283287 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
283287 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
283287 Los(e)/Seite
Los 1123
Tiberius(AD 14-37), AR Denarius, (or Tribute Penny), Lugdunum, post AD 16, laureate head right, ti caesar divi avg f avgvstvs, rev. pontif maxim, Livia as Pax seated right, holding sceptre and branch, the chair legs plain and over double line (BMC 34; RIC 26; RSC 16), a few light scratches behind portrait, almost extremely fine provenanceSpink auction 169, 15 April 2004, lot 24Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.
Los 619
Cromwell, Halfcrown, 1658, laureate and draped bust left, rev. crowned shield, 1658 HIB type legend, lettered edge (ESC 447; S.3227A), somewhat scuffed and the high points of the portrait a little weak, otherwise good very fine, well-struck and lightly toned, some lustre provenanceDreweatt Neate, 3-4 November 1999, lot 5Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.
Los 1302
QajarDynasty, Nasir al-din Shah (1848-96), AV portrait Half-Toman, 1.67g, Dar al-Khilafat Tehran, AH1274, crowned bust of Shah left (KM.860), small area of damage, very fine with clear portrait, rare Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.
Los 991
Saudi Arabia, Faisal Bin Abd Al-Aziz (1964-75) gold Medal, 31.83g, commemorating King Faysal bin Abul Aziz, 1964 - 1975, portrait of king, rev. flag above Saudi insignia, extremely fine Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.
Los 1324
Egypt, Fuad I (1922-1936), AV 500-Piastres, 1932 / AH1350, uniformed bust of king Fuad left, rev. ornamental caligraphy within circular frame bearing denomination and dates (KM.355; Fr.31), uncirculated, mirror-like fields, portrait with attractive sheen provenance:Cabinet Numismatiqe, GenevaSubject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.
![Tiberius (AD 14-37), AR Denarius, Lugdunum, 15-16, laureate head right, ti caesar divi avg f avgvstvs, rev. [tr pot] xvii, Ti](https://cdn.globalauctionplatform.com/4d17ebb8-6586-443a-9c6e-a5b6010ea148/acaa5fcc-31ac-4529-8b32-a5b700d7e258/468x382.jpg)
Los 1135
Tiberius (AD 14-37), AR Denarius, Lugdunum, 15-16, laureate head right, ti caesar divi avg f avgvstvs, rev. [tr pot] xvii, Tiberius standing in triumphal quadriga right, holding branch and eagle-tipped sceptrem, imp v[ii] in exergue (BMC 8; RIC 4; RSC 48), small banker's mark before portrait, almost very fine Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.
Los 213
JOHN LENNON - 'HOW I WON THE WAR' - (***Please notify the auctioneer by email/phone of your intention to bid on this lot otherwise your bid may not be accepted on the day***). a fantastic and unique collection of over 200 original black and white 35mm negatives of images taken by the late photographer Zdenko Hirschler on the set of How I Won The War (Andalucia, Spain, 1966). The majority of the images have never been published and are to be sold with full copyright. Contact sheets are also included with the lot. The majority of the images are of John Lennon himself and feature candid shots of a 'happy' Lennon whilst taking a break from filming. The collection contains many high quality close up portrait shots together with full length shots, including quite a few of John playing cricket. There are also images of Lennon with a camera taking some photographs himself having jokingly discussed a possible future as a photographer with Zdenko. Further scans will be added to the catalogue shortly. The following feature by Zdenko written around 4 years ago, gives an interest backstory to the photoshoot: An exclusive ZDENKO HIRSCHLER feature JOHN LENNON'S SECRET - AN EERIE PROPHESY Revealed for the first time after 45 years....... Almost half a century has passed since I shot those pictures of John Lennon. More than 45 years since I went to the charming Andalusian resort of Almeria in the south east corner of Spain. I went there to interview JOHN LENNON on location in Dick Lester's movie 'HOW I WON THE WAR'. The site of Almeria was chosen because of its blistering-hot climate (104 F) and its Sahara-like,Taberas desert - it was then a super popular place for shooting all kinds of desert warfare. I arrived on location at the same time they has a tea break. Lennon had a brick in his hand with a sandwich and a cup of tea in the other. "You see", he told me. "You don't have to be a movie star to get a cup of tea. But it helps to get you to the front of the waiting line". I was amazed to meet a COMPLETELY re-invented John Lennon; No more MOPTOP haircut... No more Trotsky-like unshaved chin... No more black jeans... No more leather jacket with the quasi- Elvis collar... In spite of his nondescript sloppy military uniform, Lennon looked clean, fresh and very young. Even his new yellow-tinted grandma style glasses did not change that impression. He looked like a cute teenager in spite of his 26 years. "My my - what a change!"' I told him."You've gone from HIPPIE TO HIPSTER". "Glad you like it!" he quipped back. "This moon-like desert is super cool -no fans, cars or photographers here"'. Lennon was originally case to play the part of Lt.Ernest Goodbody - an officer obsessed with endless tirades on how war seems to be 'the noblest' of all games. His musings about heroism and duty were meant to portray him as a complete idiot. But alas, there was no leading role for Lennon. Very soon, Lester learned that John Lennon was totally incapable of memorizing the lines. So the lead role went to a Michael Crawford, who at that time, was a less known actor. Although Lennon seemed useless, Lester could not afford to send the famous Beatle home. So instead, Lennon was cast in a smaller part of a 'Private Gripwood' which gave him complete freedom to ad lib his lines, to clown around and do as he pleased. The movie was meant to be an anti-war piece consisting of endless display of idiotic officers… but it reminded me more of a slapstick Keyston Kops silly symphony of the early twenties. Lennon was very happy with this new direction and he had his own reasons to be in Almeria. 1966 was a crucial year for the Beatles. Although the group achieved world fame, made tons of money and was idolized by millions of young fans, 1966 ended in a very bad way… It started with Lennon giving his famous interview to the London Evening News saying something to the effect that 'JESUS IS OUT OF FASHION AND LESS POPULAR THAN THE BEATLES.' The result of his words was catastrophic.. The Beatles were almost attacked in Tokyo, beaten in Manilla and started to receive hundreds of threatening letters from former USA admirers. As a result, they decided to end their tour. It was then that Lennon accepted the offer to try acting in Lester's movie in Almeria, being in an obscure corner of Europe and far away from all the negative publicity. It seemed an ideal place to hide. Lennon spoke of the new lives his band-mates had and explained to me... "The Beatles started to go in different directions..Paul and his girlfriend at the time, Jane, decided to start watching animals in Africa. George and Patty went to India while Ringo and Maureen went to see relatives in England. I wanted to try something new in my life - ACTING - So far, l I am very happy here and it is an exciting, new adventure". I countered, "Perhaps you could be a good photographer. Take my camera and try to make a portrait with my long lens." I gave Lennon my Nikon and he shot some portraits of me and some of Dick Lester. My picture was a complete miss but Lester's was OK.. There was no financial need for Lennon to start a new life, whether it was in the acting world or wherever. He was already a very rich man who owned a big home in Kenwood and lots of cars including a Rolls Royce and a Ferrari. He was happy staying six weeks in Almeria. But near the end of shooting Lester asked him to do the very last scene where Lennon was to be shot by four bullets and fall to his death. He refused to perform this tragic scene. He explained to Lester that dying in a violent way was something that had haunted him for years. It dated from Hamburg in 1962 when the Beatles first started. Once, he was involved in a very violent fight with his best friend Stuart Sutcliffe -- a member of the original group at that time. A year later, Sutcliffe died from a brain injury. Lennon was crushed and told his then girlfriend Cynthia about it… "This is too freaky…it could mean I'll have a violent death too" he said to her. He told Lester the same story and exclaimed that being killed in the movie scene would be too much like 'an eerie prophecy'. "I don't want to do this scene!" he shouted. Lester tried calming him down. "Don't be silly!", he said and added, "It's only a movie and this last scene shows that war is tragic and in spite of all the silliness we are portraying, the message is that people do die during war". Lester knew the real value of having John Lennon killed in his movie. Even if the movie might end as a complete flop (which indeed it did), the truth was that Beatles and Lennon fans would most likely go in droves to see Lennon die a violent death on the silver screen. They argued a lot about it. In the end, Lennon was forced to give up and play the part of dying a lonely death in a field shot by four bullets. Out of character, he acted so well in the scene that his wife Cynthia broke down and had to be whisked away from the cinema.. John how could you do this to me,asked Cyntia,but John was not in mood to talk about this last act..He forbade any future mentioning of this uncanny death and this was a subject not to be touched by any Beatle or friend... A tabu theme... Was this an eerie prophesy? The full unedited version can be seen on Omega Auctions website.
Los 230
A late 19th century photograph of Alfred Sassoon and his three sons, a photograph of Mrs Mary Thornycroft (Siegfried's maternal grandmother), a photograph of Hamo Thornycroft's The Kiss, signed by Hamo, a print of Philpot's portrait of Siegfried and two images of The Nine Muses, a painting possibly by Theresa (Thornycroft Sassoon) (6)
Los 506
A pair of late 17th/early 18th century Limoges enamel panels, in the manner of Jacques Laudin II 1663-1729, the panels each bearing a portrait study of a lady in 17th century costume, probably Anne of Austria in younger life and in later life, after her entry into the nunnery where she died, each panel bearing IL monogram (Jacques Laudin II?) to the reverse, 12.5 x 10cm
Los 118
W.P. TAIT (Twentieth Century) TWO WATERCOLOUR DRAWINGS 'View near Proctor Smithy' 11" x 18" (28cm x 45.7cm) 'View from Bowmont Hill' 12 1/2" x 17" (31.8cm x 43.2cm) signed, titled and dated (19) 81 PENCIL DRAWING Profiled bust portrait of a gentleman 10" x 7" (25.4cm x 17.8cm) indistinctly signed MJ or JM (?) PAIR OF PEN AND WASHY DRAWINGS ON COLOURED PAPER Comical military studies 'The Australian Light Horse' 'The Old Colonel gets ready for the Levee' 10 1/2" x 8 1/4" (26cm x 21cm) monogrammed and dated 1914 (5)
Los 120
GEORGE W. ENNIS (Twentieth Century) OIL PAINTING ON BOARD Northern townscape with man with red nose in the foreground 30" x 21 1/4" (76.2cm x 54cm) MIXED MEDIA ON BOARD Shoulder length portrait, dated 1923 the reverse with pen and ink drawing of an industrial townscape all signed 26" x 19 1/2" (66cm x 49.5cm) (2)
Los 706
A framed woven textile panel in tones of black, grey and red, an unusual painting on black velvet, bust length portrait of an elderly native man with tattooed facial decoration, an oil painting on board of an estuary scene, a caricature type charcoal study of an eastern male character in turban indistinctly signed bottom left, etc, various sizes, all framed
Los 708
A collection of 18th and 19th century black and white engravings including a facsimile of Lord Nelson's last letter from The Victory to Emma Hamilton, in frame flanked by portrait of Nelson, and Lady Hamilton, a scene showing a literary party at Sir Joshua Reynolds house, after James Doyle, a scene after Sir Edwin Landseer showing sheep grazing whilst guarded by sheep dogs, The Soldier's Dream after Frederick Goodall showing a Scottish soldier dreaming of a reunion with his family, etc, various sizes, maximum 75 x 85 cm approx, all framed (9)
Los 551
A bead work panel detailing a female portrait study set within a trailing border, a Chinese embroidered silk work panel on paper backing depicting female figures set beneath detail of an observing bird in a leafy canopy, a further embroidered panel on paper backing, a gold wirework embroidered sash on sky blue ground, possibly ecclesiastical, etc
Los 435
A PORTRAIT MINIATURE, CIRCA 1780-1800, the oval portrait miniature of a uniformed Gentleman beneath domed glass, set within a surround of sixteen graduating rose cut and old cut diamond highlights, alternately spaced with sixteen round mixed cut pink tourmaline highlights, all set in closed back settings. Length 4.5cm. Width 4cm. Weight 18.5gms.
Los 1010
An Edwardian portrait miniature on ivory of a young lady with un-dressed hair, 6 x 4.5 cm, in gilt pendant frame and fitted green velvet satin-lined leather pocket-case, to/w a photograph miniature with painted detail (on ivory) of a woman and a photograph of a gentleman in circular frame (3)
Los 981
A rare WWI casualty trio and memorial plaque to Captain Arthur Roxburghe Orr, 2nd Battalion Scots Guards comprising 1914 Star and Bar (as Lieut.), 1914/18 British War Medal, Victory Medal (both as Capt.), bronze commemorative plaque, commemorative scroll - all mounted in three period Spink & Son glazed easel display frames and to/w the recipients miniature medals and a oval portrait miniature of the officer in uniform. Notes - records show wounded 1st battle of Ypres October 1914, promoted to captain December 1914, returned to France 1915, K-I-A France 17/10/2015, memorial at Sailly Labourse Communal Cemetary
Los 1005
An 18th century oval portrait miniature of a gentleman with powdered wig, lace cravat, gilded waistcoat and grey coat, signed HS, 4 x 3.5 cm, in brass buckle frame, to/w a 19th century portrait miniature of a young child with long hair, unsigned, 4 x 3.5 cm, in gilt pendant frame (2) Condition Report Possibly painted on ivory - hard to tell under glass, one has paper back
Los 352
Henry I (1100-35), Penny, 1.33g, Star in Lozenge Fleury type, (BMC XIII), Northampton, Stena, crowned bust left holding a sceptre, rev. +S[ ]A•ON•h[ ]TV:, quadrilateral with incurved sides; fleur at each angle; trefoil of annulets between each pair of fleurs, star in centre (N869; S1274), a good portrait, toned, better than very fine, rarePROVENANCE:Ex Harris Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.
Loading...-
283287 Los(e)/Seite