BYRD (RICHARD EVELYN)Little America. Aerial Exploration in the Antarctic. The Flight to the South Pole, NUMBER 905 OF 1000 COPIES, SIGNED BY THE AUTHOR, photogravure portrait frontispiece, 2 folding maps, illustrations (most photographic), publisher's half boards, New York, G.P. Putnam's, 1930; Into the Home of the Blizzard, COPY NUMBER 95 from an unspecified edition, this copy presented to John Wells Morss, illustrations, bookplate ('from the Polar Collection') of Andrew Taylor, publisher's stiff wrappers [Spence 225], New York, New York Times, 1928--PETERSEN (CARL OSCAR) Med Byrd og Balchen mot Sydpolen. Nordmennene i Little America, FIRST EDITION, AUTHOR'S PRESENTATION COPY INSCRIBED, 'To my good friend Dr. Daana Coman, one of the Norwegian members and good friends on the Byrd Expedition, with best wishes and thanks for the good time we had together at Little America. Hope we will be together on another expedition. Carl' on the title, photographic plates, publisher's cloth, dust-jacket (split at inner margin of upper cover), Oslo, Gyldenal, 1931, 8vo (3)This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
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
PONTING (HERBERT GEORGE)'Captain Scott's Last Birthday Dinner, 1911. (Officers' Table.)', toned silver bromide print, on card, captioned in ink on the original Fine Art Society label on verso, contemporary oak frame [FAS 1913, No. 51], 480 x 515mm., [1911, printed 1913]Footnotes:Fine photograph of the Scott and his officers seated for dinner to celebrate his forty-third birthday on 6 June 1911 in Antarctica. 'It shows that they ate very well and that this special occasion they took great care with the presentation of the meal... There is a strong patriotic atmosphere: a Union Jack is laid on the table and behind Scott we see sledge flags belonging to the team' (D. Hempelman-Adams, S. Gordon and E. Stuart, The Heart of the Great Alone. Scott, Shackleton and Antarctic Photography, 2009, p.113).The Fine Art Society mounted the first public exhibition of Ponting's photographs at their gallery in New Bond Street, London on 4 December 1913, displaying 146 images, and generating some 680 orders. They were available in four sizes, the present sample being the third largest exhibition format. Landscapes proved the most popular, with comparatively few portrait ordered (for example just thirteen orders were received for the special set of large photographs of the polar party), with the present image rare and one of the few images Ponting developed as toned silver bromide prints.Provenance: Fine Art Society label (captioned in ink 'Capt. Scotts Birthday Dinner / 1911. / 51' on the reverse), with pencil name 'Jeffreys L.' beneath in pencil. On the backing board of the frame is a trade label of Richard Jeffreys, picture dealer and framer, Liverpool.For further information on this lot please visit Bonhams.com
BOURNE (SAMUEL), and othersAlbum of 55 photographic views of India by Samuel Bourne, W. Baker, J.H.Clarke, Molterno, Craddock and others, including views of Kashmir (16), Delhi (5), Agra and Fatehpur Sikri (10), Mussorie (6), Gwalior (2), Lower Bengal (2), Lucknow (2), Allahabad, and some portrait groups of British military and Colonials, and Nautch girls, albumen prints, most mounted one per page recto only (a few on verso, the 12 quarter or half-page images mounted between 2 and 4 per page), all captioned in ink on mount, images typically 240 x 295mm. or similar, 12 smaller, late nineteenth century Kashmiri papier-maché and lacquered binding, decorative blue pastedown endpapers stamped in gilt, pink watered silk free endpapers, 4to (300 x 290mm.), [c.1868-1880]Footnotes:Bound in a Kashmiri papier maché and lacquer binding, the album was seemingly compiled by British officer of the 4th or 11th Hussars, perhaps whilst stationed in Mussoorie and Kashmir. The album includes images by a variety of photographers including ones signed in the image by Bourne (12), W. Baker (4), J.H. Clarke or Clarke & Co. (6, one signed in ink on image), Molteno, Saché, and Craddock.For further information on this lot please visit Bonhams.com
![[DALVIMART (OCTAVIEN)]The Military Costume of Turkey, FIRST EDITION, stipple-engraved portrait frontispiece by Thomas Charle](https://cdn.globalauctionplatform.com/ef2e5e31-f32e-4e28-b6fe-b00e00c42f10/4413e1c2-ebf0-49b6-9b6e-b00e00de21ae/468x382.jpg)
[DALVIMART (OCTAVIEN)]The Military Costume of Turkey, FIRST EDITION, stipple-engraved portrait frontispiece by Thomas Charles Wageman, additional hand-coloured title with vignette, and 29 plates (watermarked 'Charles Wise 1818'), light spotting throughout, slight offsetting to text, contemporary green straight grained morocco gilt, g.e., slightly rubbed [Abbey Travel 373], small folio (360 x 260mm.), B.R. Howlett for T. McLean, 1818This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
INDIA - PRINCELY RULERLarge portrait of an unidentified youthful princely ruler, standing full-length wearing rich jewellery on headwear, arms and waistband with a string of pearls, in a studio setting with very large gold throne with lion-shaped arms, carved pillars and a view through curtains to a room beyond, overpainted photograph, window-mounted, image approximately 540 x 430mm., [first half of twentieth century]For further information on this lot please visit Bonhams.com
SCOTT (ROBERT FALCON)'Captain Scott, R.N.', a portrait of the commander of the National Antarctic Expedition wearing the Polar medal and the Royal Victorian Order, bust length within wreath and flag, chromolithograph, vignettes of the 'Discovery', a sledging party, men in the tent around a stove, and in sleeping bags beside their snow shoes in corners, small 6-line printed note (20 x 185mm.) about Scott loosely inserted inside frame, framed and glazed, image to view 605 x 450mm.,n.d.--'Robert Falcon Scott, Captn, R.N.... Reached Pole January 18th 1912', chromolithographed portrait of Scott, as issued within card mount printed with caption and small image of 'Terra Nova', framed and glazed, 210 x 145mm., [c.1912]; and another framed image of Scott (3)For further information on this lot please visit Bonhams.com
Grace Clark (British 20th Century)Portrait of the Nepalese Sherpa mountaineer Tenzing Norgay signed 'Grace Clark' (lower right); inscribed 'Mrs Grace Clark/131 Arthur Road/Wimbledon Park- London S.W.19./Tensing Norkey/schedule no. 2' (on label on backing paper)pastel39.4 x 31.4cm (15 1/2 x 12 3/8in).Footnotes:ExhibitedLondon, Royal Institute Galleries, Pastel Society's Annual Exhibition, 1954.Foyle Gallery Exhibition (according to the label on backing paper).Believed to be born in 1914/1915, Tenzing Norgay undertook his first expedition as a porter in 1933 when he was invited to be a member of the team of Sherpa porters for the British expedition to Everest. Over the course of the next few years, he took part on more Everest expeditions than any other. It is therefore no surprise that Tenzing was hired as lead Sherpa for the 1953 British expedition to Everest, and on 29th May, he, along with the New Zealand explorer Edmund Hillary, became the first person to set foot on the summit of Mount Everest.Grace Clark lived in India for many years with her husband Colonel T. W. Clark, a member of the Indian Education Service, before returning to England. She drew several portraits of Sherpas and other subjects from her time in India. A set of 12 pastel drawings by Clark from 1943, associated with the Indian Army are in the collection of The National Army Museum, London. When the present work was exhibited at the Pastel Society's Annual Exhibition in 1954, the Evening Standard and the The Yorkshire Post had commented on Clark's portrait of Tenzing (Tensing), saying that the work was attracting much attention. The Yorkshire Post had said it was 'a notable work, showing something of the mysticism as well as the fascinating smile of the man'.Saleroom notices:Please note the artist dates are 1896-1976.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Nam TingThe British ship Rangoon off the China coast inscribed 'Ship RANGOON' (lower centre), inscribed 'Nam.Ting/Ship-portrait Painter/QUEENS ROAD No.60' (on label attached verso), stencilled in red with the number '32' (verso) and bears indistinct inscription 'North China Insurance Coy/Hong/...' (on canvas overleaf)oil on canvas30.1 x 40.6cm (11 7/8 x 16in).For further information on this lot please visit Bonhams.com
An Indian reverse painting on glass, late 19th/early 20th century, depicting a portrait of a general on horseback, 34.5cm x 24cm, framed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A pair of Japanese Satsuma earthenware figural candlesticks, Meiji period, each modelled standing on a naturalistic base, height 20.7cm, each fitted with a gilt metal pricket, together with a pair Satsuma circular dishes, each painted and gilt with a bust portrait of a bijin, diameter 30.5cm.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Französisch -- um 1630. Bildnis des Janseniten Antoine Singlin.Öl auf Holz. 22,8 x 16,8 cm (oval). Verso von alter Hand in Feder bez. "Messire Antoine de Singlin / Supérieur de Fort Royal, mort / le 17 avril 1664 age de 67 ans." sowie auf einem Papierstreifen alte Besitzerangaben "Ce portrait a ete fait pour Mada[me] Martinoz[zi] / Princesse de Conti dont l'initiale M. est imprimé / [unleserlich] bois. Il a appartenu succesivment a / plusieurs personnages de grande édification et dans / les derniers tem[p]s à Madame de Fo[...]".Antoine Singlin (1607-1664) war eine erstrangige Figur in den Gemeinschaften von Royal-des-Champs und Port-Royal-de-Paris, den Zentren der streng asketischen religiösen Bewegung der Janseniten. Vor seiner Vertreibung aus Paris im Jahre 1661 im Zuge der wachsenden Verfolgung der Janseniten durch Ludwig XIV., diente Singlin hochrangigen Persönlichkeiten wie dem Philosophen Blaise Pascal als Beichtvater und spiritueller Führer. Während der Exiljahre fand er Zuflucht bei einer engen Vertrauten, der rebellischen Fürstin Anne Geneviève de Bourbon, Fürstin von Longueville, die sich nach dem Scheitern der Fronde ganz der Religion zuwandte und zur wichtigsten protectrice der Janseniten wurde. Bei ihren Bemühungen um Singlin und seiner Gemeinschaft konnte Longueville auf den Beistand ihrer Schwägerin Anne Marie Martinozzi, Fürstin von Conti, zählen, einer Nichte von Kardinal Mazarin. Unser kleinformatiges, intim anmutendes Bildnis stammt laut rückseitiger Bezeichnung aus dem Besitz der Letzteren. Das einzige bislang bekannte Porträt von Singlin malte Philippe de Champaigne. Es befindet sich heute im Getty Museum, Los Angeles (Inv. 87.PA.3) und zeigt den Priester im Alter von rund 40 Jahren, wohingegen unser Gemälde ganz offensichtlich ein Jugendbildnis ist. Er dürfte hier etwa halb so alt sein, die Züge sowie der intensive und zugleich meditative Blick sind jedoch die gleichen.Provenienz: Aus dem Besitz von Anne Marie Martinozzi (1637-1672), Fürstin von Conti (rückseitige Annotation). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Österreichisch -- um 1840. Bildnis eines eleganten Herrn im dunkelgrünen Rock mit Hut.Öl auf Leinwand. 63 x 47,5 cm. Unten links auf dem weißen Umschlag bez. "Julius Mittag".Das gekonnt gemalte Portrait eines Herrn mit fein geschnittenen Gesichtszügen gibt Rätsel auf. Könnte es sich um ein Selbstportrait handeln? Aber wo sind die Malutensilien? Vielleicht ist es ein Freund, ein Literat womöglich? Unten links findet sich auf einem weißen Umschlag prominent geschrieben der Name "Julius Mittag". Doch eine passende Person dieses Namens konnten wir nicht eruieren. So muss die Qualität allein für sich sprechen. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Wegener, Johann Friedrich Wilhelm -- Kleines Malteserhündchen am Elbufer.Öl auf Leinwand. 58 x 71 cm. Unten rechts signiert und datiert "J. F. W. Wegener. 1858.".Der aus ärmlichen Verhältnissen stammende Friedrich Wilhelm Wegener bestritt seinen Lebensunterhalt zunächst als Buchdrucker und Lithograf, bevor ihm eine Erbschaft das Studium an der Dresdener Kunstakademie ermöglichte. Dort lernte er bei Johann Christian Clausen Dahl und Carl Christian Vogel von Vogelstein. 1860 wurde der Künstler zum sächsischen Hofmaler ernannt. Die Gemälde Wegeners, der sich vor allem der Landschafts- und Tiermalerei widmete, fanden besonders in den höfischen Kreisen Anklang. Das Malteserhündchen mit roter Halsschleife und goldenem Anhänger dürfte das naturgetreue Portrait eines geliebten Haustiers einer Familie von Stand sein. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
FOLIO SOCIETY CLASSIC NOVELScomprising Moll Flanders by Daniel Defoe, The Ambassadors and The Portrait Of A Lady by Henry James, Jane Eyre by Charlotte Bronte, Far From The Madding Crowd by Thomas Hardy, Cranford by Mrs. Gaskell, Ralph Rashleigh by James Tucker, Vanity Fair by William Thackeray, North And South by Elizabeth Gaskell, Scarlet And Black by Stendhal, Wives And Daughters by Elizabeth Gaskell, Silas Marner and Middlemarch by George Eliot, Lorna Doone by R.D.Blackmore, The Forsyte Saga The Man Of Property, In Chancery and To Let, all with slip cases (17)
FOLIO SOCIETY HISTORICAL INTEREST BOOKScomprising Bestiary with an introduction by Richard Barber, The Folio Book Of Days with an introduction by Roger Hudson, Culloden and Glencoe by John Prebble, Cities And Civilisations by Christopher Hibbert, London Portrait Of A City compiled by Roger Hudson, The Jubilee Years 1887-1897 compiled by Roger Hudson, The Origins Of The Second World War by A.J.P.Taylor, The Pre-Raphaelires And Their World by William Michael Rossetti, Elizabeth I b y Maria Perry, William The Conqueror by David C.Douglas and The Blind Watchmaker by Richard Dawkins, all with slip cases (12)
A hallmarked 9ct yellow gold Nefertiti necklace pendant. The Egyptian interest pendant depicting a profile portrait of Nefertiti known for her elegance and leadership role in Ancient Egypt, shown wearing the headdress of a Pharaoh, an indication of her influence and power set to an oval bale. Hallmarked with import mark for Birmingham 1989. Total weight approx 1.3g. Measures approx 3x1.5cm.
An assorted collection of antique & later costume jewellery. The lot to include a gold / yellow tone metal star set seed pearl & blue enamel knotted stick pin, spotted stone set brooch pin with C clasp verso, three female portrait carved cameo brooches, Royal Army Service hat pin, fancy link necklace chain, pear cut purple stone set twin heart with crown brooch, simulated turquoise cabochon line bracelet & a box chain with cage pendant. Surface tests of stick pin indicate gold in places to mount. Total weight approx 126.3g. Largest measures approx 62cm.
A hallmarked 9ct yellow gold portrait locket brooch pin. The antique locket pendant brooch having a central portrait of a lady framed within domed glazing and a gold mount surmounted by a bow motif. The locket having pin and C clasp verso. Hallmarked for Chester 1907, makers marks for W.J.P - William John Pellow. Total weight excluding glass & portrait approx 3.8g. Measures approx 6cm.
Of Admiral Lord Nelson Interest - Two late Victorian 19th century & later commemorative hammered copper dish with central silver medal depicting a portrait of Lord Nelson, together with a Bakelite on slate profile portrait of the admiral framed in gilt frame. The dish measuring approx. 15cm in diameter.
Kingsley Obasi (Nigerian 1983-), 'Family Portrait', 2020, unique acrylic on canvas, signed and dated ; canvas: 160 x 117cmcanvas: 150 x 120cmIn good condition/artist's conditionNo sign of paint loss or restorationSome cracking in the paint in sections to the canvas edges, predominantely to the left-hand edgeMinor wear to lower left corner of the canvas, visible upon close inspectionSections of 'matter' can be seen to the canvas, most likely from time of productionIn good condition/artist's condition
ALAIN JACQUET (1939 -2008)Portrait d'homme 1964 signé, titré et daté 1964 au revers sérigraphie sur toilesigned, titled and dated 1964 on the reversesilkscreen on canvas160 x 112 cm. 63 x 44 1/8 in.Footnotes:Cette Å“uvre est répertoriée sous le n° AJ-PHNEG-VOR-64-1 dans le catalogue raisonné de l'artiste ; un certificat du Alain Jacquet Comity sera remis à l'acquéreur.ProvenanceCollection Monsieur Bob Calle, Paris Vente : Artcurial, Paris, Art abstrait et contemporain, 23 octobre 2012, lot 318Acquis dans cette vente par le propriétaire actuelThis lot is subject to the following lot symbols: AR WAR Goods subject to Artists Resale Right Additional Premium.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
EDUARDO ARROYO (1937-2018)Sans titre (Portrait au Chapeau) 1982 signé et daté 1982gouache et mine de plomb sur papiersigned and dated 1982gouache and graphite on paper51.7 x 39.7 cm.20 3/8 x 15 5/8 in.Footnotes:Un certificat d'authenticité des archives de l'artiste pourra être établi, à la charge de l'acquéreur. ProvenanceAcquis directement auprès de l'artiste par le propriétaire actuelThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Cassandra Annie Walker for Della Robbia'Cantagali shape' twin-handled vase, dated 1903Terracotta, slip and sgraffito decorated with two portraits of women after Botticelli and Glasgow School stylised foliage, having moulded ring or 'fish' handles, coloured and glazed.32 cm highIncised Della Robbia galleon mark, with D R, 1903, C.A.W, .321. and 143 in an oval.Footnotes:LiteraturePeter Hyland, The Della Robbia Pottery, Birkenhead 1894-1906, 2014, p.164, Fig.174 (shows similar form recorded as 'Cantagali shape' and decorated with a paler, portrait of a woman, noted as after Botticelli)Cassandra Annie Walker was one of Della Robbia's best and longest serving designers and artists, and as with all of those who worked there, she would have executed her own designs as well as some by others. She continued her artistic education whilst working for Della Robbia and signed up for classes at the Liverpool School of Architecture and Applied Art (the 'Art Sheds') in 1896 and 1901, respectively. Interestingly, Herbert McNair, one of 'The Glasgow Four', moved to Liverpool in 1898 to take up a teaching post at the School. Herbert married Frances MacDonald in 1899 and they stayed in Liverpool until 1905. The connection to the School perhaps explains the Glasgow style influence of the decoration on the sides of the present vase.For further information on this lot please visit Bonhams.com
Clement MartinFour-sided 'Dragon' vase, 1937Stoneware with black lustre glaze. Together with a stoneware portrait plaque incised 'D M Browne'.26 cm highUnderside incised Martinware/Southall/G-B-37.X.I.(2)Footnotes:ProvenanceCollection of Sydney Greenslade, benefactor of the Martin brothers Collection of the Rev. W.H.S. WebbThence by descent to the present ownerFor further information on this lot please visit Bonhams.com
Emil Nolde, Portrait des Musikers ErdmannAquarell auf Japan. 50,9 x 35 cm. Unter Glas gerahmt. Unten rechts mit Bleistift signiert und bezeichnet 'Erdmann von Nolde'. - In guter Erhaltung.Das Aquarell ist im Archiv der Stiftung Ada und Emil Nolde, Seebüll, unter der Nr. Fr.A. 658 verzeichnet.Manfred Reuther, Klockries, ist gerne bereit, auf Anfrage eine Expertise auszustellen.ProvenienzGalerie Wilhelm Grosshennig, Düsseldorf (1979); Privatsammlung Nordrhein-WestfalenAusstellungenFlensburg 1967 (Städt. Museum), Emil Nolde in Flensburg. Zum 100. Geburtstag, Kat. Nr. 105 - [Irene Erdmann]; Düsseldorf 1979 (Galerie Wilhelm Grosshennig), Ausgewählte Meisterwerke des 20. Jahrhunderts, Kat. S. 30 mit Abb.LiteraturChristof Bitter/Manfred Schlösser (Hg.), Begegnungen mit Eduard Erdmann, Darmstadt 1968, S. 243 mit Abb.; Marek Bobéth, Eduard Erdmann, Leben und Wirken eines Deutschbaltischen Künstlers, in: Muzikas akademijas raksti, Riga 2009, S. 131-163, S. 137 mit Farbabb.; Horst Jordt/Volker Scherliess (Hg.), Aus Klimbams Garten. Irene und Eduard Erdmann in persönlichen Erinnerungen, Kiel/Hamburg 2019, S. 176 mit Farbabb.
Æthelred II (978-1016), Penny, Helmet type, Thetford, Eadric, eadric mon deod, additional crosses on reverse in second and third quarters, 1.17g/3h (Carson –; BEH –; N 775; S 1152). Slight crease with associated stress mark, otherwise very fine with a clear portrait; the reverse variety very rare £240-£300
Archbishops of York, Abp Ecgberht with Eadberht, Sceatta or Penny, ecgberht s, archbishop seated right with arms outstretched, flanked by crosses, rev. otberenteγ (retrograde), small cross within pelleted circle, 1.00g/9h (Bude III; Abramson 74-50; N 192; S 852). Striking crack and small edge chip otherwise very fine with a clear portrait of the ecclesiastic £300-£360
![Henry II (1154-1189), Tealby coinage, Penny, type A2, Wallingford, Fulke, fvlcke [–]n: vali, 1.44g/7h (BMC 748, possibly same](https://cdn.globalauctionplatform.com/5cf6bd4e-9921-483e-b1fc-afa1011f5bf3/5ab09438-fcd9-4424-97cf-affd00ed9165/468x382.jpg)
Henry II (1154-1189), Tealby coinage, Penny, type A2, Wallingford, Fulke, fvlcke [–]n: vali, 1.44g/7h (BMC 748, possibly same rev. die; N 952; S 1337). Full flan with the king’s portrait and much of the legend struck up, very fine, toned; the mint excessively rare £900-£1,200 --- Provenance: H. Montagu Collection, Part II, Sotheby Auction, 11-16 May 1896, lot 371 (part); L.E. Bruun Collection, Sotheby Auction, 18-22 May 1925, lot 240; Capt. R.D. Wills Collection, Glendining Auction, 6-8 December 1938, lot 436; F. Elmore Jones Collection, Glendining Auction, 13 April 1983, lot 1182; Royal Berkshire Collection
A New Baronial Penny from the mint of ‘Alve’ Stephen (1135-1154), Baronial Issues, Penny, Profile/Pellets-in-Crescents type, Alve?, uncertain moneyer, +[–]sefe[–], small bust right holding sceptre, ornamental s with large crescent-shaped serifs, rev. +[–]d o[–] o alve:, long cross with saltire imposed over centre, pellet and pellet-in-crescent motif in each angle, ornate annulet-like o and chevron-barred a, 1.04g/5h (Mack –; cf. N 949). Peripheral weakness and with a few light marks consistent with being a field find, otherwise very fine, the portrait well struck up and of singularly elegant style and with an unrecorded mint-signature; excessively rare thus, and presumed UNIQUE £5,000-£6,000 --- Provenance: Found near Bossall (North Yorkshire), January 2023 (EMC 2023.0038) Presented here for sale is a most unusual penny of the twelfth century. Struck from dies of accomplished workmanship and incorporating what appears to be a previously unattested mint signature, the coin in question is of great numismatic interest. Before turning to the matter of attribution, it is first appropriate to highlight several of the coin’s more irregular stylistic features. The bust is well-sculpted with a heavy jowl and a large almond-shaped eye; the reader’s attention is drawn in particular to the rendering of the figure’s ear, a most unusual feature for this period. Further, both legends (obverse and reverse) make use of ornamental letters: the S in the king’s name is formed of a snaking body with large crescent serifs, while the A on the reverse is chevron-barred, and separated from the preceding text by an ornamental annulet. These characteristics result in a coin of distinct style and artistic quality, struck from dies which bear little resemblance to those produced at the ‘official’ Fitz Otto workshop in London. During this period, the use of ornate letters and decorative ornaments is usually associated with the Baronial coinage and the employment of Flemish or European moneyers, evidenced most clearly in the York group. This arrangement, when considered alongside the mint-signature, suggests a context outside of the normal mechanisms of coin production. In turn, this recalls William of Newburgh’s description of monetary disorder during the Anarchy: ‘in England there were in a sense as many kings, or rather tyrants, as there were lords of castles. Each minted his own coinage, and each like a king had the power to lay down the law for his subjects’. On account of its reverse type, there is an initial temptation to associate this coin with the ‘Pellets in Annulets’ coinage struck under David I as king of Scotland (Stewartby Gp IVc). While certainly plausible, such an assumption seems far from certain. Stylistically, the coin is both distinct from, and far superior to, the Sterlings produced at the mints under David’s control. Further, the coin appears to have been struck to a lighter weight standard than that employed for the early Scottish coinage (which consistently produced Sterlings of around 1.40g). It should also be noted that the mint reading alve (taking the preceding character to be an ornamental annulet) finds no find match in the Scottish series. While it is true that this signature is also unattested south of the border, and that both scenarios require us to propose a new mint-place, it seems more likely that a temporary mint would be located in England; at this time Scotland’s coinage was in its infancy with production focused on a select few locations, whereas in England the system of small (and sometimes occasional) provincial mints was, by this point, firmly established. In addition, it is worth remembering that the ‘Pellets in Annulets’ type employed by David was actually copied from the English coinage; introduced under Henry I (types 8 and 12), the type’s use was continued for select southern Baronial issues during the Anarchy, including a curious piece which also incorporates the small central saltire seen on our coin (Mack 274). An alternative approach would be to take the coin’s light weight as a cue towards its point of origin. At 1.05g the coin appears to have been struck to the same distinctive weight standard employed for the south-western Baronial issues, including the coins struck under Matilda and Robert of Gloucester at Bristol. Following this thread we can turn to consider the enigmatic mint signature carried by our coin. Domesday Book contains numerous place-names beginning ‘Alve’. Of these, the largest and most significant appears to have been the royal manor of Alveston in Gloucestershire, afforded a value of £60 in 1086. The manor appears to have come into the possession of Henry of Anjou during the course of the late 1140s. Its position before that point is unclear, although being located where it was it is plausible that king Stephen travelled through the estate following his release from imprisonment in Bristol in November 1141. However, once again there are obstacles which prevent this attribution from being accepted outright. One wonders why a coin produced in an area of Angevin control, adhering to the ‘Angevin’ weight standard, would name king Stephen on its obverse? Further, given the discovery of this coin in North Yorkshire, we might expect it to have been struck at a more northerly mint.
Henry VIII (1509-1547), Posthumous coinage, Groat, Durham House, mm. bow, bust 6, crescents in forks, square pellet stops on obv., saltires on rev., 2.74g/8h (Whitton p.310 & pl. xix, 16; N 1873; S 2405). Adjustment marks on obverse, otherwise about very fine, good portrait for issue, rare £500-£600
![Elizabeth II (1952-2022), The Queen’s Portrait Collection, 2013, comprising Proof Five Pounds (4) (S PGCS15) [4]. Brilliant,](https://cdn.globalauctionplatform.com/5cf6bd4e-9921-483e-b1fc-afa1011f5bf3/78c5d241-2ecc-4d2f-851d-affd00e33a21/468x382.jpg)
George III (1760-1820), New coinage, Uniface portrait trial for a Sixpence, by J. Barber, in silver, laureate head right within solid circular border, signed i barber f below, 2.31g (ESC 2228). Extremely fine, attractively toned, very rare £1,000-£1,200 --- Provenance: SNC June 2001 (G 3105); A. Bole Collection, Part III, DNW Auction 91, 16 March 2011, lot 167
Henriette Wyeth-Hurd (American 1907-1997)Portrait of Margaret Cummins (1889–1973)Signed, dated and inscribed For Maggie with affection Henriette Wyeth Hurd/1946/San Patricio NM (to label)Black chalk45.3 x 30.3cmProvenance:Given by the artist to Margaret Cummins (1889-1973);And by descentMargaret Cummins was an actress, and mother of the actress Peggy Cummins (1925-2017).
Φ Baron (Sterling Henry Nahum) (1906-1956)Portrait of King George VI, Princess Elizabeth (later Queen Elizabeth II), Prince Charles (later King Charles III), Prince Philip and Queen Elizabeth at the christening of Prince Charles, 15 December 1948Photographic print29.7 x 37.3cmUnframedTogether with Attributed to Baron (Sterling Henry Nahum) (1906-1956); Portrait of Princess Elizabeth (later Queen Elizabeth II), Prince Charles (later Charles III), and Prince Philip; Portrait of King George VI, Princess Elizabeth (later Queen Elizabeth II), Prince Charles (later Charles III), and Queen Mary; Portrait of Queen Mary and Prince Charles (later Charles III); Three, each photographic print; Each 37.2 x 30cm; Unframed (4)
Φ Eric Kennington RA (1888-1960)Portrait of Kenneth Struthers (1887-1916), the artist's brother-in-law, bust-lengthInscribed and dated Eric H Kennington/Portrait of/Kenneth Struthers/Sept 09 (to reverse)Oil on board27.1 x 21.1cmTogether with After Eric Kennington; Portrait of Kenneth Struthers (1887-1916), the artist's brother-in-law; Reproduction print; 32.2 x 26.2cm (2)Provenance:Property of Eric Kennington;And by family descent
John Tweed (1869-1933)Portrait bust of Sir Leander Starr Jameson, 1st Bt. (1853-1917)Signed, dated and inscribed A Mon Ami/Docteur Jameson/Paris 97 John Tweed (to back)Bronze59 x 33.2 x 25.9cmProvenance:Sir Roy Welensky (1907-1991), Prime Minister of the Federation of Rhodesia and Nyasaland;And by family descentLeander Starr Jameson was a British colonial politician, who was the Prime Minister of the Cape Colony from 1904-1908. He is perhaps best known for his role in the ill-fated Jameson Raid, but he was also Rudyard Kipling's inspiration for the poem If-.
Loading...-
283287 Los(e)/Seite