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Preisdatenbank abonnieren10 British Quad film posters including The Who in The Kids are Alright, Cannibal / Psychic Killer, Alien (James Cameron), Escape to Athena, The Rescuers, The China Syndrome, Butch & Sundance Early Days, Kentucky Fried Movie, Return to Witch Mountain, Beyond Poseidon Adventure (10) Condition - folded posters with foxing on some to rear & front.
A collection of British 10 x 8 inch lobby cards including sets for Sea Of Love, Backdraft, Law of the Streets x6, Hotel Sahara x4, Freebie and the Bean, What's up Doc, Watch out Were Mad, A Fish Called Wanda, Star Chamber x6, Jaws 3D x6, Let the Good Times Roll x3, Cotton Club x7, Blow Out, Osterman Weekend x7, Beverley Hills Cop, Coming to America, Tootsie, Last Remake of Beau Geste, The Deserter, The Emerald Forest, Gullivers Travels, The Verdict, Wall St, Amadeus, The Final Conflict, 48 Hrs, Living Dangerously, Death Wish II, The Evil that Men Do, The Organization, The Man who would be King, Private Function, Bachelor Party, Passage to India, Staying Alive, Champions, Man with the Deadly Lens, The Woman in Red, King Solomon's Mines, Against all odds, Witness, Sophie's Choice, Silkwood, Spider-man Dragons Challenge.
Ten browsers with mainly rolled & some folded film posters including Pearl Harbor UK Quad, Mother Lode one sheets x9, Lost Souls Quad, Bless the Children Quad, other Quads inc. The Man who Wasn't There, The Man in the Iron Mask, Loves Labours Lost, King & I, Christmas Carol, Rising Sun, Chicken Run, Cecil B Demented, The Others, Atlantis, Dungeons & Dragons, Life is Beautiful, Lord of the Rings The Fellowship of the Ring, X-men, Hannibal, Green Mile, Shaft RR, Shanghai Noon, Plunkett & MacLaine, Snatch, Virus, The Watcher, Catch me if you Can, Goldmember, Mystery Men, True Crimes, Talented Mr Ripley, Mission Impossible, Independence Day, 101 Dalmatians, James and the Giant Peach, Gremlins 2, Miami Vice, House on the Haunted Hill etc, includes duplicates.
30 British Quad film posters including Unforgiven, Dick Tracy, Candy Man, Alien 3, Spaced Invaders, Wayne's World, Carlitos Way, Shes out of Control, Tina, Last Action Hero, Wired, Bad Influence, Iron Weed, Rambo 3, Who Framed Roger Rabbit, Hook, Tin Men, Hearts of Fire, The Hand that Rocks, the Cradle, Lethal Weapon 3, National Lampoons Loaded Weapon, Santa Claus, 3 Ninja Kids, Splitting Heirs, Sommersby, Basic Instinct, Falling Down, etc, all folded 30 x 40 inch in various conditions, mostly very good. (30)
Group lot of over 30 British Quad film posters including Joysticks, Asterix in Britain, Near Dark, Grease (Style B), Who Dares Wins, Fort Apache the Bronx, House 2, Mosquito Coast, Innerspace, La Bamba, Eat the Rich, Mac & Me, My Stepmother is an Alien, Fern Gully, Erik the Viking (teaser), City of Joy, Memoirs of an Invisible Man, Skin Deep, Suspect, Steak Out, Big foot and the Henderson's, Cant buy me Love, Outrageous Fortune. Various conditions 30 x 40 inch. (30+)
Two boxes of 7" vinyl singles including U2 - Pride, Sunday Bloody Sunday, With or without you, Where the Streets have no Name, All I want is You, Angel of Harlem, One, Wild Horses, Desire, Even Better, The Alarm, Paula Abdul, Adamski, Tina Turner, Take That, Talk Talk, Talking Heads, Tears for Fears, Texas, Time Lords (Dr Who), The Tubes, Tremeloes, etc. Various conditions.
David Bowie in "The Man Who Fell To Earth" folded British Quad film poster with art by Vic Fair and directed by Nicolas Roeg plus "The Hunger" folded UK Quad, "Absolute Beginners" Rolled condition UK Quad. Please note condition of The Man Who Fell To Earth - 11 inch tear above words David Bowie vertical to top plus 5 inch tear on top vertical fold line, pinholes & border tears trimmed 28.5 x 39 inch, other two Quads are 30 x 40 inch. (3)
Collection of one-sheet film posters including "The Frightened City" (1962) starring Sean Connery, Alfred Hitchcock's "Frenzy" (1972), Torn Curtain (1966), Of Human Bondage with Kim Novak, The Boulting Brothers Rotten to the Core & The Silent Enemy UK one sheet, Once you Kiss a Stranger, A Matter of Who, Five Easy Pieces, The Swap, Platoon, New York New York etc. Various conditions folded approx. 27 x 41 inch (15)
Collection of one sheet film posters including "Shaft" (1971) starring Richard Roundtree with music by Isaac Hayes, plus David Lynch's "Wild at Heart", Rambo in "First Blood Part II", National Lampoons Animal House RR, all folded plus Jaws 3 rolled UK 1 sheet, Exterminator 2 rolled US one sheet, Superman II teaser folded o/s, The Man Who Had Power Over Women, What's New Pussycat? Don't Make Waves Make Love, Class of Nuke em High 2, plus Any Wednesday US 30 x 40 inch and a reproduction poster for Get Carter, all in various conditions.
Illustration Interest Original Watercolour By Patience Arnold 1901-1992 'Nursery Rhymes' Patience Arnold was born in Royston Yorkshire but spent her childhood in Lytham St Annes, Lancashire. Arnold studied at the Harris School of Art, Preston and became a member of the Manchester Academy of Fine Art. In 1967 Patience set up a studio in the Lake District and continued to produce unique and whimsical illustrations for books, greetings cards and private commissions which brought her national recognition. Our client's mother was a long term friend of Arnold's and many of the works presented here were commissioned privately and have remained in our clients private collection. The works have never been offered for sale commercially until now. Presented here is an original watercolour depicting several characters from traditional nursery rhymes and fairy tales to include Rapunzel, the Old Lady who lived in a shoe, Jack and Jill and others. In the distance a castle sits atop a hill. Signed to bottom left 'Patience Arnold 1985' Excellent condition, framed and mounted under glass. 19.5 x 12.5 inches
[§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) INSIGNIA FOR THE LITTLE WHITE HORSE Signed and inscribed with title and dated 2007 verso, oil on canvas 76cm x 96cm (30in x 37.75in) Note: Alan Davie was born in Grangemouth, Scotland in 1920. His father was a schoolmaster and amateur painter and Alan studied at Edinburgh College of Art in the late 1930s. Jazz had always played an important part in his life and having served with the army in WWII, in 1947 Davie worked as a full time jazz saxophonist and at the same time started to make jewellery, write poetry and design textiles. The following year, now married, he began to travel, visiting Venice, where he was intrigued by the work of Pollock and De Kooning, in the Guggenheim collection. Inspired to start painting again, Davie painted several pictures on rolls of cheap paper in his hotel room. Two were immediately bought by Peggy Guggenheim, who also introduced him to London gallery Gimpel Fils. American abstract expressionism, married with an interest in African art and the influence of Picasso and Klee, formed the roots of Davie's work throughout the 1950s. From the mid fifties an interest in Zen Buddhism and oriental mysticism added further nuances, along with further exposure to the Americans at the time of his first show in New York in 1956. Largely ignored at this time in his homeland, Davie began to sell overseas and finally elevated from poverty, bought a house in Cornwall where he mingled with a number of St Ives artists. From the 1960s Davie maintained that his work, despite its appearance, was not abstract but consisted of emotive common symbols, which spoke directly to the viewer. His role, he insisted was that of a 'shaman', acting as a link between the viewer and the intractable. Taking his cue from the Surrealists, his method was an essentially spontaneous, almost automatic, attempt to unlock the unconscious. Davie's work contains numerous overlapping references to magic, religion and primitive art, in particularly that of the Navajo, Carib, Australian Aborigine, ancient Egyptian, Celt and Pict. This very late painting, Insignias for the Little White Horse, is typical of his mature work. Against a monochrome blue ground, itself suggestive of the spiritual, animals and objects float suspended. Among these, the white horse of the title, the bird and the snake, all resonate with ancient significance in tribal art. While it is tempting to interpret the central motif as an open mouth, as ever with Davie, the moment that one attempts to decipher his hieroglyphs, multiple other meanings become evident. In his later years Davie received many plaudits. His CBE in 1972 was followed by retrospectives in London and New York in 1993, Chicago in 1994 and Edinburgh in 2000 and a major show at Tate Britain in April 2014, the month of his death.
Autographs - The Beatles, b/w band postcard, the verso signed in blue biro by its members John Lennon, Paul McCartney, Ringo Starr and George Harrison, the front with their facsimile signatures, 9cm x 14cm Provenance: Signed and presented by the band to Betty Roberts, accompanying note from the hand of Betty Roberts inscribed, 'Going out with friends from Cheshire who knew [the] North Wales Theatre Critic of [the] Wales Daily Express. [We w]ent to Flanagans, Baker Street for supper. He asked us to go to Abbey Road Recording Studios. We met John Lennon, Yoko Ono, Paul McCartney, George Harrison and Ringo Starr. My friends and I were all given a Post Card (sic) of the Boys which they all signed as a keepsake [...] Betty Roberts'.
A William IV mahogany longcase clock, the 36cm arched painted dial inscribed *** H***, Burslem, Roman numerals, subsidiary seconds dial, rolling moon phase to arch, twin-winding holes, the spandrels emblematic of the Four Continents, eight-day movement striking on a bell, the case with swan neck pediment, turned columns, shaped rectangular door to waist, outlined throughout with boxwood and ebony stringing, 235cm high, c. 1835The maker is almost certainly John Spencer Hill, who was born 1798 in Coventry, where he was apprenticed 1812-1819 moving to Burslem on his marriage. He was later of Queen Street, Wolstanton, and died in 1854. Condition Report: Central finial to hood missing, gut lines loose; dial faded.
1980's Bang and Olufsen Beosystem 6500 including Beocord 6500, Beogram CD 6500, Beogram 6500 turntable, step program Beomaster 6500, master control panel, Beolab Penta tower speakers, various cables, some manuals etc. Condition Report. It has the European 2 pin plugs on it so we cannot plug it in. This belonged to the actress Rita Tushingham who put it in to secure climate maintained store when she moved. It has to be sold as untested but there should be no reason why it shouldn't work
PHILIP SUTTON ARA (BRITISH B.1928), 'Artist Wearing a Tea Cosy', a self portrait, oil on canvas, titled, signed and dated 1986 verso, also verso is a white Philip Sutton label, a gold address label, the frame also stamped with artist's name and address, the frame painted by the vendor's Uncle who was a framer in London, canvas approximately 29.5cm x 36.5cm (Artists Resale Rights May Apply To This Lot)
Collection of eight James Bond Ian Fleming hardback books including; Thunderball first edition published by Jonathan Cape 1961 condition good (name sticker in front cover) The Man with the Golden Gun first edition published by Jonathan Cape 1965 condition good (no dust cover) From Russia with Love first edition published by Jonathan Cape 1957 condition fair but dust cover poor (name written in front cover) The Man with the Golden Gun second impression published by Jonathan Cape May 1965 (no dust cover) Gold Finger published by Jonathan Cape fifth impression 1963 condition good (name sticker in front cover) The Spy who Loved Me published by Jonathan Cape sixth impression March 1964 (condition good) Casino Royale published by Jonathan Cape reprint 1963 condition good (name sticker in front cover) On Her Majestys Secret Service fifth impression condition good (dust cover present)
A Japanese carved ivory netsuke, of a seated oni holding a large face mask and a bowl in his lap, 2.3cm. (Taisho period 1912-1926) Provenance: Part of a Leicester private family collection by descent and historically known to our auctioneer. The collector, who died pre-WWII, actively accumulated works of art in the 1920s/30s. All enquires to Colin Young.
RARE BOND PUBLICATIONS AND BROCHURES - Lot to include official Warner Never Say Never Again advanced synopsis, Never Say Never Again Japanese and German brochures, Diamonds are Forever UK souvenir brochure, a 1960s 'James Bond in Focus', BFI tribute brochures, German Cinema magazine Sonderheft nr 2, German lobby card sheet, Back as Bond - Films in Focus from Fall 1983, My Name is Bond from 1983, Corgi James Bond 007 Thunderball magazine, 1977 Glidrose 'The Spy Who Loved Me' publication and a Sackville 'Thunderball' magazine.
THE INCREDIBLE HULK - STAN LEE SIGNED - Lot to include: A boxed Q Fig Marvel Avengers The Incredible Hulk figure from the Age of Ultron movie , The Incredible Hulk Ultimate Collection box containing the complete TV series on 24 discs, 'The Mighty World of Marvel' #137 comic from 1975 starring The Incredible Hulk; signed by Stan Lee, artist Dick Avery and Bill Bixby who played one of the adaptations of Bruce Banner. There is also a boxed sixth scale avengers Age of Ultron model of The Incredible Hulk.
The Yeovil Collection, James Bond 007. Corgi diecast models: carded Corgi Juniors E3019 'James Bond Octopussy' Gift Set containing a Range Rover in maroon with 'Range Rover' and stripes printed to sides together with a Horsebox and an Aircraft, overall models appear VG on a G/G+ card, although a portion of the plastic bubble would appear to have been re-glued to the backing card at some time; Corgi Juniors 2521 'Moonraker' VG in G+ card; E2529 'The Spy Who Loved Me', VG in G+ card; Corgi Juniors #3 Stromberg's Jet Ranger, VG on G card; #41 Space Shuttle, VG on G card; 649 'Moonraker' Space Shuttle, VG in G box; 930 'Moonraker' Drax Jet Ranger Helicopter, VG in G box. (7)
Twelve Beswick Beatrix Potter figures, mainly BP-3c and a Studio Royal Doulton figure of Johnny Town-Mouse with Bag, the Beswick figure to include Cottontail, Goody & Timmy Tiptoes, Chippy Hackee, Jonny Town-Mouse, Tom Thumb, Miss Moppet, Mr Drake Puddle-Duck, Tommy Brock, Sally Henny Penny, Timmy Willie Sleeping, Tomasina Tittlemouse and The Old Woman Who Lived in a Shoe (13)
A Beswick Beatrix Potter figure, Susan and eleven other BP-3 figures, including The Old Woman Who Lived in a Shoe, Mrs Tiggy-Winkle Takes Tea, Poorly Peter Rabbit, Mrs Flopsy Bunny, Jemima Puddle-Duck, Samuel Whiskers, Hunca Munca Sweeping, Aunt Pettitoes, Amiable Guinea-Pig and Mrs Rabbit (12)
British Coins, George III, pattern halfpenny, in bronzed copper, undated, toothed border, narrow rim, laur. bust r., small eagle’s head below, rev. nude Britannia seated, pointing l., her l. arm resting on shield, paddle behind (P.994 [Extremely Rare]), certified and graded by NGC as Proof 66 Brown, a superlative example of this early pattern for the coming Soho Mint coinage, its surfaces smooth as silk and the colour of fine mahogany, one of the finest known *ex Cheshire collection While the obverse image of King George is familiar and appears, with minute variations, on a number of patterns and proof coppers, it is the reverse of the presently offered pattern coin that compels study and appreciation. In fact, this beautiful coin is almost an illustration, in and of itself, of the achievements of both the Soho Mint and the later die-sinker who ‘rescued’ Soho’s dies, re-struck them, and thereby made coins available for collectors who otherwise would never lay eyes on such items, nor understand their history. All numismatists owe Taylor a huge debt in this regard. We can all study the progression of dies as related by Peck, but why does a regal coin feature on one side an exquisite, heavily frosted portrait of King George, and on the other side an ‘unfinished’ and therefore nude portrayal of the emblem of the land? Crowther tells us what probably happened: ‘The figure of Britannia on the halfpennies by Droz is very graceful. To ensure the agreement of his work with the rules of anatomy, Droz first engraved a nude figure, and afterwards added the drapery. . . . All the halfpennies with the nude reverse were struck by Mr. Taylor’ (pp.43-44). Further, he explains that among the scrap bought by Taylor at the Mint sale in 1848 ‘were found several dies for halfpennies by Droz, and other patterns. A few of these dies had never been used, nor even hardened’. Taylor took these dies, hardened them, paired various ones, burnished them to rid them of rust, and struck small quantities, then destroyed some of the dies. Other dies survived and passed into collections in the late 19th century, but were never used again. Even Crowther, in 1886, says no one knows how many were made, but evidently precious few. All of Taylor’s re-striking activity occurred between 1862 and 1880. He did not evidently set out to deceive collectors. His output of medals was prodigious, as a talented engraver and die-sinker. In the 1850s he was responsible for such creations as the Port Philip gold coins, copper patterns for the Republic of Liberia, and numerous Australian merchants’ tokens, or store cards. His plan was to mint coins on contract as a serious businessman, much as Boulton had done earlier, but his dreams were ruined just a few years later when the price of gold made his ideas difficult to implement. In 1857, his coining press was sold. His passion for coining was not dead, though, and he seems to have wandered into re-striking many of the Soho dies obtained at that sale in 1848. Peck’s cataloguing of all his issues gave credence to his work, and enumerated all known examples for collectors to consider and seek to obtain. Clearly, then, even though this is a restrike, it is a sample of what was a 1790-era trial piece, albeit by a man who did not himself create or engrave either of the dies. What he did was leave for us a testimonial, or memorial, to the artistic accomplishments of earlier artists.
British Coins, Victoria, pattern crown, 1837, in gold, by Bonomi, plain edge with tiny incuse capital T (probably for ‘Thomas’) and, on opposite side of edge, tiny incuse number 4, sunken designs both sides, VICTORIA REG DEI GRATIA incuse, Greek-style portrait of the young queen l., the date 1837, also incuse, split into two digits on either side of truncation, rev. BRITT MINERVA / VICTRIX FID DEF incuse, split vertically in the field, full-length helmeted Britannia in flowing gown and holding body-length trident r., extended right hand supporting classic Victory image, Royal shield partially obscured but glowing behind lower gown, on each rim a border of tiny stars (W&R.364 [R5]; ESC.320A [R5, 6 struck]; Bull 2613, ‘weight of 5 sovereigns’; L&S.14.2, 22-ct gold), certified and graded by NGC as Mint State 66, virtually as struck with toned, frosted surfaces *ex Glendining, 30 April 1972, lot 379 This is the actual piece illustrated in Wilson & Rasmussen. This intriguing, large gold coin has mystified many collectors since it first appeared in 1893. Dated 1837 and the size of a silver crown, it occurs in a variety of metals but its style had never been seen by any numismatist over the course of more than five decades since its apparent date of issue, 1837. Sceptical collectors at first rejected it as a fake, and this opinion continued largely unquestioned until the 1960s. Other collectors, finding its unique design appealing, called it a medal and eagerly bought up specimens as they appeared for sale. Research over the intervening years, however, ended the controversy and revealed that it was privately minted but is collectible as a legitimate pattern crown of Queen Victoria. Examples struck in gold, which are exceedingly rare as only 6 were struck, are now viewed as among the most alluring and important of Victorian pattern crowns. In truth, the Bonomi patterns are indeed a web of fact and fiction, and they remain misunderstood by many. The coins bear a Greco-Roman-Egyptian inspired design: on the obverse, a diademed portrait of the young Queen Victoria, her hair coiled into a bun, facing left, clearly resembling an Egyptian princess. She wears a dangling earring and a thin tiara. In 1837, as the date on this coin suggests, Victoria was still a princess for some months before the crown passed to her upon the death of her uncle, King William IV. She was only 18 years old at the time. On the reverse, Britannia appears standing (not seated, as was tradition), presented as the Greco-Roman goddess Minerva holding Victory in her hand. All in all, the emblematic designs are elegant and suggestive of themes which captured the British public’s imagination circa 1837. Despite the visual appeal of the Bonomi crowns, their means of manufacture remained mysterious for decades after their appearance. Derisive criticism of their origin accompanied examples offered at auction until the late 1960s, and occur even today, but the information in Linecar & Stone’s reference, English Proof and Pattern Crown-Size Pieces, published in 1968, essentially ended the controversy. The book cited the research of Capt. Pridmore, who had discovered that the proceedings of the Numismatic Society of London’s meeting of November 16, 1837, had disclosed the origin of this pattern. The discussion at that meeting mainly focused on the incuse method employed in the minting of these pieces, the intention being to seek to lengthen the life of the coinage by holding back obliteration, or wear from use. That was the primary purpose behind the design: to ‘defy injury’ to the coin’s images during use in commerce. No further proof is really required to label this piece a true pattern. The proceedings of that 1837 meeting mention that Joseph Bonomi, gentleman, was a traveller in Egypt, and an antiquary. They state that Bonomi had designed what he called a medallion in ‘incavo-relievo’ style which would ‘maintain’ the queen’s image for a national coinage. Bonomi’s design was described in the proceedings as showing the queen wearing a tiara on which appeared the royal Uraeus of the pharaohs (a sacred serpent, the cobra, their image of supreme power), and that the surrounding stars of the borders represented the Egyptian emblem of the heavens. The idea of encircling so as to protect was an ancient one. The date of 1837 was meant to represent Victoria’s age at her accession. Finally, the proceedings stated that the reverse inscription, or legend as we call it today, combines the name of a celebrated Egyptian queen with that of the British queen, and includes national emblems. The design for this so-called medallion was never submitted to the authorities of the Crown for consideration as a coin, and examples in any metal rarely appeared for sale until the 20th century. So, the question remains: when and where were they made? Pridmore also revealed that, in May 1893, an advertisement appeared in a publication in England called Numismatology which at last provided some facts about the issuance of the now-famous Bonomi crowns. The 1893 advertisement revealed that the die-sinker was none other than Theophilus Pinches, and that in the same year his well-known company produced a number of pieces in aluminum (or ‘white metal’), tin, copper, bronze, silver, and even gold. Back in 1837, when the coin was designed, Joseph Bonomi had sent nothing more than a cast of his proposed crown to the Numismatic Society. He had not struck any examples. On the cast, Britannia is not shown holding the long trident that appears on the struck pieces. The Pinches pieces were engraved using the cast as the model but added the trident, and also changed the original larger, elongated stars of the borders to small, uniform-sized stars. The 1893 advertisement offered the struck silver pieces for 21 shillings apiece, and included information (some of it nothing but imaginative advertising, for the purposes of selling the coins) indicating that the date of manufacture was 1893, and that all were produced under the auspices of J. Rochelle Thomas. From this source, we know that Thomas engaged the Pinches firm to engrave the dies and to strike the pieces, which in their incuse state faithfully carried out the original concept of the inventor, to use Thomas’s own words. The designs were sunk below the surface, a style that had never been used before and in fact was not used again until the early 20th century on two denominations of U.S. gold coins. In his advertisement, Thomas stated that 10 pieces were struck in white metal. He described his own product as being ‘specimen proofs’, although the presently offered coin has been graded as Mint State. Thomas further stated that the total mintage, in all metals, was 196 pieces. Linecar & Stone, as well as Pridmore, believed that additional pieces were made to order shortly after the 1893 advertisement appeared. However, they concluded that the final mintage figures are as follows: 150 in silver, 10 in tin, 10 in bronze, 10 in copper, 10 in aluminum or white metal, and 6 in 22-carat gold (each weighing the equivalent of five sovereigns, all numbered on the edge).
Ancient Coins, Roman Coins, Septimius Severus (AD 202-210), aureus, SEVERVS PIVS AVG, laur. head r., rev. VIRTVS AVGVSTORVM, Septimius, Caracalla and Geta, on horses prancing l., each raising r. hand, wt. 7.25 gms. (BMC.374; RIC.305 and pl. VII, 15 (this obverse die); Calicó 25780), a bold portrait and a very symbolic reverse composition, virtually as struck and almost mint state, extremely rare and possibly the finest specimen known *ex Nelson Bunker Hunt (1926-2014) Collection, Sotheby’s Auction 6044, New York, 21-22 June 1990, lot 765 ex Gerald Hoberman (1943-2013) Collection, bought from Spink & Son, sold Dix Noonan Webb, Auction A11, London, 27 September 2011, lot 2023 The reverse of this splendid aureus is sharply struck and shows quite clearly the individual facial features of each of the riders. Closest to the viewer is Caracalla, cloaked and wearing a military breastplate, with boyish looks and a laureate crown. Next is Severus, with much facial hair and a laureate crown. Finally, there is Geta, young and slim, with smooth cheeks and lacking his crown. Each is posed with his arm extended as if receiving an ovation, and is very similar to the Adventus type with emperor on horseback, which was to become very common on later coinage until the reign of Constantine the Great. The significance of the type here, though, is different, and is proclaimed in the legend VIRTVS AVGVSTORVM, or ‘bravery of the emperors’. This relates to Severus’ campaigns in northern Britain after A.D. 209, where he took his wife and two sons to wage war against the Caledonians of northern Britain. He did so in part because of the genuine threat that these northern peoples presented, but his primary interest in doing so seems to have been to provide a constructive outlet for the near constant quarrelling of his two sons. He felt it would be better if they focused their attentions on an enemy of Rome rather than each other, and in the process gain invaluable command experience. Based at Eboracum (modern York), Severus sent his sons to lead the troops. He also used this opportunity to elevate Geta to the rank of Augustus. However, while in Britain Severus fell ill and died in A.D. 211, leaving behind two sons who were still intent on eliminating one another.
Ancient Coins, Byzantine Coins, Theodosius III of Adramytium (715-717), solidus, Rome mint, ∂N TҺЄODOSIS AVς, crowned bust facing, wearing loros, holding globus cruciger in right hand, akakia in left, rev. VICTORI AVς, cross potent set on three steps; L to left, star to right; in ex. cross of four pellets, CONOB, wt. 3.44 gms. (DOC.11 (A officina in place of pellets); MIB.N8 (same dies); SB.1498), graffito X in obverse field, good very fine, extremely rare, only one cited in MIBE Little is known about Theodosius III. He was a tax-gatherer from Adramytium who reluctantly accepted the purple when the troops in Opsikion revolted against Anastasius II. He appears to have had little appetite for governing and abdicated in 717 to become a monk. He has been identified with the bishop ‘Theodosius of Ephesus, son of Apsimar’, who was spiritual advisor to Leo III in the 720s and presided over Constantine V’s Iconoclastic Council in 754.
Ancient Coins, Byzantine Coins, Arab-Byzantine, Anonymous, but probably temp. of Mu’awiya bin Abi Sufyan (AH 41-60/661-680 CE), dechristianised imitation gold solidus of Byzantine Emperor Heraclius, standing figures of Heraclius, Heraclius Constantine and Heraclonas, rev. VICTORIA AVGUB, column on four steps with the letters I and A in the left and right fields, in ex. CONOB, (Constantinople) the conventional mint name, wt. 4.23gms. (A.354B; Walker p.18:54 for type, but does not record for letter A; Bernardi 4), about extremely fine and of the highest rarity This, like the other dechristianised solidi, is an enigmatic and challenging coin. The best discussion of this coinage is found in George Miles’ article Earliest Arab Gold Coinage in the American Numismatic Society Museum Notes No 13. In this article, which still has scholarly validity, Miles records four types of dechristianised solidi. The first of the Emperor Phocas, the second of the young Emperor Heraclius with his son Heraclius Constantine, still a boy. The third shows a much older and heavily bearded emperor with a clean shaven Heraclius Constantine. The fourth is the same type as this piece, except that on Miles’ coin the reverse field bears the letters I and B which appear to left and right of the pole on steps. The dumbbell-like object on top of the pole turns it into a crude version of the Tau cross, thus the resulting design is a crude but virtually identical copy of the Byzantine original, but lacks the crossbar seen on the Christian cross. As such it represents a critical break from conventional Byzantine iconography. This coin, a type which is very rarely encountered today, is well struck and one of the best-preserved specimens recorded. The coin itself gives little obvious clue as to its purpose and origins, but in the historical context of what little is known about Byzantine-Arab relations at the time of its striking, the following observations can be made. There were two occasions when Mu’awiya was obliged to pay tribute to the Byzantines. One was in the year 659 CE when the payment supposedly amounted to a thousand nomismata, a slave and a horse every day. The second was in 678 CE when Mu’awiya was forced to agree to a very harsh treaty that obliged him to make an annual payment to the Byzantine emperor of three thousand nomismata, fifty prisoners and fifty horses. At the same time, and during the same reign, Mu’awiya tried to introduce a dechristianised gold coinage for circulation in Syria. It is also recorded that the Byzantine government refused to accept coinage that did not bear a faithful representation of the Christian cross, and the same was also said of its reception by the largely Christian inhabitants of Syria. This rejection by both the Byzantine authorities and the Syrian population would certainly account for the very great rarity of these coins today. But which of the four types of solidi were intended for tribute to the Byzantine and which for local circulation in Syria is unknown, and neither Miles nor any other previous or subsequent authority has questioned how these four types can be differentiated from one another. Neither historical nor local traditions give us any idea as to how this problem can be solved, but the iconography of the coins themselves may suggest an answer. The originals of all four types certainly circulated widely in Syria, which depended on Byzantine gold and copper coinage to support their monetary needs for both large transactions and everyday purchases. The originals of the first three types were undoubtedly well known to the inhabitants of Syria and, with only minor alterations in their design, Mu’awiya could expect them to be accepted in circulation. In its original form the fourth type, with its Christian and imperial iconography, was struck in great quantities by the Byzantines and would have been familiar to the general public. However, one expert has suggested that on this dechristianised piece the three figures have lost their imperial trappings and appear as tribute bearers, such as the three magi bringing their gifts. The present cataloguer agrees with this interpretation. Once the tribute reached Constantinople, these gold coins would have been rejected, melted and re-struck into conventional Byzantine solidi, which would account for their extreme rarity. This hypothesis is reinforced by the two letters I and A, flanking the pole of the reverse, because they could stand for the first tribute payment of the year A. The other example of this piece carries the letters I and B, which would have been the tribute for the year B. In this cataloguer’s opinion Mu’awiya’s treaty obligations to the Byzantines would have taken priority over the issuance of a purely local coinage for his own subjects who had, up to this time, been able to supply their domestic needs through existing coinage stocks. This extremely rare piece satisfies Miles’ observations on the earliest Arab gold coinage and it may be regarded as the precurser of all the later Islamic gold coinage. References: Miles, G: Earliest Arab Gold Coinage in the American Numismatic Society Museum Notes, No 13, 1967; Foss, S: Arab Byzantine Coins: An Introduction with a Catalogue of the Dumbarton Oaks Collection, Harvard University Press 2008
World Medals, Muhammad ‘Ali Pasha (1769-1805-1849), Wāli of Egypt, Overland Route to India, copper medal, 1840, by A .J. Stothard (London), MEHEMET ALI PACHA, bust three-quarters l., with flowing beard and wearing fez, rev. FROM THE COMMITTEE THE FRIEND OF SCIENCE COMMERCE & ORDER WHO PROTECTED THE SUBJECTS AND PROPERTY OF ADVERSE POWERS AND KEPT OPEN THE OVERLAND ROUTE TO INDIA 1840, in 10 lines above crossed palm leaves, 57.5mm. (Pudd. 842.2; Fearon 696), nearly extremely fine *bt. Baldwin Islamic Coin Auction 14, 8 July 2008 (lot 696). Alfred Joseph Stothard (1793-1864), was the son of the distinguished painter, Thomas Stothard. He was a sculptor and medallist, and was appointed medallist to King George IV, for whom he executed a fine portrait medal. He signs the medal on the border below the bust ‘A. J. STOTHARD MEDAL ENGRAVER BY APPOINTMENT TO HER MAJESTY D. & F.’
World Medals, Fuad (1868-1936; Sultan 1917, King 1922), Official Visit to France, bronze medal, 1927, by S. E. Vernier and (reverse) Falize Frères, uniformed bust r., wearing fez, rev. an obelisk before a radiant Arc de Triomph, an Egyptian lotus to l., rose to r. with olive spray between them, legend in cartouche below, 72mm., matt surface, extremely fine *bt. Baldwin Islamic Coin Auction 4, 8 May 2002 (lot 472) The Maison Falize, mostly known for their jewellery designs, lasted for three generations. Alexis Falize (1811-1898) opened his workshop in 1838; he was succeeded by his son Lucien (1839- 1897), then, in turn, André Falize (1872-1936) who worked with his brothers Jean and Pierre under the name Falize Frères.
World Medals, USA, George III (1760-1820), Indian Chief’s Medal, large size and undated, solid silver, GEORGIUS III DEI GRATIA, young bust of King r. wearing armour, his hair tied behind en queue, double row of curls above his ear, wearing armour with six studs above the sash and one below, rev. crowned oval shield of arms within Garter and with Lion and Unicorn supporters, DIEU. ET. MON. DROIT on scroll below, 79mm., wt. 109.19gms. (Adams type 7.1; Jamieson Fig. 14; John J. Ford Collection, part XVI, Stack’s, 17 October, 2006 (lot 59 - $14,000); Eimer 736a; cf.Betts 600), with original decorated and shaped loose suspension loop, even light grey tone, single slight edge bruise, extremely fine and very rare *ex Baldwin’s vault and with stock ticket for £25 The Adams ‘Modern Census’ lists 86 medals of this type, however only 24 of this variety and of these 11 are shells (ie the medal is hollow). This medal does not feature on the census. The price of £50 matches item 11 on a Baldwin list of 1943/4, ‘Prices Quoted to Montagu - Alterations for Ferguson’ and it is probably one and the same piece. The Ferguson mentioned would be J. Douglas Ferguson (1901-1981), who for over 50 years was known as the ‘Dean of Canadian Numismatics’. In 1971 he established the J. Douglas Ferguson Historical Research Foundation. The cataloguers speculate that Montagu could be George Charles Montagu, 9th Earl of Sandwich (1874–1962). Montagu compiled British and Foreign Medals Relating to Naval and Maritime Affairs, Greenwich 1937 (for the then newly-opened National Maritime Museum).
A group of 18th and 19th century porcelain, comprising five pieces of armorial china, two of which are likely Chinese Export, decorated with arms and crest of Beckford, believed to be part of a set of armorial china commissioned by Alderman William Beckford (19 December 1709 - 21 June 1770) who twice held the office of Lord Mayor of London (1762 and 1769), a Meissen lobed cup and saucer, decorated in puce with gilt highlights, extensively damaged and restored, together with five pieces of Wedgwood pearlware, decorated in the Fallow Deer pattern, four plates, kettle stand and small pot. (13)Provenance: The Estate of Mr Joseph B. Hay, son of Major-General Arthur K. Hay DSO OBE - 100 years of a military family.
A set of sixteen Victorian tiles, likely once belonged to the Lowther family, one painted with James Lowether, aged 9, sitting upon a hill drawing the landscape, who was later the 1st Viscount Ullswater, MP and Speaker of the House of Commons 1905 - 1921, other tiles painted with his siblings Mary, Mabel and Mildred, others depicting landscape scenes, likely showing views of properties owned by the family, all hand painted in blue, two marked Minton to backs, 15 by 15cm. (16)
A silver three handled trophy cup, of baluster form, having three engraved oval plaques with scroll frame, engraved In Memory of Major Geo. Clarke Denton who was killed in Action at Kissengen East Africa on the 9th October 1916, Presented to The Officers The XII Pioneers Kelat-I-Ghilzie Reg, with crest, London 1916, maker Hunt & Roskell Ltd, weight 36oz
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![[§] ALAN DAVIE C.B.E., H.R.S.A. (SCOTTISH 1920-2014) INSIGNIA FOR THE LITTLE WHITE HORSE Signed and inscribed with title a](https://cdn.globalauctionplatform.com/cc6aee4a-8acc-4015-8441-a84a00d4e6c9/bdef5eac-1196-4ff5-c058-6dd442904954/468x382.jpg)
