait of a Lady The canvas has been relined and presents a visible craquelure across the whole surface. UV light reveals various retouching in the background area, especially in the dark sections of the curtain, and on the visage of the sitter, where numerous small restorations have been applied on the forehead, cheek and nose. In addition, an extensive patch of about 4 cm in width of restoration is visible on the white sleeve and left arm of the sitter. To conclude, an unevenly applied varnish is scattered across the whole surface. Portrait of a gentleman: The canvas has been relined and presents a visible craquelure across the whole surface, most evident on the sitter's visage. UV light reveals an unevenly applied varnish, and various retouches, most evident on the red cloth on the right shoulder, extensive infilling of the craquelure to right of the sitter, and various retouches on the sitter's forehead, and a 5 cm long patch of what seems to be retouching below the sitter's left ear - such patch of restoration is difficult to analyse as a thick vanish renders its analysis difficult. The handwritten labels to reverse of each are faint and very difficult to read- they vary in text slightly- the one to reverse of man is very difficult to read and starts "Hicc Deux portraits executez(?) par F**** F***et JANT(?) Par Nicolas Maes et ***** deux famille de Montmorency *** en Fl***" Label to reverse of woman easier to read in part- by left hand section is missing- text may be "Portraits executez par F***** F**** peinte(?) par Maes et representant deux membres de la Montmorency ***(emigree?) en Flandres" additional Gallery(?) label Chenue Emballeur 5 Rue de la Terrasse Paris with illegible inscription, Both also with printed labels for Croset (worn and damaged) and impressed stamp to centre of stretcherCondition Report Disclaimer
STUDIO OF MARTIN VAN MEYTENS II (SWEDISH 1695-1770) PORTRAIT OF KAISER FRANZ JOSEPH I; AND KAISERIN MARIA THERESA Oil on canvas, a pair Each 146 x 116cm (57¼ x 45½ in.) (2) Provenance: Sale, Dorotheum, Kunstauktion Alte Meister Auktion 1611, 14 March 1991, lot 74, as Attributed to Martin van Meytens II Condition Report: Portrait of Kaiser Franz Joseph I The canvas is relined and presents an evenly applied varnish across the surface. UV light reveals various retouches across the whole surface, most evident are on the head of the sitter, where sections of the forehead, nose, and chin fluoresce. In addition, further retouches are present on the hands, and there is a patch of about 7 cm in width to the right of the sitter's head. To conclude, a few retouches are also present on the dress, in most part on the edge of the cloak on the left. Portrait of Kaisern Maria The canvas is relined and presents a subtle craquelure across the whole surface which is though more visible on the chest and neck of the sitter. UV light reveals various retouching in the background area, most evident on the chair and curtain to the right. To conclude, there has been various retouching on the visage of the sitter, but mostly on the neck and chest, where infills of the craquelure cover most of the area. Framed measurements Each 174 c 143.5 cm Condition Report Disclaimer
NICOLAES MAES (DUTCH 1634-1693) PORTRAIT OF COLONEL RUPERT BRIDGE IN ARMOUR, WITH A BLACK PAGEBOY Oil on canvas 121 x 97cm (47½ x 38 in.) Provenance: Sale, Christie's, London, Important English Pictures, 22 November 1985, lot 97A Sale, Dorotheum, Kunstauktion 1631 Alte Meister, 7 November 1991, lot 107 Condition Report: The canvas has been relined. UV light reveals an unevenly applied varnish, which, because its thickness in some parts, makes the analysis of the retouching difficult. Nevertheless, small white dotter retouches are present on the visage of the sitter, specifically one on the nose, and a few more on the forehead. In addition, more, yet small, retouches are present in the background areas. To conclude, a subtle craquelure covers the whole surface, and very few retouches fluoresce under UV. Condition Report Disclaimer
SPANISH SCHOOL (17TH CENTURY) PORTRAIT OF A LADY WITH SHACKLE OR CHAIN AT HER ARM Oil on canvas 102 x 73cm (40 x 28½ in.) Provenance: Sale, Dorotheum, 15 March 1990, lot 123, as School of Alonso Sanchez Coello The curious inclusion of handcuffs on the sitter's left arm is likely to indicate that this is a marriage portrait. Perhaps playing on the Spanish words esposa (wife) and esposas (handcuffs), deriving from the Latin spondere (to bind, pledge or promise), the symbol denotes the sitter's commitment to the indissoluble marital bond. The clothing and jewellery suggest the portrait was probably painted in the late 17th century. Prominent bow-knot (lazo) brooches worn in the centre of the chest, such as the one in the portrait, were in vogue on the Iberian peninsula from the mid seventeenth century. A close example is the gold and emerald encrusted pendant displayed at the V&A (M.138-1975). For a further study on jewels in Spain see: Muller, Priscilla E. 2012. Jewels in Spain, 1500-1800. [New York, N.Y.]: Hispanic Society of America: Centro de Estudios Europa Hispánica : Center for Spain in America, c2012 Condition Report: The canvas has been heavily relined and presents an uneven surface across. The painting is covered by a thick and yellowing varnish which renders the analysis of its condition difficult. Nevertheless, under the varnish there seems to be detailed infilling across the whole surface, which is most noticeable in the background area, where the canvas has suffered losses of superficial paint, as the surface does not appear smooth. UV light reveals a 4 cm scratch on the sitter's right sleeve, where there seems to be added white paint; a 4cm long retouching, always with white paint, at the centre of the handcuff; two lines of infilling of about 6 cm each in the bottom left corner; a small, dotted retouch on the sitter's left eye, and a few dotted, yet minor retouches in the background area. To conclude, a thin craquelure appears on the surface, most evident on the sitter's head, and a small hole is present in the lower section of the painting. Condition Report Disclaimer
A LARGE CONTINENTAL CARVED OAK PRESS CUPBOARD POSSIBLY NORTHERN FRANCE, 19TH/ EARLY 20TH CENTURY With a carved overhanging cornice above a pair of doors carved with portrait roundels of a King and Queen, and with a further central cupboard, the base with an arrangement of eight foliage-carved drawers on turned feet 230cm high, 155cm wide, 55cm deep
WALLERANT VAILLANT (DUTCH 1623-1677) PORTRAIT OF A YOUNG WOMAN IN WHITE DRESS AND GREEN SHAWL Oil on canvas Signed and dated `W. Vaillant F. 1671' (on basin, lower left) 75 x 61cm (29½ x 24 in.) Provenance: Johnny van Haeften Sale, Dorotheum, Vienna, 6th December 1990, lot 153Literature: J.G.C.A. Briels, Vlaamse schilders en de dageraad van Hollands Gouden Eeuw, 1585-1630, Antwerp, 1997, p.49, illustrated Present picture listed in archives of RKD as no. 132496 (As Wallerant Vaillant) Condition Report: The canvas has been heavily relined and presents an unevenly applied varnish across the whole surface. UV light reveals a few scattered retouches in the background and on the visage of the sitter, where small restorations are applied above the mouth, on the nose, and forehead. Further small restorations are present on the blue cloth of the dress, both on the right and left side, and on the right arm. To conclude, a subtle craquelure is present, which is most noticeable on the visage of the sitter. Condition Report Disclaimer
ATTRIBUTED TO JULIUS SCHNEIDER (GERMAN 1824-1879) PORTRAIT OF MAN WITH A VIOLIN Oil on canvas Signed and dated '1851' (lower left) 93.5 x 74cm (36¾ x 29 in.) Provenance: Sale, Dorotheum, Vienna, Bilder Des 19. Jahrhunderts Antiquitaten, 28 February 1991, lot 50, as Julius Schneider Condition Report: The canvas has been relined and presents an unevenly applied varnish across the whole surface. UV light reveals various scattered retouching, most evident on the beard of the sitter, a few retouches on the arm, the larger one of about 4cm, just below the arm, and a smaller retouch of about 2cm near the left of the violin. Condition Report Disclaimer
Antiquarian religious books and bibles to include Ostevald's Bible printed by and for John Taylor, Berwick 1790, with three pages of hand written family history, leather bound, missing front pages including the title page. An Exposition of The Creed by John, Lord Bishop of Chester, 11th Ed. London, printed for R Knaplock and D Midwinter and B and S Tooke and Ros Gosling, London 1723, leather bound covers loose. A Concordance to the Holy Scriptures of the Old and New Testament or a Dictionary and Alphabetical Index to the Bible, in two parts, by Alexander Cruden, The fifth edition, London 1805, printed for J Johnson, R. Baldwin, H L Gardner and others, portrait frontispiece, leather bound and R Goadby - An Illustration of the New Testament by Noles and Explications ...etc, The Fourth Edition Vol II 1770 with family history written ink to front cover, leather spine and boards (4)Location:If there is no condition report shown, please request
J.H - river landscape with hills to the distance - oil on canvas, signed with artist monogram to the lower right corner, 46x61cms,along with a Victorian watercolour portrait of a gentleman standing in an interior scene, unsigned 28 x 21.5cms, mounted in a glazed gilt frameLocationIf there is no condition report shown, please request
A SUPERB PAIR OF 19TH CENTURY THUYA, EBONY, ORMOLU AND PORCELAIN SIDE CABINETS, the upper sections with a brass galleried raised centre section with mirrored back, with inset porcelain panels to the arch depicting cherubs and a portrait roundel, flanked by a pair of doors, each with a good oval porcelain portrait plaque of young ladies, the base with a central frieze drawer housing a blue leather and gilt decorated writing surface, with a further drawer to each side, each with ormolu framed porcelain roundels depicting flowers, the mirrored lower section having turned and carved columns, and undertier and platform base on turned feet. 5ft 0ins high x 4ft 5ins wide x 1ft 10ins deep.
Drawing in a printing machine, David Hockney, 2009, First Edition, Hardback, Fine Condition. An Irish Portrait, Paul Henry, The Autobiography, 1988, Batsford, London, 2 nd Edition, (1 st ED – 1951) with Dust Jacket. Irish Tales & Sagas, Ulick O’Connor, Illustrated by Pauline Bewick, Granada Publishing 1981, with Dust Jacket. (3)
Moore, Thomas Memoirs of the Life of the Right Honourable Richard Brinsley Sheridan. London: 1825. First edition, quarto, portrait plate, quarter black leather, fresh and handsome copy. Standard life of a great Irishman by another; Watkins, J. Memoirs of the Public & Private Life of … Richard Brinsley Sheridan, with an Account of his Family & Friends. 1817. First edition (vol. 1 of 2), portrait, very good. [2 items]
Oscar Wilde related - The Portrait of Mr.W.H., Introduction by Vivyan Holland, published 1958. Son of Oscar Wilde – Vivyan Holland, published 1954. The Young King – Oscar Wilde, published, by the Folio Society, 1953 and The Irish Comic Tradition – By Vivian Mercer, published by Oxford Press, 1962. (4)
Hometown. A Portrait of Newcastle West, Co. Limerick by Patrick J. O’Connor. Very large format, profusely illustrated study; The Government and People of Limerick. History of Corporation City Council 1197-2006 by Matthew Potter. 600 page study and 50 Treasures from the Hunt Museum by Patrick Doran. Large format. 3 books all in djs.
Shadows from the Pale: Portrait of an Irish Town - John Miniihan (Introduction by Eugene McCabe) published 1996. First UK Edition, First Printing. Signed, dated and located in Athy, by the photographer John Minihan to the title page. [ John Minihan, Athy 1996] Rare and especially signed as such.
Three early 19th century Japanese prints, Keisai Eisen, (1790-1848) Hitomoto of the Daimonjiya, a portrait of a courtesan with two small girls, Kitagawa Tsukimaro, (1794-1836), Portrait of a courtesan with a writing box, and Toyokuni II (Toyoshige) (1777-1835) Portrait of a courtesan and attendant all vertical, all with loss of colour. (3)
Group of Georgian and later jewellery to include a mourning brooch or bracelet link with central portrait of a military gentleman set with red and white stones to the outside and enamelled to the reverse, two paste teardrop shaped pendants, a paste set buckle, a blue enamel and paste set buckle, carved coral brooch etc.
Books includes W.G's Birthday Party, A History of Cricket in 100 Objects, The Authors XI A season of English Cricket, Kevin Telfer Peter Pans first XI, Hedley Verity, A Portrait of a Cricketer, Colin Blythe lament for a legend-Books (6) includes The MCC Cricket Coaching Book. A Spell at the Top by Peter Smith, Ken Farnes' Diary of an Essex Master, Glory Lightly Worn, A tribute to Brian Statham' 'My Dear Victorious Stod' A Biography of A.E. Stoddart, Archie by Michael Down-Books, (8) includes (2) English Cricket by Neville Cardus, Grounds of Appeal The Home of First Class Cricket, Classic Cricket Cards Collection complete, The Cricket Match, The Golden Age of Cricket 1890-1914, The Croucher A Biography of Gilbert Jessop, When Cricket was Cricket A Nostalgic look at a Century of the Greatest Game
Books includes Alfred Mynn and the Cricketers of his time, Sir Gary, Jack Hobbs, Jack Hobbs Profile of the Master, Fred' Portrait of the fast bowler, 'Tich' - Freeman and the Decline of the Leg-Break Bowler-Benefit Programmes (10) Brian Statham's, David Gower, Trevor Jesty, Barry Richards, David Turner, Mark Nicholas, Robin Smith Testimonial Year 2003, Knebworth Park v Hampshire, Richard Gilliat, Robin Smith signed on front cover, Raj Maru signed on front cover-Books, (4) includes The Observer's Book of Association of Football, Soccer The World Game a popular history Geoffrey Green, The England Football Miscellany, The Football Who's Who', slight foxing
SIR KEIR STARMER Hand signed 10" x 8" photograph of the British Prime Minister together with another signed portrait of Simon Harris, Taoiseach of Ireland, with accompanying complimentary slip. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
2x Golfing engraved pencil sketch prints - title 'St Andrew from The Links' by Cathy Dolson London from a photo' by Vallent - good plate mark - image 5.5 by 7.25" -- overall 12.25 by 15.25", and a half portrait of a young caddie boy signed with the artist's monogram T R M and signature in pencil - overall 8.5" x 5.5"
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