Collection of eight James Bond Ian Fleming hardback books including; Thunderball first edition published by Jonathan Cape 1961 condition good (name sticker in front cover) The Man with the Golden Gun first edition published by Jonathan Cape 1965 condition good (no dust cover) From Russia with Love first edition published by Jonathan Cape 1957 condition fair but dust cover poor (name written in front cover) The Man with the Golden Gun second impression published by Jonathan Cape May 1965 (no dust cover) Gold Finger published by Jonathan Cape fifth impression 1963 condition good (name sticker in front cover) The Spy who Loved Me published by Jonathan Cape sixth impression March 1964 (condition good) Casino Royale published by Jonathan Cape reprint 1963 condition good (name sticker in front cover) On Her Majestys Secret Service fifth impression condition good (dust cover present)
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A Japanese carved ivory netsuke, of a seated oni holding a large face mask and a bowl in his lap, 2.3cm. (Taisho period 1912-1926) Provenance: Part of a Leicester private family collection by descent and historically known to our auctioneer. The collector, who died pre-WWII, actively accumulated works of art in the 1920s/30s. All enquires to Colin Young.
RARE BOND PUBLICATIONS AND BROCHURES - Lot to include official Warner Never Say Never Again advanced synopsis, Never Say Never Again Japanese and German brochures, Diamonds are Forever UK souvenir brochure, a 1960s 'James Bond in Focus', BFI tribute brochures, German Cinema magazine Sonderheft nr 2, German lobby card sheet, Back as Bond - Films in Focus from Fall 1983, My Name is Bond from 1983, Corgi James Bond 007 Thunderball magazine, 1977 Glidrose 'The Spy Who Loved Me' publication and a Sackville 'Thunderball' magazine.
THE INCREDIBLE HULK - STAN LEE SIGNED - Lot to include: A boxed Q Fig Marvel Avengers The Incredible Hulk figure from the Age of Ultron movie , The Incredible Hulk Ultimate Collection box containing the complete TV series on 24 discs, 'The Mighty World of Marvel' #137 comic from 1975 starring The Incredible Hulk; signed by Stan Lee, artist Dick Avery and Bill Bixby who played one of the adaptations of Bruce Banner. There is also a boxed sixth scale avengers Age of Ultron model of The Incredible Hulk.
The Yeovil Collection, James Bond 007. Corgi diecast models: carded Corgi Juniors E3019 'James Bond Octopussy' Gift Set containing a Range Rover in maroon with 'Range Rover' and stripes printed to sides together with a Horsebox and an Aircraft, overall models appear VG on a G/G+ card, although a portion of the plastic bubble would appear to have been re-glued to the backing card at some time; Corgi Juniors 2521 'Moonraker' VG in G+ card; E2529 'The Spy Who Loved Me', VG in G+ card; Corgi Juniors #3 Stromberg's Jet Ranger, VG on G card; #41 Space Shuttle, VG on G card; 649 'Moonraker' Space Shuttle, VG in G box; 930 'Moonraker' Drax Jet Ranger Helicopter, VG in G box. (7)
Twelve Beswick Beatrix Potter figures, mainly BP-3c and a Studio Royal Doulton figure of Johnny Town-Mouse with Bag, the Beswick figure to include Cottontail, Goody & Timmy Tiptoes, Chippy Hackee, Jonny Town-Mouse, Tom Thumb, Miss Moppet, Mr Drake Puddle-Duck, Tommy Brock, Sally Henny Penny, Timmy Willie Sleeping, Tomasina Tittlemouse and The Old Woman Who Lived in a Shoe (13)
A Beswick Beatrix Potter figure, Susan and eleven other BP-3 figures, including The Old Woman Who Lived in a Shoe, Mrs Tiggy-Winkle Takes Tea, Poorly Peter Rabbit, Mrs Flopsy Bunny, Jemima Puddle-Duck, Samuel Whiskers, Hunca Munca Sweeping, Aunt Pettitoes, Amiable Guinea-Pig and Mrs Rabbit (12)
British Coins, George III, pattern halfpenny, in bronzed copper, undated, toothed border, narrow rim, laur. bust r., small eagle’s head below, rev. nude Britannia seated, pointing l., her l. arm resting on shield, paddle behind (P.994 [Extremely Rare]), certified and graded by NGC as Proof 66 Brown, a superlative example of this early pattern for the coming Soho Mint coinage, its surfaces smooth as silk and the colour of fine mahogany, one of the finest known *ex Cheshire collection While the obverse image of King George is familiar and appears, with minute variations, on a number of patterns and proof coppers, it is the reverse of the presently offered pattern coin that compels study and appreciation. In fact, this beautiful coin is almost an illustration, in and of itself, of the achievements of both the Soho Mint and the later die-sinker who ‘rescued’ Soho’s dies, re-struck them, and thereby made coins available for collectors who otherwise would never lay eyes on such items, nor understand their history. All numismatists owe Taylor a huge debt in this regard. We can all study the progression of dies as related by Peck, but why does a regal coin feature on one side an exquisite, heavily frosted portrait of King George, and on the other side an ‘unfinished’ and therefore nude portrayal of the emblem of the land? Crowther tells us what probably happened: ‘The figure of Britannia on the halfpennies by Droz is very graceful. To ensure the agreement of his work with the rules of anatomy, Droz first engraved a nude figure, and afterwards added the drapery. . . . All the halfpennies with the nude reverse were struck by Mr. Taylor’ (pp.43-44). Further, he explains that among the scrap bought by Taylor at the Mint sale in 1848 ‘were found several dies for halfpennies by Droz, and other patterns. A few of these dies had never been used, nor even hardened’. Taylor took these dies, hardened them, paired various ones, burnished them to rid them of rust, and struck small quantities, then destroyed some of the dies. Other dies survived and passed into collections in the late 19th century, but were never used again. Even Crowther, in 1886, says no one knows how many were made, but evidently precious few. All of Taylor’s re-striking activity occurred between 1862 and 1880. He did not evidently set out to deceive collectors. His output of medals was prodigious, as a talented engraver and die-sinker. In the 1850s he was responsible for such creations as the Port Philip gold coins, copper patterns for the Republic of Liberia, and numerous Australian merchants’ tokens, or store cards. His plan was to mint coins on contract as a serious businessman, much as Boulton had done earlier, but his dreams were ruined just a few years later when the price of gold made his ideas difficult to implement. In 1857, his coining press was sold. His passion for coining was not dead, though, and he seems to have wandered into re-striking many of the Soho dies obtained at that sale in 1848. Peck’s cataloguing of all his issues gave credence to his work, and enumerated all known examples for collectors to consider and seek to obtain. Clearly, then, even though this is a restrike, it is a sample of what was a 1790-era trial piece, albeit by a man who did not himself create or engrave either of the dies. What he did was leave for us a testimonial, or memorial, to the artistic accomplishments of earlier artists.
British Coins, Victoria, pattern crown, 1837, in gold, by Bonomi, plain edge with tiny incuse capital T (probably for ‘Thomas’) and, on opposite side of edge, tiny incuse number 4, sunken designs both sides, VICTORIA REG DEI GRATIA incuse, Greek-style portrait of the young queen l., the date 1837, also incuse, split into two digits on either side of truncation, rev. BRITT MINERVA / VICTRIX FID DEF incuse, split vertically in the field, full-length helmeted Britannia in flowing gown and holding body-length trident r., extended right hand supporting classic Victory image, Royal shield partially obscured but glowing behind lower gown, on each rim a border of tiny stars (W&R.364 [R5]; ESC.320A [R5, 6 struck]; Bull 2613, ‘weight of 5 sovereigns’; L&S.14.2, 22-ct gold), certified and graded by NGC as Mint State 66, virtually as struck with toned, frosted surfaces *ex Glendining, 30 April 1972, lot 379 This is the actual piece illustrated in Wilson & Rasmussen. This intriguing, large gold coin has mystified many collectors since it first appeared in 1893. Dated 1837 and the size of a silver crown, it occurs in a variety of metals but its style had never been seen by any numismatist over the course of more than five decades since its apparent date of issue, 1837. Sceptical collectors at first rejected it as a fake, and this opinion continued largely unquestioned until the 1960s. Other collectors, finding its unique design appealing, called it a medal and eagerly bought up specimens as they appeared for sale. Research over the intervening years, however, ended the controversy and revealed that it was privately minted but is collectible as a legitimate pattern crown of Queen Victoria. Examples struck in gold, which are exceedingly rare as only 6 were struck, are now viewed as among the most alluring and important of Victorian pattern crowns. In truth, the Bonomi patterns are indeed a web of fact and fiction, and they remain misunderstood by many. The coins bear a Greco-Roman-Egyptian inspired design: on the obverse, a diademed portrait of the young Queen Victoria, her hair coiled into a bun, facing left, clearly resembling an Egyptian princess. She wears a dangling earring and a thin tiara. In 1837, as the date on this coin suggests, Victoria was still a princess for some months before the crown passed to her upon the death of her uncle, King William IV. She was only 18 years old at the time. On the reverse, Britannia appears standing (not seated, as was tradition), presented as the Greco-Roman goddess Minerva holding Victory in her hand. All in all, the emblematic designs are elegant and suggestive of themes which captured the British public’s imagination circa 1837. Despite the visual appeal of the Bonomi crowns, their means of manufacture remained mysterious for decades after their appearance. Derisive criticism of their origin accompanied examples offered at auction until the late 1960s, and occur even today, but the information in Linecar & Stone’s reference, English Proof and Pattern Crown-Size Pieces, published in 1968, essentially ended the controversy. The book cited the research of Capt. Pridmore, who had discovered that the proceedings of the Numismatic Society of London’s meeting of November 16, 1837, had disclosed the origin of this pattern. The discussion at that meeting mainly focused on the incuse method employed in the minting of these pieces, the intention being to seek to lengthen the life of the coinage by holding back obliteration, or wear from use. That was the primary purpose behind the design: to ‘defy injury’ to the coin’s images during use in commerce. No further proof is really required to label this piece a true pattern. The proceedings of that 1837 meeting mention that Joseph Bonomi, gentleman, was a traveller in Egypt, and an antiquary. They state that Bonomi had designed what he called a medallion in ‘incavo-relievo’ style which would ‘maintain’ the queen’s image for a national coinage. Bonomi’s design was described in the proceedings as showing the queen wearing a tiara on which appeared the royal Uraeus of the pharaohs (a sacred serpent, the cobra, their image of supreme power), and that the surrounding stars of the borders represented the Egyptian emblem of the heavens. The idea of encircling so as to protect was an ancient one. The date of 1837 was meant to represent Victoria’s age at her accession. Finally, the proceedings stated that the reverse inscription, or legend as we call it today, combines the name of a celebrated Egyptian queen with that of the British queen, and includes national emblems. The design for this so-called medallion was never submitted to the authorities of the Crown for consideration as a coin, and examples in any metal rarely appeared for sale until the 20th century. So, the question remains: when and where were they made? Pridmore also revealed that, in May 1893, an advertisement appeared in a publication in England called Numismatology which at last provided some facts about the issuance of the now-famous Bonomi crowns. The 1893 advertisement revealed that the die-sinker was none other than Theophilus Pinches, and that in the same year his well-known company produced a number of pieces in aluminum (or ‘white metal’), tin, copper, bronze, silver, and even gold. Back in 1837, when the coin was designed, Joseph Bonomi had sent nothing more than a cast of his proposed crown to the Numismatic Society. He had not struck any examples. On the cast, Britannia is not shown holding the long trident that appears on the struck pieces. The Pinches pieces were engraved using the cast as the model but added the trident, and also changed the original larger, elongated stars of the borders to small, uniform-sized stars. The 1893 advertisement offered the struck silver pieces for 21 shillings apiece, and included information (some of it nothing but imaginative advertising, for the purposes of selling the coins) indicating that the date of manufacture was 1893, and that all were produced under the auspices of J. Rochelle Thomas. From this source, we know that Thomas engaged the Pinches firm to engrave the dies and to strike the pieces, which in their incuse state faithfully carried out the original concept of the inventor, to use Thomas’s own words. The designs were sunk below the surface, a style that had never been used before and in fact was not used again until the early 20th century on two denominations of U.S. gold coins. In his advertisement, Thomas stated that 10 pieces were struck in white metal. He described his own product as being ‘specimen proofs’, although the presently offered coin has been graded as Mint State. Thomas further stated that the total mintage, in all metals, was 196 pieces. Linecar & Stone, as well as Pridmore, believed that additional pieces were made to order shortly after the 1893 advertisement appeared. However, they concluded that the final mintage figures are as follows: 150 in silver, 10 in tin, 10 in bronze, 10 in copper, 10 in aluminum or white metal, and 6 in 22-carat gold (each weighing the equivalent of five sovereigns, all numbered on the edge).
Ancient Coins, Roman Coins, Septimius Severus (AD 202-210), aureus, SEVERVS PIVS AVG, laur. head r., rev. VIRTVS AVGVSTORVM, Septimius, Caracalla and Geta, on horses prancing l., each raising r. hand, wt. 7.25 gms. (BMC.374; RIC.305 and pl. VII, 15 (this obverse die); Calicó 25780), a bold portrait and a very symbolic reverse composition, virtually as struck and almost mint state, extremely rare and possibly the finest specimen known *ex Nelson Bunker Hunt (1926-2014) Collection, Sotheby’s Auction 6044, New York, 21-22 June 1990, lot 765 ex Gerald Hoberman (1943-2013) Collection, bought from Spink & Son, sold Dix Noonan Webb, Auction A11, London, 27 September 2011, lot 2023 The reverse of this splendid aureus is sharply struck and shows quite clearly the individual facial features of each of the riders. Closest to the viewer is Caracalla, cloaked and wearing a military breastplate, with boyish looks and a laureate crown. Next is Severus, with much facial hair and a laureate crown. Finally, there is Geta, young and slim, with smooth cheeks and lacking his crown. Each is posed with his arm extended as if receiving an ovation, and is very similar to the Adventus type with emperor on horseback, which was to become very common on later coinage until the reign of Constantine the Great. The significance of the type here, though, is different, and is proclaimed in the legend VIRTVS AVGVSTORVM, or ‘bravery of the emperors’. This relates to Severus’ campaigns in northern Britain after A.D. 209, where he took his wife and two sons to wage war against the Caledonians of northern Britain. He did so in part because of the genuine threat that these northern peoples presented, but his primary interest in doing so seems to have been to provide a constructive outlet for the near constant quarrelling of his two sons. He felt it would be better if they focused their attentions on an enemy of Rome rather than each other, and in the process gain invaluable command experience. Based at Eboracum (modern York), Severus sent his sons to lead the troops. He also used this opportunity to elevate Geta to the rank of Augustus. However, while in Britain Severus fell ill and died in A.D. 211, leaving behind two sons who were still intent on eliminating one another.
Ancient Coins, Byzantine Coins, Theodosius III of Adramytium (715-717), solidus, Rome mint, ∂N TҺЄODOSIS AVς, crowned bust facing, wearing loros, holding globus cruciger in right hand, akakia in left, rev. VICTORI AVς, cross potent set on three steps; L to left, star to right; in ex. cross of four pellets, CONOB, wt. 3.44 gms. (DOC.11 (A officina in place of pellets); MIB.N8 (same dies); SB.1498), graffito X in obverse field, good very fine, extremely rare, only one cited in MIBE Little is known about Theodosius III. He was a tax-gatherer from Adramytium who reluctantly accepted the purple when the troops in Opsikion revolted against Anastasius II. He appears to have had little appetite for governing and abdicated in 717 to become a monk. He has been identified with the bishop ‘Theodosius of Ephesus, son of Apsimar’, who was spiritual advisor to Leo III in the 720s and presided over Constantine V’s Iconoclastic Council in 754.
Ancient Coins, Byzantine Coins, Arab-Byzantine, Anonymous, but probably temp. of Mu’awiya bin Abi Sufyan (AH 41-60/661-680 CE), dechristianised imitation gold solidus of Byzantine Emperor Heraclius, standing figures of Heraclius, Heraclius Constantine and Heraclonas, rev. VICTORIA AVGUB, column on four steps with the letters I and A in the left and right fields, in ex. CONOB, (Constantinople) the conventional mint name, wt. 4.23gms. (A.354B; Walker p.18:54 for type, but does not record for letter A; Bernardi 4), about extremely fine and of the highest rarity This, like the other dechristianised solidi, is an enigmatic and challenging coin. The best discussion of this coinage is found in George Miles’ article Earliest Arab Gold Coinage in the American Numismatic Society Museum Notes No 13. In this article, which still has scholarly validity, Miles records four types of dechristianised solidi. The first of the Emperor Phocas, the second of the young Emperor Heraclius with his son Heraclius Constantine, still a boy. The third shows a much older and heavily bearded emperor with a clean shaven Heraclius Constantine. The fourth is the same type as this piece, except that on Miles’ coin the reverse field bears the letters I and B which appear to left and right of the pole on steps. The dumbbell-like object on top of the pole turns it into a crude version of the Tau cross, thus the resulting design is a crude but virtually identical copy of the Byzantine original, but lacks the crossbar seen on the Christian cross. As such it represents a critical break from conventional Byzantine iconography. This coin, a type which is very rarely encountered today, is well struck and one of the best-preserved specimens recorded. The coin itself gives little obvious clue as to its purpose and origins, but in the historical context of what little is known about Byzantine-Arab relations at the time of its striking, the following observations can be made. There were two occasions when Mu’awiya was obliged to pay tribute to the Byzantines. One was in the year 659 CE when the payment supposedly amounted to a thousand nomismata, a slave and a horse every day. The second was in 678 CE when Mu’awiya was forced to agree to a very harsh treaty that obliged him to make an annual payment to the Byzantine emperor of three thousand nomismata, fifty prisoners and fifty horses. At the same time, and during the same reign, Mu’awiya tried to introduce a dechristianised gold coinage for circulation in Syria. It is also recorded that the Byzantine government refused to accept coinage that did not bear a faithful representation of the Christian cross, and the same was also said of its reception by the largely Christian inhabitants of Syria. This rejection by both the Byzantine authorities and the Syrian population would certainly account for the very great rarity of these coins today. But which of the four types of solidi were intended for tribute to the Byzantine and which for local circulation in Syria is unknown, and neither Miles nor any other previous or subsequent authority has questioned how these four types can be differentiated from one another. Neither historical nor local traditions give us any idea as to how this problem can be solved, but the iconography of the coins themselves may suggest an answer. The originals of all four types certainly circulated widely in Syria, which depended on Byzantine gold and copper coinage to support their monetary needs for both large transactions and everyday purchases. The originals of the first three types were undoubtedly well known to the inhabitants of Syria and, with only minor alterations in their design, Mu’awiya could expect them to be accepted in circulation. In its original form the fourth type, with its Christian and imperial iconography, was struck in great quantities by the Byzantines and would have been familiar to the general public. However, one expert has suggested that on this dechristianised piece the three figures have lost their imperial trappings and appear as tribute bearers, such as the three magi bringing their gifts. The present cataloguer agrees with this interpretation. Once the tribute reached Constantinople, these gold coins would have been rejected, melted and re-struck into conventional Byzantine solidi, which would account for their extreme rarity. This hypothesis is reinforced by the two letters I and A, flanking the pole of the reverse, because they could stand for the first tribute payment of the year A. The other example of this piece carries the letters I and B, which would have been the tribute for the year B. In this cataloguer’s opinion Mu’awiya’s treaty obligations to the Byzantines would have taken priority over the issuance of a purely local coinage for his own subjects who had, up to this time, been able to supply their domestic needs through existing coinage stocks. This extremely rare piece satisfies Miles’ observations on the earliest Arab gold coinage and it may be regarded as the precurser of all the later Islamic gold coinage. References: Miles, G: Earliest Arab Gold Coinage in the American Numismatic Society Museum Notes, No 13, 1967; Foss, S: Arab Byzantine Coins: An Introduction with a Catalogue of the Dumbarton Oaks Collection, Harvard University Press 2008
World Medals, Muhammad ‘Ali Pasha (1769-1805-1849), Wāli of Egypt, Overland Route to India, copper medal, 1840, by A .J. Stothard (London), MEHEMET ALI PACHA, bust three-quarters l., with flowing beard and wearing fez, rev. FROM THE COMMITTEE THE FRIEND OF SCIENCE COMMERCE & ORDER WHO PROTECTED THE SUBJECTS AND PROPERTY OF ADVERSE POWERS AND KEPT OPEN THE OVERLAND ROUTE TO INDIA 1840, in 10 lines above crossed palm leaves, 57.5mm. (Pudd. 842.2; Fearon 696), nearly extremely fine *bt. Baldwin Islamic Coin Auction 14, 8 July 2008 (lot 696). Alfred Joseph Stothard (1793-1864), was the son of the distinguished painter, Thomas Stothard. He was a sculptor and medallist, and was appointed medallist to King George IV, for whom he executed a fine portrait medal. He signs the medal on the border below the bust ‘A. J. STOTHARD MEDAL ENGRAVER BY APPOINTMENT TO HER MAJESTY D. & F.’
World Medals, Fuad (1868-1936; Sultan 1917, King 1922), Official Visit to France, bronze medal, 1927, by S. E. Vernier and (reverse) Falize Frères, uniformed bust r., wearing fez, rev. an obelisk before a radiant Arc de Triomph, an Egyptian lotus to l., rose to r. with olive spray between them, legend in cartouche below, 72mm., matt surface, extremely fine *bt. Baldwin Islamic Coin Auction 4, 8 May 2002 (lot 472) The Maison Falize, mostly known for their jewellery designs, lasted for three generations. Alexis Falize (1811-1898) opened his workshop in 1838; he was succeeded by his son Lucien (1839- 1897), then, in turn, André Falize (1872-1936) who worked with his brothers Jean and Pierre under the name Falize Frères.
World Medals, USA, George III (1760-1820), Indian Chief’s Medal, large size and undated, solid silver, GEORGIUS III DEI GRATIA, young bust of King r. wearing armour, his hair tied behind en queue, double row of curls above his ear, wearing armour with six studs above the sash and one below, rev. crowned oval shield of arms within Garter and with Lion and Unicorn supporters, DIEU. ET. MON. DROIT on scroll below, 79mm., wt. 109.19gms. (Adams type 7.1; Jamieson Fig. 14; John J. Ford Collection, part XVI, Stack’s, 17 October, 2006 (lot 59 - $14,000); Eimer 736a; cf.Betts 600), with original decorated and shaped loose suspension loop, even light grey tone, single slight edge bruise, extremely fine and very rare *ex Baldwin’s vault and with stock ticket for £25 The Adams ‘Modern Census’ lists 86 medals of this type, however only 24 of this variety and of these 11 are shells (ie the medal is hollow). This medal does not feature on the census. The price of £50 matches item 11 on a Baldwin list of 1943/4, ‘Prices Quoted to Montagu - Alterations for Ferguson’ and it is probably one and the same piece. The Ferguson mentioned would be J. Douglas Ferguson (1901-1981), who for over 50 years was known as the ‘Dean of Canadian Numismatics’. In 1971 he established the J. Douglas Ferguson Historical Research Foundation. The cataloguers speculate that Montagu could be George Charles Montagu, 9th Earl of Sandwich (1874–1962). Montagu compiled British and Foreign Medals Relating to Naval and Maritime Affairs, Greenwich 1937 (for the then newly-opened National Maritime Museum).
A group of 18th and 19th century porcelain, comprising five pieces of armorial china, two of which are likely Chinese Export, decorated with arms and crest of Beckford, believed to be part of a set of armorial china commissioned by Alderman William Beckford (19 December 1709 - 21 June 1770) who twice held the office of Lord Mayor of London (1762 and 1769), a Meissen lobed cup and saucer, decorated in puce with gilt highlights, extensively damaged and restored, together with five pieces of Wedgwood pearlware, decorated in the Fallow Deer pattern, four plates, kettle stand and small pot. (13)Provenance: The Estate of Mr Joseph B. Hay, son of Major-General Arthur K. Hay DSO OBE - 100 years of a military family.
A set of sixteen Victorian tiles, likely once belonged to the Lowther family, one painted with James Lowether, aged 9, sitting upon a hill drawing the landscape, who was later the 1st Viscount Ullswater, MP and Speaker of the House of Commons 1905 - 1921, other tiles painted with his siblings Mary, Mabel and Mildred, others depicting landscape scenes, likely showing views of properties owned by the family, all hand painted in blue, two marked Minton to backs, 15 by 15cm. (16)
A silver three handled trophy cup, of baluster form, having three engraved oval plaques with scroll frame, engraved In Memory of Major Geo. Clarke Denton who was killed in Action at Kissengen East Africa on the 9th October 1916, Presented to The Officers The XII Pioneers Kelat-I-Ghilzie Reg, with crest, London 1916, maker Hunt & Roskell Ltd, weight 36oz
A collection of x44 Edwardian ' Rotary Photographic Series ' postcards of scenes from plays. Each annotated with the title of the play and the actors who feature in the postcard. To include ' The Light That Failed ,' ' A Chinese Honeymoon ,' ' Old Heidelberg ', 'The Toreador ,' ' Three Little Maids ' and many others. A wonderful glimpse of bygone theatre.
A collection of framed, glazed and mounted enamel members / Stewards badges for Henley Royal Regatta, dating from 1979 all the way through to 2015. The badges belonging to John Lloyd. John Lloyd was a leading polo journalist who specialised in recording the English social scene and writing about the game of polo internationally. He contributed regularly to " Polo International ", " Sporting Horse " and " The Independent " newspaper and was an editor of " Polo Annual ".
A collection of vinyl long play LP record albums by various artists to include Gong, Yes, Japan, The Style Council, The Beatles, Keely Smith, JOan Armatrading, David Bowie, The Jam, The Teardrop Explode, Genesis, Eddy Grant, Cream, ELO, Lindisfarne, Martha Reeves, Billy Bragg, Carter The Unstopable Sex Machine, INXS, Millie Jackson, UB40, Joy Ride, The Who, Elvis Costello, The Levellers, Velvet Underground, Hothouse Flowers, Slade etc.
William Shakespeare, silver medal for the Shakespeare Jubilee of 1769 by Westwood of Birmingham, draped bust of Shakespeare and inscription from Hamlet, Act I, Scene 2 (We shall not look upon his like again), the reverse with inscription: Jubilee at Stratford in honour and to the memory of Shakespeare. Septr. 1769. D[avid]. G[arrick] Steward (obverse slightly tarnished), diameter 32mm, with silver gilt suspension mount. Very fine David Garrick was head steward at the Jubilee of 1769, which began with an oratorio and continued with a solemn procession and various performances. Present at the Jubilee was James Boswell (1740-1795), who described the medal in a letter to The London Magazine, September 1769, pp. 451-54. Specimens were also made in silver and copper.
A walnut and marquetry longcase clock, the brass eight day movement by Henry Jones, with recoil anchor escapement, with five turned and knopped pillars, with an outside countwheel striking on a bell, the 10in dial with gilt cast cherub and scrolling leaf spandrels, with a silvered chapter ring with Roman and Arabic numerals, the matted centre with an engraved date aperture, subsidiary seconds dial and ringed winding holes, signed 'Henry Jones in the Temple', the dome top inlaid with flowers above a pair of giltwood urn finials, and a fret carved frieze, with a pair of columns, the trunk with seaweed borders and panels of floral marquetry with a bird, a pair of mermen and an urn of flowers, with a glass lenticle, above a conforming plinth and flattened bun feet, late 17th century but case and movement probably associated, 228.5cm high. Henry Jones is an important maker who is listed in Brian Loomes' Clockmakers of Britain 1286-1700 as born to William Jones at Boulder, Hampshire in 1634. He was apprenticed to Edward East in August 1654 gaining his Freedom of the Clockmakers' Company in July 1663. Jones is thought to have initially worked as journeyman to Edward East before setting up on his own in the Inner Temple, London by 1672. In 1675 he is recorded as 'in Inner Temple Lane' prior to being appointed as an Assistant of the Clockmakers' Company the following year. Henry Jones was subsequently made a Warden in 1687 and finally served as Master of the Company in 1691. Amongst his many apprentices were Francis Robinson (freed 1707) and two of his sons, Henry (freed April 1678) and William (not freed). In 1692 Jones gave the Clockmakers' Company £100 'for the use of the poor'; he died in 1694 leaving his workshop in the hands of his widow, Hannah, who is known to have supplied clocks signed in her name.
Albert-Ernest Carrier-Belleuse (French 1824-1887). A bronze group of Psyche awakening Cupid, signed 'A. CARRIER-BELLEUSE', mounted on a verde antico marble base, 44.3cm high, 53.1cm wide. Albert-Ernest Carrier-Belleuse (1824-1887) was a pupil of David d'Angers and was one of the founding members of the Société Nationale des Beaux-Arts. He is probably most well known for the fact that Auguste Rodin worked as his assistant between 1864 and 1870. The story of Cupid and Psyche is originally from Metamorphoses and concerns itself with the obstacles of love between Psyche (Soul) and Cupid or Amor (Desire/Love) and their eventual sacred marriage. The bronze depicts the moment when Psyche (who was told by her sisters that Cupid was a vile winged serpent) uses a lamp to see Cupid and kill him, but when the light reveals such a beautiful creature she startles and subsequently wounds herself on one of Cupid's arrows. Struck with a feverish passion she spills hot oil from the lamp and wakes him.
A rare silk and silver thread needlework picture by Mary Sibley, depicting the Sibley sisters, standing in a gallery below a canopy with tassels, with a cityscape, possibly London, in the distance, with painted details and embroidered outlines, with a silver braid outer border, the brick wall formed with couchwork, dated '1670', the verso with a description of the three Sibley sisters by a relative George Edwards in 1771, Edwards states that 'all three were with child and that Mary was the daughter of Mr Cresnard of Earlscone (Earls Colne) Essex and married George Sibley gent of Westham, Essex, who was the son of Nathan Sibley, Deputy of Coleman Street ward of London', 17th / 18th century, 13.7 x 18.2cm, in a later glazed ebonised wood moulded frame. The figures in this picture were directly taken from Wenceslaus Hollar's (Czech 1607-1677) fashion plate etchings: Theatrum Mulierum. The central figure is a direct copy of Mulier Generosa Anglica. George Sibley was baptised 10th January 1731 St. Stephens, Coleman Street London, of East India House, died 1771. Mary Sibley married to George Sibley, died 1770 buried in Wansted, Essex. George Edwards (1694-1771) was born in Stratford, Essex. He was the librarian for the Royal School of Physicians. He was a respected painter of natural history and ornithology. He retired to Plaistow Green, Essex.
A calendar of the prisoners who are to take their trials before the Honourable Sir John Bayley Knt, and the Honourable Sir John Hullock, Knight, on Saturday 16th of July 1825, John Hutton Esq High Sheriff. A single sheet listing 33 crimes in the Sheffield area ranging from petty theft, livestock theft, murder etc
A comprehensive scrapbook of political and Royal interest accumulated by Jane Parsons OBE who worked for many Prime Ministers and Royal households.The album contains possibly unpublished photographs of people and places including interiors of various buildings, Balmoral Castle, Harold Macmillan in Bermuda, letter from Downing Street offering OBE, Union Castle Line menu, pictures of aircraft, official pass and ephemera regarding United Kingdom delegation Prime Minister's visit to Moscow February 1959 including menus, many newspaper/magazine clippings, signed Harold Macmillan letters to Jane Parsons on Prime Minister headed paper and another on American Embassy headed paper. A further eight letters signed by Harold Macmillan to Jane Parsons showing they were on very good terms, including information on a party at her house, thank you notes and invitations, memorial items, signed Clementine Churchill letter on headed Chartwell paper expressing sympathy at the loss of her mother at such a young age, signed Margaret Thatcher letter thanking her for her support at a difficult period dated 1984, signed Alec Home letter, invitation and menu to the 50th anniversary of Winston Churchill's appointment as Prime Minister at 10 Downing Street, a collection of handwritten letters and clippings regarding various political figures, obituaries, lecture cards, lots of congratulatory letters regarding Jane Parsons OBE including Chief Whip and other political notables (Jane Parsons collection)
Hand written Winston Churchill speech notes with amendments; some indistinct passages but essentially regarding nuclear proliferation and where Britain should position itself - 'Chinese .... US will not betray China, gains of the Communists Europe and Asia, Soviet Russia not likely to intervene til nuclear 'saturation' achieved 2, 3 or 4 years. Our survival depends on alliance with US who alone (at present) have the overriding nuclear power, we are not going to quarrel with them'. Possibly relates to Taiwan Straits crisis (Jane Parsons collection)
A mid 1960's autograph album to include the Beatles, Rolling Stones, Dusty Spingfield, Gerry and the Pacemakers, Craig Douglas, Kenneth Cope, Tony Hall and Lenny the Lion, Dave Clark Five, Kenny Lynch, Dickie Valentine, Adam Faith, Jet Harris and Tony Meehan and others, the Beatles and Rolling Stones both comprise all members of each band, overall size approximately 10 x 6.5cm, the autographs were obtained by the vendor's aunt who worked at Alpha Television Studios (ATV Studios) in Aston, Birmingham
Sicily, Syracuse. Deinomenid Tyranny. Silver Tetradrachm (17.45 g), 485-466 BC. Struck under Gelon I, ca. 480/78-475 BC. Charioteer, holding reigns and kentron, driving slow quadriga right; above, Nike flying right crowning horses with wreath. rev. ΣVRAKOΣI-ON, diademed head of Arethusa right, wearing pearl necklace; around, four dolphins clockwise. Boehringer - (V45/R-; rev. die not recorded); Randazzo 257 (same dies). A splendid example of fine archaic style. Boldly struck and well centered. Underlying luster present, all delicately toned. Superb Extremely Fine. Estimated Value $2,000 From the Dionysus Collection. Despite the legend naming the Syracusans as the issuing authority, this gem of early Classical Syracusan coinage was struck while the city was controlled by the Deinomenid dynasty of tyrants. The dynasty was founded by Gelon, who first assumed power as tyrant in Gela in 491 BC before seizing Syracuse in 485 BC. The expansion of the territory under his control and a great victory over the Carthaginians in 480 BC were instrumental in raising Syracuse to the status of preeminent city in Greek Sicily. The greatness of Syracuse only increased under Gelon's successor, Hieron I. Hieron defeated a combined Carthaginian and Etruscan army at Cumae in 474 BC and won the chariot race events at both the Pythian Games in 470 BC and the Olympic Games in 468 BC, one or both of which might be commemorated by the obverse type of this coin. Unfortunately, the Deinomenid tyranny also became increasingly oppressive under Hieron I and not long after his death in 466 BC, a series of revolutions at Syracuse and other cities overthrew the Deinomenids in favor of new democratic constitutions.
Claudius. Fourrée Denarius (2.81 g), AD 41-54. Roman-British imitation. Copying Rome, ca. AD 46/7. TI CLAVD CAESAR AVG P M TR P VI IMP XI, laureate head of Claudius right. rev. S P Q R/P P/OB CS in three lines within wreath. Cf. RIC 41; North Suffolk 20-32 (dies C/3); cf. BN 59-60; cf. BMC 46-7; cf. RSC 87. Fantastic detailed portrait. NGC grade Ch AU; Strike: 4/5, Surface: 4/5. Core visible. Estimated Value $2,500 From the Dr. Patrick Tan Collection Purchased privately from CNG. This fouree denarius was struck in Britannia in imitation of an issue apparently produced to emphasize Claudius' somewhat distant family relationship with Augustus, the great first Roman Emperor. The oak wreath on the reverse is the corona civica traditionally awarded to a Roman citizen who saved another citizen in battle. This wreath was awarded to Augustus in 27 BC for saving the entirety of the Roman state from further civil war. Under Claudius this type first appears at the beginning of his reign, suggesting a possible claim that the emperor had averted a new civil war by his placation of the Praetorian Guard after the assassination of Caligula. Claudius sometimes appears wearing this wreath in his sculptural depictions. The fact that the coin is a fourrée produced in Britannia is also notable since it was under Claudius that the Romans invaded the island in force in AD 43 and established a permanent presence. Roman coin certainly came to Britannia with the invaders, but may have been in short supply at times, which may have encouraged the local production of imitations and contemporary counterfeits.
Nero Claudius Drusus. Silver Denarius (3.80 g), AD 41-54. Rome, under Claudius, ca. AD 41-45. NERO CLAVDIVS DRVSVS GERMANICVS IMP, laureate head of Nero Claudius Drusus left. rev. Triumphal arch surmounted by equestrian statue left between two trophies, DE GERMANIS on architrave. RIC 72; BMC 101; RSC 4. Well struck on a large wide flan with every letter complete. A superb portrait of Nero Claudius Drusus and delicately toned. Very rare and among the finest specimens known. Superb Extremely Fine. Estimated Value $10,000 Ex NAC 62 (6 October 2011), 2018;Ex NAC 29 (11 May 2005), 466;Ex Tkalec (29 February 2000), 234;Ex Exceptional Roman Denarii Coll. #3043. Nero Claudius Drusus was the son of Livia and the senator Tiberius Claudius Nero. Before he was born his parents divorced so that Augustus could marry his mother. Unlike his older brother, the future emperor Tiberius whom Augustus disliked, the emperor doted on his younger stepson. In 13 BC Drusus was sent to govern Gaul, and while there he repelled an attack by a tribe of Germans who had invaded the province. Most of the following years until his death were spent on campaigns in German territory. First, he crossed the Rhine frontier and penetrated as far as the North Sea, subduing the Frisii. The following years saw him engaged against various confederations of the Chatti, Sicambri and Marcomanni. He died tragically in 9 BC from injuries he sustained when he fell from his horse while on campaign fighting the Marcomanni.The Arch of Drusus that appears on the reverse of this coin and which commemorated his campaigns in Germania has not survived. Its precise location is not known, but it was on the Appian way.
Carian Satraps. Maussolos. Silver Tetradrachm (15.06 g), 377-353 BC. Laureate head of Apollo facing slightly right. rev. Zeus Labraundos standing right, holding labrys and scepter; in left field, Π. Cf. Pixodarus pl. 33, 37; SNG Kayhan -; SNG von Aulock -. Boldly struck in high relief. Excellent metal and beautifully toned. Superb Extremely Fine. Estimated Value $5,000 From the Dionysus Collection. Maussolos was perhaps one of the most famous of the Hekatomnid dynasts of Caria who nominally served the Great King of Persia as regional satrap. He briefly participated in the Great Satraps' Revolt (366-360 BC) against Artaxerxes III but soon returned to the side of his Persian master, expanding his territory to include parts of Lycia, Ionia, and several islands. He embraced Greek culture and increasingly involved himself in Greek affairs, instigating and supporting Rhodian involvement in the Social War (357-355 BC) against Athens. Maussollos is perhaps most famous for his great tomb which he built at Halikarnassos after moving his capital from Mylasa. This tomb was considered one of the Seven Wonders of the ancient world and gave us the term mausoleum in English. The reverse depicts Zeus Labraundos, the patron deity of Mylasa and the Hekatomnid dynasty. Ironically it was in the god's temple at Labranda that assassins attempted to kill Maussollos in 353 BC.
Macedonia, Mende. Silver Tetradrachm (17.15 g), ca. 460-423 BC. Dionysos, inebriated, holding kantharos, reclining left on back of ass standing right. rev. MEN-ΔA-I-ON, vine with five grape bunches. SNG ANS 336; Gulbenkian 410 (same dies). Boldly struck and well centered. Very Rare. One of the finest known. Nearly Mint State. Estimated Value $20,000 From the Dionysus CollectionEx E. Waddell inventory, April 1999. Founded by Eretrian colonists in the Chalkidike in the ninth century BC, Mende is said to have derived its name from a corruption of minthe, the Greek name for the mint plants that grew in the region. The city grew wealthy from its access to lumber, silver, and gold from the Thraco-Macedonian interior, but owed much of its fame to local wine production. Mendean wine was so renowned and sought after that the fourth-century BC sculptor Lysippos reportedly designed a special form of amphora specifically for the transport of this vintage. Thus it is not surprising that a large vine heavy with succulent grapes was chosen as the badge for the reverse of this tetradrachm, while the obverse depicts the god of the vine, Dionysos or, perhaps, Selinos. The latter was a rustic deity, the father or grandfather of both the satyrs and the nymphs and spent most of his time completely drunk. Indeed, he was usually so drunk that he needed to be supported by satyrs or, as on this coin, by an ass. When the wine god Dionysos was born from the thigh of Zeus, Hermes placed the infant in the care of Silenos - after all, who else more suited to raising the god of wine than a drunken satyr - who became his tutor and was a prominent figure in the Dionysiac thiasos (retinue).
Carthaginian Occupation. Electrum 3/8 Shekel (2.42 g), ca. 216-211 BC. Struck at Bruttium. Janiform female head wreathed with corn. rev. Zeus holding thunderbolt and scepter, standing in quadriga right, driven by Nike, who stands beside him, holding reins. SNG ANS 146; Historia Numorum Italy 2010; Jenkins-Lewis 487; Robinson, Second p. V, 3 (Capua). Well struck for this very rare issue. Choice Very Fine. Estimated Value $3,000 Tom Peterson collection; Private purchase from Tom Cederline; Ex Numismatica Ars Classica 10, April 9, 1997 Zurich (Switzerland) lot 418. This rare issue was previously attributed to Capua in Campania, but has now been conclusively reattributed to the Carthaginians in Bruttium. These coins were struck in Carthage and transported to South Italy for Hannibal's use. (see G.K. Jenkins, Studi per Laura Breglia, Parte I, General-Numismaticaa Greca. Bollettino di Numismatica, Supplemento al No. 4, Rome, 1987, pp. 223-4.
Constantine I. Gold Solidus (4.49 g), AD 307/10-337. Nicomedia, AD 324/5. Diademed head of Constantine I right, gazing upward. rev. CONSTANTINVS AVG, Victory seated left, holding small Victory and cornucopie; behind seated, shield set on ground; SMN. RIC 70; Depeyrot 34/1. Rare. NGC grade Ch AU; Strike: 5/5, Surface: 4/5. Estimated Value $10,000 From the Dr. Patrick Tan CollectionEx 51 Gallery (2 December 2013), 233;Ex Leu 7 (9 May 1973), 437. The obverse portrait of Constantine can also be seen to reflect the epoch-making events of AD 317. Thanks to his victories, Constantine no longer had to share imperial power with anyone, but could rule unfettered in his own right. To advertise this development, the emperor appears differently than usual. He is now depicted with an elevated gaze and wearing a plain diadem, rather than the usual pearl diadem or laurel wreath that he wore at other times in his imperial career. Both the gaze and the plain diadem are intended to cast him as a latter-day Alexander the Great, who wore a plan diadem and was known for tilting his head.
Ptolemaic Kingdom. Arsinöe II, wife of Ptolemy II. Gold Mnaieion (27.75 g), died 270 BC. Alexandria, under Ptolemy II, ca. 253/2-246 BC. Diademed and veiled head of Arsinöe II right; above, tip of a lotus scepter; behind, M. rev. APΣINOH ΦIΛAΔEΛΦOY, double cornucopiae bound with fillet. Svoronos 486; Olivier & Lorber dies 1/1; SNG Copenhagen -. Outstanding portrait! Lovely high relief style.Extremely Rare - one of only five known with the M control. Underlying luster present. Superb Extremely Fine. Estimated Value $10,000 From the Dionysus Collection. The spectacular Ptolemaic mnaieion was one of the largest gold coins struck in the Greek world, exceeded only by the excruciatingly rare 20-stater gold issue of the Graeco-Baktrian king Eukratides I (171-145 BC). The standard type for the mnaieion was a portrait of Arsinöe II, the sister-wife of Ptolemy II Philadelphos. Their incestuous marriage was a cause of scandal among the Greeks but served to establish an insulated and secure dynasty free from the meddling of foreign kings who might become connected to the Ptolemaic house through marriage. The relationship between Arsinöe II and Ptolemy II also served to elevate them beyond the normal mortal sphere and placed them in the realm of both the Greek and Egyptian gods since Zeus married his own sister Hera as did Osiris marry Isis. The veil and stephane worn by Arsinöe as well as the scepter she carries connect her to the iconography of both Hera and Aphrodite. The latter was often considered a Greek interpretation of Egyptian Isis. The overflowing double cornucopiae of the reverse refers both to the fecundity of the marriage of Arsinöe II and Ptolemy II (much overblown as it turned out since Arsinöe actually had no children by her brother) and to the abundance of the land to be enjoyed under the just reign of Ptolemy II and Arsinöe II, the Theoi Philadelphoi ("sibling-loving gods").
Medal. Bronze. 66.7 mm. By S. Yudin. Establishment of the Russian Fleet, 1696. Diakov 4.2, Iversen IV-2, Tiregal 6. Laureate, cuirassed and mantled bust of Peter the Great right, signed on truncation / Neptune in sea-chariot, greeted by Russia who stands on the shore. Dark caf. au lait with decent lustre. Extremely Fine. Estimated Value $350
Charles I (1625-49), silver Pound, 1644. Oxford Mint, armored King on horseback left with raised sword and flowing scarf, spirited horse trampling over arms and armor, Oxford plume in field behind, all within beaded circle, legend and outer beaded circle surrounding, initial mark Oxford plume, CAROLVS D: G: MAG: BRIT: FRA: ET HIBER: REX, rev. Declaration in three lines in lion headed cartouche, RELIG: PROT / :LEG: ANG: / LIBER: PAR: value and Oxford plumes above, date and OX below, beaded circles and legend surrounding.EXVRGAT. DEVS. DISSIPENTVR. INIMICI smaller lettering than obverse side, weight 118.92g (Brooker 865; Morrieson A-1; N 2402; S 2943). Toned. Some raised die striations on reverse, as is typical of this issue but a strong crisp striking of both obverse & reverse. A beautiful example of this extremely rare & desirably important piece which is among the finest known. in PCGS holder graded AU 53, the reverse better and practically as struck, Pop 1; the only example graded at PCGS. The only other slabbed example is an NGC EF-45. We believe this coin should be regraded a few points higher, very close to mint state. Estimated Value $250,000 Ex Hyman Montagu, English Coins, third portion, Sotheby, 13th -20th November 1896, Lot 95 and plate VIII, sold for £36 to dealer Verity.Ex Thomas Bliss, Sotheby, 22nd -24th March 1916, Lot 429, with illustration. Ex Virgil M Brand, died 1926, collection dispersed post mortem, after 1932. Sold by A H Baldwin and Sons Ltd, September 1941.Ex Herbert.M. Lingford, part I, Glendining 24th October 1950, Lot 162 with illustration, sold for £160.Ex Slaney Collection, part II, Spink Coin Auction, 14th May 2015, Lot 345, sold for US dollar equivalent of nearly $227,000 with buyers premium. PCGS certification 34484795. Such large pieces were struck, as the largest silver currency pieces ever issued in the British series (in the pre-decimal era) to be originally given as Royalist gifts to senior officers in the cavalier army of Charles I. They were highly prized and struck to a very high standard of silver content as pieces of some of the finest engraving work of the era. Highly coveted by the few who received them, the finest emanation of which is this final "cartouche" type struck in 1644. The abbreviated Latin legends translate as on obverse "Charles by the grace of God, King of Great Britain, France and Ireland," and on the reverse the cartouche Declaration as Charles I gave to the Privy Council at Wellington, Shropshire on 19th September 1642 as "The Religion of the Protestants, the Laws of England, the Liberty of Parliament" which when shown in full Latin should read "Religio Protestantium Leges Angliae Libertas Parliamenti," the outer legend translates as "Let God arise and let his enemies be scattered," a Psalm from the Bible. Ox for Oxford is shown below the date where the King had moved his Royalist capital from 29th October 1642.
Sicily, Himera. Silver Tetradrachm (17.52 g), ca. 409-407 BC. Signed by the artist Mai… maestro della foglia ("Master of the leaf"). Charioteer, holding reins in both hands, driving fast quadriga right; above, Nike flying left, crowning charioteer with wreath and holding tablet inscribed MAI; in exergue, ketos left. rev. [I]MERION (retrograde), Himera standing facing, head left, sacrificing out of patera over horned altar and raising arm; to right, satyr bathing in fountain beneath lion-headed spout. Gutmann-Schwabacher 20; Arnold-Biucchi 22; Rizzo pl. 21, 23; Basel 306; Kraay-Hirmer 71. Lustrous and lightly toned. Mint State. Estimated Value $8,000 From the Dionysus Collection. This tetradrachm belongs to the celebrated Sicilian tradition of coin dies signed by their highly skilled engravers. The MAI who signed this issue also signed dies that he engraved for Syracuse. So-called maestro della foglia because of the high classical artistry of the artist's dies and his penchant for "signing" them with an olive leaf. The coin was produced at the same time that the engravers of Syracuse were signing their dies with their names and reflects the same milieu of justified pride in the production of miniature masterpieces. Like other contemporary engravers, the maestro della foglia did not limit his work to the coinage of a single city. In addition to issues to issues of Katane, he also appears to have engraved dies for the coinage of Piakos. Despite the high artistry of the coin, it was struck on the eve of disaster for Himera. In 410 BC, a Carthaginian expeditionary force under Hannibal Mago intervened in a conflict between Segesta and Selinous which resulted in the defeat of the latter and the destruction of Selinous in 409 BC. Although not part of his mandate, Mago followed this victory by besieging and destroying Himera in revenge for the defeat of his grandfather by the Himerites some 60 years earlier. This tetradrachm may have been hopelessly struck in part to hire mercenaries and improve the poor fortifications of Himera in response to the threat of the Carthaginian army.
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