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Lot 48
Janet Wallace is an emerging abstract artist who uses bold colors, textures and design to explore the beauty of the Universe in all its glory. Janet celebrates the human connection and is deeply interested in how the human form combines with the Energies of Universe. Her journey into fine art has been a tremendous one thus far with commissioned works hanging in the University of York, D31 art gallery and many other places. "Sanar", framed acrylic on canvas, 60 x 60cm. Sanar means ‘Heal’ in Spanish. This piece was made during the BLM movements 2020. At this moment of darkness, there is light, there is color. Palette red/black with orange/blue/neon pink accents. 3D edged. UK shipping £35.
Lot 106
Medals, Great Britain, Victoria (1837-1901), Golden Jubilee official medal in gold, 1887, by L. C. Wyon after Sir Joseph Edgar Boehm and rev. Sir Frederick Leighton, crowned ‘Jubilee’ bust l., rev. enthroned figure of Empire facing, flanked by standing figures of Science, Letters, Art, Industry and Agriculture, at their feet, Mercury and Time, 58mm. (Eimer 1733), only 944 specimens struck and complete in case of issue, as struck AUNC with only light hairlines Provenance - The property of a gentleman collector
Lot 107
Medals, Great Britain, Victoria (1837-1901), Golden Jubilee official medal in gold, 1887, by L. C. Wyon after Sir Joseph Edgar Boehm and rev. Sir Frederick Leighton, crowned ‘Jubilee’ bust l., rev. enthroned figure of Empire facing, flanked by standing figures of Science, Letters, Art, Industry and Agriculture, at their feet, Mercury and Time, 58mm. (Eimer 1733), only 944 specimens struck and complete in case of issue, EF or better with only light hairlines, minor edge knocks and a possible sign of an acid test or the start of toning to the edge Provenance - The property of a gentleman collector
Lot 108
Medals, Great Britain, Victoria (1837-1901), Golden Jubilee official medal in silver, 1887, by L. C. Wyon after Sir Joseph Edgar Boehm and rev. Sir Frederick Leighton, crowned ‘Jubilee’ bust l., rev. enthroned figure of Empire facing, flanked by standing figures of Science, Letters, Art, Industry and Agriculture, at their feet, Mercury and Time, 76mm. (Eimer 1733), only 944 specimens struck and complete in case of issue, as struck AUNC with only light hairlines and complete in case of issue (a/f) Provenance - The property of a gentleman collector
Lot 109
Medals, Great Britain, Victoria (1837-1901), Diamond Jubilee of Queen Victoria 1897, gold medal, 56mm diam., bust left, crowned, veiled and draped. VICTORIA ANNVM REGNI SEXAGESIMVM FELICITER CLAVDIT XX IVN. MDCCCXCVII., R.Young head of the Queen left, dividing inscription LONGITVDO DIERVM IN DEXTERAEIVS ET IN SINISTRA GLORIA. Below, 1837 upon branch tied with ribbon (Eimer:1817a). EF with light hairlines and light rim nicks, complete in case of issue Provenance - The property of a gentleman collector
Lot 110
Medals, Great Britain, Victoria (1837-1901), Diamond Jubilee of Queen Victoria 1897, gold medal, 26mm diam., bust left, crowned, veiled and draped. VICTORIA ANNVM REGNI SEXAGESIMVM FELICITER CLAVDIT XX IVN. MDCCCXCVII., R.Young head of the Queen left, dividing inscription LONGITVDO DIERVM IN DEXTERAEIVS ET IN SINISTRA GLORIA. Below, 1837 upon branch tied with ribbon (Eimer:1817a). EF with light hairlines, light rim nicks and spotting, complete in case of issue Provenance - The property of a gentleman collector
Lot 111
Medals, Great Britain, Victoria (1837-1901), Diamond Jubilee of Queen Victoria 1897, silver medal, 56mm diam., bust left, crowned, veiled and draped. VICTORIA ANNVM REGNI SEXAGESIMVM FELICITER CLAVDIT XX IVN. MDCCCXCVII., R.Young head of the Queen left, dividing inscription LONGITVDO DIERVM IN DEXTERAEIVS ET IN SINISTRA GLORIA. Below, 1837 upon branch tied with ribbon (Eimer:1817a). EF with light hairlines complete in case of issue Provenance - The property of a gentleman collector
Lot 112
Medals, Great Britain, Edward VII (1901-1910), Gold Coronation Medal,1902, Royal Mint issue, 55mm, by G.W. de Saulles, crowned and draped bust of Edward r., crowned, draped and veiled bust of Queen Consort Alexandra r., (BHM 3737, Eimer 1871), UNC with only light hairlines and a tiny rim nick to the obverse, complete in case of issue Provenance - The property of a gentleman collector
Lot 113
Medals, Great Britain, Edward VII (1901-1910), Gold Coronation Medal, 1902, Royal Mint issue, 31mm, by G.W. de Saulles, crowned and draped bust of Edward r., crowned, draped and veiled bust of Queen Consort Alexandra r., (Eimer 1871), light hairlines, edge nibbles and an area that looks like a die-crack to the obverse at around 5 o'clock otherwise EF+ Provenance - The property of a gentleman collector
Lot 114
Medals, Great Britain, Edward VII (1901-1910), Gold Coronation Medal,1902, Royal Mint issue, 31mm, by G.W. de Saulles, crowned and draped bust of Edward r., crowned, draped and veiled bust of Queen Consort Alexandra r., (BHM 3737, Eimer 1871), light surface scratches, edge knocks and spotting, complete in case of issue Provenance - The property of a gentleman collector
Lot 115
Medals, Great Britain, Edward VII (1901-1910), Silver Coronation Medal,1902, Royal Mint issue, 55mm, by G.W. de Saulles, crowned and draped bust of Edward r., crowned, draped and veiled bust of Queen Consort Alexandra r., (BHM 3737, Eimer 1871), AUNC with light surface scratches and toning and complete in case of issue Provenance - The property of a gentleman collector
Lot 116
Medals, Great Britain, Edward VII (1901-1910), Silver Coronation Medal,1902, Royal Mint issue, 55mm, by G.W. de Saulles, crowned and draped bust of Edward r., crowned, draped and veiled bust of Queen Consort Alexandra r., (BHM 3737, Eimer 1871), AUNC with light surface scratches and toning and complete in case of issue
Lot 117
Medals, Great Britain, Edward VII (1901-1910), Silver Coronation Medal,1902, Royal Mint issue, 55mm, by G.W. de Saulles, crowned and draped bust of Edward r., crowned, draped and veiled bust of Queen Consort Alexandra r., (BHM 3737, Eimer 1871), EF with light surface scratches and toning and complete in case of issue Property of a gentleman collector.
Lot 119
Medals, Great Britain, George VI (1937-1952), Coronation, 1937, large official gold medal, by Percy Metcalfe for the Royal Mint, crowned bust of the King left, rev., crowned bust of Queen Elizabeth left, 57mm, (Eimer 2046), GEF with light abrasions to both the obv. and rev. and a test mark/scrape to the edge between the B and E on the reverse (274 examples issued) Provenance - The property of a gentleman collector
Lot 33
Coins, Great Britain, Edward VII (1901-1910), Coronation Proof Specimen 'Short Set', 1902, Sovereign to Maundy Penny complete in case of issue (11) (S. PS10), all coins AUNC with light hairlines and toning, heavier surface marks to the Florin Provenance - The property of a gentleman collector
Lot 46
Coins, Great Britain, George V (1910-1936), Proof Set, 1911, Five Pound, Two Pound, Sovereign, Half Sovereign, Half Crown, Florin, Shilling, Sixpence, Fourpence, Threepence, Twopence, Penny, (S PS11), complete in case of issue, all coins with the lightest of hairlines, the Two Pound with an abrasion between the cape and horses tail on reverse, the Shilling with surface imperfections/abrasions to the left of the lion on the reverse, the Fourpence with what appears to be a die crack to the lower left quadrant edge on the reverse. Possibly a crack to the blank as it continues around the rim and the Penny has some very light abrasions to the reverse. Provenance - The property of a gentleman collector
Lot 5
Coins, Great Britain, George III (1760-1820), Proof Crown, 1821, in copper, spotting to cheek, very minor knocks to the edge otherwise EF or better Provenance - The property of a gentleman collector Condition: ‘This coin is a plain edge example. The illustrations on our website show the spotting to the obverse and revers but there is also a very faint line to George’s cheek and some very light wear to the finish to St George’s helmet and sash. Both of these faults are very minor.’
Lot 83
Banknotes, Great Britain, Elizabeth II (1952-), a collection of banknotes comprising 4 x Page Five Pounds, consecutive serial numbers 35R 147507-10, NVF or better, one note with a heavier crease to one corner, a Somerset Five Pounds, serial number JZ60 373876, NVF with a heavy crease to one corner, an O'Brien Ten Shillings, serial number E94Y 1000000, NVF with light creases, discolouration around the edges and a Fforde Ten Shillings, serial number C38N 194278, F
Lot 99
Medals, Great Britain, George IV (1820-1830), Coronation medal in gold, 1821, by Benedetto Pistrucci, laureate head left, rev., winged Victory crowning the King, 35mm, (Eimer 1146), surface scuffs, scrapes and hairlines, light knocks and (what appears to be) a crack to the rim of the blank, VF or better Provenance - The property of a gentleman collector
Lot 211
Ca. 300-700 AD. Byzantine. A polycandelon (a round flat hanging lamp) with a bronze ring with decorative lozenges alternating with loops which would receive the oil receptacles; suspended by chains and a hanging hook on the top. Good condition. Byzantines churches were lit by polycandela, an early type of candelabra that held glass oil lamps rather than candles. The lamps were either conical or shaped like round bowls with an elongated stem attached beneath. Polycandela like this one were originally from churches, but they also came to be used in secular contexts. An effective and very atmospheric source of lighting, polycandela required considerable skill in casting and glasswork. For a similar polycandelon, see https://www.penn.museum/collections/object/56022. For more information on Byzantine polycandela, see Nesbitt, J. W. & Demirjian, T. (eds)(1988). Byzantium, the Light in the Age of Darkness, Ariadne Galleries, 53ff. Size: L:235mm / W:210mm ; 670g. Provenance: Ex: Nevada Private Collection; formerly acquired on the German Art Market, 2015.
Lot 236
Ca. 300-400 AD. Roman. A wonderfully preserved, mould-made terracotta lamp with a round nozzle, a round discus with concentric ridges and one filling hole, and a perforated round handle. The rich, deep red colour indicates a North African provenance. The discus is adorned with a right-facing eagle and a caduceus. Excellent condition. The caduceus was the staff carried by Hermes (in Rome, Mercury), the Graeco-Roman messenger of the gods, as a symbol of peace. Among the ancient Greeks and Romans, the caduceus became the badge of heralds and ambassadors, signifying their inviolability. As regards the eagle, the traits that we commonly associate with this bird, such as strength, shrewdness, and leadership, emerged in ancient Egypt over 4000 years ago. The Romans appropriated eagle imagery when they conquered Egypt in 300 BC and incorporated this symbolic meaning into their own culture. In 107 BC, Roman general Gaius Marius designated the eagle as the emblem of the Roman army, presenting Rome as the ideal ruler in the global sphere. During the Roman Empire, a lamp like this one was originally called a 'lychnus; (from the Greek ‘λυχνος’) with the oldest Roman lamps dating back to the third century BC. It is thought that the Romans took the idea for lamps from the Greek colonies of Southern Italy. During the Roman Empire, it became commonplace to use lamps in funeral ceremonies and for public purposes. Over time, the manufacture of lamps increased, and so did the variation in decoration, which depended mainly on the shape and size of the lamp. Common decorative themes depicted on the discus were entertainment scenes (such as gladiators in combat), common myths, and animals. During the fourth and fifth century AD, North Africa started to produce oil lamps from red slip, much like this fine example, with large discus areas which allowed for numerous designs. Cf. Zhuravlev, D. (2002). Fire, light and light equipment in the Graeco-Roman world. Oxford: Archaeopress to find out more about light equipment across the Classical world. Size: L:43mm / W:93mm ; 49g. Provenance: Property of a North London gentleman C. M.; formerly in Arnos Jumperz collection, Leverkusen (Germany), acquired pre-1994.
Lot 25
Ca. 1250-1350 AD. Medieval Western Europe. A stunning, forged-iron long sword of the Oakeshott Type XIIa.4 with a long hilt and a flat disc pommel where the broad chamfers have been cut into octagonal facets. The cross is lenticular. The arms are slim and slightly curved towards the blade. The High Middle Ages saw swordsmiths develop new types of blades to combat the ever-increasing usage of plate armour. Against these defences, early-styled swords with light, flat cutting blades lost much of their effectiveness. Warriors and craftsmen of the day saw the need for more acutely pointed blades with cross-sections reinforced for thrusting. Mounted on a custom-made stand. Mounted on a custom-made stand. Excellent condition. For more information on Medieval swords, see Oakeshott, R. Ewart (1998). Records of the medieval sword. Boydell Press. Size: L:1030mm / W:210mm ; 1.2kg. Provenance: Property of a European collector. Formerly in the collection of Earl Mitchell, London 1990s.
Lot 27
Ca. 1250-1370 AD. Medieval Western Europe. A beautiful forged Oakeshott type XIIIa longsword with a long grip and a disc-shaped pommel with a recessed inner disc. The cross is lenticular and the narrow arms are curved towards the blade. The High Middle Ages saw swordsmiths develop new types of blades to combat the ever-increasing usage of plate armour. Against these defences, early-styled swords with light, flat cutting blades lost much of their effectiveness. Warriors and craftsmen of the day saw the need for more acutely pointed blades with cross-sections reinforced for thrusting. Mounted on a custom-made stand. Excellent condition. For more information on Medieval swords, see Oakeshott, R. Ewart (1998). Records of the medieval sword. Boydell Press. Size: L:1055mm / W:175mm ; 955g. Provenance: Property of a European collector. Formerly in the collection of Earl Mitchell, London 1990s.
Lot 280
Ca. 700-900 AD. Northern Europe. A beautiful silver pendant with an integral loop shaped like a bearded Viking axe head. Good condition. This type of amulet is modelled after the axe Molnia and is often seen as a counterpart to the common Mjölnir amulet. Some associate these axe pendants with Perun who was the ruler of the living world, sky and earth who used the axe to kill the snake that stole the earthly light. For more information on Viking jewellery, see Arbman, H. (1940). Birka I Die Gräber. Uppsala & Hubbard, B. (2016) The Viking Warrior. Amber Books Ltd, London, 61-65.Size: L:24mm / W:13mm ; 3.4g. Provenance: Property of a London gentleman, formerly with the Parthenon gallery, previously in an old English collection formed in the 1980s.
Lot 300
Ca. 1000 AD. Viking. A bifacial bronze pendant with the body shaped as a pair of horse-heads in profile, a low-relief detailing, a loop between the shoulders, and six rings to the lower edge which originally had a chain and webbed-foot dangle attached. Good condition. These pendants were designed to make a jingling sound and catch light when hanging from a saddle or belt. For more information, see Golubeva, L.A. (1979). Zoomorfniye Ukrasheniia Finno-Ugrov. Moscow.Size: L:41mm / W:50mm ; 25g. Provenance: Property of a London gentleman, part of his family collection formed in the 1980s-2000.
Lot 6
Ca. 200-400 AD. Late Roman. A beautiful legionary sword of the 'spatha' type. This broad parallel-sided spatha has a convergent tip and a rectangular-section guard. The blade is decorated with a circular engraving. A slender tang protruding from the back end would have been wrapped with a handle made of bone meant to increase the soldier's grip while imbuing the weapon with an attractive presentation. Starting around the late 2nd century AD, the Romans began adopting the long, double-edged swords called 'spathae', which were originally only used by the Germanic peoples. The Roman spatha was a key part of Roman military equipment used in war and in gladiatorial fights. In literature, the spatha appears in the Roman Empire in the 1st century AD as a weapon used by presumably Germanic auxiliaries and gradually became a standard heavy infantry weapon from the late 2nd century AD onwards, relegating the gladius to use as a light infantry weapon. While the infantry's spathae had a long point, versions carried by the cavalry had a rounded tip that prevented accidental stabbing of the cavalryman's own foot or horse. Good condition; custom-made stand included. To find out more about spathae, see Bishop, C. C. (2020). The Spatha: the Roman Longsword. Bloomsbury Publishing. Size: L:800mm / W:90mm ; 670g. Provenance: Property of a European collector. Formerly in the collection of Earl Mitchell, London 1990s
Lot 76
Ca. 618–907 AD. Chinese Tang Dynasty. The elegant figure stands on a flat, shaped base, with the head turned slightly to the side and her hands held up, away from the body and within the draped sleeves. In one hand, she holds a pomegranate-shaped item. Her red, green, light blue and white long robes fall in heavy folds that emphasize the graceful sway of her body. A flowery motif in a red-colour palette adorns the bottom part of her robe. The face is sensitively modelled with full rosy cheeks, a small mouth and elongated eyes, and is framed by an elaborate coiffure drawn up into a central chignon. This stately, elegant figure exemplifies the ideal standards of beauty and fashion that prevailed during the high Tang period of the 8th century in China. During this period, a more voluptuous body type had become fashionable, which was reflected in women's robes being long and loose-fitting, and their hair was worn in fuller hairstyles that framed the face. Other painted pottery figures representing this type of court lady are illustrated in The Quest for Eternity—Chinese Ceramic Sculpture from the People's Republic of China, Los Angeles County Museum of Art, 1987, pp. 139-40, nos. 83-84, and col. pl., p. 56. Several paintings on silk, from Turfan, of women that are similar in type to the present figure, depict them with pink cheeks, to indicate the use of rouge, which is seen on the full cheeks of the present figure (see The Ancient Art in Xinjiang, China, 1994, pp. 86-7, pls. 210, 213 and 215). The type of hairdo and stance of the present lady can be seen on a slightly smaller figure (53.4cm.) illustrated in Mayuyama, Seventy Years, Tokyo, 1976, vol. I, p. 67, no. 178. For a similar figure sold at Christie’s, see https://www.christies.com/lot/lot-1587630. For more general information on the Tang Dynasty, see Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200–750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:490mm / W:199mm ; 4,8 kg. Provenance: UK private collection; formerly acquired in the early 1990s in Hong Kong.
Lot 91
Ca. 618-907. Tang Dynasty. A finely modelled terracotta figure of a female court lady. She is depicted standing and attentive, wearing a long dress with a light coloured top, a red skirt and a purple waist sash or belt. Her right hand is holding a jug, while the left one is slightly raised. Her facial features consist of thin, slightly arched eyebrows, narrow eyes rimmed with black pigment and a pointed nose. Her small mouth is painted with red pigment. Her hair is neatly combed into a hairstyle consisting of a high topknot. The Tang Dynasty was largely a period of progress and stability in the first half of its reign, until the An Lushan Rebellion and the decline of central authority in the latter half of the dynasty. Funerary offerings were an important status symbol in ancient China. The wealthy were accompanied on their journeys through the afterlife with numerous representations of people, objects and animals. Such terracotta figures were made to serve and entertain the owner, to ensure that their journey to the underworld was a happy one. Terracotta tomb guards appear to have first appeared during the Western Han Dynasty. But it was not until the Tang dynasty that the cultural tradition of displaying wealth in elite tombs reached its peak, with increased production of terracotta statuettes. The Tang Dynasty was an exciting time in Chinese history when trade flourished along the Silk Road and unified China was the richest country on earth. Chang'an (now Xi'an) was the capital of the Tang Dynasty and one of the most cosmopolitan cities in the world, filled with foreigners who had travelled to China to trade. The influence of foreigners and talented native Chinese, combined with the economic prosperity brought by trade and the new religion from India, Buddhism, created a strong cultural milieu in which poetry and other forms of art flourished. To find out more about the Tang dynasty and its art production, see Yang, X. (1999). The golden age of Chinese archaeology: Celebrated archaeological finds from the People's Republic of China. New Haven; London: Yale University Press; Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200-750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. Size: L:340mm / W:60mm ; 660g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Lot 98
Ca. 1368-1644 AD. Ming Dynasty. An elaborate male servant figure in court dress or shenyi consisting of a long waistcoat tied at the waist and long, flaring sleeves. His robe is dark blue with light blue accents on the sleeves and collar, while his elaborate hairstyle is accented in black and tied with a red ribbon. In his right hand, he carries an object. This type of figurines were tomb attendants, a class of artefacts called 'mingqi' - sometimes known as "spirit utensils" or "vessels for ghosts". They became popular in the Han Dynasty and would persist for several centuries. Alongside figures like this one were musicians, athletes, and animals. Mingqi often show a high level of detail and naturalism. These were designed to assist the 'po', the part of the soul of the deceased that remained underground with the body while the 'hun', the other part of the soul, ascended. Hundreds of pottery figures like these were placed into tombs during the Ming period. In one undisturbed Ming Dynasty prince's tomb, archaeologists found an array of small figures placed as if in ceremonial procession; the deceased's books, paintings, clothing, and other personal effects were also present. Good condition. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm) Size: L:240mm / W:73mm ; 440g. Provenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Lot 100
Ca. 1368-1644 AD. Ming Dynasty. An elaborate terracotta zodiac figure in a court dress or shenyi consisting of a long waistcoat tied at the waist over a purple dress with long flaring sleeves. The robe is dark blue with light blue accents on the sleeves. The hands are folded in front of the chest. The figure is extremely detailed and beautifully glazed in turquoise and cobalt blue colours. The cloaked human body is standing frontal with the head of an animal from the Chinese zodiac - in this case, the snake. The Chinese zodiac is a method of counting years based on the Chinese lunar calendar which assigns every year with a representative animal in a repeating 12-year cycle. Each animal is also associated with a natural element in the Earthly Branch. The twelve Zodiacs are the rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog, and pig or boar. These correspond to the twelve Earthly Branches and are infrequently found in wealthy tombs of the elite and wealthy ancient Ming Chinese. The tradition of sculpting terracotta figurines into zodiac representations might have originated during the Han Dynasty. Normally zodiac figures from the Ming dynasty have human heads and they hold the zodiac emblem animal in their hands. The zodiac figures were often placed in a north-south direction in coffin chambers to represent the progress of time. People hoped that such an arrangement would encourage the god to time to guard the tomb. For a general overview of the art of the Ming Dynasty, see Department of Asian Art. (2000). "Ming Dynasty (1368-1644)." In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art (http://www.metmuseum.org/toah/hd/ming/hd_ming.htm) Size: L:223mm / W:85mm ; 445g. Provenance: UK private collection of Asian Art; formerly acquired in the early 1990s in Hong Kong.
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