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Preisdatenbank abonnieren* AETA J. JARDINE (BRITISH fl.1917 - 1940), PORTRAIT OF A WOMAN IN A GREEN DRESS watercolour on paper, signed 30.5cm x 25cm Mounted, framed and under glass and SCOTTISH SCHOOL (19TH CENTURY), PORTRAIT OF A YOUNG GIRL watercolour on paper, signed indistinctly 36cm x 30.5cm Framed and under glass
Sicily, Syracuse AR Dekadrachm. Time of Dionysios I, circa 400 BC. Charioteer driving galloping quadriga to left, holding kentron in right hand, reins in left; above, Nike flies to right, a wreath in her outstretched arms to crown the charioteer; in the exergue, a panoply of arms is set on two steps: a cuirass, two greaves, and a Phrygian helmet / Head of the nymph Arethusa to left, wearing a reed wreath, triple-pendant earring, and a pearl necklace; ?????????? behind, four dolphins playing around her, a star below the rearmost. Gallatin XXIII-KII. 43.27g, 35mm, 5h. Good Extremely Fine. Very Rare. Ex Roma Numismatics V, 23 March 2013, lot 133. This type with a star behind Arethusa's head and below the rearmost dolphin is one of the most infrequently encountered in the dekadrachm series. Struck from a remarkable reverse die, not only on account of the excellent style of the Arethusa portrait, but also because of the astonishing high relief in which it was engraved. Standing proud from the fields 33% more than the majority of its counterparts, this nymph commands reverence and admiration. The fortuitously superb metal quality and lustre of the fields further complement the appearance of this sculptural marvel. The dekadrachms of Syracuse have been called 'the admiration of the ancient and modern world', and 'perhaps the most famous of all ancient coins'; rightly so, for by virtue of not only their impressive size and weight, but more importantly the incredibly detailed artistry of exquisite style which they bear, they represent the zenith of cultural and numismatic technological achievement at ancient Syracuse, and are among the most beautiful coins ever struck for circulation. Produced at the apex of Syracuse's power and glory, the dekadrachm issue began circa 405 BC, following the election of Dionysios as supreme military commander of Syracuse for his achievements in the war against Carthage, and his subsequent seizure of total power. Syracuse had only recently defeated an Athenian invasion of Sicily that resulted in the utter destruction of Athens' expeditionary force and ultimately contributed significantly to their defeat at the hands of Sparta in the Peloponnesian War. Then under Dionysios in 405, despite the ruin of great cities such as Akragas and Gela, Syracuse repulsed a Carthaginian invasion that might have resulted in a complete conquest of the island. Such glory was short-lived however, as the rule of Dionysios' son and successor was to bring only civil strife that would weaken the power of Syracuse. Never again would the city issue coinage on such a grand scale, and with the cessation of tetradrachm production in c. 400 BC, the dekadrachms represent the last great flourishing of classical numismatic art at Syracuse before two centuries of steady decline and eventual conquest at the hands of the Romans.
Thessaly, Koinon of Thessaly Æ Assarion. Time of Hadrian, circa AD 117-138. Head of Achilles right, wearing crested Attic helmet; AXI???YC around / Horse trotting right, ??CCA?WN around. Burrer Em. 1, Series 2, Grp. 1, 141 corr. (A35/R116; ? not E); Moustaka pl. 12, 153b; BCD Thessaly II 956.1. 3.24g, 15mm, 5h. Very Fine. Pleasing portrait of Achilles.
Crete, Aptera AR Stater. Signed by Pythodoros. Circa 4th century BC. ?[??A?????] around head of Artemis Aptera to right, with hair elaborately curled upwards around a stephane ornamented with palmettes; she wears an elaborate crescent and solar-disk pendant earring with three drops and a pearl necklace; to right in smaller letters the artist’s signature: ????????? / Warrior hero Apteros, called Ptolioikos, standing facing, his bearded head left, wearing crested helmet and cuirass, holding in his left hand a spear and shield decorated with a sunburst, his right is raised towards a sacred fir tree in left field; ?????????? around. Le Rider, Monnaies crétoises, p. 36, 269-70, pl. 9, 11-12; Svoronos, Crète, p. 15, pl. 1, 10 (same dies); BMC 1, pl. 2, 3 (same dies); BMFA Suppl. 108 (same dies); LIMC VII/1, p. 588, VII/2, sv. Ptolioikos 2 (same rev. die); for the engraver’s signature see L. Forrer, Notes sur les signatures de graveurs sur les monnaies grecques, Bruxelles 1906, pp. 277-284. 11.78g, 24mm, 12h. Extremely Fine. Extremely Rare. Of exceptionally fine style and quality, and among the finest of the very few known examples. From the Eckenheimer Collection. The stunningly beautiful obverse female portrait is that of Artemis Aptera (or Aptara as inscribed on the coins, a local form of the Cretan Artemis Diktynna), the patron goddess of the city. Before her image in small characters proudly appears the name of the artist Pythodoros, a master die-engraver who also worked at Polyrherion on the equally beautifully styled female head which has been defined as that of Britomartis, ‘sweet maiden’ in the Cretan dialect. Also identified as Artemis Diktynna, Britomartis in Cretan myth was caught in a fisherman’s net (diktyon) while trying to escape the advances of Poseidon, and was the subject of several Cretan coin types inspired by a statue then attributed to Daedalos, who was reputed to be the father of Cretan art (cf. Le Rider pp. 114-6, 3-6 pl. 28, 19-38; Svoronos 15-16, pl. 26, 4-5; Traité pl. 261, 25; BMC 1-2). Both images are very much influenced by the Sicilian school of die engraving as epitomised by the celebrated artists such as Kimon, Phrygillos, Eukleidas, Euainetos and Eumenes. The reverse type is of no less mythological and historic interest; the warrior in question is Apteros, called Ptolioikos, a title literally meaning ‘dweller in the city’. He is shown saluting a tree, a scene which can be interpreted as a rendering of what must surely be a now lost myth concerning the oiktistes or founder of the city. The fine remains of the ancient polis of Aptera or Aptara (IACP 947), the modern Palaiokastro, are situated near the Minoan site of Megala Chorapia on the south side of Suda Bay, the safest anchorage in Crete throughout Greek, Venetian and Ottoman times, and which is today an important NATO naval base. Eusebius informs us that the city was founded by an eponymous hero, Apteros in the year 1503 BC (Chronicon 44c). The first historical mention of Aptera dates from the 7th century BC when a contingent of archers is reported to have fought along with Spartans in the war against Messene (Pausanius, Description of Greece IV 20, 8). Various attemps in antiquity were made to explain the city’s name: notably, that it was the site of the song contest of the Muses and Sirens. In this story the latter lost their wings in a fight that ensued after their defeat (Stephen of Byzantium sv. Aptera; ‘aptera’ = ‘wingless’). The city’s name most likely derives from one of the epithets of Artemis, A????? (cf. Inscriptionis Cretae 2), similar to that of the statue in the temple of Athena Nike on the Acropolis at Athens, which later took on the name of Nike Apteros, meaning ‘wingless’ Nike. From the fourth century BC Aptera produced coins on the Aiginetan weight standard, but by later Hellenistic times it gradually declined in favour of its powerful neighbour Kydonia and was finally absorbed by Rome in 67 BC.
Islands off Karia, Kos AR Tetradrachm. Athamas, magistrate, circa 345-340 BC. Head of bearded Herakles (with features of Maussolos?) right, wearing Nemean lion skin headdress / Veiled head of Demeter (with features of Artemisia?) left, A?AMA to right, K?ION below. Ingvaldsen 7a (this coin); Pixodaros 8c (this coin). 15.13g, 23mm, 12h. Extremely Fine. Very Rare. Struck on a very broad flan, well centred, and with a beautiful old tone. Ex Leu 91, 10 May 2004, lot 166; Ex CNG XIV, 20 March 1991, lot 169; Ex Leu 45, 26 May 1988, lot 227; From the Pixodarus Hoard of 1978 (CH 9, 421). It has been suggested that the reverse portrait is that of Artemisia in the guise of Demeter, based on similarities between her features as they appear on the statue of Aretmisia from the Mausoleum, now in the British Museum, and those as they appear on the coinage. If that were the case, then almost certainly the obverse portrait we see would be that of Mausolos himself as Herakles.
Nerva Æ Didrachm of Rhodes, Islands off Caria. AD 96-98. ?Y??????O? ???C?? ????Y?? C???C??, Laureate head right / Uncertain female figure (Rhodes?) standing right, clasping hands with Helios, holding sceptre, standing left; ?????X??? between. Karl -; SNG München -; cf. SNG von Aulock 2860; BMC 417. 23.07g, 35mm, 2h. Good Very Fine, well defined portrait. From the Mark Gibbons Collection; Ex Sternberg VII, 24 November 1977, lot 604.
Caracalla AR Tetradrachm of Laodicea ad Mare, Seleucis and Pieria, Syria. AD 205-207. AYT • KAI • ANT?N?INOC • C •, laureate, draped and cuirassed bust right / • ?HMAPX • ?? • V?ATOC • B •, eagle standing facing on ground line, head and tail right, with wings displayed, holding wreath in beak; star between legs. McAlee, Severan Group 1, 5; Prieur 1130. 13.00g, 27mm, 12h. Good Extremely Fine, with a bold and expressive portrait. Lustrous metal.
Bruttium, Kroton AR Stater. Circa 400-325 BC. Head of Hera Lakinia facing slightly right, wearing necklace and stephane decorated with palmettes; B to right / Young Herakles, nude, holding cup in extended right hand and club in left, reclining left on lion skin draped over rock; KPOT?NIATA? around, bow below. Attianese 138; HN Italy 2169; SNG ANS 375 (same dies); SNG Lloyd –; Gulbenkian 131 (same dies); Kraay & Hirmer 270 = de Luynes 728 (same dies). 7.74g, 23mm, 12h. Good Very Fine. Rare in this grade. Ex Numismatica Ars Classica 10, 9 April 1997, lot 74. The depiction of Hera on the obverse is that of a local aspect of the deity, whose sanctuary the Heraion Lakinion was situated 10 kilometres away from Kroton at Lakinion, now Cape Colonna. The site takes its name from the sole surviving column of the temple built upon that spot in around 470 BC, which was largely intact until the sixteenth century when it was extensively quarried. Theokritos’ Korydon sings the praises of the ‘Lakinian shrine that faces the dawn’, and Livy 24.3.3-7 tells us that it was ‘a building more famous even than the city itself and held in reverence by all the peoples there around’ and that within were countless masterpieces and treasures including a column of solid gold dedicated to the goddess. By the time of Livy's writings however, the temple had long been plundered. This facing portrait of Hera can be considered to be directly inspired by Kimon's famous facing Arethusa tetradrachm that was widely admired and imitated throughout the ancient world; the difficulty of creating an attractive facing portrait apparently led to engravers considering the undertaking of such a die as a challenge and proof of their skill. Hera's headdress, a low crown known as a polos, was no longer worn in classical times but was common in Mycenaean art. Many of the terracotta figurines from late Helladic IIIA Mycenaean period circa 1400–1300 BC seem to wear poloi, and its use can thus be seen as a deliberate archaism for representing a Mother Goddess. Herakles appears on the reverse of this coin in his role as ‘founder’ of Kroton. Later Krotoniate tradition conveniently bypassed Myskellos (see lot 341) in favour of associating the city with a past more ancient even than the Trojan War; according to myth Herakles landed the nearby promontory with the oxen of Gerion and was hospitably received by one Kroton and his wife Laureta. Her father Lakinio however, was discovered trying to steal on ox from Herakles' sacred herd, resulting in Herakles fighting and killing him. In the confusion, it transpired that Herakles had also mortally wounded his host Kroton. Saddened, Herakles gave Kroton an honourable burial, and predicted the founding of a great city there that would bear his name. We see also on the reverse of this coin the fabled bow of Herakles, that Philoktetes was said to have taken with him to the land between Sybaris and Kroton, where he founded the non-Greek cities Petelia, Chrone, Krimisa and Makalla. A prophecy arose as in the Trojan War, that victory would be Kroton's if the bow and arrows of Herakles would be theirs. Thus, these sacred relics of Philoktetes were removed from his tomb and deposited in the Krotoniate sanctuary of Apollo Aleos. This coin is therefore rare among Greek coins in that it may be considered to have a threefold significance - referring directly to the sanctuary of Hera, to Herakles as ‘founder’ of the city, and to the sanctuary of Apollo.
Titus, as Caesar, AR Denarius. Ephesus, AD 76. T CAES IMP VESP AVG, laureate head right, annulet below / COS V, bull standing to right on ground line. C. 56; BMC 486 (Vespasian); RIC 1483 Vespasian (Vespasian); CBN Vespasian 374; RPC 1458; BN 374. 2.75g, 20mm, 6h. Extremely Fine. Very Rare, and in exceptional condition for the issue. Minor flan crack. Ex Triton V, 15 January 2002, lot 1927. Aesthetically, this Ephesian denarius of Titus is highly impressive. The quality of the engraving on both obverse and reverse is extremely high, far surpassing that of the companion Rome mint issue. The portrait of the emperor is bold and vigorous, and is possessed of far more lifelike qualities than most contemporary issues. Titus' head and facial features are well proportioned, and the crown of laurels set upon his head seems to rest farther back than normal – the effect is quite charming, and further enhances what is a most fair and pleasing likeness. The reverse of this coin is an example of the favour demonstrated by the Flavians towards the types employed by Augustus, evoking the memory of that golden period of stability and prosperity.
Trajan AV Aureus. Rome, AD 98-99. IMP CAES NERVA TRAIAN AVG GERM, laureate head right / P M TR P COS II P P, Fortuna standing left, holding rudder set on prow with her right hand and cornucopiae with her left. BMC 31; Woytek 53a; Calicó 1042; Hill 50; RIC 4; Biaggi 501. 7.30g, 18mm, 8h. Fleur De Coin. Rare, and in exceptional state of preservation. Well centred and boldly struck, this aureus possesses a brilliant and mirror-like mint lustre; it is both a highly impressive and visually exceptionally pleasing coin. Aged forty-five when this coin was issued, the portrait here is of a vigorous and forceful ruler in the prime of his life. After the peaceful but politically strained rule of the aged Nerva, the seamless transition of power into the hands of a popular general who was already named Caesar and a serving consul when the emperor passed must have seemed like nothing less than a total (and near miraculous) rejuvenation of the principate. Indeed, the early years of the reign of Trajan were hailed as the beginning of a new golden age, a time of peace and prosperity which would last for nearly a century until the megalomania of Commodus and his ruinous fiscal policies wrought an inevitable return to civil war and economic decline. The aurei of Trajan, like those of his predecessor Nerva, are most difficult to find in such exemplary condition. This is on account of the predominantly peaceful state of affairs within the Roman territories at this time, and the economic stability this conferred. There was consequently very little hoarding of newly-minted coins as is associated with times of uncertainty or war.
Clodius Albinus, as Caesar, Æ Sestertius. Rome, AD 194-195. D CLOD SEPT ALBIN CAES, bare head of Clodius Albinus right / MINERVA PACIF COS II, Minerva standing left, holding olive branch, spear and shield; S-C across fields. RIC 54; BMCRE 535. 20.14g, 30mm, 6h. Good Very Fine, a bold and well rendered portrait.
Zenobia Æ Antoninianus. Antioch, March-May AD 272. S ZENOBIA AVG, draped bust right, set on crescent / IVNO REGINA, Juno standing facing, looking left, holding patera and sceptre; at feet left, a peacock; star in left field. RIC 2 corr. (no star); Carson, Q. Tic VII, 1978, 4; BN 1267a. 3.79g, 20mm, 12h. Near Extremely Fine. Very Rare. The wife of the ruler of Palmyra, Septimia Zenobia came to power as regent for her son Septimius Vabalathus in AD 267 after the murder of her husband Septimius Odenathus, who had been entrusted with the defence of the Roman provinces in the east by the Emperor Gallienus. A strong character and very ambitious, Zenobia expanded her sphere of influence through the capture of the province of Egypt and the expulsion of the Roman prefect Tenagino Probus and his forces in 269, a campaign aided in its success in part due to the turmoil inside the Roman Empire after the death of Gallienus. The Roman east remained under the control of the kingdom of Palmyra under the subsequent emperors Claudius II and Quintillus, and when Aurelian came to power in 270 he pragmatically chose to acknowledge Zenobia and Vabalathus in order to allow himself time to first deal with various barbaric incursions and usurpers. Though the mint for the rare portrait coins of Zenobia has long been a topic of debate, it is generally agreed now that they were struck in Syria, most likely at Emesa or Antioch, both Roman mints that were taken by Zenobia during her advance into Roman territory and expansion of her empire. The imperial title Augusta is proudly displayed on her coinage, but Zenobia's power was not to last. Having subdued the uprisings in the west, Aurelian marched on her with an army. Their forces met outside Antioch, resulting in a battle that routed Zenobia's army, which fled to Emesa. Zenobia and her son attempted to escape through the desert with the help of the Sassanid Persians, but were captured by Aurelian's horsemen and subsequently taken to Rome to be displayed during the emperor's triumphant return to the city.
Constans AV Multiple of 1 1/2 Solidi. Siscia, AD 337. FL IVL CONSTANS PF AVG, rosette-diademed, draped and cuirassed bust right / VIRTVS CONSTANTIS AVG, Constans in military attire standing to left, holding labarum and reversed spear; at his feet, a seated captive with hands tied behind; SIS* in exergue. Depeyrot -; Bastien, Donativa -; Toynbee -; Gnecchi -; RIC -, for types cf. Aquileia 3 = Paolucci - Zub, La monetazione di Aquileia romana, Padova 200, 365. 6.81g, 27mm, 6h. Good Extremely Fine. Apparently unique and unpublished. This unique and impressive gold multiple belongs to the period immediately following the assumption of the Augustate by Constantine II, Constantius and Constans following the death of their father Constantine I. Constantine had died on 22 May 337 and was buried consecrated in the church of the Holy Apostles in what was, according to Eusebius, essentially a Roman military funeral. There was, of course, no precedent for burying a Christian emperor. The all important army was induced to accept the authority only of the dead emperor's sons; by the summer all the descendants of Theodora and their partisans were massacred and bloody purges of all potential rivals continued well into 338. The singular legend on the reverse of this coin expresses Constantinian 'constant' valour and heroism, qualities that an heir of Constantine would have been very keen to emphasize. The realistic 'Constantinian' style of the portrait engraved by a very competent die cutter used to reproducing the image of Constantine furthermore argues for this being a donative issue to be dated early in the reign of the three Augusti as part of the payments so necessary to secure the loyalty of the army, the backbone of the regime and the ultimate source of power for all Roman emperors.
Merovingian, Novo Vico (Neuvy-Bouin, Deux-Sévres) AV pale gold Tremissis. Circa AD 730-735. + NIAVIAS-GVICO (or similar), stylised head in profile made up of pellets with three pellets for eye / + APOL-ENOMO, anchor cross with pellet in three quarters, pellet in crescent and bar below. Unpublished in the standard references. 1.23g, 14mm, 6h. Mint State. Apparently unique and unpublished. For a tentative identification of the issuing authority as Novo Vico (Neuvy-Bouin) cf. Belfort 3246-70 and Prou 2332; for a similar obverse portrait style cf. G. Depeyrot, Le numéraire mérovingien, L'âge du denier, Moneta 22, 2001, p. 106, 4, pl. 16 = Belfort 3621 (Pectatis, Poitiers). The moneyer’s Greek name Apoleno is clearly engraved and unknown to Belfort, Prou and Depeyrot.
CARNERA PRIMO: (1906-1967) Italian Boxer, World Heavyweight Champion 1933-34. An unusual D.S., Primo Carnera, one page, folio, Los Angeles, California, 30th December 1960. The partially printed document is an application for the renewal of Carnera's Wrestler's License issued by the State Athletic Commission of California and provides details of Carnera's address, weight, height and age etc. Signed in blue ink at the foot. Attached to the upper left corner by two staples is a passport size head and shoulders portrait photograph of Carnera. Two file holes to the upper edge, not affecting the text or signature, VG Carnera pursued a successful career as a heavyweight wrestler after retiring as a boxer. From 1946 he won 120 straight wrestling matches and retired in October 1962, two years after the present document was signed.
GRACE W. G.: (1848-1915) English Cricketer. Vintage signed 17 x 22 photogravure by artist Archibald Stuart-Wortley, the image depicting Grace standing in a full length pose, with his cricket bat slightly raised, at the crease at Lord's Ground. Grace wears his MCC cap and the old tennis court can be seen in the background. Printed in Berlin and published by Messrs. Manson, Swann and Morgan of Newcastle upon Tyne, 1st May 1891. Signed by Grace in bold pencil with his name alone to the lower border and also signed in pencil by the artist A. Stuart Wortley alongside a remarque of a cricket ball. Framed and glazed in a wooden frame to an overall size of 28 x 23. Some extremely light, very minor scuffing to the upper edge, largely affecting the border and not the image, otherwise VG Archibald Stuart-Wortley (1849-1905) Portrait Painter, a pupil of Millais. The present photogravure was reproduced in a limited edition of 200 from a large oil painting by Stuart-Wortley which was commissioned by the MCC in 1888-90 and funded by subscriptions.
FANGIO JUAN MANUEL: (1911-1995) Argentinean Motor Racing Driver, Formula One World Champion 1951, 1954, 1955, 1956 & 1957. Signed 4 x 6 photograph, the composite image comprising a head and shoulders portrait of Fangio wearing his racing cap and goggles and a second image of him driving his Mercedes-Benz racing car. With a printed caption. Signed ('J M Fangio') in bold black ink to a clear area of the image and dated 27th May 1992 in his hand. EX
SENNA AYRTON: (1960-1994) Brazilian Motor Racing Driver, Formula One World Champion 1988, 1990 & 1991. Signed colour 6 x 4 photograph of Senna driving his McLaren racing car around a circuit. With an inset colour head and shoulders portrait of Senna and printed caption at the head. Signed in bold black ink with his name alone to a clear area of the image. Matted in cream with gold coloured borders and framed and glazed in a gold coloured frame to an overall size of 11 x 11.5. VG
RAINS CLAUDE: (1889-1967) English Actor, famous for his role as Captain Renault in Casablanca (1942). Vintage signed sepia 5 x 7 photograph of Rains in a close-up portrait pose. Signed ('Your obedient servant, Claude Rains') in fountain pen ink at the base of the image, largely across a darker area. VG
SIMS JOAN: (1930-2001) English Actress, starred in various Carry On films. A good vintage signed and inscribed 8 x 10 photograph of Sims in a head and shoulders pose, with a printed caption neatly affixed to the verso indicating that the portrait was released to promote the film Carry On Regardless (1961) in which Sims starred in the role of Lily Duveen. Signed in blue fountain pen ink across a clear area of the image. About EX Provenance: Originally part of the John Toomey collection of in-person signed photographs sold by IAA Ltd in 2006.
WYLER WILLIAM: (1902-1981) American Film Director, Academy Award winner. Vintage signed and inscribed 8 x 10 photograph of Wyler seated in a head and shoulders pose. The United Artists publicity portrait was issued for Wyler's film The Children's Hour (1961) starring Audrey Hepburn, Shirley MacLaine and James Garner. Signed in dark fountain pen ink at the head of the image, largely to a clear area. Some very light, minor corner creasing, VG
SPRINGFIELDS THE: Vintage signed and inscribed postcard photograph by all three members of the British pop-folk vocal trio of the 1960s individually, comprising Dusty Springfield, Tom Springfield and Tim Field. The image depicts the trio standing together in three quarter length poses with their instruments. Signed by each with their first names to clear areas at the head of the image and additionally annotated in Dusty Springfield's hand, 'All The Best from The Springfields'. Together with a signed and inscribed 8 x 10 photograph of Dusty Springfield, the promotional image depicting the singer in a close-up portrait. Signed in black ink with her first name to the lower white border. VG to EX, 2
DALAI LAMA: (1935- ) Tibetan Spiritual Leader, Nobel Peace Prize winner, 1989. Signed colour 5.5 x 7.5 photograph, the printed paper image depicting the Dalai Lama standing in a full length pose wearing his familiar Buddhist robes. Signed in blue ink to a clear area at the base of the image, also adding the date in his hand. Together with Desmond Tutu (1931- ) South African Social Rights Activist and Anglican Bishop, Nobel Peace Prize winner, 1984. Signed and inscribed colour 4 x 6 postcard photograph of Tutu in a head and shoulders pose wearing his Bishop's robes. Signed, as Archbishop of Cape Town, in black ink to the lower white border and dated 1996 in his hand. Also including Lech Walesa (1943- ) President of Poland 1990-95, Nobel Peace Prize winner, 1983. A slim 8vo printed folding pamphlet, in Polish, featuring a colour head and shoulders image of Walesa to the front cover, signed in blue ink with his name alone to a clear area above his portrait. VG to EX, 3
FAMOUS MEN: Small selection of signed pieces and cards etc., by a variety of famous men comprising Richard Nixon, Harold Wilson, John Glenn, Liberace (signed colour 9.5 x 8.5 programme photo, 1978, signature a little faded) and Rudolf Nureyev (an 8vo printed programme boldly signed to an inside page across his biography and opposite a portrait). All are individually matted (some alongside photographs) and framed and glazed to various sizes. Generally VG, 5
MCQUEEN STEVE: (1930-1980) American Actor. Vintage signed and inscribed 6.5 x 9 photograph, the image depicting McQueen in a close-up head and shoulders portrait. Signed ('To Guy from Steve McQueen') in black ink to the image, his surname largely over a darker area. Some corner and surface creasing, G Provenance: The present photograph of McQueen was signed for the son of Alberto Santilli, a chauffeur who served as McQueen's personal driver in London in June 1969. The lot includes two copies of colour candid photographs of McQueen taken by Santilli, one showing the actor standing outdoors at Heathrow airport alongside a car.
PATTI ADELINA: (1843-1919) Italian Opera Singer. A.L.S., Adelina Patti Cederstrom, three pages, 8vo, Craig y Nos Castle, Breconshire, South Wales, 23rd June 1911, to Miss. Morgan. Patti sends her correspondent and her sister thanks for a portrait medal of King George and Queen Mary which she will 'always greatly value in commemoration of June 22nd 1911 and also as a remembrance of your kindly thought of me'. Together with a vintage art nouveau postcard featuring a colour image of a young lady, signed ('Adelina Patti, Baroness Cederstrom') by Patti to a clear area and dated 1906 in her hand. The postcard possibly neatly trimmed, with one corner neatly clipped and some light overall age wear (G), the letter VG, 2 The Coronation of King George V (1865-1936) and Queen Mary (1867-1953) took place at Westminster Abbey on 22nd June 1911 and was celebrated by the Festival of Empire in London.
REYNOLDS JOSHUA: (1723-1792) English Portrait Painter. Scarce, dark ink signature ('Sir Joshua Reynolds') on a piece, slightly irregularly clipped at the base and most likely removed from a page of a visitor's book, attractively matted in ivory and cream and laid down alongside a small contemporary note in an unidentified hand, stating 'This is the signature and writing of Sir J. Reynolds on his viewing the house & paintings at Cowdray House in Sussex about 1785'. Matted beneath an antique engraving of the famous self-portrait of Reynolds (published by Cadell & Davies of London, 8th May 1809) and framed and glazed in a gold coloured frame to an overall size of 16 x 20. About VG Cowdray House was one of the great Tudor houses of England, situated close to Midhurst in West Sussex. Several years after the visit of Reynolds, in September 1793, the house was largely destroyed by fire during the course of restoration work. From the collection of paintings acquired by the owners, the Viscounts Montagu, only three were to survive.
TUNNEY GENE: (1897-1978) American Boxer, World Heavyweight Champion 1926-28. Vintage signed and inscribed 8 x 10 photograph of Tunney standing in a three quarter length pose behind a chair. Signed in bold black ink to a light area of the image, 'To Bernard Gimbet, a learned “Doctor” and a noble friend - with heartfelt congratulations on his 80th, Gene Tunney' and dated 10th April 1965 in his hand. Some very slight, extremely minor corner creasing, VG Tunney served in the United States Marine Corp (and indeed starred in a film entitled The Fighting Marine) and it is interesting that one of the photographs hanging on the wall in the present image is a signed portrait of American Admiral Chester W. Nimitz signing the Japanese Instrument of Surrender on 2nd September 1945.
SHAW GEORGE BERNARD: (1856-1950) Irish Playwright, Nobel Prize winner for Literature, 1925. A.L.S., with his initials GBS, on one side of his printed correspondence card, Ayot St Lawrence, Welwyn, Hertfordshire, 7th March 1938, to Marcel Sternberger. Shaw proposes an appointment with his correspondent, writing '10.30 on Friday morning at 4 Whitehall Court is the only moment I can spare this week' and further remarks 'Thanks for the stamp, an admirable example of the new picture-portrait style'. Hand addressed by Shaw to the verso, which also features a red 1d postage stamp (possibly the one referred to by Shaw) bearing a profile portrait of King George VI. The verso shows extensive overall traces of glue stains and former mounting, however the holograph address, stamp and postmark remain perfectly legible. About VG Marcel Sternberger (1899-1956) Hungarian Portrait Photographer whose subjects included Sigmund Freud, Albert Einstein and, indeed, George Bernard Shaw.
STEINBECK JOHN: (1902-1968) American Writer, Nobel Prize winner for Literature, 1962. Fountain pen ink signature ('John Steinbeck') on an oblong 12mo white card, matted in white and black alongside an engraved plaque and beneath a reproduction portrait of the writer. Framed and glazed in a plain gold coloured frame to an overall size of 12 x 16. VG
WAUGH EVELYN: (1903-1966) English Writer. Bold red signature ('Evelyn Waugh') in indelible pencil on a card. A newspaper portrait of Waugh is neatly affixed to the left of the signature. Dated 19th August 1947 in the hand of a collector to the verso. Some extremely light, minor age wear, otherwise VG
HILLARY EDMUND: (1919-2008) New Zealand Mountaineer, the first man, with Tenzing Norgay, to reach the summit of Mount Everest, 1953. Signed First Day Cover commemorating Queen Elizabeth II and featuring her portrait, the envelope also bearing four different postage stamps, each featuring images of the Queen, and with Registered Mail and Air Mail stickers neatly affixed. Signed ('E P Hillary') in black ink to a clear area. Post marked at Southsea, 3rd June 1953. Some very light, extremely minor age wear, otherwise VG News of Edmund Hillary's successful ascent of Mount Everest reached Britain on the day of the coronation of Queen Elizabeth II, on the 2nd June 1953, and the press called the mountaineer's achievement a coronation gift.
MARY OF TECK: (1867-1953) Queen Consort of the United Kingdom 1910-36, wife of King George V. An attractive vintage signed colour 13 x 17 print by the artist Cecil Cutler, the image depicting Queen Mary in a head and shoulders pose wearing a feathered hat and coat with a fur collar. Signed ('Mary') in fountain pen ink to the lower border and dated 1912 in her hand. Also signed in bold pencil to the lower border by the artist with his name alone. Matted in cream and framed and glazed in a wooden frame to an overall size of 21.5 x 25.5. Unusual in this form. A few extremely light, minor spots of foxing to the borders, VG Cecil Cutler (1886-1934) British Portrait Artist.
John Scott (fl.1844-1866) Portrait of the steamer Providence off a coastline Signed and dated 1876, oil on canvas, 49.5cm by 75cm In fully restored condition. Re-lined, cleaned and re-varnished. Surface somewhat flattened in the process. Consistent over painting throughout the sky. Not examined with a UV light.
Follower of Peter Paul Rubens (1577-1640) Portrait of a lady, half length, wearing a black dress trimmed with a lace collar, a bodice embroidered with a gold floral design and a huke Oil on panel, 92.5cm by 72cm Both The Courtauld Gallery, London, and the British Museum hold drawings of Hélène Fourment, Rubens' second wife, wearing a huke. The Louvre Gallery also has an oil example c.1639 ''Hélène Fourment with Carriage'' which shows the sitter in similar attire.
John Butler Yeats RHA (1839-1922) Portrait of Mrs Gracie Yeats (Mrs Matthew Yeats), head and shoulders Oil on canvas, 59.5cm by 49.5cm Provenance: J Edwin Yeats (the sitter's son), Toronto, Canada; Thence by descent; Sotheby's, Billingshurst, August 2001; Private collection, Nottinghamshire A.G.M Yeats, or 'Gracie Yeats' as she was known, was John Butler Yeats' aunt by marriage. 5 fairly rudimentary patch repairs to the reverse of the canvas. Push mark/ tear to canvas right hand side. Stretcher shadow. Rubbing to edges with minor loss to canvas top edge. Stable cracquelure. Surface dirt and discoloured varnish. Not examined with a UV light.
Thomas Cooper Gotch RBA, RI (1854-1931) Self portrait in profile Oil on canvas, 58cm by 44.5cm Provenance: Christie's South Kensington, May 26, 2005 In restored condition. Re-lined, cleaned and re-varnished. Re-touching/ over-paint across forehead, linear overpainting to hair strands at temples and horizontal patch to the top of the head approx 3-4cms long. Further small sized patches of re-touching at the bridge of the nose, below the nose and towards the cheek. Minor re-touches within the hair and one or two on the neck and a slightly larger patch to the nape of the neck. Some strengthening to the shoulder/ silhouette, across left hand side background and lower edge. Paint is somewhat thin across his jacket, with small sized cracquelure throughout and around the crown of his head. Better, albeit slightly flattened impasto within the face. Cockelling to canvas. Superficial surface dirt and scuff to top left hand corner.
John Bratby (1928-1992) Head and shoulders portrait of Steve Race Signed, labels verso inscribed ''Greenwich Dec.11th, 1977, oil on canvas, 40cm by 35cm The portrait was painted at St. Paul's Parochial Room, Royal Hill Greenwich, London SE10, December 11, 1977 Exhibited: ''The Individual in an Egalitarian Society'' John Bratby Portraits'' Royal Festival Hall, London, March 6 - May 6, 1978 ''John Bratby Portraits'', Royal Festival Hall, London, Jan 14 - February 22, 1983 *ARR/(Droit de Suite) applies to this lot
Norman Stansfield Cornish (1919-2014) Portrait of Jack Cornish, head and shoulders Coloured chalks, 43cm by 41cm; together with a further head and shoulders portrait of Jack's wife Joan, signed and dated 1941, oil on board, 50cm by 35cm, unframed (2) Provenance: From the family of Joan Cornish *ARR/(Droit de Suite) applies to this lot
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