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Lot 502
A Distinguished Flying Medal 1918 to Flight Sergeant L R Harman RAF 1291119 with WWII Defence Medal and War Medal, 39-49 Star and The Air Crew Europe Star, sold together with photograph, 1924 telegram from 'Bomber Harris', flight log book April 1943 to Nov 1945 including Berlin, Leipzig, Nuremberg (noted loses), mess subscription card, fuel ration book, clothing books, sweetheart badge, AG fabric badge and RAF service and release book
Lot 606
A quantity of five bronze medallions relating to: "The Grocery, Provisions, Oil and Italian Warehouse and Allied Trades Exhibition and Market" circa 1910, four awarded to W H Clark, Hackney Road, London N.E approx 48mm diameter plus one "The Journal of The Amateur, The Profession and The Trade" medal for lantern slide to A J Freeman, approx 45mm diameter - Condition: VF
Lot 438
An Irish Potato Famine autograph letter – sent from an inmate of Carrick-on-Shannon Prison to his absentee landlord, Sir Morgan Crofton. Together with three other interesting documents relating to the Anglo-Irish barons, the Croftons of Mohill, and three cartes-de-visite. All contained in an early 20th century Lloyds Bank leather cheque book holder and comprising: 1. A pitiful 330-word letter written by the tenant farmer David Dobson (1800-1881) of Gortfadda, near Mohill, Co. Leitrim, while in prison at Carrick-on-Shannon. Dated 17th December 1850 and addressed to the 3rd Baron of Mohill (1788-1867), 'Sir Morgan Crofton Bart. Leamington, Warwick Shire, England' and with two handstamps above: ‘CARRICK ON SHANNON - DE I7 1850 A’ and ‘PAID DE 19 1850 A’. Dobson pleads for leniency at Christmas (it may be his last, he says) and asks Crofton to take into account that his potato crop has failed, his mare and foal worth 20 pounds had died of the staggers, his heifer and calf had been stolen from his cow-house, and his foolish wife was being counselled by his son-in-law. The top of the letter with a ‘forward’ message from Sir Morgan to his land agent at Mohill, John Kane, which ends: ‘I will not interfere in this matter. I am, sir, yours very truly, Crofton’. 2. Three cartes-de-visite: the 3rd Baron wearing his Trafalgar Medal, which he had claimed for service as a Midshipman on HMS Sirius (but refused the pension for); the second believed to be his wife (née Emily Daly); and the third possibly their profligate grandson, the 4th Baron. 3. A circa 1920 handwritten transcription titled ‘Extracts from Sir Hugh Crofton’s note book copied from Emily Hyde’s copy’. (Excerpts from Sir Hugh’s entertaining notebook, known as the ‘Staveley Note Book’, were quoted in the family history, The Crofton Memoirs (York 1911). The whereabouts of the original notebook and Emily Hyde’s copy are unknown.) These transcribed excerpts include material which was not included in the Crofton Memoirs: two charming odes to his wife and details of the astonishing annual expenditure of the Crofton and Smyth families in Ireland, as well as Sir Hugh’s apologia for absentee landlords. The transcript in its envelope addressed to ‘Mrs Maberly, Beechmount, Cosshaven, Co. Cork, Ireland’, with Sidcup stamp, the year indecipherable. (Mrs Maberly (1854-1949), née Frances Barbara Crofton, was a niece of the 3rd Baron and the wife of Frank Hyde Maberly, a first cousin of Ireland’s first President, Douglas Ross Hyde, to whom she was also related on her father’s side.) 4. A July 3rd 1904 Southwark Cathedral order of service for the unveiling of the tablet in memory of the 14 men of the East Surrey Regiment and Royal Surrey Militia who died during the Boer War, the most senior being Major Henry William George Crofton (1866-1902), who was killed in action against Malan’s Commando at Uitspanfontein. 5. A St Martin-in-the-Fields order of service for the 1905 wedding of Mrs Marianne Gertrude Crofton (née Wingrove) (1869-1945), the 36-year-old widow of Major HWGC (above), to Capt. (later Maj.) James Logan Ellis (1872-1936) of the W. Yorks Regiment.
Lot 273
A collection of costume jewellery to include a pair of pearl and diamond silver earrings, Danish silver and green agate brooch, silver charm bracelet, silver and agate ring, cubic zirconia and silver drop earrings, 800 filigree brooch, white metal RAF brooch, vintage faux pearl necklaces, gilt and white metal paste set brooches, necklaces and rings, clip on earrings, beaded jewellery, etc along with 'Order of Fellows medal along with Elizabeth II medal, cigar and cigarette cases, vintage compacts etc (1 bag)
Lot 391
A Peru silver 8 Reales, Limas, Caroilius III, 1764, dot above both mint marks, a Geo III cartwheel twopence, 1797, two Victorian half crowns 1892/93, A Geo mV bronze coronation medal in presentation case, a Canadian silver dollar 1935, Elizabeth II Australian 50 cents, 1966, a 1986 proof set, a USA proof set 1969, and other loose coins, various dates, grades and denominations
Lot 51
FRANCISCO DOMINGO MARQUÉS (Valencia, 1842 - Madrid, 1920)."Ride with Horses".Oil on panel.Signed in the lower left corner.Size: 15 x 20 cm; 43 x 50,5 cm (frame).Domingo Marqués began his training at the School of Fine Arts of San Carlos in Valencia and in the workshop of Rafael Montesinos, who instilled in him his deep admiration for Ribera. In 1864 he moved to Madrid with the aim of furthering his studies at the Royal Academy of San Fernando in Madrid, and in 1868 he obtained the coveted pension for Rome. In 1866 he had already been awarded a third medal at the National Exhibition in Madrid for his painting "Un lance en el siglo XVII", and the following year a gold medal for the same work at the Valencian Regional Exhibition, merits which helped him to obtain the pension for Italy. In Rome he attended the studio of Eduardo Rosales and became acquainted with Mariano Fortuny, whose posthumous portrait he painted in 1884. His first work as a scholarship holder, "El último día de Sagunto" ("The Last Day of Sagunto"), was sent to the Regional Exhibition in Valencia in 1869 and to the National Exhibition in 1871, together with the painting "Santa Clara", which won him the first medal. His second work, "Portrait of Manuel Ruiz Zorilla", was completed in Valencia, in his famous studio in La Gallera, which had become the centre of Valencian artistic life. For a year he taught at the San Carlos School of Fine Arts, with the Benlliure brothers as his pupils. In 1871, when he did not return from Rome, the Diputación decided to withdraw his pension. It was then that Domingo settled in Madrid, where he decorated the palaces of Portugalete and Fernán Núñez. In 1875 he moved to Paris, where he devoted himself almost exclusively to producing exquisitely executed anecdotal paintings, such as "Un alto en la montería" ("A Halt in the Hunt") of 1901. These works are executed in a meticulous, colourful style and display a certain Impressionist influence. In 1914, on the outbreak of the First World War, he returned to Spain and settled again in Madrid, gaining official recognition. He entered the San Fernando Academy of Fine Arts in 1917 and was the subject of a public tribute in Valencia the following year. Domingo's mature style is heir to the naturalistic tradition of the Baroque, and his brushstroke breaks down pictorial matter to focus his interest on colour and light. He is represented in the Prado Museum, the Fine Arts Museums of Valencia, Malaga and Asturias, the Hispanic Society and the Metropolitan in New York and the Lázaro Galdiano in Madrid, among many others.
Lot 76
JOAN ROIG SOLER (Barcelona, 1852-1909)."Sitges".Oil on canvas.Signed in the lower left corner.Measurements: 68 x 120 cm; 97 x 147 cm (frame).The church of San Bartolomé is outlined in the distance, under the wide horizon of cerulean colour and mottled with subtle mauves, in this painting by Roig Soler. The Sitges coastline, as it was at the end of the 19th century, with low, tile-roofed houses lining the beach, is portrayed with magnificent atmospheric capture and bold panoramic perspective. The whitewashed walls absorb the morning light, which reverberates on the golden sand. The fishermen's boats are waiting to set sail.Joan Roig Soler began his training with Modest Urgell and later completed his apprenticeship by travelling to the great art capitals of Paris and Rome. Closely linked to Sitges, in this town he initiated, together with Arcadi Mas i Fondevila, the informal Catalan Luminist School. Devoted to landscape, he cultivated the coastal environments of Blanes, Tossa, Cadaqués, Mallorca, etc., but also the urban landscape (Barcelona, etc.) and the Pyrenees. His work clearly shows his preoccupation with light and his desire to break with the pictorial lyricism of the time. He practised a style close to impressionism which preceded the modernism of Santiago Rusiñol and Ramón Casas, who came into contact with Sitges thanks to him. He exhibited in Barcelona, Madrid, Paris, etc. He was awarded the third medal at the National Fine Arts Exhibition of 1887, and won prizes at the Paris (1895), Barcelona (1896) and Saragossa Exhibitions. He is represented in the collections of the Museums of Modern Art in Barcelona and Madrid.
Lot 23
JOSÉ BARDASANO BAOS (Madrid, 1910-1979)."Interior".Oil on panel.Signed in the lower right corner.Size: 27 x 35 cm; 50 x 58 cm (frame).Bardasano completes his training at the School of Arts and Crafts, where he obtains all the extraordinary prizes of the career. In 1930 he won, at the National Exhibition of Fine Arts, a travel grant to tour Andalusia. He made his individual debut in Madrid four years later, in Los Amigos del Arte. That same year, 1934, he obtained a second medal at the National Exhibition of Fine Arts. The following year he obtained the Conde de Cartagena grant, thanks to which he travelled to France, Belgium, Holland and England, and exhibited in cities such as London and Paris. In 1937 he was awarded first prize for posters in the competition organised by the Official Chamber of Books, and after the Civil War he went into exile in Mexico, remaining very active throughout Latin America. In 1960 he returned to Spain and, until his death in 1979, won numerous national and international prizes in recognition of his long and fruitful career, as well as various exhibitions organised in his honour. His first medals at the Salon d'Automne in Madrid (1961) and at the Salon des Arts, Sciences et des Lettres in France in 1964 are particularly noteworthy. A painter and poster artist, José Bardasano was also director of the magazine "No veas", delegate of the International Congress of Painters and Sculptors in 1957, president of the Circle of Fine Arts in Mexico (1945) and official cross of Merit of the French Government. As an illustrator, he collaborated with various publications in Madrid, and his work as a poster artist during the Civil War was particularly important. His series of posters for Renfe won him the International Tourist Poster Prize in Germany and travelled around the world, shaping Spanish visual memory both at home and abroad. José Bardasano is currently represented in the Prado Museum (his work is on deposit at the Fine Arts Museum of Castellón), as well as in several important private collections.
Lot 78
VALENTÍN DE ZUBIAURRE AGUIRREZÁBAL (Madrid, 1879 - 1963)."Basque characters".Oil on canvas.Signed in the lower right corner.Size: 70 x 60 cm; 90 x 80 cm (frame).We see in this painting a magnificent double portrait that shows the mastery and modernity of its author, a Valentín de Zubiaurre who knew how to represent the people of his time, especially Basques and Castilians. Here he shows us a young couple, two villagers with smooth complexions and expectant eyes who watch in amazement at what is happening before them. The male figure, wearing a txapela, rests his hands on a stick while she offers him a bowl of pears and other fruit. This is a type of folkloristic representation in which Valentín de Zubiaurre was particularly outstanding, extolling popular types and Basque corners that were about to disappear. His art fits into the framework of the rise of regionalism in fin-de-siècle Spain and the beginning of the 21st century. Realistic and meticulous, Zubiaurre developed his own style within this trend, which can be seen in the attenuated palette, the pre-eminence of the line and the expressiveness of the physiognomic features.The son of the musical composer of the same name, Valentín Zubiaurre was born deaf and dumb, as was his younger brother Ramón, also a painter. Of Basque origin although he settled in Madrid with his family, the young painter began his training with the painter Daniel Perea, who was also deaf and mute, before entering the San Fernando Royal Academy of Fine Arts in 1894. There he was a disciple of Carlos de Haes, Muñoz Degrain, Ferrant and Moreno Carbonero, and at the same time completed his solid training by visiting the Prado Museum, where he made copies of the great masters. After their time in San Fernando, in 1898 the two Zubiaurre brothers set out on a study trip that took them to France, Italy and the Netherlands. On their return to Spain, they were awarded a grant by the Diputación de Vizcaya in 1902, which enabled them to settle in Paris. There they attended classes at the Académie Julian, became acquainted with the modern trends then developing in the French capital and became interested in Impressionism. However, the Zubiaurre brothers were not receptive to its influence, owing mainly to the weight of their academic training and their admiration both for the Flemish and Italian primitives and for contemporary Spanish painters such as Darío de Regoyos and, especially, Ignacio Zuloaga. Valentín de Zubiaurre regularly sent his works to the National Exhibitions of Fine Arts and was awarded several prizes; in 1908 he won the second medal and in 1917 the first. He was also distinguished with prizes from foreign institutions, and won prizes in important international competitions held in the first decade of the 20th century, including those of Munich, Buenos Aires, Brussels, San Francisco, San Diego and the University of Panama. From the 1920s until the Civil War, the Zubiaurre brothers experienced their period of greatest success and recognition, both in Spain and internationally. By then, both were clearly differentiated stylistically: Ramón was more colourist and Valentín more classicist, although without falling into academic rigidities. After the war, the elder brother remained in Madrid, while Ramón moved to America, where he remained until 1951. Valentín resumed his career in Spain, and his recognition became official with his appointment as a full member of the San Fernando Royal Academy of Fine Arts in 1945, culminating in the medal of honour awarded to him at the 1957 National Exhibition of Fine Arts, six years before his death. Valentín de Zubiaurre cultivated genre painting, focusing mainly on Basque and Castilian themes, and also dealt with landscapes. His masterly, intellectual painting is dominated by a certain melancholy that distinguishes his language from that of his brother Ramón. He is currently represented in the Fine Arts Museums of Chicago, Buenos Aires, Paris, Luxembourg, Munich, Berlin, Tokyo, Pittsburg and San Diego, as well as in the main art galleries of the Basque Country, the Castagnino Museum in Argentina, the Reina Sofía National Art Centre, the BBVA collection and the Museum of Modern Art in Rome, among others, both public and private.
Lot 41
HENRI JOSEPH HARPIGNIES (Valenciennes, France, 1819 - 1916, Saint Privé, France)"Landscape.Oil on canvas.Signed in the lower left corner and on the back.Measurements: 16,5 x 24 cm., 34 x 42 cm. (frame).Henri HarpignieS was a French painter, landscape painter, watercolourist and engraver of the Barbizon School.His parents wanted him to pursue a commercial career, but his determination and desire to become an artist enabled him to join Jean Achard's studio in Paris in 1846. After two years of training, he left to travel in Italy.On his return to France in 1850, Henri Harpignies devoted himself to painting children in landscapes and met again with Corot and the Barbizon School, from which he drew some of his influence in painting. United by their friendship, the two artists travelled together to Italy in 1860.On his return in 1861, he obtained his first success at the Paris Salon with his work Lisière de bois sur les bords de l'Allier. After that year he was a regular exhibitor at the Salon. In 1886 he received his first medal for Le Soir dans la campagne de Rome, which was later acquired by the Luxembourg Gallery.Much of his work was painted in Hérisson in the French region of Bourbonnais and also in the regions of Nivernais and Auvergne.Henri Harpignies also produced decorative art for the Paris Opera - the Vallée d'Egérie panel which was exhibited at the 1870 Salon.
Lot 26
ANTONIO FILLOL GRANELL (Valencia, 1870 - Castellón, 1930)"Valencian Costumbrista Scene".Oil on panel.Signed in the lower left corner.It has a Barrachina & Ramoneda label on the back.Measurements: 19 x 32 cm, 34,5 x 47,5 cm (frame).Antonio Fillol trained as a disciple of Ignacio Pinazo Camarlench and at the San Carlos School of Fine Arts, where he was also a full professor and promoter of educational reforms. As president of the Círculo de Bellas Artes de Valencia he contributed to revitalising cultural life and improving the situation of Valencian artists. He was one of the most awarded artists of his time, winning first medals and numerous awards in the competitions and exhibitions he took part in, both in Spain and abroad, despite the controversy that arose with some of his works, which deprived him of greater official consideration. His awards include those obtained at the National Exhibition of Fine Arts (first medal in 1901, decorations in 1904, 1908 and 1912), a single medal at the Chicago Universal Exhibition of 1893, first medal at the Panama Exhibition of 1916 and a gold medal at the San Diego International Exhibition of 1916. He was also made a knight of the Royal Order of Isabella the Catholic and had exhibitions of his work in New York, Paris, Bordeaux and Berlin. Fillol is represented in the Museum of Modern Art in Madrid, the Fine Arts Museums of Valencia and Chicago, the Provincial Museum of Jaén and the Museum of the City of Valencia, among others.
Lot 80
RAMÓN TUSQUETS I MAIGNON (Barcelona, 1837 - Rome, 1904)."The Stagecoach. Rome, 1897.Oil on canvas.Signed, dated and located in the lower left corner.Defects in the frame.Measurements: 73 x 98 cm; 116 x 138 cm. (frame).The painter Ramón Tusquets describes in this composition, rich in anecdotes, the arrival of a carriage to a village, in front of whose medieval walls with crenellated towers the members of a family are alighting. Under a luminous sky, the midday sun shapes each of the figures gathered in front of what looks like the town hall, with its stately façade of ancient ashlars. Almsmen seated on the cobblestones, travellers and country folk enliven the scene.Tusquets began his studies with Ramón Moliné, and at the same time published some of his caricatures in "El tros de paper", signed under the pseudonym Patufet. He then travelled to Italy on his own, where he would live for the rest of his life. After a year's stay in Rome, where he studied at the Academia Chigi and joined the circle of Catalan painters based there, he took part for the first time in the National Exhibition of Fine Arts in Madrid (1867), where he was awarded a third-class medal. He also took part in the Barcelona Exhibition of the same year, where he presented the work "Cocina" ("Kitchen"), which was acquired by the Diputació de Barcelona. Oriental themes, directly influenced by Fortuny's work, and views of the countryside and the environs of Rome are frequent in his production during this period. In 1869 he travelled around Andalusia with the Italian Pio Joris, taking notes for compositions such as "El requiebro". In 1871 he sent a work from Rome to the National Competition and was awarded a second medal. In 1872 he struck up a deep friendship with Fortuny, and they undertook a trip to Naples together. There they became acquainted with the latest trends of the Portici group and, in particular, became interested in the work of Domenico Morelli. At this time Tusquets was painting landscapes of Naples and Amalfi, and specialised in compositions of rural landscapes with figures dressed in traditional costumes. On Fortuny's death he reproduced his funeral in an impressive painting, in which the influence of the "macchiaioli" can be seen. In 1875 he exhibited several paintings at the International Circle in Rome and was highly praised by Italian critics. In 1877 he was awarded the diploma of honour, the only one reserved for foreigners, at the Naples Exhibition, and the Italian government acquired his work. During these years his works were exhibited in numerous European cities, winning prizes at the Universal Exhibitions in Vienna (1876) and Paris (1878). In 1880 he exhibited for the first time at the Sala Parés in Barcelona. Having settled permanently in Rome, Tusquets was appointed president of the city's International Artistic Circle. With his works of the 1880s he established himself in the official historicist genre, so far removed from the simple compositions of his earlier periods. During his last years he painted a wide range of themes, depicting orientalist scenes as well as scenes of customs and historicism. He is represented in the Prado Museum, the MACBA in Barcelona, the Museum of Montserrat and the National Art Museum of Catalonia.
Lot 100
JOAN ROIG SOLER (Barcelona, 1852-1909).Vista de pueblo" ("Village View").Oil on canvas.Signed in the lower right corner.Size: 70 x 50 cm; 95 x 75 cm (frame).Roig Soler displays his virtuoso technique in a work characterised by the absence of an excessively detailed drawing, an aspect accentuated by the presence of some human figures that shelter from the burning sun under the shade of the façades. The soft, balanced palette of the colours used, as well as the uncluttered, concise brushstrokes, make up a work full of beautiful nuances, faithful to the technique of the Barcelona artist.Joan Roig Soler began his training with Modest Urgell and later completed his apprenticeship by travelling to the great art capitals of Paris and Rome. Closely linked to Sitges, in this town he started, together with Arcadi Mas i Fondevila, the informal Catalan Luminist School. Devoted to landscape, he cultivated the coastal environments of Blanes, Tossa, Cadaqués, Mallorca, etc., but also the urban landscape (Barcelona, etc.) and the Pyrenees. His work clearly shows his preoccupation with light and his desire to break with the pictorial lyricism of the time. He practised a style close to impressionism which preceded the modernism of Santiago Rusiñol and Ramón Casas, who came into contact with Sitges thanks to him. He exhibited in Barcelona, Madrid, Paris, etc. He was awarded the third medal at the National Fine Arts Exhibition of 1887, and won prizes at the Paris (1895), Barcelona (1896) and Saragossa Exhibitions. He is represented in the collections of the Museums of Modern Art in Barcelona and Madrid.
Lot 87
GENARO LAHUERTA LÓPEZ (Valencia, 1905 - 1985)."Landscape".Oil on panel.Signed in the lower left corner.Measurements: 64 x 97 cm; 84 x 127 cm (frame).Lahuerta began his studies at the School of Arts and Crafts in Valencia, to later enter, in 1919, the School of Fine Arts of San Carlos. After completing his training, he began his career as an illustrator for various publications of the time. In 1928 he made his solo debut at the Sala Blava in Valencia, and the following year he held his first solo exhibition in Barcelona, at the Sala Parés. In 1932, after winning a third medal at the National Exhibition of Fine Arts, he received a grant for a study trip to various European countries. In 1943 he won a second medal at the National Exhibition, and five years later a first, thus consolidating his success with both critics and the public. In 1953 the Directorate General of African Plazas granted him a scholarship to paint in the Spanish Sahara. Throughout his life, he was a member of the academies of San Carlos in Valencia, San Jorge in Barcelona, Santa Isabel de Hungría in Seville and San Fernando in Madrid. Among other distinctions, he was awarded the Gold Medal of the Academy of Arts, Sciences and Letters of Paris, and in Spain the Ministry of Education and Science awarded him the Medal of Merit for Fine Arts. He is currently represented in the Reina Sofía Museum, the Bilbao and Asturias Fine Arts Museums, the Madrid Athenaeum, Valencia City Council and various private Spanish collections, such as that of the Bank of Spain.
Lot 84
RAMÓN TUSQUETS I MAIGNON (Barcelona, 1837 - Rome, 1904)."Day of Procession. Rome, ca.1890.Oil on canvas.Signed and located in the lower left corner.Defects in the frame.Measurements: 73 x 98 cm; 116 x 138 cm. (frame).Tusquets made this painting in Rome, the city that inspired the best of his paintings. He often combined the architectural element (ancient ruins, Renaissance or Baroque buildings) with the anthropological element, showing casual encounters and official ceremonies. In this case, we see a religious procession ascending the steps of a church. In the foreground, a cardinal is accompanied by two tricorn-wearing guards and another ecclesiastical figure. Behind them, a majestic carriage awaits them. The painstaking attention paid to the details of the clothing, the equestrian statues, etc., is outstanding, but also in the capture of the whole, with its vividly festive atmosphere.Tusquets began his studies with Ramón Moliné, and at the same time published some of his caricatures in "El tros de paper", signed under the pseudonym Patufet. He then travelled to Italy on his own, where he would live for the rest of his life. After a year's stay in Rome, where he studied at the Academia Chigi and joined the circle of Catalan painters based there, he took part for the first time in the National Exhibition of Fine Arts in Madrid (1867), where he was awarded a third-class medal. He also took part in the Barcelona Exhibition of the same year, where he presented the work "Cocina" ("Kitchen"), which was acquired by the Diputació de Barcelona. Oriental themes, directly influenced by Fortuny's work, and views of the countryside and the environs of Rome are frequent in his production during this period. In 1869 he travelled around Andalusia with the Italian Pio Joris, taking notes for compositions such as "El requiebro". In 1871 he sent a work from Rome to the National Competition and was awarded a second medal. In 1872 he struck up a deep friendship with Fortuny, and they undertook a trip to Naples together. There they became acquainted with the latest trends of the Portici group and, in particular, became interested in the work of Domenico Morelli. At this time Tusquets was painting landscapes of Naples and Amalfi, and specialised in compositions of rural landscapes with figures dressed in traditional costumes. On Fortuny's death he reproduced his funeral in an impressive painting, in which the influence of the "macchiaioli" can be seen. In 1875 he exhibited several paintings at the International Circle in Rome and was highly praised by Italian critics. In 1877 he was awarded the diploma of honour, the only one reserved for foreigners, at the Naples Exhibition, and the Italian government acquired his work. During these years his works were exhibited in numerous European cities, winning prizes at the Universal Exhibitions in Vienna (1876) and Paris (1878). In 1880 he exhibited for the first time at the Sala Parés in Barcelona. Having settled permanently in Rome, Tusquets was appointed president of the city's International Artistic Circle. With his works of the 1880s he established himself in the official historicist genre, so far removed from the simple compositions of his earlier periods. During his last years he painted a wide range of themes, depicting orientalist scenes as well as scenes of customs and historicism. He is represented in the Prado Museum, the MACBA in Barcelona, the Museum of Montserrat and the National Art Museum of Catalonia.
Lot 47
GUSTAVO DE MAEZTU Y WHITNEY (Vitoria, 1887-Estella, 1947)."Still life with fish".Oil on canvas.Signed in the lower right corner.Measurements: 87 x 100 cm.Maeztu was initiated in the plastic arts in the workshop of Antonio Lecuona, and from 1901 he studied with Manuel Losada. In 1904 he travelled to Paris for the first time, where he got to know the avant-garde at first hand and, at the same time, learned to appreciate classical Spanish painting with greater knowledge. On his return to Bilbao, four years later, together with other artists and intellectuals, he founded the satirical magazine "El Coitao", where he developed his literary vocation under the pseudonym of Don Tejón Vélez de Duero. In 1916 he made a long journey on foot through Spain, taking sketches of his various landscapes which, on his return, he exhibited in the Galerías Layetanas in Barcelona and in La Tribuna in Madrid. Throughout his life he alternated his trips around Spain with stays in Paris and London, and held repeated exhibitions in Madrid, Barcelona, Saragossa and other cities. He took part in the National Fine Arts Exhibitions of 1912, 1915, 1917, 1924, 1926 and 1936, as well as in the San Fernando Academy Exhibition of 1928 and the Bilbao Basque Artists' Exhibitions of 1921 and 1923, and also exhibited his work abroad in various Parisian and London galleries. Between 1919 and 1921 he held several exhibitions at the Grafton Galleries, the Malpin Art Gallery and the Walker Galleries in London, and in 1922 at the Devanber gallery in Paris. In 1917 his triptych "La Tierra Ibérica y Ofrenda de Levante a la Tierra Española" (The Iberian Land and Levantine Offering to the Spanish Land) won him a third medal at the National Exhibition. A painter with inclinations in keeping with his time, he tackled Basque, Castilian and Andalusian folkloric genre painting and developed a transparent and bold landscape style, with medium shades and accomplished chromaticism. He also cultivated muralism and successfully developed the encaustic method, with works such as those presented to the Central Association of Architects in 1928. As a portraitist, he also painted prominent figures of the time in a colourful, bold, dense and sensual style. He also experimented with lithography. Most of his work is currently housed in the museum that bears his name in Estella, although he is also represented in the Reina Sofía Museum in Madrid, the Fine Arts Museums of Álava, Vitoria, Bilbao and Buenos Aires and the San Telmo Museum in San Sebastián, among other collections.
Lot 43
JOAN FUSTER BONNÍN (Palma de Mallorca, 1870 - 1943)."Mallorcan peasant girl".Oil on canvas.Signed in the lower left corner.Measurements: 64 x 69 cm; 75 x 79,5 cm. (frame).The landscape and the inhabitants of Mallorca focused Joan Fuster's artistic interests. As in this painting, he depicted with great tenderness the peasants and peasant women of the island, with his characteristic impressionist, loose and bold technique. Trained in the academic realism of Ricardo Anckermann, Fuster evolved towards the bourgeois and intimate side of modernism, influenced by Rusiñol and Casas. A good friend of Rusiñol and Mir, Fuster is today considered one of the best representatives of Balearic luminarism. A gold medal winner at the Marseilles International Exhibition in 1903, he was particularly active during the 1920s, when he exhibited in Palma, Mahón, Barcelona, Madrid, Munich and Buenos Aires. He was also a teacher at the School of Arts and Crafts in Palma. From 1921, faced with the dominance of noucentisme and the avant-garde, he adopted a luminist, genre and landscape style. Interested in open, clean and luminous spaces, he developed a personal, fluid and versatile style of painting. He is represented in the Council of Mallorca and the Es Baluard Museum in Palma, as well as in important private collections. Awards: Silver Medal at the Balearic Exhibition in Soller (1887), Gold Medal at the International Exhibition in Marseilles (1903), Honourable Mentions at the National Exhibition of Fine Arts in Madrid (1904 and 1906). Exhibitions and tributes: Sala Goya (1918); Sala Pares (1917,1922,1926,1930); Areñas Gallery in Barcelona (1928); Layetana Gallery (1929); Círculo Bellas Artes in Palma (1945); Quint Gallery (1947); Centenary Exhibition (1970); Sala Capitular de La Cartuja (1970); Sa Llonja (1995); and in the collective exhibition "Serra de Tramuntana", at the UNESCO Headquarters in Paris (2015).
Lot 81
JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Madrid, 1923)."Res; Marina with Oxen. Abstraction", c. 1908.Oil on canvas.Attached certificate of authenticity issued by Blanca Pons Sorolla (granddaughter of the artist). Nº BPS4694We would like to thank Blanca Pons Sorolla for her help in cataloguing.The word "Res" can be seen in the lower central area.Provenance: Elena Sorolla García (Daughter of the artist).Measurements: 10.5 x 13 cm; 31 x 34 cm (frame).The sketchy, almost abstract technique of this work indicates that it is a study by the artist, taken from life. This was a frequent exercise used by Sorolla, who tried to capture the luminosity and its reflection on the surroundings. This painting captures that essence, showing, as if it were the painter's sketches, a whole pictorial composition that is particularly reminiscent of the same one that the artist developed in his work "The Return from Fishing. Towing the boat", painted in 1984 and currently in the collection of the Musée d'Orsay in Paris. As early as his school days, Joaquín Sorolla showed his fondness for drawing and painting, attending the drawing classes given by the sculptor Cayetano Capuz at the School of Artisans in the afternoons. Awarded a prize at the end of his preliminary studies at the Escuela Normal Superior, he entered the prestigious San Carlos School of Fine Arts in Valencia in 1879. During his visits to Madrid in 1881 and 1882, he copied paintings by Velázquez, Ribera and El Greco in the Prado Museum. Two years later he achieved great success at the National Exhibition of Fine Arts with a history painting, which prompted him to apply for a scholarship to study at the Spanish Academy of Fine Arts in Rome. Having achieved his goal, Sorolla left for Rome in 1885, spending several months in Paris before arriving. In the French capital he was impressed by the paintings of the realists and the painters who worked outdoors. At the end of his years in Rome he returned to Valencia in 1889, settling in Madrid the following year. In 1892 Sorolla showed a new concern in his art, becoming interested in social problems by depicting the sad scene of "¡Otra Margarita!", which was awarded a first-class medal at the National and the following year at the International in Chicago. This sensitivity would remain in his work until the end of the decade, in his performances on the Valencian coast. Gradually, however, the Valencian master would abandon the themes of unhappy children that we see in "Triste herencia", which had won prizes at the Universal Exhibition in Paris in 1900 and at the National in Madrid a year later. Encouraged by the success of his resplendent images of the Mediterranean, and stimulated by his love of the light and life of its sunny beaches, he focused on these scenes in his more cheerful and pleasant works, with which he achieved international fame. In 1906 he held his first solo exhibition at the George Petit gallery in Paris, where he also demonstrated his skills as a portraitist. In 1908 the American Archer Milton Huntington, impressed by the artist's exhibition at the Grafton gallery in London, sought to acquire two of his works for his Hispanic Society. A year later he himself invited Sorolla to exhibit at his institution, resulting in an exhibition in 1909 that was a huge success. The relationship between Huntington and Sorolla led to the most important commission of the painter's life: the creation of the immense canvases intended to illustrate the regions of Spain on the walls of the Hispanic Society. Seeking to capture the essence of the lands and people of his country, Sorolla travelled around Spain between 1911 and 1919, while continuing to hold exhibitions. Incapacitated by an attack of hemiplegia in 1921, Sorolla died two years later, without seeing his great "Vision of Spain", which would not be installed until 1926.
Lot 36
JOSÉ NAVARRO LLORENS (Valencia, 1867 - 1923)."Marina".Oil on canvas adhered to cardboard.Signed in the lower left corner.Measurements: 20 x 26,5 cm; 45 x 51 cm (frame).With certificate of Juan Reus Parra.José Navarro Llorens was very early on his way to painting, and he studied at the School of Fine Arts of San Carlos, in his native town. After his time as a student we lose track of him, and we do not meet him again until 1895 when, according to Pantorba, he took part for the first and only time in the National Exhibition of Fine Arts, receiving an honourable mention. That same year saw the consecration of Joaquín Sorolla, who was unanimously awarded the first medal in the competition. Although they were lifelong friends, it is possible that Navarro, given his bohemian and humble character, did not aspire, like Sorolla, to a brilliant career of official laurels and courtly prestige. It seems that he never intended to project his work beyond a limited local sphere, as can be deduced from the fact that in his early years he devoted himself to painting genre scenes and gallant scenes for fans. However, his early works reveal a certain influence of the style of Mariano Fortuny, whom Navarro admired and from whose example he may have been inspired to travel to Morocco in a second period. This trip must have taken place shortly after he finished his studies and he devoted himself to depicting local, North African and Orientalist themes. At the beginning of the 20th century he was contracted to decorate a palace in Buenos Aires, although Navarro never arrived in Argentina. He set sail for that destination, but during a stopover in Rio de Janeiro the painter decided to stay there indefinitely. He continued to work in the Brazilian city and held a highly acclaimed exhibition. However, nostalgia for his homeland, the absolute protagonist of his pictorial language, led him to return to Valencia, where he settled permanently in Godella. There he lived the rest of his life in a simple and humble manner, giving painting classes at the town's Academy and painting tirelessly. His style drew on various influences, such as Fortuny, Domingo Marqués and Levantine luminism, but it was always deeply personal, linked to Navarrete's own way of understanding the world. His painting is reminiscent of Mediterranean clarity through beautiful transparencies, a corporeal luminosity and nervous, vibrant brushstrokes. His is an energetic, robust and vital realism, which turns light into a plastic and even tactile value, rather than a chromatic one. José Navarro is represented in the Fine Arts Museums of Valencia and Asturias, as well as in the Gerstenmaier collection.
Lot 56
JOSEP CUSACHS (Montpellier, France, 1851 - Barcelona, 1908)."Military Man on Horseback".Oil on canvas.Signed in the lower right corner.Measurements: 20 x 30 cm; 47 x 55 cm (frame).Despite the artistic interest in the historical genre during the 19th century, works about military life and its regiments were not very well received by the public. However, thanks to the figure of Josep Cusachs, the genre was revitalised and interest in such representations increased.Josep Cusachs was born accidentally in France, as his parents were travelling there, but his art and his life were always linked to two towns: Barcelona and Mataró. In 1865, after passing a competitive examination, he entered the Artillery Academy for a military career. However, in 1882, after a brilliant career that led him to become a captain in the army for war merits, he requested retirement to devote himself to painting. Trained in Barcelona under the guidance of Simón Gómez, he completed his artistic studies with a stay in Paris at the studio of Édouard Détaille, one of the greatest experts in military themes, a genre that Cusachs favoured. Among military themes, this artist was particularly fond of cavalry, due to his passion for horses. In 1880 he settled in Barcelona and began an extensive production of military studies, which were reproduced in F. Barado's work entitled "La vida militar en España" ("Military Life in Spain"). Previously, before leaving the army, he had worked as a caricaturist and chronicler of a Spain immersed in a maelstrom of political events, in which he was immersed due to his military status. It was precisely the success of these early works that prompted him to finally abandon his previous career to concentrate on art. During these years he made his work known through individual exhibitions, such as those he held regularly from 1884 onwards at the Sala Parés in Barcelona, always obtaining great success in terms of sales and critical acclaim. By 1890 he was already a regular exhibitor at the gallery, where he showed new works every week. The bond between Cusachs and the Sala Parés was so deep, in fact, that after the painter's death the gallery fell into a period of absolute decadence. Cusachs also took part in official competitions; in 1887 he obtained notable recognition at the National Exhibition of Fine Arts in Madrid with three paintings, one of which was acquired by the regent Maria Cristina ("En el campo de maniobras" ("On the Manoeuvre Field"). In 1891 he took part in the Berlin Exhibition and won the Gold Medal for his work "Division Manoeuvres". Cusachs was also a celebrated military portraitist, and painted General Prim, King Alfonso XIII in military uniform and Mexican President Profirio Díaz, among others. Other notable works by his hand include "Flight into Egypt" (1904) from the monastery of Montserrat, one of his few religious canvases, and "Abnegation" and "Distant Thought". Stylistically, Cusachs was a man open to innovation, although his work was always filtered through the filter of appreciation, study and meditation. Thus, he adopted those aspects he considered to be of value and discarded the rest. The bulk of his work is housed in the Museo de Arte Moderno in Madrid and the Museo Nacional de Arte de Cataluña, as well as other centres such as the Museo de Montserrat, the Museo Nacional de Historia, the Capitanía General de Valencia, etc.
Lot 2049
4 x 18th Century Halfpenny Tokens comprising: Lancaster, obv. ‘JOHN OF GAUNT DUKE OF LANCASTER’ around crowned bust, rev. ‘HALFPENNY 1794’ around Shield of Arms, edge ‘LANCASTER LONDON OR BRISTOL’ good edge & surfaces GVF or+, Warwickshire obv. ‘JOHN WILKINSON IRONMASTER’ around bust, rev. ‘HALFPENNY 1791’ around Vulcan seated at anvil, sailing ship in background, rev. scratches o/wise Fine+, Middlesex obv. ‘MAIL COACH HALFPENNY’ & ‘TO TRADE EXPEDITION & TO PROPERTY PROTECTION’ ‘PAYABLE IN LONDON’ around coach & horses, rev. ‘TO J PALMER. ESQ etc ‘JF’ cypher below, edge plain, undated (1797), minor contact marks VF or+ & Middlesex obv. ‘AM I NOT A MAN AND A BROTHER’ around kneeling slave, rev. ‘MAY SLAVERY AND OPRESSION (sic) CEASE THROUGHOUT THE WORLD’ around clasped hands, edge ‘PAYABLE IN DUBLIN OR LONDON’ undated (circa 1795), minor contact marks VF, together with 3 x commemorative medals: ‘First Powered Flight’ obv. busts of Wilbur & Orville Wright, rev. ‘FIRST POWERED FLIGHT DECEMBER 17, 1903’ around view of Kitty Hawk in flight, silver-plated nickel brass, 38mm, GVF, ‘First Dock at Fleetwood’ commemorating the Preston & Wyre Railway, Harbour & Dock Company’s opening of Fleetwood Dock 1877, features sailing ships & trains both sides, holed at 12 o’clock, nickel silver, 37mm GVF & ‘S.S. Great Britain’ a gilt bronze medal commemorating the safe return of the S.S. Great Britain from the Falklands to Bristol in 1970, obv. S.S.Great Britain under sail & details of its original launch & construction, light handling marks o/wise lustrous as struck.
Lot 2081
Victoria, double florin 1889, obv. minor edge nick at 2 o’clock, trivial contact marks AVF/VF, together with George III, eighteen pence bank token 1811, obv. laureate & draped bust, rev. wreath of oak leaves around ‘BANK TOKEN 1s. 6D. 1811’ a few faint hairlines o/wise good edge & surfaces VF to GVF, Charles II, farthing 1672 light surface pitting, good edge VG, Hull, halfpenny token 1812 obv. ‘PAYABLE BY I.K.PICARD LEAD WORKS HULL’ rev. ‘ESSE QUAM VIDERI’ (‘To Be Rather Than To Seem’) around lion standing right, its paw resting on a small shield, several obv. scratches o/wise Fine, George VI penny with blank reverse (deliberately skimmed rather than a Mint error), wt 8.72g & Victoria, Diamond Jubilee commemorative silver medal 1897 by de Saulles, obv. Veiled Head, rev. Young Head dividing inscription, date 1837 & sprig of leaves below, 26mm, 9.57g, numerous scratches/contact marks & rim imperfections & holed at 12 o’clock.
Lot 2085
Victoria, 5 x Silver Coins comprising: 2 x halfcrowns: 1887JH numerous obv. hairlines, good edge AVF/VF & 1893 obv. hairlines/contact marks, good edge GFine to AVF, florin 1900 good edge & surfaces AVF/VF, shilling 1887JH light peripheral toning VF & sixpence 1887JH Fine & a commemorative silver medal 1897 ‘Diamond Jubilee’ by G W de Saulles, obv. veiled bust, rev. Young Head dividing inscription, sprig of leaves & date 1837 below, 26mm, 9.63g, GVF or+, together with Edward VII florin 1910 contact marks/hairlines Fine & 8 x Commonwealth silver coins comprising: Southern Rhodesia halfcrown 1941 & florin 1944, British India rupee 1903, Canada 25 cents 1907 & Australia 4 x florins: 1944S San Francisco Mint, 1951 ‘50th Anniversary of Federation 1901-1951,’ 1954 ‘Royal Visit’ & 1962, all GFine or+.
Lot 2114
2 x Commemorative Issue Silver Proof Coins, comprising: Elizabeth II Silver Proof Crown 1977, 'Silver Jubilee', and a St. Helena silver proof 25p 1973, 'Tercentenary of the Granting of the Royal Charter to the East India Company 1673-1973', both in Royal Mint cases of issue with certificates of authenticity; together with 2 x Elizabeth II proof 50p 1973; 16 x cupro-nickel crowns; 2 x Coinage of Great Britain specimen sets, 1965 and 1967 (incomplete); 2 x Britain's First Decimal Coins; other base metal coins and an England Rugby 2003 World Champions commemorative medal.
Lot 2115
A Collection of Commemorative Silver Proof Coins comprising: UK crown 1977 ‘Silver Jubilee’ with certificate of authenticity, in case of issue FDC; Isle of Man 2 x crowns 2006 ‘The Birth of a Princess’ struck to commemorate the Queen’s 80th birthday, rev. the baby Princess Elizabeth with the King & Queen soon after her birth in 1926, both coins 38.6mm, 28.28g .925 silver, one layered with 24ct gold, FDC; Guernsey 2 x £1: 1995 ‘Queen Mother’s 95th Birthday’ & 2000 ‘Queen Mother’s Centennial’ each 9.5g .925 silver, with certificates of authenticity, FDC; Tristan da Cunha One Pound 2017 ‘100th Anniversary of the House of Windsor 1917-2017, rev. busts of George V, Edward VIII, George VI & Elizabeth II above Windsor Round Tower, with certificate of authenticity, 10g .925 silver, FDC, all individually encapsulated, together with Gibraltar, nickel proof halfcrown 2018 ‘Centenary of the End of WW1,’ a collection of 22 x UK commemorative cupro-nickel crowns & £5 coins comprising: 1951(x2) with certificates, 1953(x2), 1965(x2), 1977(x3), 1980, 1990(x2), 1993, 1996, 1999/2000, 2000, 2002(x2), 2005, 2006, 2007(x2), in wallets or presentation packs, UNC; lot also includes a Britannia £2 1998 1oz fine silver, a National Trust Silver Medal, obv. portrait of Queen Mother, 39mm, 25.5g .925 silver (edge hallmarked), in Royal Mint case of issue, 4 x £2 coins 1986 & 1995(x3), a penny 1967 layered in 24ct gold with colourised reverse & a commemorative bronze medal ‘Coronation 1937’.
Lot 2121
Eleven UK Silver Proof Coins, to include: 6 x £1: 2 x 1984, rev. Scottish thistle encircled by the Royal Diadem; 3 x 1983, rev. Royal Arms; 1 x 1988, rev. Royal Arms surmounted by the Crown of St. Edward; 1 x £2, 1986, ‘XIII Commonwealth Games 1986’, rev. Cross of St. Andrew and a crown of laurel leaves superimposed by the Sottish thistle; and 4 x crowns: 1977 ‘The Queen’s Silver Jubilee’; 1980 ‘Her Majesty Queen Elizabeth the Queen Mother 80th Birthday’; 1981 ‘Commemorating the Marriage of His Royal Highness the Prince of Wales and Lady Diane Spencer’; and 1990 ‘Her Majesty Queen Elizabeth the Queen Mother 90th Birthday’, together with ‘The Royal Wedding Medal Commemorating the Marriage of Prince and Miss Sarah Ferguson’, sterling silver, 44mm diameter, 37g. All individually encapsulated and with Royal Mint certificates of authenticity.
Lot 2256
Crimean War, Battle of Balaklava 1854 Commemorative Medal, obv. ‘BALAKLAVA’ above scene depicting Lord Cardigan leading cavalry charge against Russian cannon, rev. 16-line inscription listing the regiments, corps & divisions which participated in the battle & date Octr 25th 1854; 41mm, 28.59g, WM; identical to the medal struck by Pinches of London but with edge lettering in Russian, trivial contact marks GVF
Lot 2257
2 x Silver Medals 1965 Commemorating Sir Winston Churchill, both with obv. design by F Kovacs depicting facing bust of Churchill with books & artist’s brushes on a shelf behind, ‘WINSTON CHURCHILL 1874-1965’ in ex., & with revs adapted from a 1940 cartoon by Sir David Low featuring a British soldier standing on the sea-shore, his fist raised in defiance at German aircraft flying overhead, ‘VERY WELL ALONE’ in ex., first medal 58mm, 81g, lightly toned prooflike BU, second smaller medal 38mm, 28.36g, deep blue/gold toning o/wise lustrous as issued; both edge-stamped ‘SILVER,’ with individual certificates, in Spink cases of issue (heavy foxing inside lid of smaller medal case).
Lot 2258
2 x Silver Medals 1965 Commemorating Sir Winston Churchill, both with obv. design by F Kovacs depicting facing bust of Churchill with books & artist’s brushes on a shelf behind, ‘WINSTON CHURCHILL 1874-1965’ in ex., & with revs adapted from a 1940 cartoon by Sir David Low featuring a British soldier standing on the sea-shore, his fist raised in defiance at German aircraft flying overhead, ‘VERY WELL ALONE’ in ex., first medal 58mm, 82.06g, peripheral deep blue-gold toning o/wise prooflike BU, second smaller medal 38mm, 28.25g, obv. handling marks & rev. peripheral blue/gold toning o/wise lustrous as issued; both edge-stamped ‘SILVER,’ with individual certificates, in Spink cases of issue (both with foxing inside lid).
Lot 2259
2 x Silver Medals 1965 Commemorating Sir Winston Churchill, both with obv. design by F Kovacs depicting facing bust of Churchill with books & artist’s brushes on a shelf behind, ‘WINSTON CHURCHILL 1874-1965’ in ex., & with revs adapted from a 1940 cartoon by Sir David Low featuring a British soldier standing on the sea-shore, his fist raised in defiance at German aircraft flying overhead, ‘VERY WELL ALONE’ in ex., first medal 58mm, 81g, peripheral obv. & rev. blue/gold toning o/wise prooflike BU, second smaller medal 38mm, 28.26g, obv. & rev. deep blue/gold toning o/wise lustrous as issued; both edge-stamped ‘SILVER,’ with individual certificates, in Spink cases of issue (both with foxing inside lid).
Lot 2263
Assorted Commemorative Medals and Crowns, to include: Golden Jubilee of Queen Victoria 1887 silver medal, obv. diademed and veiled, rev. Lancaster Castle Gatehouse LANCASTER T. STOREY, MAYOR, 36.4mm, 22.22g, small nick to rim otherwise GVF; Diamond Jubilee of Queen Victoria 1897 silver medal, obv. crowned, veiled and draped, rev. young head of Victoria, Eimer 1817b, 25.7mm, 9.68g, Fine; George V, silver badge COED-BELL 1911, Birmingham, 1910, Arthur Fenwick, 3.38g; Rowntrees gilt metal medal commemorating the coronation of Edward VIII 1937; 2 x Elizabeth II silver proof crown 1977, individually encapsulated in Royal Mint cases of issue; 2 x Elizabeth II proof 50p 1973, in Royal Mint cases of issue; Elizabeth II crown 2007 'Diamond Wedding Crown' BU and 36 x base metal commemorative crowns, together with various coin year sets to include: 3 x 1953 currency (plastic) sets, farthing to halfcrown; 3 x Coins of Great Britain 1967, halfpenny to halfcrown; 3 x Britain's First Decimal Coins; and a Millennium 'Time Capsule' BU set 2000, 1p to £5.
Lot 2264
Mixed Lot of Silver Coins and Commemorative Medallions, to include: North Sea Oil silver medallion and oil sample commemorative set 1975, weight 40.7g, in original case of issue with certificate of authenticity; The Day of the Concord commemorative silver medal, hallmarked Birmingham, 1976, Yorkshire Mint, weight 47.6g, in case of issue with certificate of authenticity no.0056; USA Morgan dollar 1882 obv. mounted as a brooch; 8 x Netherlands Wilhelmina 25 cents 1939(x2), 1940(x2) and 1941(x4), and a Wilhelmina ½ gulden 1930 mounted together to form a bracelet; Ireland halfcrown 1928; British and foreign silver coinage, to include: pre-1920 threepences, sixpences, shillings, weight 68.6g, and pre-1947 weight 36g; together with 5 x George III 'Cartwheel' pennies 1797; 13 x white metal and gilt metal coronation and other commemorative medals; 5 x gambling tokens; and other assorted medals.
Lot 2266
Foreign Coins, Medals, and Commemorative Medallions, to include: 2 x USA 'Peace' dollars 1923 and 1925, Fine; various other silver and base metal foreign coins including USA 'Kennedy' half dollar 1968D, GFine, a South Africa, George V shilling 1936 etc.; Centenary of Wesleyan Methodism 1839 white metal medal, obv. bust left JOHN WESLEY. M.A. BORN JUNE 14TH 1703. DIED MARCH 2ND 1791, rev. facade of Centenary Hall, Eimer 1329b, 48.9m, 34.6g; Golden Jubilee of Queen Victoria 1887 white metal medal, obv. diademed and veiled bust left, rev. BOROUGH OF ROTHERAM, 43.8mm, 35.95g; 11 x The Tower Mint base metal medallions, all in original cases; 4 x Gibraltar crowns 1969(x2) and 1970(x2); 2 x Isle of Man crowns 1970; 24 x UK crowns 1953(x2), 1965(x5), 1972(x3); 1977(x6); 1980(x2); 1981(x4) and 1990; and 9 x specimen sets, including 5 x Coins of Great Britain, Pre Decimal British Coins 1967; 2 x 1953 farthing to halfcrown, and a Silver Jubilee 1p to 50p with the 1977 commemorative crown.
Lot 2267
3 x Commemorative Medals comprising: (1) ‘South African War, National Commemorative 1900’ obv. ‘THE NATIONAL COMMEMORATIVE MEDAL’ around a soldier, his head bandaged, facing right & cocking his rifle, 1899-1900 in field, rev. ‘THE QUEEN GOD BLESS HER’ & ‘THIS MEDAL COMMEMORATES THE MAGNIFICENT RESPONSE OF BRITAIN’S SONS TO THE EMPIRE’S CALL TO ARMS. TRANSVAAL WAR 1899-1900’ & a Union Flag, rose, shamrock & thistle tied to a flagstaff to left & ‘DAILY MAIL KIPLING POEM’ along bottom edge (the medal was advertised along with Kipling’s poem ‘The Absent-Minded Beggar’ in the Daily Mail and sold in aid of widows & orphans of soldiers); bronze 45mm, 44.43g, a few trivial contact marks o/wise good edge & surfaces GEF, (2) Admiral Vernon’s Attack on Cartagena 1741 (during the War of Jenkins’ Ear 1739-48), obv. ‘THE PRIDE OF SPAIN HUMBLED BY AD. VERNON’ around standing figure of Admiral Vernon receiving a sword from the kneeling figure of Don Blas, rev. four ships sailing towards entrance of port with legend ‘VERNON CONQUERD CARTAGENA’ & ‘APRIL 1 1741’ in ex., brass, 37mm, 11.68g, good edge & surfaces VF to GVF & (3) Seven Years War (1756-63), Battle of Prague Commemorative 1757, obv. FRIDERICVS MAGN.D.G.REX BORVSS.EL.BRAND.DVX SILES ET around cuirassed half-length bust of Frederick the Great (Frederick II of Prussia) facing right, rev. Victoria, the winged goddess of victory, kicking the crown off the head of the kneeling Empress Maria Theresa of Austria, ‘FAMA.PRVDENTIA.ET.VIRTVTE (‘Through His Fame, Wisdom & Courage’) in legend; bronze, 48mm, 45.87g, minor contact marks/rim imperfections o/wise good edge & surfaces, very little wear, AEF.
Lot 2272
Miscellaneous Lot comprising: Isle of Man silver proof crown 1979 ‘Tercentenary of Manx Coinage’ with certificate of authenticity, in case of issue, minor handling marks o/wise FDC, Morocco silver proof 50 dirhams 1979 ‘King Hassan – 50th Birthday,’ 42mm, 35.23g, .925 silver, encapsulated in Royal Mint case of issue FDC, Vatican City uncirculated set 1983, comprising 20, 50, 100, 200 & 500 lire, card-mounted in plastic envelope UNC, Russia 2 x year sets 1968 & 1969 each comprising 9 coins – 1,2,3,5,10,15,20 & 50 kopecks & 1 rouble UNC & a 5-coin set commemorating 50 years of the October Revolution 1917-1967 comprising 10, 15, 20, 50 kopecks & 1 rouble, each set also includes a Leningrad Mint medalet; 3 x sets of commemorative medallions (1) ‘The Royal Wedding 1981’ a set of 4 x crown-size cupro-nickel proof medallions with obvs depicting ‘H.R.H. The Prince of Wales,’ ‘Lady Diana Spencer,’ ‘St Paul’s Cathedral’ & ‘The Wedding Ceremony’ & revs conjoined coats of arms, card mounted in a Sandhill case FDC & (2) ‘the Year of Three Kings 50th Anniversary 1936-1986’ a set of 3 x gilt cupro-nickel medallions, each 37mm, with portraits of George V, Edward VIII & George VI, card mounted in a Sandhill case BU, & (3) ‘The First United Kingdom Referendum’ a set of 7 x bronze medals commemorating the 1975 referendum on the UK remaining in the European Community comprising 6 x rectangular medals, each 50mm x 24mm, depicting the Houses of Parliament & the legislative assemblies of the then 8 members of the EU & a circular medal, 45mm, with details of the referendum result, struck by the Birmingham Mint, in fitted case of issue; lot also includes Charles I, 2 x base metal replicas of Briot’s First Milled Issue Crown (1631-32), one silvered & one gilt, in plastic cases BU.
Lot 2277
Miscellaneous Lot comprising: 22 x Bank of England £1: Fforde S89D, 8 x Page: AO1, BO3, DO4(VF) a consecutively numbered pair BO1 920990-91 & a consecutively numbered run of 3: 43T 374011 - 13 & 13 x Somerset: DX18, a consecutively numbered run of 5: BS60 234516 - 20 & a consecutively numbered run of 7: BS60 234524 - 30 & 4 x Fforde 10 shilling notes: A45N, B35N, 34W & 40Y; several Somerset notes with very minor foxing at centre of top edge o/wise all AUNC to UNC except Page DO4, 5 x low grade £1: Hollom A29R GFine & 4 x O’Brien: 96Y, 99E, A97 & C41 VG to AFine, together with Victoria, 2 x halfcrowns: 1888 GFine to AVF & 1901 AFine, both with contact marks, 50p face value mixed pre-20 & pre-47 silver & 46 x silver threepences Victoria YH to George VI, 9 x cupro-nickel commemorative crowns: 1977(x3), 1980(x3), 1981(x2) & 1990 & a commemorative medal 1986 ‘Royal Wedding’ produced by Fuji Magnetic tapes; lot also includes an accumulation of UK pre-decimal coins including 5 x halfcrowns 1949 & 1967(x4), 31 x QEII shillings , 34 x QEII sixpences, brass threepences, pennies, halfpennies & farthings & also 5 x old £2 1986(x2), 1989(x2) & 1995, 2 x old £1 1994, 9 x old 50p & 40 x base metal foreign coins
Lot 2300
Miscellaneous Lot comprising: 95 x Foreign Banknotes, South America, Middle & Far East, Germany, Belgium, Russia etc, mixed grades & also including Jersey £1 (prefix FC), The Royal Bank of Scotland 2 x £1 1986 (D/71) & 1987 (A/8) & Bank of Scotland £1 (D/90) Fine to VF & a few low grade Bank of England notes, all contained in an album, together with 9 x uncut rolls of banknotes comprising: USA, 6 x rolls of 1 dollar notes (1985 series) each roll 32 notes, Papua New Guinea 2 x rolls of 2 kina notes 1991 (commemorating the 9th South Pacific Games) each roll 35 notes & 1 x roll of 2 kina notes ‘Papua New Guinea Silver Jubilee’ (year 2000), 35 notes UNC, Reserve Bank of Zimbabwe, 4 x sealed wads of banknotes, each wad containing 100 notes in the following denominations: 1 cent, 1,000 dollars, 1,000,000 dollars & 500,000,000 dollars; lot also contains Falkland Islands 2 x ‘Liberation’ Crowns 1982, cupro-nickel, each in a Royal Mint presentation pack UNC, USA year set 1980D (Denver Mint) comprising 1, 5, 10 & 25 cents & half dollar together with a Denver Mint medalet, sealed in a pliofilm envelope BU, a commemorative medal ‘Inauguration of Jimmy Carter as President of the United States, January 20th 1977’ proof edition issued by the Bureau of the Mint, sealed in original card holder FDC, UK £2 1986 ‘Commonwealth Games’ in Royal Mint presentation pack UNC & a box containing 160+ base metal foreign coins, a few commemorative medals & 2 x UK cupro-nickel crowns 1965 & 1977.
Lot 93
WW2 Officer's Burma Star Group and Paperwork consisting 1939-45 Star, Burma Star, Defence medal and War medal, mounted as worn ... Pair of Far East, alloy dog tags named "G F Kirkman CE" ... Soldier's Service and Pay Book named to "Geoffrey Ferguson Kirkman" and over stamped "Commissioned" ... Various other paperwork to this Officer. Payment by BANK TRANSFER ONLY
Lot 94
Small Selection of Miniature Medals consisting Order of The Bath (base metal), OBE (enamelled), 1939/45 Star, Africa Star, War medal, QEII coronation medal. All mounted as worn ... 1939-45 Star, Italy Star, Defence medal, War medal, UN Korea, GSM with bar Malaya. Mounted as worn ... OBE ... Regular Army LS & GC. Mounted as worn. Payment by BANK TRANSFER ONLY
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