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Lot 421
Mixed Collection Roy C - Shot Gun Wedding - Island W1-273 Bobby Bland - Turn on Your Love Light - Demo - Duke Records Johnny Hallday - Que Je T'aime The Fireballs - Torquay- JAR - 218 Perry Como- Just Born Demo - RCA 4933 Johnny Preston Running Bear - AMT 1079 Feel So Fine - AMT 1104 Charming Billy - AMT 1114 Peggy Lee - Mr Wonderful Peggy Lee - Is it True Eartha Kitt - I want to be Evil Alex Harvey - SAHB - Boston Tea Party Mungo Jerry- Alright Alright Alright The Olympics - Little Pedro - Vouge 9184 Jerry Lee Lewis - Breathless - sun Records The Crystals - He's a Rebel - PR106 The Hunters- Teen Scene- Fontana H276 - 1960 Fruits de Mer - TV Themes
Lot 342
MIXED LOT OF VINTAGE COLLECTABLESincluding a carved bone figures of three monkeys See No, Speak No and Hear No Evil; a shell inscribed Part Of Glasgow Cathedral During Reconstruction In 1923, three candle snuffers, pair of glove stretchers, Colgate Shaving Stick embossed container, Mr. Punch vesta case, miniature brass warming pan with a turned wood handle, a Polar bear figure, various snuff boxes and other items
Lot 220
MIXED LOT OF CERAMICSincluding a large Beswick Ware seal on a naturalistic base, Wade tortoise, Royal Copenhagen salmon, Soho pottery polar bear, Doulton duck, Carlton Ware golf ball from St. Andrews, a Toby jug of a seated gentleman with a tricorn hat, marked with a gilt anchor mark and other items
Lot 906
A late 18th/early 19th century South German or North Italian table, the ivory and marquetry inlay top decorated a bear hunting scene, the frieze and cabriole legs inlaid with scrolling foliage and bell flowers, having a frieze drawer, 109 cm wide See inside front cover colour illustration Condition report Report by RBIvory veneer lifting/lifted, back left leg broken and crudely screwed back together, front right leg tip glued. 61 cm deep79 cm high
Lot 17
Umayyad, dinar, Ma‘din Amir al-Mu’minin 92h, obv., in field: la ilaha illa | Allah wahdahu | la sharik lahu | Ma‘din Amir | al-Mu’minin; rev., standard Umayyad type with date legend in margin, point below b of duriba, 4.25g (SICA 10, 487, same obverse die; Bernardi 47), minor marks in reverse field but generally good very fine, historically important and extremely rare. Enigmatic, historically intriguing, and of the highest rarity, Umayyad dinars from the ‘Mine of the Commander of the Faithful’ have fascinated numismatists for more than a century. The circumstances under which they were issued are still the subject of scholarly debate, although recent research and newly published coins have advanced our knowledge considerably in recent years. Examples dated 89h, 92h and 105h have been sold in these rooms previously (the unique coin of 89h on 23 April 2012 and the other two dates on 4 April 2011). The phrase ‘Ma‘din Amir al-Mu’minin’ is found on two groups of gold coins. The earlier group, known for the years 89h, 91h and 92h and to which this coin belongs, carries these words in the obverse field below the normal inscriptions. On the later coins, known only for the year 105h, the phrase is expanded to read ‘Ma‘din Amir al-Mu’minin bi’l-Hijaz,’ ‘Mine of the Commander of the Faithful in the Hejaz,’ and is placed in the lower part of the reverse field. The significance of the Ma‘din inscription is still debated but, as has previously been argued, there is much to be said for the simplest explanation: that it refers to a mine belonging to the caliph. While the word ‘mine’ can be used metaphorically in Arabic, all other legends found on post-Reform Umayyad gold and silver coins are either religious (verses from the Qur’an) or factual (stating where and when the coin was struck). That being said, it seems difficult to treat it as a normal mint-name, which one would expect to find in the margin with the date, and for which there would certainly have been space to include there. It has also been observed that the mints on the Umayyad silver coinage were set up in cities, or perhaps at places where the army halted on campaign, but are not otherwise known to have been set up at a mine itself. There are several with the title Madinat, city,’ but none with Ma‘din, ‘mine.’ It seems more plausible that this inscription denotes to the source of the gold, indicating that it had been extracted from a mine owned by the caliph himself. It has been plausibly suggested that ‘Mine of the Commander of the Faithful’ dinars may have been struck at a travelling mint which accompanied the caliph. If this was staffed by workers from the Damascus mint using their usual tools and equipment, one would expect the coins they produced to look identical, whether struck in the capital or on the road. But coins of all three dates known for this issue – 89h, 91h and 92h, and indeed of the related coins dated 105h, all share dated reverse dies with standard mintless Umayyad dinars which are generally accepted as having been struck in or near Damascus. These reverse dies also bear the date, which means that they can only (or should only) have been used for the one year engraved on them. It therefore follows that if these reverse dies did indeed leave Damascus with a travelling mint they can only have been away from the capital for more than a few months at most. On the other hand we know that an obverse die with the Ma‘din Amir al-Mu’minin legend was shared between coins struck over a period of at least four years. Clearly this special die was not considered redundant at the year’s end but was kept for future use. For a single die to survive for four years also suggests that these ‘Mine of the Commander of the Faithful’ dinars can only have been produced in very small numbers, which is consistent with their great rarity today. Where might the caliph’s mines have been located? The legend Ma‘din Amir al-Mu’minin bi’l-Hijaz found on dinars of 105h, together with the fact that the Umayyad caliph ‘Umar is recorded as having purchased a plot of land containing a gold mine in the Hejaz area (Miles, op. cit., p. 266), has led scholars to propose that the gold used to strike these earlier dinars also came from the Hejaz. It has also been suggested that the caliph might have visited mines in this area while travelling to the Holy Places. In his catalogue of the Turath Collection, Ilisch hypothesized that ‘a travelling “court mint”, dependent on the main mint and Damascus and working for the caliphal private treasury...was in operation on several occasions: in connection with the construction work for the great mosque in Medina (built...in 88-91 A.H.) [and] during the visit of the caliph al-Walid to Medina in 91/92 A.H., when he led the Hajj.’ This in turn raises several interesting questions: Did gold from the caliph’s personal mines have a different status from gold obtained from other sources? Was this gold somehow treated differently from gold brought to the mint through tax revenues or by private individuals? Might it reflect an early distinction between state funds and the privy purse? Or might they even have been personal gifts from the caliph himself? For further discussion of this coinage and a specialist bibliography, please see Morton and Eden auction 48, 4 April 2011 where two other ‘Mine of the Commander of the Faithful’ dinars were sold, dated 92h (sold for £648,000) and 105h (sold for £3,720,000).
Lot 33
Abbasid, al-Mu‘tamid (256-279h), dinar, no mint-name 273h, obv., citing the caliph’s brother al-Muwaffaq billah, 3.99g (Bernardi 177 RRR), good fine and very rare. These very rare mintless dinars were struck for a brief period in the early 270s. Thei style of the epigraphy is very distinctive, and similarities have been noted with the contemporary dinars of the Arab Amirs of Crete, which apart from special donative issues are the only other gold coins of this period not to bear a mint-name.
Lot 988
Black Forest - an unusual miniature or child's chair, the arched trunk back finely carved with a bear standing on rocks, its arms clasping the trunks, shaped serpentine seat with "wood knot" carving, the hinged back and seat lifting to reveal a miniature music box with 3.2cm drum and comb, activated by a spring contained within the front stretcher, on carved cabriole legs, 69cm high, 32cm wide max., late 19th Century
Lot 156
John Opie (British 1761-1807) A young boy playing with a cat, oil on canvas, unframed, 76 x 64cmProvenanceColognaghi, Faulkner, 1930BiographyOpie, John (1761-1807), portrait and history painter, was born in May 1761 at Blowing House, Mithian, St Agnes, near Truro, Cornwall. When he was fourteen or fifteen, Opie was 'discovered' by Dr John Wolcot, an amateur artist and critic who was both a pupil and a friend of Richard Wilson, and who had valuable acquaintances in the artistic world (a portrait of him by Opie is in the National Portrait Gallery, London). Wolcot proved to possess something of genius as a publicist and he and Opie went into partnership in the promotion of Opie's career. Wolcot introduced Opie to Sir Joshua Reynolds, who was very much impressed and rather crushed his former pupil James Northcote, who was then trying once again to establish himself in London: 'You have no chance here', Northcote recorded Reynolds as saying to him, 'There is such a young man come out of Cornwall … Like Caravaggio, but finer' (Leslie and Taylor, 2.341-2). Northcote nevertheless became a lifelong friend of Opie, for whom he retained the highest regard, remarking to Hazlitt, 'He was a true genius' (Earland, 31), and Opie's portrait of Northcote dates from about 1799.On 4 December 1782, at St Martin-in-the-Fields, Opie married, unhappily as it turned out, Mary, daughter of Benjamin Bunn. Her father was described as 'a Jew broker to whom Opie used to sell his pictures' (Earland, 46). Alfred Bunn, the tyrannical theatre manager, was apparently a relation of his wife's with whom Opie stayed in touch.The marriage led to Opie's parting from Wolcot. Opie was earning more than Wolcot, but now had a wife to support. Wolcot, on his side, was later wont to point out that he had given up his medical practice and £300 or £400 a year in order to promote Opie. While they were in partnership Wolcot earned some money with his Peter Pindar satires, which also provided a useful vehicle for favourable publicity on Opie's behalf as, for example, with one of two portraits of the organist and composer William Jackson, exhibited at the Royal Academy in 1783. The break with Wolcot was not final at this stage: Opie and his wife together with Wolcot visited Wales in 1783 or 1784, and Wolcot and he toured the south-west in 1783-4. Opie's particular gift for child portraiture was demonstrated at this time (c.1784), with paintings of the children of the fifth duke of Argyll and his famously beautiful duchess, the former Elizabeth Gunning (priv. coll.). One of Opie's finest fancy pictures, A Peasant's Family (Tate collection) is also of children and was painted c.1783-5, while Opie further demonstrated his range in a groundbreaking genre group showing a schoolmistress and her varied pupils (priv. coll.). It was exhibited at the Royal Academy in 1784 under the title A School and drew Walpole's approving note, 'Great nature, the best of his works yet' (Earland, 54). At the same time in his more original portraits, for example, Thomas Daniell and Captain Morcom, with Polperro Mine, St. Agnes, in the Background (1786; Truro, County Museum and Art Gallery; another version ex Sothebys, London, 13 July 1994, no. 66), Opie developed this same rare seam of realistic genre, of a kind which seems to reach back to John Riley's portraits in the preceding century.Opie was also attracted, however, by that chimera of the British school, history painting on a large scale. By the winter of 1786 he was signed up to create a substantial number of canvases for Alderman John Boydell's Shakspeare Gallery. This commission followed close upon Opie's dramatic success with his first large history picture, The Assassination of James I of Scotland, when it was exhibited at the Royal Academy that year. Caravaggio, not only in the lighting but also in the gestures, although contemporary reference was more often made to the influence of Lo Spagnoletto (Jusepe Ribera).One can only speculate about how these influences came to bear upon Opie, since the tracks of his artistic education were so carefully covered by Wolcot, but prints after Caravaggio were certainly in circulation in eighteenth-century Britain. At the time, however, Opie was even more widely talked of as an 'English Rembrandt' and Caravaggio's influence would have been mediated through the many works of Rembrandt which Opie could have come across in English collections. The success of Opie's history pictures assisted his election as associate of the Royal Academy in 1786 and as Royal Academician in 1787.Like many another English artist, Opie was frustrated by having to paint portraits for a living rather than grander history paintings, and his income was also augmented by a few pupils: Henry Thomson RA; Theophilus Clarke ARA; Thomas William Stewardson; Jane Beetham; William Chamberlain; John Cawse; and the amateurs Elizabeth Mary Booth and the Revd John Owen (both referred to above) and Katherine St Aubyn. However, despite his yearning for fancy pictures and histories, and his skill at them, Opie exhibited his last historical painting at the academy in 1804, a scene from Gil Blas, and thereafter painted only portraits. The focus and freshness of his vision in portraiture gave way in his last years to imitative eclecticism, picking up a hint of Gainsborough here or a touch of Hoppner there.Opie's further ambition to become professor of painting at the Royal Academy began unpromisingly with a course of lectures at the British Institution in 1804-5 which he failed to finish. Nevertheless, when, on his becoming keeper, Henry Fuseli resigned the professorship at the academy in 1805, Opie was elected to the post, and the four lectures he managed to deliver in February and March 1807 were both better written and better presented than his earlier series. They were published as Lectures on Painting (1809). The last lecture was given on 9 March and, after a visit to Henry Tresham a few days later, Opie caught cold and subsequently a fever. He died in London on Thursday 9 April 1807. Opie enjoyed a remarkable reputation in his lifetime, although his own high estimation of his achievement has not lasted. He had genuine, if often sarcastic, wit and real talent and produced a handful of striking and original images. He struck a distinctive note among his contemporaries which can still be recognized. Technical shortcomings in drawing and in creating coherent figures, of a kind not unknown among his peers, made him inconsistent as a portraitist, but his fancy pictures and portraits of children can be better than those of almost any British artist of his time. He was not congenial and was liked and disliked in almost equal measure, not always for the right reasons in either case. It was noticeable at the time, for instance, that he was reluctant to stay long with his second wife's relations on visits to Norwich, and it may be that they did not heartily approve of him. A story told of Amelia's cousin Robert Alderson after the funeral on 20 April (a lavish affair at St Paul's Cathedral, where Opie was interred in the same vault as Reynolds) suggests this family mistrust, and also Opie's idiosyncratic character. The undertaker apologized to Alderson for putting the coffin the wrong way round (with Opie's feet towards the west rather than the east). 'Shall we change it?' he asked. 'Oh, Lord, no!' replied Alderson. 'Leave him alone! If I meet him in the next world walking about on his head, I shall know him' (Earland, 234).
Lot 576
Wool college scarf - striped Rupert Bear tie, man's green silk paisley shirt, man's cotton Astex pattern XL - ladies black wool jumper (lambs wool) 1980s - burnt orange silk ladies silk shirt ladies/man's black waistcoat with lace back - man's cotton - navy and lemon printed shirt - a Betty Barcley taffeta shirt (plaid) white cotton 1970s blouse with broderie anglais trim (10) (as new)
Lot 441A
A Collection of Assorted Beswick Figures ( 5 ) Figures In Total. 1/ Kola Bear with Fruit, Model No 1089, 2/ Panda Cub, Model No 1815, Height 2.5 Inches. 3/ Harvest Mouse, Model No 3397. Height 2.5 Inches. 4/ Kola Bear, Model No 1040. Issued 1945 - 1973, Height 2.25 Inches. 5/ Jack Russell Terrier, Model No 2109. Issued 1984 - 1989, 2.5 Inches High. All Figures are In Excellent Condition.
Lot 1342
A Wardle England Art Ware pattern 1803 jardiniere, three Art Deco 1930s J and G Meakin crimped dishes, a Russian lady figurine, a Spode blue Italian coffee can and saucer, a Royal Crown Derby 'Posies' milk jug, Japanese Nippon (Noritake) vase, Japanese rice bowl and a Pooh Bear push up puppet and powder compact
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93468 item(s)/page