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Lot 990
Rovex pre Tri-ang 00 Gauge Train Set and other boxed items, Set comprising BR black plunger Princess Locomotive and Tender and two LMS maroon coaches , all in individual boxes and an oval of early silvery non symmetrical brass rail track with rare non brass half straights, in original set box, lacks Controller and track boxes, together with another plunger Princess, tender and two coaches, in original boxes, F-VG, all coaches warped, boxes F-G (one set and four other boxes)
Lot 358
A good George III satinwood, crossbanded and inlaid tea-caddy together with a rare Mundy & Walker tea dealer's broadsheetthe caddy of rectangular form, the lid inlaid to the top with an oval conch shell, the front with two oval patera, the divided interior fitted twin lidded covers, 13cm x 18.5cm x 12cmFor further information on this lot please visit Bonhams.com
Lot 505
A rare late 19th century Northern European bronze and ceramic gratecirca 1880,with pierced and scrolling leaf work border, the panelled top and sides inset with finely painted ornithological porcelain tiles, stamped with foundry / manufacturers name VAN NOTEN and numbered 735, 85cm high, 107cm wide, 13cm deepThis lot is subject to the following lot symbols: TPTP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 86
A rare Laqabi ware pottery dish Syria, 13th Centuryof shallow form with short slightly inverted sides and flattened everted rim, incised and decorated in cobalt blue on a white ground with a sphinx surrounded by a lion, a hare, a bird and a palmette, the rim with abstract vegetal motifs, remains of collection label to base 35.8 cm. diam.Footnotes:ProvenanceMillea Bros. Ltd., Boonton, U.S., Asian & Islamic Art, December 11 2014, lot 319.Formerly in a private US collection, reputedly acquired in the 1950's.This is a very rare example of a type of pottery which was historically believed to have come from Persia, but it is now clear from the manner of the incising and colours that it was made in Syria. The technique is related to that used in Tell Minis and Raqqa pottery of the same period. Sherds and a waster of a similar ware have been found in Egypt so it is possible that the type originated there before production moved to Syria. For an example of a sherd found at Fustat in Egpyt, now in the Victoria and Albert Museum, London, see Arthur Lane, Early Islamic Pottery, London, 1947, pl. 40b.For further information on this lot please visit Bonhams.com
Lot 239
A gem-set gold forehead pendant (chand-tikka), a gem-set gold mirrored roundel and a pearl-mounted gold pendant from the collection of Maharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh, and latterly in the possession of her granddaughter Princess Bamba Sutherland (1869-1957) Punjab, probably Lahore, first half of the 19th Centurythe tikka in the form of a crescent set with rubies and white sapphires, decorated to the sides in red and white enamel with chevron motifs, seed pearl fringe; the roundel with central mirror surrounded by openwork foliate motifs set with diamonds and emeralds, later mounted as a brooch; the pendant of filigree gold with seed pearl fringe the roundel 3.3 cm. diam.(3)Footnotes:ProvenanceMaharani Jindan Kaur (1817-63), wife of Maharajah Ranjit Singh (1780-1839).Princess Bamba Sutherland (1869-1957), gifted by her father HH Maharajah Duleep Singh, later given by the Princess to her life-long personal companion and employee Mrs Dora Crowe of Hampton House, Blo' Norton, Norfolk. Private UK collection, acquired from Mrs. Oriel Sutherland, daughter of Mrs. Dora Crowe. The mirror plaque had, according to Princess Bamba, once been part of Maharajah Ranjit Singh's horse trappings.These three items were likely to have been within the casket of jewels handed back to Maharani Jindan Kaur (1817-1863) by the British authorities when she agreed to live in London with her son, who she was reunited with in Calcutta in 1861. Duleep Singh had not only negotiated a £3,000-a-year pension for his mother but also the safe return of over 600 pieces of her personal jewellery that had been impounded by the British authorities at Benares when she fled to Nepal. In the UK, John Login expedited the passage of her jewels through customs and Lady Login was present when Jind Kaur was finally reunited with them in London: 'Her jewels had at the moment arrived from the Custom House, and so delighted was she at the sight, that she forthwith decorated herself, and her attendants, with an assortment of the most wonderful necklaces and earrings, strings of lovely pearls and emeralds being arranged, in graceful concession to English fashion...' (Lady Lena Campbell Login, John Login and Duleep Singh, London 1890, p 213).These important personal royal effects of the late Maharani were dispersed after her death by her son and grandchildren, either through auction salerooms or by being gifted away. Two decades after her death, when Maharaja Duleep Singh lost his battle against the India Office over the thorny issue of his financial allowances, he decided to auction off some of his possessions in order to raise £20,000 with a view to relocating to India where he could live as a person of importance. He stripped his stately home at Elveden of some choice valuables – including 25,000 ounces of chased silver gilt, rare Indian carpets, Indian shawls, embroideries and a casket of jewels (though 'no old family jewels' according to the press, The Gentleman's Magazine and Historical Review, London, September 1863, p 378) – and packed them up to be auctioned by Messrs Phillips, Son & Neale of New Bond Street. A sympathetic editorial in The Times (20 July 1883) noted how 'news of His Highness being compelled to sell his jewels and other valuables will excite a deep feeling of sympathy among all who are acquainted with the history of the 'Lion of the Punjab'.' The following year, his embittered relations with the British Government compelled him be ransack the contents of Elveden to provide the finances needed to resettle in Punjab with his family. From 27 April to 5 May 1886, while the Maharaja was detained at Aden as he attempted to gain onward passage to India, the auction only realised a fraction of the expected value of the items, forcing Duleep Singh to empty his Coutts safety-deposit box of all his most valuable jewels. When he failed to gain the support of the Russians, Duleep Singh decided to settle in Paris. In 1890, he was forced to sell what remained of the family jewels in his possession to pay for both his own accommodation and that of his estranged second wife, Ada, who moved into an expensive villa situated in an exclusive tree-lined suburb of Paris. Prince Victor Duleep Singh, the maharaja's eldest son, sold part of his inheritance in order to pay off his considerable debts. On 19 June 1899, Messrs Christie Manson & Woods sold 114 lots from Victor's collection in their London sales room including Indian gold jewellery 'formerly the property of the late Maharajahs Duleep Singh and Runjeet Singh of Lahore' according to The Daily Telegraph (20 June 1899, p. 9). Of the riches snapped up at the well-attended auction, which realised nearly £3,000, The Morning Post gave the following details of the best prices achieved, including a lavish horse's head ornament: a gold forehead ornament with diamonds, and ruby drops, from Dholepore, £35; a breast ornament of gold, set with stones and pearls, from Kangra, £46; pair of forehead ornaments, of crescent form, from Delhi, £41; pair of gold armlets, Lucknow, £35; a gold girdle centre set with stones, Delhi, £44; a large ornament for horse's head, of gold, enamelled, from Punjaub, and part of the State harness of Runjeet Singh, £44;... a massive gold horse frontlet, thickly studded with emeralds and rubies, Delhi, £210.... (The Morning Post, 20 June 1899, p 3). Given that Prince Victor's share of the family jewels included a part of the state harness of Maharaja Ranjit Singh, it is perhaps not surprising that another important piece of equestrian jewellery was preserved by Duleep Singh's eldest daughter, Princess Bamba Sutherland (1869-1957).In 1897, Princess Bamba and her two sisters, Princesses Sophia and Catherine, moved to the Norfolk village of Old Buckenham, where they lived near another brother, Prince Frederick. When he sold his house in 1906 and shifted to Blo' Norton, his sisters followed suit. In 1935, the princesses shifted from Blo' Norton Hall to Hampton House at Blo' Norton. When the lease came to an end in 1935, Princess Sophia installed a married couple Dora and Cyril Crowe (Cyril had been a childhood-friend of Frederick's), with their baby son Cyril Junior, at Hampton House to attend upon the princesses whenever they stayed there. When Sophia died in 1948, Bamba became the last surviving member of Duleep Singh's family from his first marriage. Bamba took up residence at Hilden Hall as well as the management of Hampton House. Her relationship with the Crowes developed in terms of mutual respect and affection. While Cyril Jr had been a great favourite with Sophia, his sister Oriel, who was eight years younger, was much loved by Bamba. In later life, the young girl would recall how 'Princess Bamba retained her sense of humour, and as an old lady she would smile, wrinkle her nose, and giggle like a little girl' (Peter Bance, Sovereign, Squire and Rebel: Maharajah Duleep Singh, London 2009, p 160).In 1953, Bamba decided to give Hampton House to the Crowes as she planned to return to Lahore (she had visited Punjab's capital in 1941 but was forced to remain there for five years following the outbreak of the Second World War). She died in her family's ancestral home in 1957. According to Oriel Crowe's (later Sutherland) letter of provenance accompanying this group, Princess Bamba gifted these items of jewellery to her mother, Mrs Dora Crowe, before she left England on her final journey to Lahore. Bamba had told Mrs Crowe that the circular stoned gold and mirrored broach was formerly part of Maharaja Duleep Singh's horse harness. As such, they represent a remarkable link back to one of the richest treasuries in the world.For further information on this lot please visit Bonhams.com
Lot 242
Raja Hira Singh seated in a pavilion with his mistress and a hunting dog Lahore, school of Purkhu, circa 1835gouache, gold and silver on paper, in a painted oval, floral cornerpieces, dark blue inner border 250 x 200 mm.Footnotes:This painting appears to be one of a series that show court gatherings called by Maharaja Ranjit Singh (in the Maharaja Ranjit Singh Museum, Amritsar, acc. no. 16, published in B. N. Goswamy, Piety and Splendour: Sikh Heritage in Art, 2000, plate 101) and Maharaja Sher Singh (in University of California, Berkeley Art Museum and Pacific Film Archive, acc. no. 1998.42.208, unpublished ). Though not identified with an inscription, the nobleman who dominates this intimate scene bears a close resemblance to Raja Hira Singh as captured in a portrait by Emily Eden in 1838.Hira Singh, the son of the Lahore Court's chief minister Raja Dhian Singh, was regarded by European commentators as Maharaja Ranjit Singh's favourite. Born in 1816, he was given the title 'raja' in 1828 at the age of just twelve. A few years later he was proclaimed farzand-i khas or 'favoured son', and had the rare privilege of being allowed to be seated in the Maharajah's presence, unlike his father who remained standing. During the civil war that erupted following Ranjit Singh's death, Hira Singh assumed the office of his murdered father in Maharaja Duleep Singh's government. After just a year, a resentful army brutally murdered him for his manifold injustices.For further information on this lot please visit Bonhams.com
Lot 262
A rare and large panoramic watercolour view of the Golden Temple and the city of Amritsar, 19th Century attributed to Cyril Wiseman Herbert (British, 1847-1882)watercolour on paper, signed C. Herbert and inscribed Ghrant Temple/Sacred Tank/Umritsar lower left 58.5 x 100 cm.Footnotes:ProvenanceFormerly in a private Scottish collection.Cyril Wiseman Herbert was the son of another Royal Academician, John Rogers Herbert. He exhibited five works at the RA between 1870 and 1875, painting mostly landscapes, often of Italy, which he visited in 1868.We have good reason to suppose that this painting is the largest depiction of the Golden Temple in watercolour to have come on the market. To the right of the view is the Jhanda Bunga, named after the two tall standards (jhandas) seen here, which were re-erected in 1841. On the left are the two minarets of the residence of Jassa Singh Ramgarhia, a Sikh leader of the 18th Century.The second Guru, Angad Dev, discovered the site in the 16th Century, when it was simply a stretch of water in the midst of forest. His successor, Amar Das, built a hut beside it for contemplation. Ram Das, the fourth Guru, bought the pool and the land around it. But it was the fifth Guru, Arjun Dev (1581-1606), who cemented its importance as a place of pilgrimage but also as a focus for the permanence of the religion. The foundation stone of the Harmandir (the Golden Temple) was laid in 1588, and the formalising of the pool had been completed in 1577. The Harmandir was destroyed three times between 1757 and 1764 when Northern India was under Mughal control, but thereafter the area was protected and during the height of Sikh power under Maharajah Ranjit Singh the Harmandir was embellished and expanded.For a survey of the history of the Harmandir, see Patwant Singh, 'The Golden Temple', in S. Stronge (ed.), The Arts of the Sikh Kingdoms, London 1999, pp. 46-59. Singh's account ends:'To stand on the terrace outside the Shish Mahal, surrounded by the golden domes and kiosks, is to revel in the glory of this joyous tribute to the Gurus. If their vision, faith and sacrifices has inspired their disciples to feats of valour, then here was the grateful offering of the disciples to the source of their inspiration. As the golden silhouettes of these domes and kiosks emerge in the early morning light and glow throughout the day in the intensity of the Panjab sun, before changing colour in the fading light at dusk, they are an unforgettable sight for the thousands who come daily to worship at the Darbar Sahib. When they step into the waters of the holy pool, and see the Harmandir's shimmering reflection, Sikhs feel as if they have been touched by the sacred'.For further information on this lot please visit Bonhams.com
Lot 13
Inba' al-Istifa' fi-haqq aba' al-Mustafa, a religious treatise concerning the ancestry of the Prophet Muhammad, by Muhyi al-Din Muhammad bin al-Khatib al-Amasi, better known as al-Khatib Qasim (Muhyiddin Mehmed Hatibzade) Ottoman Turkey, at madrasa Ayasofya, Constantinople, copied by the scribe 'Ali bin Muhammad bin Ahmed, during the reign of Sultan Suleyman the Magnificent (reg. 1520 -66), dated 10th Rajab 936/10th March 1530Arabic manuscript on polished paper, 81 leaves, 13 lines to the page written in clear ta'liq script in black ink, significant words and sentences underlined in red ink, catchwords, extensive Arabic commentaries written diagonally in wide outer margins, 16th Century burgundy morocco binding with stamped central medallions decorated with intertwining floral motifs and serrated leaves on a gold ground, outer borders tooled in gold, doublures of brown morocco, with flap, lacking spine 186 x 127 mm.Footnotes:An Early Copy of an Ottoman Manuscript Dedicated to Sultan Suleyman the MagnificentProvenancePrivate collection, Lebanon.Thence by descent to a private UK collection, from around the 1960s.The colophon of this copy of the work states that it was dedicated to Sultan Suleyman the Magnificent (reg. 1520–66) in AH 931/AD 1524–25.The author was born in Amasya in AH 864/AD 1459-60, where he also studied, gaining expertise in subjects as varied as exegesis, law, music and the esoteric science of letters (jafr). He taught in various schools (madrasas) in Amasya and Bursa, and was for a while tutor to Prince Ahmed. He was appointed head teacher of the madrasa built by Sultan Selim I (reg.1512-20) next to Ayasofya in Constantinople, and then in the Semaniye madrasa in the same city. He died in AH 940/AD 1533-34, and was buried in Eyup. For a biography of the author, see A. Mingana, Catalogue of the Arabic Manuscripts in the John Rylands Library, Manchester 1934, pp. 705-706, no. 425. The author and his works are listed in the two following works: K. Celebi, Kashf al-Zunun, vol. I, Beirut, n.d., p. 170; O. Kehhale, Majmu' al-Mu'allifin, vol. II, Baghdad, n.d., p. 148. Manuscripts from the period of Sultans Bayezid, Selim I and Suleyman the Magnificent are very rare, and in the case of this copy both the author and the Sultan to whom it was dedicated were still alive when it was produced. Moreover, it was copied in 1530, only five years after it was composed in 1525.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 270
A Sikh woman, after a photograph Punjab, late 19th/early 20th Centurywatercolour on paper 193 x 252 mm.Footnotes:This rare study of a Sikh woman appears to be based closely on both a sepia albumen print of the 1870s (inscribed Sikh woman), and a pair of coloured photographic postcards, published in the first decade of the 20th Century by the prolific studio of D. A. Ahuja of Rangoon, Burma. The firm's eponymous founder may well have migrated from Punjab, as his series also included images of the Golden Temple of Amritsar. The two postcards depicted the woman 'before marriage' (standing, as here, though not carrying a fan as in the present work), and 'after marriage' (sitting). For the original photograph and a discussion of the various images, see Davinder Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, 2018, p. 279.For further information on this lot please visit Bonhams.com
Lot 275
A collection of photographs from the collection of Major Arthur Wallace Dunlop (1866-1937), 23rd Sikh Pioneers India, late 19th Centurycomprising twelve photographs including a seated portrait of Arthur Wallace Dunlop with bearers; parade scenes; Sikh regimental photographs; a shikar in Kashmir; a group of British officers; and a group of British civilians 29.3 x 19 cm.(12)Footnotes:ProvenanceMajor Arthur Wallace Dunlop, 23rd Sikh Pioneers (1866-1937).The 23rd Sikh Pioneers can trace their origins back to 1857, when they were known as the 15th Regiment of Punjab Infantry. Their battle honours include the Battles of Taku Forts (1858 and 1860), the Battle of Palikao in the Second Opium War, the 1868 Expedition to Abyssinia and the battles of Peiwar Kotal and Charasiab during the Second Afghan War in 1878. Shortly after being promoted to Major, Alfred Wallace Dunlop, along with the 23rd Sikh Pioneers, took part in the British Exhibition to Tibet, and was present at the Massacre at Chumik Shenko, where he was wounded in the front line (see Charles Allen, Duel in the Snows, 2004, Chapter 6). This group of photographs from his collection comprises a number of rare regimental group portraits depicting some highly decorated British and Sikh officers. One soldier wears the Indian Order of Merit, a gallantry medal available to native soldiers between 1837-1907 prior to the introduction of the Distinguished Service Medal and the Victoria Cross being made available to Indian soldiers in 1911. Two other soldiers wear the Order of British India. One rare group photograph depicts officers from numerous Sikh regiments beneath trees. Another group photograph which includes a dog is published in George Macmunn, The History of the Sikh Pioneers (23rd, 32nd, 34th), London, 1933.For further information on this lot please visit Bonhams.com
Lot 228
A rare painting depicting the child Guru Har Krishan conversing with a hill rajah, with attendants standing by North India or Punjab, early 19th Centurygouache and gold on paper, red and gold borders, inscribed in nasta'liq verso 308 x 220 mm.Footnotes:ProvenanceFormerly in the possession of Major-General Sir Dashwood Strettell (1881-1958), Indian Army.The inscription on the reverse reads: tasvirat-e rang-dar varaq, 'coloured images [...] folios'. The number of folios (presumably from an album) are given in raqam, but this is not clearly written.Depictions of the eighth Sikh Guru, Har Krishan, who was Guru between 1661 and 1664, are rare. He is normally identified with the curl of hair falling down his cheek, as seen here, denoting his youth. The female attendant holding the morchal directly over him (rather than merely behind him, as with depictions of mere noblemen, is another indication of his status, and draws an explicit contrast with the larger hill rajah seated opposite. For another depiction of the Guru, with the distinctive curled lock of hair, and a very similar gold jama and robe, see Davinder Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, 2018, pp. 10-13; and W. G. Archer, Paintings of the Sikhs, London 1966, pl. 5. Two depictions were also sold in these rooms, Bonhams, Islamic and Indian Art, 4th October 2011, lots 414 and 415.For further information on this lot please visit Bonhams.com
Lot 1399
Rare Australian Token Penny’s & Halfpenny, to include:- Hide & De Carle, Melbourne grocers & wine merchants 1857 & 1858. Iredale & Co, Sydney Iron merchants & general iron mongers, established 1820. Peace & Plenty, Melbourne 1858. R. Parker, Moorabool Street, Geelong, Ironmonger. Halfpenny, Holloway’s Pills & Ointment 1857. Smith . Peate & Co, 258 & 260 George Street Sydney, Grocers tea dealers & wine merchant.
Lot 153
Medieval Pilgrims Badge.Circa 15th century AD. Copper-alloy, 2.21 grams. 23.27 mm. An open-work pilgrims badge depicting St Roche or Rocco, a pilgrim who carries a staff and is accompanied by a dog jumping to his right and an angel representing a supplicant to his left. The saint is robed and bareheaded with a circular disc (halo) behind. He lifts his robe to reveal his right leg where he suffers from a wound. The reverse of the badge flat and there is the remains of a wire attachment loop in the centre.St. Roche is the patron saint of dogs and accused people and was often evoked against the plague. According to tradition he was expelled from the town of Piacenza in Italy after falling ill and upon finding shelter in the wood a local nobleman's dog tended to his wounds and brought him bread.Ref: A similar, but incomplete pilgrim badge, has been recorded from Dordrecht in the Netherlands (van Beuningen and Koldeweij 1993, 1990, no. 327). They appear to be very rare in Britain with only four recorded on the PAS database.
Lot 165
A rare Medieval inlaid bronze medieval sword pommel, Circa 13th-15th century. Almost oval if viewing face on but is actually octagonal with shallow faces. Each of the five faces on each side are detailed with inlaid silvered lozenge panels within enamel frames, between each face and down each side is a series off incised line decorations forming chevrons. The base has a small sub-rectangular hole with the top hole being larger to receive the swords tang. Size: 46.48 mm, Weight: 140.16 grams.Reference: similar in form to, London Museum Medieval Catalogue; 22-29, fig 1.Ex A. Smith Collection.
Lot 182
Medieval Cinque Port Heraldic Mount. Circa, 12th - 14th century AD. Copper-alloy, 13.40 grams. 36.99 mm. A rare medieval heraldic mount displaying the arms of the Cinque Port at Romney in Kent. The round mount displays the dexter halves of the three lions of England with the tail halves being the sterns of wooden ships. Vertically divided in two halves with enamel, right being red for England and left blue (Azure) representing the sea.Cinque Ports: Prior to the 15th Century, England had no permanent navy to defend it from sea-borne aggression. Instead five ports in the South East - the region most vulnerable to invasion - contracted with the Crown to provide a defensive fleet when required. King Edward the Confessor had contracted the five most important Channel ports of that day to provide ships and men “for the service of the monarch” and although this was frequently as a “cross-Channel ferry service”, it was not exclusively so. Under the Norman kings this became the essential means of keeping the two halves of their realm together, but after the loss of Normandy in 1205, their ships (the fore-runners of the Royal Navy) suddenly became England’s first line of defence against the French.These ports – Hastings, Sandwich, Dover, Romney and Hythe – became known as the Cinque Ports (from the French word five, but always pronounced ‘sink’ not ‘sank’). They were granted many freedoms (for example from militia service, from market and port tolls) and privileges, the most prized being the right to carry the canopy over the King at the Coronation and the very profitable, the running of the international Herring Fair on Yarmouth strand.The earliest charter still existing dates from 1278. However, there may have existed charters granted by sovereigns to some - or all - of the Cinque Ports going back to the time of Edward the Confessor (1042-66).The towns of Winchelsea and Rye were added tot he five original Cinque Ports - probably prior to 1210 - and to these were later added corporate and non-corporate members (or limbs), being other smaller ports. The heyday of the Cinque Ports was in medieval times when they provided a vital navy for the protection of the realm. Today, the Cinque Ports, and their charters, still exist. This Confederation of Cinque Ports (cinque is the French for five) was formed in the early 11th century. Its ‘head of state’ was the Lord Warden. The founding Members (‘head ports') were Hastings, New Romney, Hythe, Dover and Sandwich.
Lot 219
Hayling Wreath gold quarter stater attributed to the Belgae of Hampshire. An excessively rare type with only two others known (both plated), this being the first recorded example in gold. Circa 50BC-20BC. Obv. Cruciform motif around a central rosette, leaf motif in each angle. Rev. Horse right with beaded mane, floral motif in front. 10mm, 0.92g.ABC 812; VA -; BMC -Found near Portsmouth, Hampshire and recorded with the Celtic Coin Index CCI. 20.0614Dr John Sills (pers. comm.) An interesting and important coin, not just for being the first non-plated Hayling Wreath Right quarter that I'm aware of. It's a definite overstrike as you say, probably over a Danebury Scrolls quarter, my nos 273 and 274. Although I didn't mention it the Scrolls Right quarter illustrated, no. 274, is an overstrike, hence the ladder mane at the base of the horse's neck, and the second known coin, Chris Rudd 172, lot 9, appears to be overstruck on the same undertype. On your coin the back-to-back crescents near the edge on the obverse, not part of the Haying Wreath design, match part of the swirling curls and fronds design on the Danebury Scrolls Right type, and the clinching feature is part of a frond a bit further round, which also shouldn't be there but is in the right place to be one of the fronds on the Scrolls obverse. There are traces of the undertype on the reverse as well, notably the pellet on the horse's breast.Your coin is significantly lighter than the Danebury Scrolls quarters, which suggests that it was filed to reduce the weight before being restruck as a Hayling Wreath type. Although there are several overstrikes now known in the southern region, yours is the first one where the undertype can be recognised with reasonable certainty. It shows beyond doubt that the Hayling Wreath issues are later than the Danebury Scrolls fractions, which is useful to know - these small local issues can be very difficult to sequence. It also gives support what had previously only been suspected, which is that one reason for striking a new type over an old one in this part of the country was to make a profit for the mint by filing gold off earlier coins. No doubt there were other reasons as well, chiefly the wish for a small group to establish its own identity by issuing coins, but profit can now be shown to have been one of the motives.
Lot 242
Carausius Silver Denarius. AD 286-293. Silver, 19.45 mm. 4.11 grams. Obverse: Radiate and draped bust right, IMP C CARAVSIVS P F AV. Reverse: FORTVNA AVG, Fortuna seated left on wheel, holding rudder and cornucopiae. RSR in ex. London, AD 286-7. Ref: RIC v, ii, p 511. RSC 66. RCV 13518. Crack on either side but stable. Rare.
Lot 304
Harold II Type 1 Penny. AD 1066. Silver, 1.21 grams. 19.00 mm. Obverse: Crowned bust left, sceptre in front. +HAROLD REX ANGL. Reverse: PAX across field between two lines. +PVLFPI ON GRANTI. Moneyer Wulfwi at the Cambridge mint. Ref: North 836, Spink 1186. Recorded with the Early Medieval Coins Corpus as: EMC 2020.0237. This coin is the first coin recorded for Harold II by the moneyer Wulfwi, and only the second coin recorded for Harold II minted in Cambridge. Rare.
Lot 312
Henry I Type VI Norman Penny.AD 1100-1135. Silver, 1.31 grams, 19.39 mm. Type 6. Obverse: +HENRI REX, crowned bust three-quarters right, holding sceptre in right hand and pointing with left; in field right, three stars. Obverse: Cross pattee over saltire with four annulets at the end of each limb; in each angle, a star. +SIGAR ON LVN, moneyer Sigar at the London mint. Ref: North 862, Spink 1267. Rare. Recorded with the Early Medieval Coin Corpus as: EMC 2020.0316. Found Essex 2020. As found and uncleaned, slight curve to flan.
Lot 314A
Henry Of Anjou Penny.Circa, 1139-48 AD. Silver, 0.9 grams. 18 mm. Obverse: Bust right with sceptre wearing round cap, +HENRICVS [R]EX. Reverse: Quadrilateral over cross fleury, +ROBERTVS ON WI [ ]. Moneyer Robertus at the Wallingford mint. This is the first coin recorded that names Robertus as a moneyer at Wallingford. Recorded with the Early Medieval Coin Corpus as: EMC 2020.0301. Ref: North 940/2. Excessively rare. Only 9 other examples of Henry's 'round cap' type are recorded on the EMC: two cut halfpennies, five incomplete coins and two full pennies. Of these, this is the only example where both mint and moneyer can be read from the coin.
Lot 326A
Extremely Rare Queen Mary Half Angel. Circa, 1553-4, mint mark Pomegranate. Obverse: St Michael slaying dragon, MARIA DG ANG FRA Z HIB REGINA. Reverse: Shield of arms over ship, M and rose either side of mast. A DNO FACTU EST ISTUD Z EST MIRA IN OCUL NRIS. Ref: Spink 2491. Note: professionally straightened.
Lot 44
Iron Age Celtic Mount.Circa 100 BC. Copper-alloy, 7.81 grams. 31.18 mm. A rare and beautiful piece of Celtic metal work. Most likely a Phalera (harness ornament) that would have adorned a warriors horse. Formed of a domed copper-alloy disk decorated with six stylised human heads around a ring of six thick annulets enclosing a central circular opening. Between each head is another annulet. Very well preserved with a smooth green patina. Ref: V. Kruta. Celts, History And Civilisation. p. 36-37. Property of a private collector.
Lot 7
Iron Age Brooch. Circa, 3rd century AD. Copper-alloy, 21.72 grams. 33.33 mm. A rare Celtic brooch of La Tene type 1. Formed of a single piece of copper the brooch has a large bulbous body with a curled catch plate decorated with a circular terminal. The body is detailed with a central eye motif enclosed by ten pellet in ring motifs. Unfortunately the pin is missing but part of the integral spring survives. Ref: Hattatt 2012 page 288, fig. 147, no 725. Property of a private UK collector.
Lot 81
Viking Mount.Circa 9th-10th century AD. Copper-alloy, 6.38 grams. 29.08 mm. A Viking mount depicting two opposed horse-like creatures, positioned head to tails with rear legs bent back over the body and heads facing the rump. Between the front legs is an open-work oval connecting panel. Each beast is decorated with pellet in annulet motifs, one at the head to represent the eye and another on the shoulder and rump. A rare piece. Ref: for similar design, see. Graham-Campbell & Kidd, The Vikings. p. 162. From a private UK collection.
Lot 336
A rare pearlware jug commemorating the Peace of Amiens, c.1802, probably Swansea Pottery, 17cmCONDITION: Attempts at old repairs around pouring lip clearly evident with some re-painting; chip to neck rim, approximately 4x4mm. , with downward crack issuing from this chip, approximately 3cm. - quite close to handle; considerable scuffs and wear at broadest point of jug's diameter; handle discoloured; hairline crack at lower handle joint, not serious; underside with star-cracks, not too serious.
Lot 1511
Artist: David Hockney (British, b.1937). Title: "White Porcelain [David Hockney/Preventive Intervention/Tyler Graphics exhibition]". Medium: Color offset lithograph. Date: Composed 1988. Dimensions: Overall size: 33 1/2 x 24 1/2 in. (851 x 622 mm).Lot Note(s): Signed with the initials and dated in crayon, lower right. Edition unknown, presumed small. Cream wove paper. The full sheet. Fine impression. Fine condition. Literature/catalogue raisonne: Unknown to Baggot/Hockney Posters. Provenance: Ex-collection Avishai Halevy, Phoenix, Arizona. Comment(s): A scarce/rare poster with the signature. Published by the Preventive Intervention Research Center for Child Health, Albert Einstein College of Medicine/Montefiore Medical Center, for the exhibition opening June 5, 1988. Features Hockney's print "White Porcelain," printed by Tyler Graphics, Ltd. Image copyright © David Hockney. [23684-6-100]
![Artist: Roy Lichtenstein (American, 1923-1997). Title: "Whaam! [1996 - diptych - 2 original prints - lifetime printing]". Med](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/35907e6f-c983-4eec-9f8b-ac4e01811e8f/468x382.jpg)
Lot 1516
Artist: Roy Lichtenstein (American, 1923-1997). Title: "Whaam! [1996 - diptych - 2 original prints - lifetime printing]". Medium: Original color offset lithographs. Date: Composed 1996. Dimensions: Overall size: (two panels together) 31 1/2 x 47 1/4 in. (800 x 1200 mm). Image size: (two panels together) 19 3/8 x 45 1/2 in. (492 x 1156 mm).Lot Note(s): Signed in pencil, lower right, second panel. Edition unknown, presumed very small. Very light cream wove paper. The full sheets. Fine impressions with fresh colors. Very good condition. Literature/catalogue raisonne: Doering/Von Osten 162. Our example unknown to Corlett - thus cf. Corlett App.7. Comment(s): Rare. Although published by the Tate during Lichtenstein's lifetime in 1996, we have found only one auction record since its printing. The complete text underneath the image reads: "Published by Tate Publishing, Millbank, London SW1P 4RG. © Tate Publishing 1996. Roy Lichtenstein 'Whaam!' 1963. Acrylic on canvas. 172.7 x 406.4 cm (68 x 160 in). © Roy Lichtenstein/DACS 1996. Printed in Great Britain for the Trustees of the Tate Gallery by Westerham Press. 3M0296. T4095". Image copyright © Estate of Roy Lichtenstein. [28642-6-2400]
![Artist: David Hockney (British, b.1937). Title: "Views of Hotel Well III [David Hockney/Moving Focus Prints exhibition]". Med](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/d80654b0-7dae-48e9-816c-ac4e01814932/468x382.jpg)
Lot 1526
Artist: David Hockney (British, b.1937). Title: "Views of Hotel Well III [David Hockney/Moving Focus Prints exhibition]". Medium: Color offset lithograph. Date: Composed 1986. Dimensions: Overall size: 32 x 22 in. (813 x 559 mm).Lot Note(s): Signed with the initials and dated in crayon, lower right. Edition unknown, presumed small. White wove paper. The full sheet. Fine impression. Fine condition. Literature/catalogue raisonne: Baggot/Hockney Posters 124 (1987); Baggot/Hockney Posters 157 (1994). Provenance: Ex-collection Avishai Halevy, Phoenix, Arizona. Comment(s): This poster (unsigned) sold for US$2,064 at Christie's South Kensingston, 03/25/1999, lot 124. Scarce/rare with the signature. Published by the Tate Gallery for the "Moving Focus Prints from Tyler Graphics, Ltd." exhibition, March to May, 1986. Features Hockney's print "Views of Hotel Well III," printed by Tyler Graphics, Ltd. Image copyright © David Hockney. [23683-5-125]
Lot 1559
Artist: Diane Arbus (American, 1923-1971). Title: "Two Boys Smoking in Central Park, N.Y.C". Medium: Original photogravure. Date: Composed 1963. Printed later. Dimensions: Overall size: 8 3/8 x 8 1/4 in. (213 x 210 mm).Lot Note(s): Stamped with the photographer's name, verso. Edition unknown, presumed very small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition. Comment(s): A very rare print. “Gordon’s” locates only two sales in the past 35+ years, the highest price at Phillips, New York, 10/4/2018, lot #34, realizing $62,500. Image copyright © The Estate of Diane Arbus, LLC. [29609-2-600]
![Artist: Roy Lichtenstein (American, 1923-1997). Title: "Tintin Reading I (a) [from: Tintin in the New World]". Medium: Color](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/527bd673-87de-4ae8-b465-ac4e01822063/468x382.jpg)
Lot 1572
Artist: Roy Lichtenstein (American, 1923-1997). Title: "Tintin Reading I (a) [from: Tintin in the New World]". Medium: Color offset lithograph. Date: Composed 1993. Dimensions: Image size: 8 9/16 x 5 1/4 in. (217 x 133 mm).Lot Note(s): Signed in black marker, upper left. Edition of 12,500. Paper: 80# Simpson over board. The full sheet; untrimmed. Fine impression. Very good condition, on board as issued. Literature/catalogue raisonne: Corlett III.16. Comment(s): Cover illustration for "Tintin in the New World." The image depicts Tintin reading a newspaper with Snowy at his feet. Corlett writes: "Lichtenstein created this image specifically for use on the cover of Frederic Tuten's "Tintin in the New World" (New York: William Morrow and Company, Inc.,1993). The cover is protected by a transparent plastic book-jacket overlay, on which the title of the book and the author's name are printed. A Lichtenstein drawing, 'Interior with Painting of Tintin,' (1992), also designed specifically for use in the book, appears as the frontispiece (see cat. no. III.17)." Printed by Coral Graphics, Plainview, New York. Rare when signed. Image copyright © Estate of Roy Lichtenstein. [24520-3-400]
Lot 1584
Artist: Roy Lichtenstein (American, 1923-1997). Title: "The River". Medium: Color offset lithograph. Date: Composed 1986. Dimensions: Overall size: 7 1/2 x 10 in. (190 x 254 mm). Image size: 3 9/16 x 5 1/8 in. (90 x 130 mm).Lot Note(s): Signed in pencil, lower right. A proof (?) aside from the edition of 100. White wove Coronado opaque SST cover stock paper. Full margins. Fine impression. Very good condition. Literature/catalogue raisonne: Corlett App.10.11. Provenance: Private collection, Dranesville, Virginia. Comment(s): From the portfolio "Roy Lichtenstein: Landscape Sketches 1984-1985" printed by the Meriden-Stinehour Press. A trade edition of 2,500 was also issued. Rare when signed. Image copyright © Estate of Roy Lichtenstein. [25213-2-300]
Lot 1588
Artist: Roy Lichtenstein (American, 1923-1997). Title: "The Gun in America". Medium: Color offset lithograph. Date: Composed 1968. Dimensions: Image size: 11 1/16 x 8 1/4 in. (281 x 210 mm).Lot Note(s): Signed lower right. Edition unknown. Smooth white coated paper. Ample margins. Fine impression. Good to very good condition with the expected minor handling blemishes. Literature/catalogue raisonne: Corlett III.8. Comment(s): Cover illustration for "Time". Corlett writes: "This image was commissioned by Time magazine for the cover of the June 21, 1968, issue." Rare when signed. Image copyright © Estate of Roy Lichtenstein. [24513-2-300]
![Artist: Andy Warhol (American, 1928 - 1987). Title: "Texan [Robert Rauschenberg]". Medium: Original color letterpress print.](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/8e2a4fcf-da31-4cf8-9345-ac4e0182aa66/468x382.jpg)
Lot 1607
Artist: Andy Warhol (American, 1928 - 1987). Title: "Texan [Robert Rauschenberg]". Medium: Original color letterpress print. Date: Printed 1970. Dimensions: Overall size: 9 1/2 x 9 7/8 in. (241 x 251 mm).Lot Note(s): Signed in white marker, center right. Edition of c200. Medium weight light cream uncoated wove paper. The full sheet. Fine impression. Fine condition. Comment(s): This rare letterpress print was published as part of the Warhol portfolio of eight prints which was included in the publication/portfolio "Artists & Photographs" published by Multiples, Inc., New York City, in association with Colorcraft Inc., NYC in 1970. The publication consists of a cardboard box containing artist's publications, multiples, artist's books, etc. by Warhol, Rauschenberg, Ruscha, Nauman, Gormley, Christo, Lewitt, and others. The stated edition size was 1,200 but as Peter Gidal indicates "…rumors abound that the art-box never got made in more than 800 copies, but even the origination gallery can no longer verify it. What is certain is that no "extra" copies of any of the multiples were made, and that the Gormley was in an edition of 200 and the Rauschenberg in an edition of 400. This substantiated the fact that complete boxes could never have been more than 200." Warhol's contributions were printed in different sizes, scales, and mediums. Our example is stamped verso "File Copy - Colorcraft Inc. - Please Return" indicating that it came from the Colorcraft archives. No auction records located. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28842-2-300]
![Artist: David Hockney (British, b.1937). Title: "Table Flowable [David Hockney exhibition]". Medium: Color offset lithograph.](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/d0668636-796f-4c53-911f-ac4e0182d4b1/468x382.jpg)
Lot 1614
Artist: David Hockney (British, b.1937). Title: "Table Flowable [David Hockney exhibition]". Medium: Color offset lithograph. Date: Composed 1991. Dimensions: Overall size: 28 1/2 x 20 1/4 in. (724 x 514 mm).Lot Note(s): Signed with the initials and dated in crayon, lower right. Edition unknown, presumed small. White wove paper. The full sheet. Fine impression. Fine condition. Literature/catalogue raisonne: Unknown to Baggot/Hockney Posters. Comment(s): A scarce/rare poster with the signature. Published by the Petit Musee, Japan. Features Hockney's print "Table Flowable," printed by Tyler Graphics, Ltd. Image copyright © David Hockney. [23686-5-300]
![Artist: Roy Lichtenstein (American, 1923-1997). Title: "Sweet Dreams Baby! [postcard edition]". Medium: Color offset lithogra](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/ee663f85-e989-490d-97c9-ac4e0182e587/468x382.jpg)
Lot 1616
Artist: Roy Lichtenstein (American, 1923-1997). Title: "Sweet Dreams Baby! [postcard edition]". Medium: Color offset lithograph. Date: Composed 1965. Printed 1994. Dimensions: Overall size: 5 7/8 x 4 1/8 in. (149 x 105 mm). Image size: 5 1/16 x 3 5/8 in. (129 x 92 mm).Lot Note(s): Initialed in black marker, lower right; signed verso. Edition unknown, presumed small. White thick coated paper. Full margins. Fine impression. Fine condition. Literature/catalogue raisonne: Corlett 39 for the full-size, editioned screenprint. Provenance: Through the McEvoy family, San Francisco, California; Private collection, Bethesda, Maryland. Comment(s): Postcard published on the occasion of the exhibition "The Prints of Roy Lichtenstein" at the National Gallery of Art, Washington, D.C., 1994. Rare when signed. Image copyright © Estate of Roy Lichtenstein. [25209-1-225]
Lot 1657
Artist: Roy Lichtenstein (American, 1923-1997). Title: "Sketch for Greene Street Mural". Medium: Color offset lthograph. Date: Composed 1983. Dimensions: Overall size: 9 x 28 3/4 in. (229 x 730 mm). Image size: 5 x 26 1/2 in. (127 x 673 mm).Lot Note(s): Signed in pencil, lower right. Edition of 500. Heavy white wove paper. Full margins. Fine impression. Fine condition. Literature/catalogue raisonne: Unknown to Doering/ Von der Osten. Provenance: Private collection, Toledo, Ohio. Comment(s): Published on the occasion of the exhibition "Lichtenstein" held at the Leo Castelli Gallery, December 3, 1983 - January 14, 1984. Rare when signed. Design by Smatt Florence, Inc. Printed by Rapaport Printing Corporation. Image copyright © Estate of Roy Lichtenstein. [25305-5-400]
![Artist: Roy Lichtenstein (American, 1923-1997). Title: "Shipboard Girl [postcard edition]". Medium: Color offset lithograph.](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/f642fdc6-28cd-4a9a-b4e6-ac4e0183d6c0/468x382.jpg)
Lot 1669
Artist: Roy Lichtenstein (American, 1923-1997). Title: "Shipboard Girl [postcard edition]". Medium: Color offset lithograph. Date: Composed 1965. Printed 1994. Dimensions: Overall size: 5 7/8 x 4 1/8 in. (149 x 105 mm). Image size: 4 7/8 x 3 5/8 in. (124 x 92 mm).Lot Note(s): Initialed in black marker, lower right; signed in black marker, verso. Edition unknown, presumed small. White thick coated paper. Full margins. Fine impression. Fine condition. Literature/catalogue raisonne: Corlett II.6 & Doering/Von der Osten 12, both for the full-size print. Provenance: Through the McEvoy family, San Francisco, California; Private collection, Bethesda, Maryland. Comment(s): Postcard published on the occasion of the exhibition "The Prints of Roy Lichtenstein" at the National Gallery of Art, Washington, D.C., 1994. Rare when signed. Image copyright © Estate of Roy Lichtenstein. [25205-1-225]
Lot 1673
Artist: Jean-Michel Basquiat (American, 1960-1988). Title: "Separation of the "K"". Medium: Color offset lithograph. Date: Composed 1982. Printed 1984. Dimensions: Overall size: 8 9/16 x 7 1/2 in. (217 x 190 mm).Lot Note(s): Signed in black marker, lower right. Edition unknown, presumed very small. Very light cream wove paper. Wide margins. Fine impression. Very good condition. Comment(s): Scarce, rare signed, and seldom seen. No auction records located. Issued for the opening night exhibition of "Jean Michel Basquiat – Paintings, 1981-1984" at the Institute of Contemporary Arts, London (the exhibition ran from December 14th, 1984 to January 27th, 1985). Apparently there were very small quantities of this lithograph printed for distribution at the event and they went quickly. Published by The Fruitmarket Gallery. Printed in the Netherlands by Lecturis bv. This work was titled “K” at the exhibition. Image copyright © The Estate of Jean-Michel Basquiat/ADAGP, Paris; ARS, New York. [28990-1-600]
![Artist: Diego Rivera (Mexican, 1886 - 1957). Title: "Self-portrait [Time magazine]". Medium: Color offset lithograph. Date: C](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/28777286-0fc7-4a92-b550-ac4e0183fd69/468x382.jpg)
Lot 1678
Artist: Diego Rivera (Mexican, 1886 - 1957). Title: "Self-portrait [Time magazine]". Medium: Color offset lithograph. Date: Composed 1949. Dimensions: Overall size: 11 x 8 in. (279 x 203 mm).Lot Note(s): Signed in pencil, lower left; signed in the image. Edition unknown. Thin coated smooth wove paper. Wide margins. Fine impression. Good condition. Provenance: Acquired directly from the artist, then descended in the family, Mexico City. Comment(s): Scarce to find in good condition, as ours; rare when signed. The cover of "Time Magazine" April 4, 1949, Volume LIII, Number 14. Image copyright © The Estate of Diego Rivera. [28798-2-300]
Lot 1696
Artist: Roy Lichtenstein (American, 1923-1997). Title: "Sailboats through the Trees". Medium: Color offset lithograph. Date: Composed 1986. Dimensions: Overall size: 7 1/2 x 10 in. (190 x 254 mm). Image size: 4 1/8 x 4 5/8 in. (105 x 117 mm).Lot Note(s): Signed in pencil, lower right. A proof (?) aside from the edition of 100. White wove Coronado opaque SST cover stock paper. Wide margins. Fine impression. Very good condition. Literature/catalogue raisonne: Corlett App.10.12. Provenance: Private collection, Dranesville, Virginia. Comment(s): From the portfolio "Roy Lichtenstein: Landscape Sketches 1984-1985" printed by the Meriden-Stinehour Press. A trade edition of 2,500 was also issued. Rare when signed. Image copyright © Estate of Roy Lichtenstein. [28214-2-225]
Lot 1719
Artist: Roy Lichtenstein (American, 1923-1997). Title: "Reclining Figure in Landscape". Medium: Color offset lithograph. Date: Composed 1986. Dimensions: Overall size: 7 1/2 x 10 in. (190 x 254 mm). Image size: 4 1/8 x 4 11/16 in. (105 x 119 mm).Lot Note(s): Signed in pencil, lower right. A proof (?) aside from the edition of 100. White wove Coronado opaque SST cover stock paper. Full margins. Fine impression. Very good condition. Literature/catalogue raisonne: Corlett App.10.02. Provenance: Private collection, Dranesville, Virginia. Comment(s): From the portfolio "Roy Lichtenstein: Landscape Sketches 1984-1985" printed by the Meriden-Stinehour Press. A trade edition of 2,500 was also issued. Rare when signed. Image copyright © Estate of Roy Lichtenstein. [25212-2-400]
Lot 1734
Artist: Andy Warhol (American, 1928 - 1987). Title: "Queen Beatrix (#3)". Medium: Color offset lithograph. Date: Composed 1985. Dimensions: Image size: 7 x 5 9/16 in. (178 x 141 mm).Lot Note(s): Signed in black felt tip pen, upper left. Edition unknown, presumed very small. Light cream wove paper. Printed to the edge of the sheet. Fine impression. Fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Literature/catalogue raisonne: cf. Feldman/Schellmann II.340. Comment(s): Very scarce, and rare signed. Issued to promote the portfolio "Reigning Queens" published by George Mulder, Amsterdam. The portfolio consists of 16 separate images of each of four reigning queens: Queen Elizabeth II, Queen Beatrix, Queen Margrethe II, and Queen Ntombi Twala, all printed by Rupert Jasen Smith, New York. Apparently there were very small quantities of this lithograph printed for distribution at the opening night reception and they went quickly. The reception was held in the late afternoon of September 20th, 1985 at Castelli Uptown and the exhibition ran from September 21st to October 12th. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28662-1-400]
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