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Lot 21
SIR HENRY RAEBURN AND STUDIO (SCOTTISH 1756 - 1823), PORTRAIT OF THE FIDDLER NEIL GOW oil on canvas framed image size 123cm x 98cm, overall size 141cm x 115cm Provenance: Private Collection Canada till November 2021; Christies, 7th October 1949 Lot 171 as “Raeburn, Portrait of Neil Gow” (Christies Stencil Verso). Note 1: According to Raeburn expert David Mackie in his thesis on Henry Raeburn, the artist executed several versions of the painting of Neil Gow: 'The first listing of the versions Raeburn executed of this portrait was given by “Andrew, William Raeburn “Life of Sir Henry Raeburn, R.A” in 1886 (p. 124): One for the County Hall, Perth, which is now in Perth Art Gallery and Museum; one with the Duke of Atholl, which is still with that family; one with Lord Gray, (this may be the version which was recorded by the Photographic Survey as with the Honourable Mr Gray at Kinfauns, alternatively, it may be the version sold by the Earl of Moray at the Moray Sale, Sotheby's, 9 June 1932; to Hepburn); and one for William Maule, afterwards Lord Panmure, the present whereabouts of which is unknown. In addition to these versions Caw (Armstrong, p. 103) stated that one was in the collection of a Mrs Mackenzie; according to Caw, it was presented by the artist to the sitter; it was with the Erich Gallery, New York, in 1908; George G. Benjamin; his sale, American Art Association, 18 March 1913 (64); to Stuart Duncan; its present whereabouts is not known; a note in the Frick Art Reference Library (221 -10f) states that it had been cut down and that it was "repainted". Caw also listed a version in the collection of the Earl' Note 2: Neil Gow was the most famous Scottish fiddler of the eighteenth century. Gow received patronage from the Duke of Atholl, and it is believed that this was the result of Gow's performance in a musical competition, judged by John McCraw, a blind musician, who awarded Gow first prize, and stated that he "would ken his bow hand amoung a hunder(d) players". This patronage meant Gow secured performances for balls and dance parties put on by the local nobility, which would go on to make him a renowned musician and composer. Raeburn’s portrait of the same dimensions, of Neil Gow is currently on display at the Scottish National Portrait Gallery, which is believed to be the autograph version of this work.
Lot 1023
A MARY QUANT COAT-DRESS, AND A PETER BARRON DRESS, CIRCA 1960S the grey coat-dress in pure new wool, with wide collar, single patch pocket to right hip, box-pleat to tail, with nine buttons to front and twin-buttoned cuffs, bears 'Mary Quant's Ginger Group' label; the sleeveless green floor-length dress with bow to front, with animal print design, bears 'Peter Barron London' label. (2) Mary Quant coat-dress 85.5cm long, 45cm across underarm (flat); Peter Barron dress 135cm long, 44cm across underarm (flat), label size 12, to fit hips 35½"-36½", bust 34"-35"
Lot 287
Maroon jacket, white shirt, black bow tie.One hundred years after the death of Lewis Carroll, creator of " Alice's Adventures in Wonderland," he is celebrated with this Character Jug of the Year of 1998. Series: Character Jug of the Year. Royal Doulton backstamp. Artist: David B. BiggsIssued: 1997Dimensions: 8"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 288
Variation One. Black hat, dark red bow tie.A character from Lewis Carroll's " Alice's Adventures in Wonderland," the Mad Hatter wears a watch that tells time in months, rather than in hours. Series: Alice in Wonderland. Royal Doulton backstamp. Artist: Max HenkIssued: 1965-1983Dimensions: 7.25"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 289
Green hat, yellow bow tie with blue dots.At the March Hare's home in Wonderland, it is always six o'clock and time for tea. Not having a moment to tidy up, he and his friends, the Mad Hatter and the dormouse, sit at a table laid for a great number and changes seats as they dirty the dishes. Alice makes herself unpopular by asking what they do when they arrive back at the beginning. Series: Alice in Wonderland. Royal Doulton backstamp. Artist: William K. HarperIssued: 1989 - 1991Dimensions: 6"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 220
Ca. 9th-8th century BC. It depicts a hero with a bow, hunting a gazelle. A lunar disc and several dots (Pleiades) are found in the exergue. Studied by PD Dr. habil. Pieter Gert van der Veen, Johannes Gutenberg-Universität Mainz. Size: L:45.6mm / W:16.7mm ; 23.86g Provenance: Private London collection of an Ancient Art dealer; formerly in a central London family collections 1990s; Suggested to be examined by Professor Wilfrid George Lambert FBA (1926-2011), historian, archaeologist, and specialist in Assyriology and Near Eastern archaeology, in the late 1980s and early 1990s.
Lot 364
42 BC.P. Clodius Ar. denarius. Laureate head of Apollo right, lyre behind. Rev. Diana standing facing, with bow and quiver over shoulder, holding lighted torch in each hand; P CLODIVS right, M F on left. Claudia 15, Syd 1117, Cr494/23. Size: L:20.3mm / W:19mm ; 3.81g Provenance: Private London collection.
Lot 363
42 BC.P. Clodius Ar. denarius. Laureate head of Apollo right, lyre behind. Rev. Diana standing facing, with bow and quiver over shoulder, holding lighted torch in each hand; P CLODIVS right, M F on left. Claudia 15, Syd 1117, Cr494/23. Size: L:20.2mm / W:20.3mm ; 3.84g Provenance: Private London collection.
Lot 121
Ca. 100-200 AD.A T-shaped silver fibula exhibits a deep bow that grants it a pronounced curvature, contributing to its structural integrity and aesthetic appeal. Adorned with a decorative bar-shaped head plate, this fibula attests to the skilled craftsmanship and attention to detail prevalent in Roman metalwork. The footplate of the fibula features a meticulously designed catch, fashioned to secure a pin, ensuring the garment remains fastened with elegance and reliability. As essential components of attire, fibulas served both practical and ornamental purposes, reflecting the social status and fashion sensibilities of their wearers. Size: L:40mm / W:26mm ; 5g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Lot 350
After 168 BC.Macedonia Ar. tetradrachm, Amphipolis, under Roman rule, first region. Draped bust of Artemis right, wearing stephand and earring, bow and quiver over shoulder, in the centre of a Macedonian shield ornamented with stars in double crescents and dots. Rev. MAKEΔONΩN ΠΡΩTHΣ above and below horizontal club, AP monogram above, all within oak wreath, thunderbolt outside wreath to left. AMNG III/1, 159, BMC 2. Size: L:30.8mm / W:30.1mm ; 17.26g Provenance: Private London collection.
Lot 35
Collection of five silver rings all of different designs weighing 10.18 grams collectivelySilver single stone ring - weight 2.53 size JSilver bar stone ring - weight 2.95 grams size QSilver pink stone ring - weight 1.48 grams size LSilver bow ring - weight 1.11 grams size LSilver twist ring - weight 2.13 grams size T
Lot 1076
Early 20th century oak bow-front bar, the front uprights carved with lozenges and geometric decoration, the reverse fitted with fall-front drinks cabinet over double cupboard, flanked by four open shelves; together with circular seat bar stool ,(W31cm H65cm)Dimensions: Height: 107cm Length/Width: 127cm Depth/Diameter: 34cm
Lot 1013
Early 19th century mahogany converted bow-front commode, hinged top with reeded edge, lifting to reveal shelf interior over a cellarette base, fitted with pressed brass plates and ring handles, with ebony stringing in the form of faux drawers, on ring turned feetDimensions: Height: 77cm Length/Width: 56cm Depth/Diameter: 53cm
Lot 642
An Edwardian silver open faced pocket watch by JG Graves, Sheffield, having an English lever movement, the dial marked with maker's name and 'The Express English Lever', in an engine turned case, Birmingham, 1904, 142 g, 54 mm diameter excluding bow, [running when catalogued, accuracy and reliability un-tested]
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