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Click here to subscribeRoman Imperial Coinage, Vespasian, Aureus, 70, laureate bust right, rev. cos iter fort red, Fortuna standing left, holding cornucopia and resting right hand on prow, 7.06g (RIC 18; BMC 373; Calicó 601). Traces of mounting and a few light scratches, otherwise good very fine, rare £2,000-£3,000
Roman Imperial Coinage, Titus (as Cæsar), Aureus, Rome, 73, laureate bust right, rev. pax avg, Pax standing left leaning against column, holding winged caduceus and olive branch, tripod in front, 7.34g (RIC 168a; BMC 111; Calicó 744). Light scores on cheek and forehead, otherwise nearly extremely fine £5,000-£6,000
Nero Claudius Drusus (d. 9 BC), Sestertius, Rome, c. 42-54, bust left, rectangular countermark in field reading ncapr, rev. Claudius seated left on curule chair, holding branch and scroll; below, weapons and armour on either side of globe, 26.84g/6h (RIC Claudius 109; BMC 210; RCV 1896). About very fine, striking weakness and surface flaws to reverse, scarce £200-£260
Agrippina Senior (d. 33), Sestertius, restitution issue under Claudius, draped bust of Agrippina right, rev. ti clavdivs caesar avg germ p m tr p imp p p, around large S C, rectangular countermark in field reading ncapr, 29.83g (RIC Claudius 102; BMC 222-3 [with countermark]; RCV 1906). Coin fine, countermark better, rare £90-£120
Vespasian, Sestertius, Rome, 71, laureate bust right, rev. ivdaea capta, palm tree; to left, Emperor standing right with spear and parazonium, foot on helmet; to right, Judæa seated right on cuirass, s c in exergue, 25.50g (RIC 167; BMC 543; RCV 2327). Good fine, some porous surfaces £200-£260
Diva Faustina Senior (d. 141), Sestertius, Rome, after 141, draped bust right, hair coiled on top of head, rev. Empress seated left holding sceptre in car drawn left by two elephants with riders, 24.89g (RIC Antoninus Pius 1113; BMC 1502; RCV 4611). Some light smoothing in reverse fields, otherwise about very fine, attractive green patina £150-£180
Severus Alexander, Sestertius, 228, laureate head right, rev. Mars standing left, 18.39g (RIC 477; RCV 7995); Julia Mamæa, Sestertii (2), 232, draped and diademed bust right, rev. Fecunditas standing left, 18.48g (RIC 668; RCV 8226); 230, similar, rev. Felicitas seated left, holding caduceus and cornucopia, 14.12g (RIC 679; RCV 8229) [3]. First sometime cleaned and double-struck, last lightly smoothed in reverse fields, otherwise very fine £200-£260
Otacilia Severa, Sestertius, Rome, 244-249, diademed and draped bust right, rev. Concordia seated left, holding patera and double cornucopia, 17.52g (RIC Philip I 203a; RCV 9164); Trebonianus Gallus, Sestertius, 252, laureate and draped bust right, rev. Juno seated within garlanded distyle temple, s c in field, 17.43g (RIC 110a; RCV 9671) [2]. Some roughness, otherwise about very fine £80-£100
Postumus, Sestertius, 260-261, laureate and draped bust right, rev. [p m tr] p co[s ii p p], Emperor standing left, holding globe and spear; [virtv]s avg Mars standing right, resting on shield, 20.69g (RIC 107 over 180). Improperly overstruck on reverse with host design and overtype each occupying around half of the flan; unusual and very fine £150-£180
Early Anglo-Saxon Period, Sceatta, Secondary series G, type 3a, c. 710-60, diademed and draped bust right, long cross before face, rev. degraded standard containing three crosses and a trefoil of pellets around central annulet, 1.16g (SCBI Abramson 310; SCBI BM 437; Abramson 21-20; M 268; N 43; S 800). Struck from a slightly worn obverse die, otherwise extremely fine, lightly toned over smooth metal £300-£360
Kings of Mercia, Cynethryth (wife of Offa), Penny, Light coinage, c. 785, Canterbury, Eoba, draped bust of Offa right, eoba in field, pellets between letters, rev. cyneðryð regina, uncial M in centre, contraction bar above, pellets in field, 1.09g/12h (Chick 144d, this coin; Williams 22, same obv. die; SCBI BM –; N 339; S 909). Surface pitting, very fine, extremely rare £2,400-£3,000
Kings of Mercia, Burgred (852-74), Penny, Phase IIb, Lunette type A, Cenred, bvrgred rex around diademed bust right, rev. mon cenred eta in three lines, first and last flanked with small crescents and contained within lunettes, 1.33g/9h (MacKay H8 [O3?/R–]; SCBI BM 523; N 423; S 941A). Some doubling on obverse, otherwise good very fine, excellent metal for issue, attractively toned £800-£1,000
Kings of Wessex, Æthelwulf (839-58), Penny, Phase IV, Inscribed Cross type [BMC xvii], Canterbury, Wermund, aedelvvlf rex, draped bust right breaking inner circle, rev. vermvnd moneta arranged on and around limbs of beaded cross, 1.32g/6h (Naismith C148e, this coin; SCBI BM 1227, Copenhagen 660, Mack 718; N 618; S 1051). Full flan with smooth surfaces, very fine, rare £1,200-£1,500
Kings of Wessex, Alfred the Great (871-99), Penny, Phase III, London Monogram type [BMC ix], Tilewine, ælfr ed rex, diademed bust right wearing decorated tunic, rev. londonia monogram, tilevine above, moneta below, 1.50g/12h (MacKay B 9.2 [O3/R8], this coin; SCBI Fitzwilliam 549 = MEC 8, 1259, same dies; BMC 116; N 646; S 1062). Minor flan flaw in reverse field, otherwise good extremely fine and attractively toned £6,000-£8,000
Kings of Wessex, Alfred the Great, Halfpenny, Phase III [BMC –], London Monogram type, ælf red, diademed bust left wearing decorated tunic, rev. londonia monogram, trefoil of pellets above and below, 0.55g/9h (MacKay II 1.2 [O1/R1], this coin; Stack 442, same dies; BMC –; N 645 var.; S 1063). A few light marks and weak on the face, otherwise very fine, full round flan; extremely rare with the left facing bust £1,500-£1,800
Æthelstan (924-939), Penny, Crowned Bust type [BMC ix], Wallingford, Æthelmund, late Winchester dies, ædelstan rex to br, bust right within inner circle, rev. ædel.mvnd mo pel.ingi, small cross, 1.57g/12h (W & W –; Blunt 294 var. [obv. type]; SCBI BM 153 var. [same]; Forum Hoard 562 var. [same]; N 675; S 1095). Weak on crown, otherwise good very fine, lightly toned; the obverse reading and bust type previously unrecorded at this rare mint £2,400-£3,000
Eadgar (959-975), Penny, Crowned Bust type [BMC v], London, Athulf, eadgar rex, crowned and draped bust right breaking inner circle, rev. advlf moneta lvnd, small cross, 1.15g/6h (CTCE 356; SCBI Glasgow 709 var.; N 751; S 1138). Some edge loss and tooling to reverse, otherwise about very fine, dark toned £800-£1,000
Eadgar (959-975), Halfpenny, London Monogram type [BMC –], ead+gar re, crude bust right with decorated torso, rev. londonia monogram, cross above, pyramid of six pellets below, 0.56g/6h (CTCE 394; SCBI BM 1172; Williams 71, same obv. die; N 753; S 1140B). Obverse die break and with a few light surface marks, otherwise about extremely fine and extremely rare £2,400-£3,000
Edward the Confessor (1042-1066), Penny, PACX type [BMC iv var.], Wallingford, Æthelwig, edpard rex, bust left with single-lined diadem and sceptre, rev. elpi on pelingaf, pacs in angles of voided long cross, 1.14g/9h (W & W 189; Pagan 467, this coin; Freeman 1; SCBI South-Eastern Museums 1137, same obv. die; BMC –; BEH –; N 813; S 1171). Small obverse die break, otherwise good very fine, scarce £500-£700
Edward the Confessor (1042-1066), Penny, Pointed Helmet type [BMC vii], Wallingford, Brandr, brandd on pelinga, bust A, 1.36g/3h (W & W 211, this coin; Freeman 26, this coin cited; SCBI Mack 1219, this coin; SCBI Ashmolean 891, same obv. die; BMC 1276; N 825; S 1179). Peripheral striking weakness, otherwise about extremely fine, dark toned with orange highlights £400-£500
Edward the Confessor (1042-1066), Penny, Pyramids type without sceptre [BMC xvc], Wallingford, Beorhtmær, crowned and draped bust right, rev. brihtmær on pa:, voided short cross, small crescent at end of each limb, pyramids in angles, 1.32g/12h (W & W 299-301; Freeman 40, this coin cited; SCBI Ashmolean 1080 and BMC 1297, same dies; N 833; S –). Trifling surface marks, otherwise good very fine with a remarkable portrait of the king; excessively rare £3,000-£3,600
A Victorian carved oak settle the arcaded top rail with later cavalier bust finials, over a three panel back carved with tavern scenes, within foliate and urn carved friezes, the open, downswept arms carved with lions, over a hinged, shell carved seat, the two panel front carved with lion masks and foliage, over a foliate carved apron and gadrooned feet, 63 x 25¾in. (160 x 65.5cm.), 52¼in. (132.75cm.) high.
TULK (Charles Augustus, 1786-1849), patron to William Blake and John Flaxman, and founder member of the Swedenborg Society, a small archive collection including family albums and published illustrated works by Flaxman. Included is Caroline Tulk's album of drawings and watercolours with a pencil sketch of Charles Tulk attributed to Giuseppi Caputi, and another bust length sketch thought to be of Flaxman.Serena viewing herself in the Glass by Maria Flaxman, for Hayley's The Triumphs of Temper. 9 x 12cm; also a Flaxman Gallery Subscription List, 1848, inscribed in ink ‘To my dear friend – La Comtesse Cottrell, from M. Denman’. It contains handwritten corrections by Maria Denman, in ink, to the printed subscriber’s list.Five 1st edition volumes of Flaxman's drawings, published 1805-35, including: The Illiad of Homer, The Odysey, Compositions from the Works, Days and Theogony of Hesiod, Compositions from the Works, Days and Theogony of Hesiod, The Lord's Prayer. Also two French editions. Three works by or about Tulk. A manuscript letter dated November 4th 1847, from Charles Augustus Tulk to the wife of James J. Garth Wilkinson, social reformer, editor and translator of Swedenborg’s scientific and philosophical writings.An annotated proof copy of pages 131-142, in biographical notes 230 to 234 of Documents Concerning the Life and Character of Emanuel Swedenborg, Collected, Translated, and Annotated Testimony of Contemporaries, p556, [1875?] referring to J.J. Garth Wilkinson, Swedenborg’s Portraits, John Flaxman, Charles A. Tulk & Swedenborg’s Skull.
MAURICE DE VLAMINCK (1876-1958)La forêt signed and inscribed 'Vlaminck La forêt' (lower left)oil on canvas81 x 100cm (31 7/8 x 39 3/8in).Painted circa 1907-1908Footnotes:This work is accompanied by an attestation from the Wildenstein Institute. This work will be included in the forthcoming Maurice de Vlaminck Digital Catalogue, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc.Please note that this work has been requested for the exhibition Maurice de Vlaminck: Modern Artist Rebel at the Museum Barberini, Potsdam, 14 September 2024 – 12 January 2025.ProvenanceDaniel-Henry Kahnweiler, Paris and Zurich, no. 68 (probably acquired directly from the artist); on consignment with Galerie Alfred Flechtheim, Dusseldorf, no. 616, subsequently with Galerie Paul Cassirer, Berlin, no. 17219, from 2 October 1919.Private collection, Berlin and London (acquired in the 1920s).Thence by descent to the present owner.ExhibitedDresden, Kunstsalon Emil Richter.(Possibly) Dusseldorf, Städtischer Kunstpalast, Ausstellung des Sonderbundes Westdeutscher Kunstfreunde und Künstler, Düsseldorf 1910, 16 July - 9 October 1910, no. 182 (titled 'Der Wald').(Possibly) Dusseldorf, Galerie Alfred Flechtheim, Wilhelm Kreis, Max Hünten, Manolo, De Vlaminck, 17 August - 6 September 1919, no. 43 (titled 'Der Wald').'When painting I experienced a source of joy, a constantly renewed pleasure, an intense cerebral excitement... I was in communion with the sky, the trees, the clouds, with life... An unceasingly renewed but fleeting illusion... It was precisely that appearance, continually renewed, always ungraspable that I worked furiously at capturing, at fixing on the canvas in greens, yellows, blues and reds.' - M. de VlaminckUnseen in public for almost a century, La forêt is a luminescent example of Maurice de Vlaminck's liberal and emotional presentation of colour and the evolving modernisation of his style. At the same time the work has a history as rich as its palette, traversing the shifting tides of European art collecting and dealing in the 20th century. Passing through the hands of Daniel-Henry Kahnweiler, Alfred Flechtheim and Paul Cassirer, before being taken to London following the rise of Nazi Germany, the provenance trajectory of the present work encapsulates some of the most fundamental developments in the history of art and of the world.A chance meeting in July 1900, on the same suburban St Germain-en-Laye to Gare St Lazare rail line that had coincidentally brought together Paul Sérusier and Maurice Denis some ten years previously, gave birth to a blossoming friendship and to two of Fauvism's most ardent proponents: André Derain and Maurice de Vlaminck: 'It is certain that if it had not been for that meeting... the idea would never have entered my mind to make 'Painting' my livelihood!' (M. de Vlaminck, Portraits avant décès, Paris, 1943, p. 13).Together Derain and Vlaminck set up in Chatou, a quiet suburb of Paris, penniless, but nonetheless flush with a burning passion for their impending artistic endeavours. As Renoir and Monet had done in the summer of 1869, the pair worked on the banks of the Seine, inspiring one another in turn and ceaselessly conversing to generate a unique aesthetic. Over the 1900-1905 period, the 'School of Chatou' was born. When apart, the two artists would continue their discussion via letter and Vlaminck kept the entire body of letters written to him by Derain, eventually giving them to the Musée de Chartres. These invaluable notes offer an important insight into the aesthetic development of Derain and, in turn, Vlaminck, offering a gauge on the exchange of ideas, discussion of aesthetics, and questionings that nourished and stimulated the relationship between the young artists.Galerie Bernheim-Jeune's major exhibition of Vincent van Gogh in March 1901 was to have an unimaginably profound effect on Vlaminck, who was 'bowled over' by the Dutch artist's 'revolutionary direction, an almost religious feeling in his interpretation of nature' (M. de Vlaminck, op. cit., 1943, p. 31), an effect we see come to the fore through Vlaminck's later use of lengthened brushstrokes, to give form to his subjects. At this same exhibition, Derain introduced his friend and visionary accomplice to the third Fauve master of colour, Henri Matisse. Matisse later recalled to his son-in-law, Georges Duthuit, the exclamation of Vlaminck at this meeting: 'You see, you have to paint using pure cobalts, pure vermilions, pure Veronese greens!' (Matisse quoted in G. Duthuit, Les Fauves, Braque, Derain, Van Dongen, Dufy, Friesz, Manguin, Marquet, Matisse, Puy, Vlaminck, Geneva, 1949, p. 72).Vlaminck's artistic output in the following years was as monumental as it was influential, ultimately creating an oeuvre of some 6,000 works. He was, however, constantly financially challenged in these early years. Juggling a young family and a voracious appetite for painting, he supplemented his salary as an evening musician by giving violin lessons. As he recalled later, 'I quite often went without the necessaries in order to be able to cover my canvases with colours, which I later scraped off so I could use them again. My most recurrent problem was that I lacked the money to buy tubes and stretchers!' (M. de Vlaminck, Le Ventre ouvert, Paris, 1937, p. 50).This hardship prevented Vlaminck from travelling with Derain and Matisse to the South of France and discovering the light of the Midi. Instead, he remained in the regions along the Seine valley to the west of Paris, travelling by foot and by bicycle in search of the perfect place to paint en plein air. This did not matter for Vlaminck, for his relationship to the landscape, the motif, was instinctive and it was 'far from the intense southern light that Vlaminck's personal style rose to a level on which the colour exploded' (M. Vallès-Bled, Maurice de Vlaminck, La période fauve, 1900-1907, Paris, 2008, p. 37). His emotional and aesthetic attachment to the landscape drew comparisons to Cézanne, who was often drawn back to the views of Mont-Sainte Victoire and the gardens of Jas du Bouffan.Some financial respite was to come later however, from his first dealer Ambroise Vollard. After the preliminary exhibitions of his Fauvist works, Vollard bought up much of his stock and made monthly purchases that allowed Vlaminck to live as a painter. He also played a crucial role in disseminating Vlaminck's works through the frequency of his purchases, his national and international sales and his loans to a wide number of exhibitions. To find himself in such a position however, Vlaminck had to first run the gauntlet of the 1905 Salon d'Automne, a Salon that would secure itself in the annals of art history.'A tremendously bright room, of the most daring, the most extreme, of those whose intentions have to be decoded... At the centre of the room, the torso of a child and a small marble bust by Albert Marquet, whose modelling is a delicate science. The ingenuousness of these busts is striking, set amidst the orgy of pure colours: Donatello amongst the wild beasts' (L. Vauxcelles, 'Le Salon d'Automne', in Gil Blas, 17 October 1905).Thenceforth Matisse, Derain and Vlaminck became known as les Fauves (wild beasts), proudly and defiantly adopting the sobriquet given at the infamous Salon. Now the Fauvists would continue their vivid journey with a new title and exacerbated purpose. As Vlaminck recalls: 'Fauvism was no... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
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