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Lot 267
The Royal Mint, Lunar Year of the Horse 2014 one ounce silver proof coin, We will remember them £5 silver proof coin, Titanic Alderney silver proof centenary £5 coin, Charles Dickens £2 silver proof 2012 coin, all boxed, and the floral 2013 £1 two-coin set, the Churchill coin, the Big Ben coin, and the Spirit of London Olympic 2012 coin, and a Concorde coin
Lot 331
A LIVE STEAM LAUNCH BY BASSETT LOWKE, CIRCA 1930 the hull carved from the solid with varnished deck with maker's label containing spirit fired steam motor to single propeller, with counter-signed pressure gauge, removable forward cover -- 9 x 39in. (23 x 99cm.); contained within associated wooden box with cradle standCondition report: Good overall condition with typical wear commensurate with age. Motor not tested.
Lot 219
BLUES/R&B/SOUL - LPs. Smart selection of 25 x LPs with a CD Box Set. Titles/artists include Howlin'' Wolf (Chess, CHD3-9332), Wee Willie Wayne (Imperial 2C 068-83.294 M), Chicago Jazz: 1927/1928 (Odeon MOEQ 27010), Little Walter, Hate To See You Go, Professor Longhair, Mardi Gras In New Orleans, The Best Of Solomon Burke, Cow Cow Davenport, Alabama Strut, Good Rockin' Tonight Link Wray, Sonny Boy Williamson, Wynonie Harris, The Spirit Of Memphis Quartet, Joe Turner, Jumpin' Tonight, Cross Cut Saw Blues, Go Bo Diddley, The Spirits Rhythm 1933-34, The Jazz Makers Volume One and Two, Eddie Lang, Lonnie Johnson, Ray Charles, Yes Indeed!, Rising Sons, Swan's Silvertone Singers' Greatest Hits, Chicago Blues. Condition is generally VG+ to Ex+.
Lot 95
Four stoneware bottles to include a bottle marked Joseph Bowden, Wine & Spirit Merchant, Commercial Buildings, Marple, another marked 2478 Archer Malvern, another A.W. Buchan & Co. Portobello, Scotland and one further (4)Condition ReportArcher Malvern - Large crack; 38cm tallBowden - crack on base and chipped on base; 50cm tallAW Buchan; no damage; 37cm tallAnother, marked with figure 2, no damage - 38cm tall
Lot 945
FOUR BOXES AND LOOSE CERAMICS AND GLASS ETC, to include Royal Worcester 'Evesham' ramekins, a pair of match holders, boxed set of Coalpot 'Camelot' trinkets, Coalport Indian Tree dinner wares, Elizabethan tea wares, 1936 Doulton cup and saucer 11256, Wedgwood X6079 cup and saucer, Davidson cloud glass faceted bowl, large salt glazed spirit barrel etc
Lot 926
THREE BOXES AND LOOSE SUNDRY ITEMS to include a writing slope, vintage car horn, oak spirit barrel, two Victorian cast iron flat irons including a Coalbrookdale example Junghans oak cased mantle clock, large wood and iron door lock with key, modern fly fishing creel, together with assorted framed prints including a Pears 'Bubble' print and Charles Dickens novels etc
Lot 157
An inside painted glass snuff bottleZhou Leyuan, circa 1886-1887Painted to one side with a windswept fisherman in a grass cape, punting an open skiff in a tree-strewn, mountainous river landscape, the reverse with a jar of prunus blossom beside smaller vessels and ornamental pierced rockwork, inscribed ?????? ?? F?ng nántián l?orén b? s?nshí (Following the spirit of Nantian) and signed ??? Zh?ulèyuán, with one seal of the artist, amethyst and gilt metal mounted stopper, box.The bottle 6cm (2.3/8in) long. (3).
Lot 694
A group of five bronze mirrorsHan Dynasty and laterComprising a 'TLV' mirror with mythical animals amidst foliate scrolls, Han Dynasty, 14cm (5 1/2in) diam; a small circular mirror with archaic characters, Han Dynasty, 10cm (4in) diam; a mirror with inscription in a rectangular cartouche, probably Tang or Song Dynasty, 14.7cm (5 3/4in) diam; a mirror with mythical beasts and four raised bosses surrounded by saw-tooth band, Han Dynasty, 12.5cm (4 7/8in) diam, each with fitted box; the fifth with a raised central knob enclosed within four petals and a square lined by archaic characters, the outer field interspersed with TLV motifs and the Four Spirit Animals amidst classic scrolls, the bronze with a silvery-grey patina. 18.5cm (7 1/4in) diam. (9).
Lot 849
A RUSSIAN ICON OF THE MOTHER OF GOD AND CHILD, CIRCA 1910 depicting the Mother of God and Child with a pair of angels, God the Father and the Holy Spirit, flanked by saints Pantaleon and Eudokia of Heliopolis, egg tempera, gesso and gold leaf on wood panel; overall dimensions of icon: 26.8 x 22.3 cm (10 1/2 x 8 3/4 in.)PROVENANCESotheby's, New York, December 6, 1993, lot 271. (Copy of invoice available upon request)Acquired at the above by a prominent Armenian-American Family)
Lot 134
HARRY JACKSON (AMERICAN 1924-2011) Grace Hartigan, 1949 oil on canvas 151.5 x 91.2 cm (59 5/8 x 35 7/8 in.) signed and dated upper right PROVENANCEEstate of the artistEXHIBITEDCody, Buffalo Bill Historical Center, "Harry Jackson: A Retrospective Exhibition", May 1-September 24, 1981 (label on verso stretcher)LITERATURELarry Pointer, Donald Goddard, Harry Jackson (New York: Harry N. Abrams, Inc., 1981), p. 51, no. 56 (illustrated) LOT NOTESIn his unparalleled creative trajectory from realism to abstraction to realism again, Harry Jackson - as perhaps no other American artist of the period - embodies the spirit of relentless inquiry that came to define the art of the 20th century. One of the most prolific and significant Western artists of his generation, Jackson also produced an immensely diverse body of work, represented in lots 133-135, including two important canvases from his Abstract Expressionist period.Prior to settling in Wyoming to make his best-known work, Chicago-born Jackson had served in World War II as a combat Marine artist, awarded a Purple Heart, and, in 1944, stationed in Los Angeles. Soon after, he saw Jackson Pollock's The Moon-Woman Cuts the Circle and The She-Wolf, which impressed him profoundly. Determined to meet Pollock, Jackson moved to New York, where he became a close friend of the artist and gained notoriety for his own Abstract Expressionist works, capturing the attention of Clement Greenberg and Meyer Shapiro (who featured him in their Talent 1950 show at the Kootz Gallery) and later exhibiting at Tibor de Nagy Gallery.Eventually, Jackson's childhood fascination with cowboys (he, aged 14, had run away from home to a Wyoming farm), his academic training at the Art Institute of Chicago, and a 1954 tour through Italy reinvigorated Jackson's interest in Realism. Perspective and modeling, infused with the ethos of abstraction, made their way into his works. During a second trip to Italy in 1956, Jackson began studying sculpture at the Vignali-Tommasi Foundry, producing the first of his Western bronzes in the tradition of Frederic Remington and Charles M. Russell. He made trips to both the American West and Europe throughout the 1950s and 60s, setting up his own foundry and finally relocating his studio to Wyoming in 1970.The present portrait of Grace Hartigan, a fellow second-generation Abstract Expressionist, to whom Jackson was married in 1949, is an exquisite example of Jackson's dynamic work, of the kind hailed by New York Times critic Stuart Preston for the buoyant, generous and intricate arabesque of shapes and... the freshness and pungency of... color. The connection between the artist and his wife-model, a short but explosive affair by many personal accounts, make this painting a perfect encapsulation of the predominant art movement of the time.
Lot 133
HARRY JACKSON (AMERICAN 1924-2011) Marie (Study for Sacagawea), 1980 bronze with light brown patina atop granite base overall height: 30 cm (11 3/4 in.) signed, dated, inscribed SUH 19 and impressed with WFS Italia foundry mark on verso PROVENANCEEstate of the artist LITERATURELarry Pointer, Donald Goddard, Harry Jackson (New York: Harry N. Abrams, Inc., 1981), p. 278, nos. 358-361 (illustrated)LOT NOTESIn his unparalleled creative trajectory from realism to abstraction to realism again, Harry Jackson - as perhaps no other American artist of the period - embodies the spirit of relentless inquiry that came to define the art of the 20th century. One of the most prolific and significant Western artists of his generation, Jackson also produced an immensely diverse body of work, represented in lots 133-135, including two important canvases from his Abstract Expressionist period. Prior to settling in Wyoming to make his best-known work, Chicago-born Jackson had served in World War II as a combat Marine artist, awarded a Purple Heart, and, in 1944, stationed in Los Angeles. Soon after, he saw Jackson Pollock's The Moon-Woman Cuts the Circle and The She-Wolf, which impressed him profoundly. Determined to meet Pollock, Jackson moved to New York, where he became a close friend of the artist and gained notoriety for his own Abstract Expressionist works, capturing the attention of Clement Greenberg and Meyer Shapiro (who featured him in their Talent 1950 show at the Kootz Gallery) and later exhibiting at Tibor de Nagy Gallery.Eventually, Jackson's childhood fascination with cowboys (he, aged 14, had run away from home to a Wyoming farm), his academic training at the Art Institute of Chicago, and a 1954 tour through Italy reinvigorated Jackson's interest in Realism. Perspective and modeling, infused with the ethos of abstraction, made their way into his works. During a second trip to Italy in 1956, Jackson began studying sculpture at the Vignali-Tommasi Foundry, producing the first of his Western bronzes in the tradition of Frederic Remington and Charles M. Russell. He made trips to both the American West and Europe throughout the 1950s and 60s, setting up his own foundry and finally relocating his studio to Wyoming in 1970.The following bronze, modeled after Marie Varilek, is one of several studies for a monumental sculpture of Sacagawea, on which Jackson began working on in the summer of 1976 and completed in 1980.
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