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Lot 32
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013), LITTLE EVERSDEN STILL LIFEoil on canvas, signed120cm x 90cm (approx 48 x 36 inches)Framed.Note: After Bellany's 1988 life-saving liver transplant, his room at Addenbrooke's Hospital became full of flowers and plants sent by friends and loved ones. Bellany had escaped death and these flowers symbolized and celebrated "life". Bellany convalesced at Little Eversden, Cambridgeshire where he began a series of still life paintings, a subject which he'd never focused on before. The chequered pattern represents "duality" - black and white, good and bad, life and death and is relatively rare in Bellany's work. The fireplace represents warmth, security, home and family, yet this fireplace is devoid of the paraphernalia one would expect if the picture had been painted in Bellany's studio. Even the position of the signature in the white square to the right of a black square could be interpreted as being symbolic of Bellany's belief that he'd escaped death. This composition is stacked with symbolism but overall, it's a celebration of life, of family and of colour. Private Glasgow Collection.
Lot 1091
*Steensma (20th century) Study of a black bird, indistinctly signed and dated (19)91 together with a print after Klee, Garabed Der Hohannesian abstract study; a study of a plough, indistinctly signed pastel depicting an Autumn Garden and an early 20th century woodblock print entitled still life (6)
Lot 337
Published 1705 AD. With title page 'A Faithful Abridgment of the Works of that Learned and Judicious Divine, Mr. Richard Hooker, in Eight Books of Ecclesiastical Polity and of all the other Treatises which were Written by the same Author with An Account of his Life by a Divine of the Church of England, London, Printed and Sold by Benjamin Bragg at the Blue Ball in Avemary Lane, 1705 (Price Five Shillings)'; hardback 19th century half leather by J. Mantle, Bookbinder, Midsomer Norton, with his stamp to inside back cover. 405 grams, 18.5 x 13cm (7 1/4 x 5"). Property of a Kent, UK collector. Richard Hooker (1554-1600 AD) was perhaps one of the most influential clerics of his time and Izaac Walton (of The Compleat Angler fame) was his biographer; his 'Laws of Ecclesiastical Polity' was first published from 1594 (books 1 to 4) and thereafter, with the final three published posthumously. His work is still studied today and did much to establish the Anglican church; he was Rector of St Mary the Virgin in Bishopsbourne, Kent where he was buried and bequeathed the sum of 'three pounds of lawful English money' for the building of a pulpit in the church. Good condition; spine rubbed and hingeas weak, paper browned.
Lot 274
Portrait of a Lady, late 19th century pencil indistinctly signed, Study of A Mouse, pen and ink on fabric, Still Life of Flowers, watercolour signed by Daisy Smith (British 1891-1963), Low Petergate, York, signed D.A.H and 'Cat on a Sill, ltd.ed woodblock print by M Cousin max 33.5cm x 28.5cm (5) Condition Report Click here for further images, condition, auction times & delivery costs
Lot 264
A MODERN CHINESE LANDSCAPE PAINTING ON SILK landscape 11in(28cm) "Tondo" another probably the same hand " Bull Rushes" 13in (33cm) x 21in(54cm) and a japanese landscape on silk; Elizabeth Mitchell (20th/21st Century) "Shield", a signed lithograph, 15 inches (38cmx 28cm), together with twelve others, all signed in pencil, various sizes; Viktor Anufriev (B.1958) Red Nude, mixed media, signed and inscribed gallery label verso, 11.5in(29cm) x 8in (20cm), another oil on canvas, "Study of a White Bird with Red Beak", 15.5in(39cm) x 15in(38cm) and another modern painting figures by a cathedral, indistinctly signed, 16in(40cm) x 12in(30cm); Alice Burton (20th/21st century) "Layer of Self", acrylic colage on canvas, signed, inscribed and dated verso 2002, 36in (91cm); Aubrey Shimizu "Sun and Rain", drawing, pastel and colage, 9.75in ( 24cm) x 13.75in (35cm), another painting by Oleg Koulikov (20th/21st Century) mixed media " Still LIfe with Key", 11in (28cm) x 7in (18cm); Andea Batees (b. 1943) "The Quay at Oxford", O.O.B., 12in (30cm) x 16in (40cm), together with another smaller painting by the same hand and another Elizabeth Mithcell (20th/21st Century) "The Camera Series Album Views Dublin", a coloured lithograph signed in pencil, 9.5in(24cm) x 12in(31cm) together with three others by the same hand and a mixed media " The Farm" indistinclty signed. (approx. 28)
Lot 318
Seleukid Empire, Diodotos Tryphon AR Tetradrachm. Antioch, circa 142/1-138 BC. Diademed head of Tryphon right / ΒΑΣΙΛΕΩΣ ΤΡΥΦΩΝΟΣ ΑΥΤΟΚΡΑΤΟΡΟΣ, Macedonian helmet adorned with ibex horn, Π monogram in inner left field; all within oak wreath border. Not listed in the standard references. 15.42g, 32mm, 2h. Near Extremely Fine. An apparently unique variety of this very rare type. Diodotos was a powerful administrator at Antioch during the reign of Alexander I, who played a key role in organising the rebellion that saw Alexander forced from the city and Demetrios II crowned king on the promise that Ptolemy VI would supervise his reign. This was met with one final challenge from Alexander, who was defeated by Ptolemy and subsequently assassinated by the Nabataean prince from whom he sought refuge. The victory was to come at the cost of Ptolemy’s life, who died days later from wounds received in the battle. Demetrios quickly lost the support of both the military and the populace after disbanding much of the Seleukid army and brutally crushing a rebellion at Antioch. Once again Diodotos seized the opportunity for rebellion and found an alternative ruler in Antiochos VI, the young son of Alexander and Kleopatra Thea, who he took under his protection. Their revolt against Demetrios started in Chalkis, where they gained the control of the surrounding districts before capturing Apamea in 144. It was around this time that Diodotos assumed a new name, Tryphon. He succeeded in removing Demetrios from Antioch around 144/3 and elevated Antiochos to the Seleukid throne. For two years, Antiochos reigned while Tryphon continued to campaign against Demetrios, expanding their territory into Cilicia Pedias and north Phoenicia. Around 142, Tryphon announced that Antiochos had died during surgery and having ensured the support of his soldiers with the promise of money, proclaimed himself king. He continued to wage war against Demetrios’ generals, who still held the Phoenician cities of Sidon and Tyre, Gaza, Mesopotamia, Babylonia and parts of northern Syria. The seizure of Babylonia by Mithradates I in 141 led Demetrios to embark on an eastern campaign which would see him captured in 138. This prompted Antiochos VII, the brother of Demetrios, to raise a substantial mercenary force to recover the Seleukid kingdom. He landed at Seleukia Pieria, where many of Tryphon’s troops had defected to Kleopatra Thea, who admitted his troops and married him. Antiochos quickly took northern Syria from Tryphon’s control and pursued him into Phoenicia, where he was besieged at Dora. Tryphon escaped and fled to Apamea, where he was besieged again and eventually executed late in 138 or early 137. The elaborate ibex-horned helmet used as a reverse type on the coinage of Antiochos VI and of Tryphon once he assumed the kingship is usually considered to have been Tryphon’s personal sigil. The horn and diadem together denote divinity and royalty, and the helmet itself, with its thunderbolt-adorned cheek-guards and two medallions depicting an eagle and a panther holding a thyrsos would certainly have been worthy of either, or both. While it is most unlikely to represent Tryphon’s personal choice of headwear, it has been speculated (H. Seyrig, The Khan El-Abde Find and the Coinage of Tryphon, ANS NNM, 1950) that the helmet may have been a spectacular offering, made by the young king Antiochos VI, under the direction of Tryphon, to the god that had favoured their claim to power.
Lot 774
Commodus AV Aureus. Rome, AD 178. L•AVREL•COMMODVS AVG, laureate, draped and cuirassed bust right / TR P III•IMP II•COS•P•P•, Castor standing left, holding horse by its bridle with right hand and spear in left. RIC 648 (Aurelius); C. 760; Calicó 2337b (same dies); BMCRE 774-5 (Aurelius and Commodus); Biaggi 1014 (same dies). 7.21g, 21mm, 6h. Near Mint State. Ex Lanz 109, 27 May 2002, lot 514; Ex Leo Hamburger 96, 25 October 1932, lot 926. When this type was minted Commodus was only 16 or 17 years old, and yet the reverse legend declares him to have held tribunician power three times, been acclaimed imperator twice, consul once, and ironically, to be pater patriae - father of the state. That he was offered this honorific, accepted it and used it immediately upon his coinage is an indication of his disposition, for it was the custom of emperors to decline the honour if offered to them too early or while they were too young. Even Nero declined the title when it was offered to him in the first year of his reign, accepting it only later. It was also customary for the honoured to defer the usage of the title for a suitable length of time out of humility - Hadrian deferred its use for eleven years. Only the previous year had Commodus been granted the rank of Augustus, thus formally sharing power with his father, being also consul in that year - the youngest in Roman history up until that time. The reverse displays Castor as the patron of the Equites and protector of the young emperor, and represents Commodus in his role as princeps iuventutis, a title of great honour even in the days of the republic that since the reign of Augustus had been conferred on those who were intended to succeed to the throne, and which Commodus had received in AD 175. The unhealthy overindulgence of Commodus by his father Marcus Aurelius, which may have in part led to his megalomania in later life, was perhaps due to his being Aurelius' only surviving son. He was showered with honours beyond his years, including having been made Caesar at the age of five. Yet still at this time, never far from his father or his entourage of worthy tutors, Commodus did not publicly display any of the maniacal tendencies that would later come to characterise his reign.
Lot 88
Randolph Douglas (Randini) (1895-1956); A Hallmarked Silver Vesta Case, CSG&Co, Birmingham 1912, of cushion shape, allover engine turned, inscribed "To Randin From R.S.D. 1915" (R.S.D. was Randolph's father Robert Strachan Douglas); A Folding Pocket Knife, with mother of pearl scales (damages), inset "Randin"; A Small Turned Wood Trinket Dish, with applied stylised 'H'; A Glass Picture, still life flowers in a vase, foil backed, within later plain rectangular frame, on easel back; Beedham [A]: Randini The Man Who Helped Houdini. 2009 paperback. (5) *Randolph Robert Osborne Douglas was a magician and escape artist who first appeared as Randolph The Magician, Randin, and later Randini - under the influence of his hero Harry Houdini whom he met and became friends. In 1926 Randini opened a small museum - a house of wonders in Castleton, Derbyshire.
Lot 750
ALAN FALK (born 1945); oil on canvas, still life of jug, flower vase, ashtray, radio and building blocks on table, signed and dated 1971 to lower right, 112 x 122cm, framed. (D) CONDITION REPORT: artist born and studied art in Manchester and has exhibited solo and in group in the UK and internationally. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk.
Lot 705
KATHLEEN WALNE (1915-2011); still life with flowers and 'Minsmere, Suffolk', both signed to lower right, 41 x 57cm, and a signed coloured print depicting a woman drinking tea, all framed and glazed, (3). (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk.
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