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Click here to subscribe19th century AD or earlier. Obv: C CAESAR DIVI AVG PRON AVG P M TR P II legend with laureate head left. Rev: AGRIPPINA DRVSILLA IVLIA legend around, SC beneath the three sisters of Caligula as Fortuna, Concordia and Tyche, standing as Securitas, leaning on column, Concordia, holding patera, and Fortuna, holding rudder; each holding a cornucopia. Lawrence 9; Martigny 11; Klawans 1; Abbé Ghesquiere 3925. 22.02 grams. ("). [No Reserve] Good very fine.
19th century AD or earlier.. Obv: C CAESAR DIVI AVG PRON AVG P M TR P III legend with laureate head left. Rev: ADLOCVT above emperor standing left on a low platform, addressing five soldiers holding standards; COH in exergue. Lawrence 13, copying RIC 32; Cohen 1; Cavino always added the letters SC to the reverse die of this Paduan for Caligula. 29.58 grams. ("). [No Reserve] Near extremely fine.
19th century AD or earlier. Obv: NERO CLAVDIVS DRVSUS GERMANICVS IMP legend with bust facing left. Rev: TI CLAVDIVS CAESAR AVG P M TR P IMP legend with emperor seated on curule chair with arms and SC below. See Sear 1896 for original type. 25.11 grams. ("). [No Reserve] Near extremely fine.
20th century AD.. Obv: A VITELLIVS GERMA IMP AVG P M TR P legend with laureate head right. Rev: MARS VICTOR legend around, S–C across fields with Mars, in military attire and with parazonium at side, striding left, holding Victory and trophy. Near copy of RIC 115 and 137. 35.07 grams ("). [No Reserve] Fine.
19th century AD or earlier. Obv: IMP CAES NERVAE TRAIANO AVG GER DAC P M TR P COS V P PP legend with laureate head right, aegis on left shoulder. Rev: S P Q R OPTIMO PRINICIPA (sic) legend with octastyle temple with female figure standing right on pedestal within, Jupiter seated facing in pediment, flanked by smaller reclining figures; five statues on the roof; SC below. See RIC 575 for original type. 15.88 grams. ("). [No Reserve] Good very fine.
518-531 AD and 565-578 AD. Justin I. Constantinople mint. Obv: DN IVSTINVS PP AVG, pearl-diademed, draped, cuirassed bust right. Rev: large M, star to left, cross above, star to right; mintmark CON. Justin II and Sophia. Nicomedia mint. Obv: DN IVSTINVS PP AVG, Justin on the left, holding cross on globe, and Sophia on the right, holding sceptre surmounted by cross, both seated facing on double-throne, both nimbate. Rev: large M, ANNO to left, cross above, regnal date XII to right; mintmark NIKO. Sear 62, DOC 8/SB 369, MIB 46 a,b. 14.78, 12.41 grams. ("). [2, No Reserve] Fair.
680-710 AD. Obv: profile bust with pellet trefoil before within beaded serpent border. Rev: linear bird on cross with annulet each side within beaded serpent border with 'VANTAVMA' legend around. S. 777A; N. 125; SCBI 63, 114 (different dies); M. 100-112 (for general types"). 1.10 grams. ("). Found Kelvedon area, Essex, UK, 2015-2017. [No Reserve] Good very fine.
710-760 AD. Obv: profile bust with A behind and runic EPA inscription before. Rev: standard with TOTTI with sideways Vs at sides, cross below and lozenge with pellets above. S. 813; N. 157-159; SCBI 63, 627-631; M. Pl.23, 391-393. 1.08 grams. ("). Found Kelvedon area, Essex, UK, 2015-2017. [No Reserve] Good very fine.
946-955 AD. North eastern issue, type HT 1 NE. Obv: small cross with +EADRED REX legend. Rev: moneyer name ÐEODM / AER M in two lines with contraction bar above R M with three crosses between and trefoil above and below. S. 1113; N. 706. 1.04 grams. ("). [No Reserve] About as struck; broken and repaired.
1575 and 1629 AD. James VI, countermarked issue of 1575, on Mary, lion. Obv: crowned M with incomplete legend. Rev: lion with incomplete legend; countermarked with 'star-in-heart'. Charles I, twopence (turner"). Obv: thistle with CAROLVS D G MAG BRIT legend. Rev: lion with FRAN & HIB REX legend. S. p.85 (see 5445 for host coin)/5524. 0.46, 1.11 grams. ("). With collector tickets. [2, No Reserve] Fair.
39-40 AD. Rome mint. Obv: C CAESAR DIVI AVG PRON AVG P M TR P III PP, Pietas seated left, holding patera, left elbow resting on small facing statue, PIETAS below. Rev: DIVO AVG S-C, Gaius sacrificing before hexastyle temple; one attendant leading bull to altar, the other holding a patera. RIC 44; Cohen 10; Paris 104. 25.22 grams. ("). Very fine.
71 AD. Obv: IMP CAES VESPASIAN AVG P M TR P P P COS III, laureate head right. Rev: IVDAEA CAPTA, S C in exergue, Vespasian standing right to the left of palm tree, foot on helmet, holding spear and parazonium, with Judaea seated below right, on cuirass, in attitude of mourning. RIC 167; Cohen 239, BMC 543; Sear 2327. 25.14 grams. ("). Good very fine.
249-251 AD. Rome mint. Obv: IMP C M Q TRAIANVS DECIVS AVG legend with radiate, draped and cuirassed bust right. Rev: FELICITAS SAECVLI legend with Felicitas standing left, holding long caduceus and cornucopia; S-C across fields. RIC 115c, Cohen 40; Sear 9395 variant (bust type"). 26.43 grams. ("). Ex Timeline 10 Dec 2016, 2791 Very fine; fields smoothed.
394-395 AD. Milan mint. Obv: DN THEODOSIVS P P AVG legend with diademed, draped and cuirassed bust right. Rev: VICTORIA AVGGG legend with emperor standing right holding Victory on globe and standard, with left foot raised and trampling captive with M - D across fields; COM OB in exergue. RIC ix, p.84, 35(a); Sear -. See Portable Antiquities Scheme, reference PUBLIC-EA5CD7 (this coin"). 4.44 grams. ("). Found Acrise, Kent, UK, 2016. Extremely fine; small striking crack to flan edge. Rare.
Dated 1644 AD. Obv: profile bust with IIII behind and date before CAROLVS D G M B F ET H REX legend with 'rose' mintmark. Rev: arms with CHRISTO AVSPICE REGNO legend. S. 3088; N. 2579; SCBI 33 (Brooker), 1071 (same dies"). 1.54 grams. ("). Good very fine for issue; striking split to flan edge, excellent bust. Rare.
1789-1797 AD. Obv: St Mark and doge standing facing, holding cross-headed staff with DVX beside and LVDOV MANIN and S M VENET legends. Rev: Christ in point oval with stars and SIT T XPB DAT Q TV REGIS ISTB DVCA legend. Paolucci 14; Fr. 1445. 3.38 grams. ("). Near as struck; weakly struck to part edge.
1st century BC. A hollow-formed gold finger ring with D-section hoop, elliptical bezel with inset amethyst cabochon. Cf. Chadour, A.B. Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 320. 3.47 grams, 25mm overall, 17.07mm internal diameter (approximate size British M 1/2, USA 6 1/2, Europe 13.41, Japan 13) (1"). From a London, UK, collection; acquired 1970s. Fine condition.
3rd century AD. A round-section lower hoop with keeled shoulders and rib detailing developing to volute scrolls flanking the elliptical bezel with '???' inscription. Cf. Ruseva-Slokoska, L. Roman Jewellery, Sofia, 1991, item 210. 13 grams, 28mm overall, 16.97mm internal diameter (approximate size British M 1/2, USA 6 1/2, Europe 13.16, Japan 12) (1"). From a private collection; formed 1965-1975. Fine condition.
2nd-3rd century AD. A gold finger ring comprising a lentoid-section hoop with keeled pad to the underside, stepped shoulders, scaphoid plaque with meander to the rim, intaglio motif of a lion attacking a serpent. CF. Ruseva-Slokoska, L. Roman Jewellery, Sofia, 1991, item 197. 10.95 grams, 22.37mm overall, 17.88 x 15.54mm internal diameter (approximate size British M, USA 6, Europe 16 1/2, Japan 12) (7/8"). Property of a London gentleman; acquired by his father in the 1970s; thence by descent. [A video of this lot is available on the TimeLine Auctions website] Extremely fine condition.
9th-11th century AD. A silver ring with double-loop of fine round-section wire with granule decoration to the edge. Cf. Sedov, B.B. Finno-Ugri i Balti v Epokhi Srednevekovija, Moscow, 1987, plate CXVIII, items 13,18,24; Sedova, M. V. Yuvelirniye izdeliya Drevnego Novgoroda X-XV vv, Moscow, 1981, fig. 45, item 17. 4.63 grams, 21.52mm overall, 18.37mm internal diameter (approximate size Britsh Q, USA 8 1/4, Europe 17.77, Japan 17) (3/4"). From a private ring collection; acquired before 1990. [No Reserve] Fine condition.
2nd century AD. A bronze ring with thin D-section hoop widening to the shoulder; oval bezel with high relief portrait of the Empress Faustina the Younger, hair pulled back into a bun. 9.54 grams, 22.55 overall, 16.48mm internal diameter (approximate size British M, USA 6, Europe 16 1/2, Japan 12) (7/8"). Property of a London, UK collector; acquired London market, 1990s. Fine condition.
13th-14th century AD. A bronze hollow-shaft key with split bit, lozenge bow with trefoil detailing to the angles. Cf. Pall, M. Schlüssel und Schlösser, Graz, 2012, item 881. 45 grams, 85mm (3 1/2"). From an old North Country collection; formed between 1970-2000; found Kenilworth, Warwickshire, UK. Fine condition.
14th-15th century AD. A bronze mount depicting a winged and robed St. Michael with sword confronting Mary; the saint with his extended right hand above a frond, Mary with her right hand on a casket, head inclined; stud to the reverse. See Mitchiner, M. Medieval Pilgrim & Secular Badges, London, 1986 for discussion. 2.82 grams, 25mm (1"). Found Lincolnshire, UK; in 2017. Very fine condition.
A collection of pictures and prints including an oil painting on board of a landscape with bridge, signed Buchanan, 38x50cm, an oil painting on board of a harbour scene with sailing boats, a gouache study of pussy willow and forsythia, signed bottom left M McMurtrie, 40x31cm, a small watercolour study of ducks, inscription verso, Helen Allingham - an oil painting on canvas of a study of fruit, etc
AN ART DECO STYLE DIAMOND AND EMERALD RING centered with a round brilliant-cut diamond weighing approximately 1.53cts, within a square surround of circular mixed-cut emeralds weighing approximately 0.64cts, the shoulders highlighted with pave-set round brilliant-cut diamonds weighing approximately 0.42cts in total, impressed 18ct, size M
EDWIN STARR - PERSONAL ARCHIVE - Shining collection of 28 x LPs with some 12" including promos. Titles include Hell Up In Harlem (M 802V1 DJ original 1974 US promo), Soul Master (original UK mono and US promo), The Hits Of Edwin Starr (STML 11209), Free To Be Myself, Involved, Clean, War & Peace, Just Another Fool In Love, I Need Your Love, Stronger Than You Think I Am and 25 Miles. Condition is generally VG to Ex.
7" DEMOS - 60s/70s - Sparkling collection of 20 x demonstration 45s presented in fab condition! Artists/titles include The Californians - Follow Me (F 12678 - very clean Ex one or two very light and wispy marks, four prong centre fully intact), Billie Davis - I Can Remember (F 12923 - outstanding Ex+ or archival condition with few markings indeed), ELO - Showdown (HAR 5179 - Ex+), The Beach Boys - You Need A Mess Of Help To Stand Alone (K 14173 - Ex+/VG+), JOhnny Burnette - Dreamin' (LIB 10235 - strong Ex), Little Richard - Green Power (K 14124 - great Ex+) Nancy Sinatra - Flowers In The Rain (K 14138 - strong Ex), Jeff Beck Group - Got The Feeling (EPC 7720 - Ex+), Joni Mitchell - Carey (K 14099 - strong Ex), Medicine Head - Can't Get Over You (HAR 5209 - Ex+), Billy Preston (AMS 7007), John Martyn (WIP 6414), Harpers Bizarre (K 16305), Wilson Pickett - Don't Let The Green Grass Fool You (K 10166 - Ex+), Soul Children (STAX 503) and Edwin Starr (M 1326F). Condition seldom drops below Ex to Ex+ with 15 clean original company sleeves present.
80s POP/NEW WAVE - Lovely collection of over 100 x LPs and 12". Artists/titles include Adam And The Ants - Kings Of The Wild Frontier, Boney M - Nightflight To Venus, The Best Of Bowie, Stewart Copeland - The Rhythmatist, The Dream Academy, Duran Duran, Howard Jones - Human's Lib, Kylie Minogue - S/T, OMD inc. Architecture & Morality (die-cut), David Sylvian - Brilliant Trees, Madonna - Like A Virgin, Squeeze, Spandau Ballet, Suzanne Vega, Luther Vandross, Visage, Ultravox, Stevie Wonder and Cabaret Voltaire. Condition is generally VG to Ex.
GUN - S/T - Lovely original UK mono copy from the 'noisy, violent' group (by their own admission!) Released on CBS (M 63552). The record is in superb Ex+ condition - very few markings indeed, there is just one very light and wispy mark on track A5. Beautiful, clean labels. The sleeve is in Ex condition with a little wear to the laminate which is to be expected and some minor shelfwear. Top copy.
60s ARTISTS 45s - Shakin' collection of around 350 x 7" with plenty of demos included from the ATV Music Library! Artists/cat. numbers include Moe Koffman - Curried Soul, Terry Reid, Family, Roberta Flack, The Who, Marc Bolan, Kraftwerk, Bob Dylan, Tim Buckley, Brian Auger & The Trinity, Roger Daltrey, Neil Young, Doris Duke, Nina Simone (RCA 1879 demo), Ron Grainer, The Jades, The Band, James Brown, Marianne Faithfull, Gumm (FFM 10007 demo on M and M), The Stargazers, Port Authority and Ronee Blakey. Condition is mostly Ex to Ex+.
MARC BOLAN / T-REX - 38x singles, LPs, private pressings and rarities, almost comprehensively covering the career of M. Bolan. To include You Scare Me To Death (Picture disc, PERED 20), Where's The Champagne (picture, interview disc, RNDF 252), T-Rex in Concert (picture disc, ABOLAN 1P), Flyback (TON2), Prophets, Seers & Sages The Angels of the Ages (gatefold, TOOFA 3/4), Tanx (BLN 5002) and more. Condition is from VG+ to Ex+.
A Boyar cape, possibly for the character Igor-Svyatoslavich-the-Brave, designed by Nicholas Roerich for Diaghilev's 1914 production of 'Prince Igor', stamped to the interior, 'Property of Sir Joseph Beecham' and also handwritten 'Prince Igor, Boyars, Sketch 4, Russell', numbered 268, of ochre linen painted with linked patterned roundels, adorned with pearl beads, and domed beaten metal discs, brass clasp, edged in brown stencilled velvet and lined in pink cotton stencilled with black undulating bands, roundels and stripesSerge Diaghilev's Prince Igor was premiered in Paris in 1909, with Feador Chaliapin in the role of Galitsky and costumes designed by Nicholas Roerich. The impresario Gabriel Astruc who had backed this production over-stretched himself by building the new Theatre de Champs Elysees and went bankrupt. In 1910 Sir Joseph Beecham (the pharmaceutical giant and father of renowned conductor - Thomas) came to Diaghilev's aid by sponsoring a season in London's Drury Lane theatre, but as he was more interested in opera than ballet it was agreed that in addition to the ballets that Diaghilev would produce four operas - one of which was 'Prince Igor'. With this new funding Diaghilev was able to transport from Russia the small army of orchestra, chorus and soloists required for his lavish opera productions. He staged highly successful annual opera seasons at London's Drury Lane Theatre and the Victoria & Albert Museum holds posters for productions of 'Prince Igor's' Polovtsian dances on March 1st and June 22nd 1913 with principal dancers Mme. Sophie Fedorova and M. Adolf Bolm. In 1914 Diaghilev reprised the full Paris opera production in four acts with prologue with conductor Thomas Beecham, starring Chaliapin who was paid £400 a night (a fortune at the time) in the role of Vladimir/Khan Konchak and Bolm and Tchernicheva as principle dancers. It premiered on 8th June, 1914 at the Theatre Royal, Drury Lane.Roerich was again invited to provide the full set and costumes beginning work in late 1913 and finishing in early 1914. They corresponded with stage director Alexander Sanin's vision: 'Christian feelings, beliefs intermingling with elements of paganism'.The costumes reflected Roerich's interest in Russian folk art and nomadic tribal history. He used patterns inspired by Central Asian folk dress and textiles and incorporated braids and trimmings purchased from southern Russian nomadic tribal traders at markets in St Petersburg. The vibrantly patterned costumes perfectly combined with Borodin's savage rhythms. Designer and friend Orest Allegri wrote to Roerich (who was unable to attend the first night):'Prince Igor was mounted last night to a full house. It was a staggering success. The British were screaming with delight'.Beecham's opera company struggled through the war years and Roerich was never fully paid for his work. In 1920 the company went bankrupt which resulted in a 'fire sale' of all the company's scenery and costumes. Jacques Rouche, the director of the Paris Opera at the time went to the sale and acquired scenic material from Beecham-Diaghilev productions, notably costumes designed by the artist Leon Bakst for Boris Godunov, which are now in the Moulins archives. There is a 'Prince Igor' costume with identical stamp in the collection of the Victoria & Albert Museum S.77-1998 CONDITION REPORT: exterior is generally good condition, lacking half of the brass closure clasp
'The Royal Italian Opera Company' costumes, late 19th century, many bearing rectangular purple stamps 'Property of the R.I.O', including a black and red skirted tunic appliquéd with gold dragon, bats and other creatures; another probably from the same production of red worsted with bat-wing shaped sleeves, green foil roundel appliqués; four Melton wool Elizabethan style jerkins and a pair of green worsted breeches from a different production, some bearing the inked names 'Urquhart, Quinn' (7)The first Theatre Royal, Covent Garden was built by actor-manager John Rich, and opened on 7 December 1732, but was accidentally burnt down in September 1808. A new theatre was constructed and opened in September 1809. The Theatres Act of 1843 ended the Theatre Royal's monopoly on drama production. In 1847, it became the Royal Italian Opera when the conductor Michael Costa, along with a number of singers including Giuseppe and Fanny Persiani left the Italian Opera at the Queen's Theatre, Haymarket, to establish a rival company. The building was redesigned as an Italian opera house and the Royal Italian Opera was opened. In 1856 the theatre again burnt down. A new theatre was designed by E M Barry and opened in May 1858, and its popularity grew, despite the poor access to the auditorium, which meant that the audience took so long to find their seats that the final act of the first performance was cancelled. The Italian Opera ceased in 1892, and the theatre became the Royal Opera House.These clothes therefore are rare survivors from the early days of British opera. CONDITION REPORT: Black and red tunic- front smeared with paint, moth damage to front neck area. Bat- costume scattered moth damage
A Martin Margiela shocking pink draped chiffon dress, '20th Anniversary' collection, Spring-Summer, 2009, with blank label, size M, with outsized, boned sweet-heart shaped bodice, slits to the size for the arms and outsize shoulder straps, with internal circle of tan stocking which attaches to the chest, the cotton under-dress covered with two optional circles for the legs, covered in Jean Dessès style drapes CONDITION REPORT: good condition, unworn
A Comme de Garçons Noir layered dress, Spring-Summer, 1988, labelled and size M, the dark grey silk dress with long tiered flounced pointed rear skirt only, worn with goffered pleated polyester skirt and over-skirt of lurex flecked stretch polyester with organza flounces to one side (3) An identical dress was included in 'ESSENCE OF QUALITY, TOKYO' exhibition in 1993, organized by Kyoto Costume Institute. CONDITION REPORT: Good condition, no problems
A Comme des Garçons embroidered polyester organdie dress, 'Adult Punk' collection, Autumn-Winter, 1997-98, ribbon labelled and size M, the cream organdie bonded to front and back with irregular wool mesh panels embroidered with leaves in metallic threads; with purple tulle over-dress (2)This was look 3 on the catwalk. US Vogue was so impressed with this collection that they commissioned Annie Leibovitz to photograph the key pieces (including this one) for a double-page spread for their September 1997 edition. Vogue describes the clothes as looking as though they had come from 'Miss Havisham's couture atelier' and that 'Kawakubo's take on pattern-making [was] a send up of the way clothes are made.' The Leibovitz photograph is also reproduced in 'Future Beauty' pp94-95. CONDITION REPORT: Good condition, looks unworn
A Comme des Garçons 'Ballerina Motorbike' collection ensemble, Spring-Summer, 2005, labelled and sizes S & M, the foam padded calico jacket with patchwork of curved interlocking shapes to the waist sides and back; worn over a skirt of bright pink mesh inset with undulating plastic crinoline banding, large bow to the front; and an underskirt of raw-edged cream calico (3)The jacket is illustrated in 'Breaking the Mode', Contemporary Fashion from the Permanent Collection of the Los Angeles Museum, pp 60-61.In this collection Kawakubo contrasted the the soft layers of a ballerina's tutu, with the rounded contours of a motorbike, the openwork detailing mimicking the engine vents and the padding - the curved foam-rubber seat covers. Kawakubo described her inspiration: 'I thought about the power of the motorbike - the machine itself - and the strength of a ballet dancer's arms'. CONDITION REPORT: Good condition, looks unworn
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