1987 Australian Nugget gold coin containing 1 troy ounce of 99.99% fine gold, encased in a protective slab. The obverse depicts the third portrait of Queen Elizabeth II facing right, wearing the King George IV State Diadem. This effigy was designed by Raphael Maklouf. The reverse features a representation of the "Welcome Stranger" gold nugget, discovered in 1869, centered within a radiating sunburst pattern. Inscriptions on the reverse include "THE AUSTRALIAN NUGGET 1 OZ. FINE GOLD" and the year "1987." The obverse is inscribed with "ELIZABETH II," "AUSTRALIA," and the face value "100 DOLLARS." Case: 2.25"L x 0.5"W x 3.25"H. Gold coin diameter: 32.1 mm.Artist: Raphael David Maklouf, and Stuart DevlinIssued: 1987Dimensions: See DescriptionCountry of Origin: AustraliaCondition: Age related wear.
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JOHN WHITE ABBOTT (ENGLISH 1763-1851) FIVE SKETCHES AFTER RAPHAEL'S TAPESTRY CARTOONS, COMPRISING: THE MIRACULOUS DRAUGHT OF THE FISHES; THE HEALING OF THE LAME MAN; ELYMAS STRUCK WITH BLINDNESS; THE SACRIFICE OF LYSTRA; THE PREACHING OF PAUL Pencil, unframed The first five signed with a monogram and inscribed `RAPHAEL' (along the lower edge) 14 x 18.5cm (5½ x 7¼ in.) Together with an additional sketch by the artist: The Mary Magdalene, After Raphael(6)Provenance: Purchased from Cynthia Broadman, New York, 14 October 2003 (THE MIRACULOUS DRAUGHT OF THE FISHES; THE HEALING OF THE LAME MAN; THE SACRIFICE OF LYSTRA; THE PREACHING OF PAUL) Sale, Christie's, London, 17 November 1992, lots 58J and 58O respectively (ELYMAS STRUCK WITH BLINDNESS; THE MARY MAGDALENE)
Bernard Picard (1673-1733) Three framed engravings From ceremonies and religious ceremonies of the people of the world, published Paris 1890, vol.7 sheet 33, 12cm x 6cm, all within giltwood frames After Raphael Engraving "Le Jeune Tobie", signed AIX Jones over the date 1913, framed and glazed, 33cm x 26.5cm (3) Provenance: from the collection of Darrin Baines, Professor of Health Economics. Professor Baines filled his early Victorian townhouse in Leominster, Herefordshire, with Georgian and Victorian apothecary objects collected over a period of 20 years. Darrin Baines, researcher and consultant, has produced health economics and health policy projects and contributed articles to numerous academic and trade journals. Some pieces in the collection were bought from a Victorian pharmacy in Upwell, The Fens, others from pharmacists across the country, from auctions in the UK and on the continent.
A Royal Christmas card from HRH King George VI and Queen Elizabeth for 1943, published by Raphael Tuck and Sons Ltd. with a gilt embossed crown on the front, inside; ‘with best wishes for Christmas and the New Year 1943, signed; ‘George R I and Elizabeth R’, with a photograph of the King and Queen, Princess Elizabeth and Princess Margaret, dated April 1942 (previously pasted into a photograph/scrap album, now removed and with significant paper and paste residue from the album to the back cover).
A Royal Christmas card from HRH King George VI and Queen Elizabeth for 1944, published by Raphael Tuck and Sons Ltd. with a gilt embossed crown on the front, inside; ‘with best wishes for Christmas and the New Year 1944, signed; ‘George R I and Elizabeth R’, with a photograph of the King and Queen, Princess Elizabeth and Princess Margaret, (previously pasted into a photograph/scrap album, now removed and with some paper and paste residue from the album to the back cover).
Three Royal Christmas cards from HRH King George VI and Queen Elizabeth for 1948, 1949 and 1950, published by Raphael Tuck and Sons Ltd. with gilt embossed crowns on the front, inside; ‘with best wishes for Christmas and the New Year etc., signed; ‘George R and Elizabeth R’, with a photograph of the King and Queen, Princess Elizabeth and Princess Margaret in two of them, the other with just the King and Queen in celebration of their Silver Wedding, (all previously pasted into a photograph/scrap album, now removed and with some/most paper and paste residue from the album to the back covers).
Teenage Mutant Ninja Turtles - Around 70 original Playmates TMNT figures to include Pizza Tossin Michelangelo, Pizza Tossin Don, Pizza Tossin Raph, Tokka, Bebop, Baseball Raph, Muckman, Ray Fillet, Mondo Gecko, Kraang, Ace Duck, Metalhead, Leonardo, Raphael etc, features duplication, various condition with some accessoires
Nister (Ernest, publisher). Happy Families and their Tales. A Volume of Pictures & Stories of Domestic Pets, London: Ernest Nister, [1898], five chromolithographic pop-up plates, all complete and in working order, letterpress vignettes throughout, some juvenile notes in pencil, presentation inscription to title-page dated 1898, some neat restoration to gutter, upper section of final gathering a little loose, original cloth-backed chromolithographic boards, rubbed to extremities, oblong 4to, together with Crane (Walter, illustrator). The Children's Musical Cinderella, told in Familiar Words to Familiar Tunes, by William Routledge and Louis N. Parker, 1879, seven colour wood-engraved illustrations, including one double-page, occasional light spotting, rebacked, retaining publisher's pictorial wrapper to upper, extremities, slim 4to, plus Tuck (Raphael & Sons Ltd., publisher). Farm Life in Animal-Land, London: Raphael Tuck & Sons. Ltd, circa 1900, 8 full-page chromolithograhic illustrations, showing farm animals with their offspring, some paper abrasion to hinges, publisher's pictorial boards, with some stains and rubbing to extremities, small loss at head of spine, oblong 4to,and 14 other illustrated books from the late 19th and early 20th century, various publishers including: George Routledge and Sons, J.G. Sowerby, A. N. Myers, Thos. De La Rue & Co., Marcus Ward & Co., etc., titles including: Language of Flowers by Kate Greenaway, Little Ann A Book by Kate Greenaway, Cosy Nook Farm, At Home, The Deserted Village by Oliver Goldsmith, etc., various conditions, various sizes, mostly 8vo and 4to QTY: (17)
Noel (Maurice). Under the Water, a story for Children, drawings by E. A. Lemann, Bristol: J. W. Arrowsmith & London: Simpkin, Marshall & Co., 1886, monochrome illustrations throughout, presentation bookplate dated 1887 to front pastedown, text block becoming loose, endpapers a little spotted, publisher's cloth backed pictorial boards, rubbed to extremities, small 4to, plus Waugh (Ida, illustrator). Tell me a Story, verses by Amy Ella Blanchard, New York: Worthington Co., 1888, chromolithographic illustrations throughout, upper hinge cracked, publisher's cloth backed pictorial boards, rubbed to extremities, spine with vertical split, 4to, with The Butterfly illustrated by Ida Waugh, and Nister (Ernest, publisher). Jack Frost and other Stories, New York: E. P. Dutton, and London: Ernest Nister, circa 1900, chromolithographic illustrations, toned endpapers, publisher's cloth backed pictorial boards, rubbing to extremities, 4to, and 14 other illustrated children's books from the late 19th and early 20th century, various publisher's including: Raphael Tuck and Sons Ltd., Ernest Nister, E. P. Dutton & Co., E. Percy Moran, De Wolfe, Fiske & Co., etc., various titles including: From the Grain to the Loaf, In Picture Land, Wallypug Tales, The Wallypug at Play, Over the Sea, Our Book of Feathered Friends, etc., various sizesQTY: (18)
![Wain (Louis William, 1860-1939). Days in Catland. Father Tuck's Panorama, 1st edition, Raphael Tuck, [1903], four-fold chromo](https://cdn.globalauctionplatform.com/040e1d02-5431-4fea-9010-b2f401025905/03efb178-8ddf-494c-a83a-b2f401206e10/468x382.jpg)
Wain (Louis William, 1860-1939). Days in Catland. Father Tuck's Panorama, 1st edition, Raphael Tuck, [1903], four-fold chromolithographed panorama, showing a bedroom, a kitchen, a dining room and a schoolroom, with a full set of fourteen slot-in cat figures, original pictorial front cover with integral envelope at rear, closed tear to edges of envelope flap and upper left side, oblong 4to (27.1 x 30.1cm)QTY: (1)NOTE:A bright copy.
ROBERT E GROVES (BRITISH 1868 - 1948), MIDDLE EASTERN MARKET oil on board, signed and dated 1918framed and under glassimage size 29cm x 24cm, overall size 50cm x 45cm Note: A marine and landscape artist in pencil, watercolours, gouache and oils, Robert Emmanuel Groves, was born in Richmond, Yorkshire on the second of December 1868, the son of Thomas Groves and Lavinia (nee Medd), he was the eldest of seven children. The family had a brewery business in the Manchester area trading under the name “Groves and Withnell” and would spend the Summer month in Ramsey – Isle Of Man. Aged just 12, he was living with his parents in Leicester in 1881, but at 24, was apparently living in Bohemian Chelsea in 1893. His addresses in that period were believed to have been 50 Tedworth Square and 42 Paultons Square. He studied art under Albert Strange in Scarborough, Yorkshire in the early 1890s, and exhibited his first works at the Royal Academy in 1893, exhibiting five works there during the period 1893-1903 from around 15 works exhibited there overall. He was living in St Albans by 1894, teaching at the Art School of the St Albans School of Science and Art, taking the first of a number of trips to the Western Highlands with a trip to Iona, off the coast of Mull, in 1897, resulting in works like The Iona Ferry, 1897. Marriage to Mary Hall Keir Cameron took place in Glasgow in 1894, and they had a daughter Sheila on October 16th 1901. He was heavily involved in the St Albans pageant of 1907, designing a series of historical postcards, published by printer Raphael Tuck, to be sold to raise funds for the event. He was still at St Albans in 1910 when he was complimented by a visiting American scholar, Mr Charles A. Bennett, when he wrote up his experiences in St Albans for an article in Manual Training Magazine (Vol XII, No. 1, Oct 1910) of which he was editor. As a practising Bohemian, Groves was a lover of life – and women. It is known he had at least one long running extra-marital relationship, with Jessie Smith, with whom he had five children : John (1925), Jessica (1928), Donald (1931; who died in infancy), Seonaid (1934) and Robert (1936). Becoming a member of the HumberYawl Club in 1904, no doubt shortly after committing to the building ofSheila, he made the first of many trips to the Western Highlands in her and the later Sheila II, writing of his experiences cruising in a small yacht, many stories of which were published in the HYC journals and in the Yachting & Boating Monthly. An early and prolific contributor to Yachting Monthly, in the pre-WWW1 under its original founder/editor, Herbert Reiach, Groves’ produced many fine pencils sketches of yachts and marine subjects, and his contributions were especially valued. It is understood his exploits in a small yacht (only 2 ½ tons) were unusual at the time, and his articles taken from his logs, encouraged others to emulate them and paved the way for the sport of ‘yacht cruising’ more generally. By 1908 he had made his first visit to North Africa, writing of his experiences in The Studio (Vol XLV, 1908, p25) and writing Morocco as a Winter Sketching Ground for The International Studio (Vol XXXVI, No. 141, Nov 1908). He is thought to have returned in 1918, painting a series of oils and pencil works of various landscapes, including : In the souk; Horseshoe arch, Morocco; and Powder play in the Running Ground Square, Mogador, Morocco, 1918, the latter held by the Art Gallery of NSW. It is believed these trips to Mogador (now Essaouira) inspired the name of his St Albans home, ‘Mogador’. In 1919 he had again returned to the Western Highlands, where he painted a number of seascapes including West Highland Lobster Fishermen (1919). A keen amateur ornithologist, Groves especially loved the seabirds and waders of the Western highlands, and spent many happy holidays there, observing, sketching and painting, usually with one of his beloved yachts in the picture. An ardent theatre-goer and thespian, Groves was heavily involved in local theatre, including various pantomimes and such works as ‘The Beggar’s Opera’, his production of which is believed to have toured the Midlands in 1926. He retired to Lymington, Hampshire, on the shores of the Solent Estuary, to The Old Coast Guard House in the early 1930s, where he spent the rest of his life, including the WWII years when he was, in his seventies, a member of the Home Guard.
Guido Reni (Attributed to) Italian (1575-1642) “Saint Sebastian,” O.O.C., approx. 64cms x 76cms (25” x 30”). (1) An intriguing work of art with a good provenance, this painting bears two inscriptions on the reverse, ‘Guido Reni 1618’ and, on the stretcher, in equally old lettering, ‘ Presented to the Ladies of the Ursuline Convent. Thos Deane 1825’. The stretcher also has an original label from Clarkes frame makers, of Grand Parade in Cork. Reading these, it is reasonable to assume that in 1825 the architect Thomas Deane presented this work to the nuns of the Ursuline Convent in Blackrock in Cork, holding it to be an original work by Guido Reni. Two centuries later, while art historians are more sceptical of such claims, there is no denying that even if it is a copy, this painting of the martyrdom of Saint Sebastian preserves much of the vigour and quality characteristic of Reni’s work. Depicting the upper part of the saint’s head and upper body, is probably a fragment of a larger canvas. The surface has suffered damage, possibly in a fire. It is clear that the dark scumbled background is a later addition, an overpainting, beneath which may lie original details. Even more than Raphael and Titian, Guido Reni’s work would have been familiar to nearly everyone in Ireland in 1825. While he often painted Classical subjects such as Venus and Cupid, Hercules, Polyphemus and Bacchus, it was mostly his images of biblical subjects, saints and martyrs, that were copied and widely reproduced. Paintings such as Ecce Homo and The Immaculate Conception, were standard images in books, while copies or engravings could be found in churches, convents and schools. When he had developed a successful composition, Reni often painted several versions, as with The Martyrdom of Saint Sebastian, where autograph or studio versions can be found in museums from Auckland in New Zealand to Genoa, and the Prado in Madrid. His paintings are well-conceived and beautifully realized. He excelled at painting male and female saints, often following the same formula, with eyes looking upwards, and hands either outstretched in a gesture of surrender, or pressed against the chest. Dr. Peter Murray 2025
Holinshed, Raphael The Description of Scotland written at the first by Hector Boetius in Latine, and afterward translated into the Scotish Speech by John Bellenden Archdeacon of Murrey, and now finallie into English, by R. H. Whereupon is inferred the historie of Scotland … from the originall thereof until yeare 1571, gathered and written in English by Raphaell Hollinshead; and continued from 1571, to 1585, by others. [London: at the expenses of J. Harison, G. Bishop, R. Newberie, H. Denham, a. T. Woodcock, 1587]. Folio, later diced russia, rebacked, all edges gilt, collates A-2A6 2B1 ²2B1 2B3-2B6 2C-2N6 2O4 2P-2T6, [2] 3-254 253 256-464 pp., pencilled note to front free endpaper identifying pp. 421-4, 433-6 and 443-50 as being 18th-century facsimiles to replace suppressed leaves, text in black letter, double column, 2 title-pages with strapwork woodcut borders (A1 and C1), binding worn, joints cracked, a few small worm-holes in text, intermittent worm-track in fore margin occasionally repaired, K2 repaired closed tear [STC 13659] This is the second part of the second volume (of two) from the second edition of Holinshed's Chronicles, which was enlarged from the first edition of 1577. The second volume also contained ‘The Description of Ireland’ and a table (index), which are not present in this copy.
* Ward (William). Wasp, Child & Billy, published by Randon & Sneath, 1809, uncoloured mezzotint after H. B. Chalon, slight surface abrasion, painted black margins, 680 x 625 mm, together with Costive, circa 1805, uncoloured mezzotint of a Foxhound after H. B. Chalon, some surface abrasion, with another two earlier states of the same print, each 385 x 505 mm, with another seven mezzotints of dogs, coursing scenes and horses by the same engraver, some duplicates, various sizes and condition, plus Smith (John Raphael). A Visit to Grandmother, 1785, uncoloured mezzotint after J. Northcote, slight spotting and toning, 565 x 415, with another copy similar, and another seven portraits and genre scenes by the same engraver, some duplicates, various sizes and condition, with 8 further engraved mezzotint portraits, including examples by or after J. Godfrid Haid, R. Clouston, and Richard Houston, with Cormack (Minnie). Lord Nelson, circa 1890, uncoloured mezzotint after John Hoppner, slight toning, some marginal abrasion and fraying, frayed with slight loss to the title area, 635 x 425 mm, and Murphy (John). Peter Beckford Esq: Lord Lieut: Governor & Commander in Chief of Jamaica..., [published by Edward Foxhall, London, 1793], uncoloured mezzotint of Colonel Beckford who owned 24 plantations and 1200 slaves (inscribed as such on the mount), trimmed to the image, torn with slight loss to the lower left corner, slight creasing, 495 x 355 mm, mountedQTY: (approx. 38)
WARD LOCK; three red guides for London, 1925, Minehead, Porlock, Lynton, Exmoor, and the Quantocks, thirteenth edition, Seaford, Newhaven, Lewes and Eastbourne, undated, fourteen titles from the series Cathedrals, Abbeys & Famous Churches, publshed by JM Dent, two Raphael Tuck published books titled, The Story of Chichester Catherdral and The Story of Wells Cathedral, together with a copy of Mrs Beeton's Book of Household Management
FOLK / COUNTRY / FOLK ROCK - LP COLLECTION. A lovely collection of approx 41 x LPs. Artists/ Titles include David Allan Coe - Penitentiary Blues, The Three Crows - At The Junction, Van Morrison - Astral Weeks, Neil Young - Harvest, Cat Stevens - Tea For The Tillerman, Jackie Orent - Stop Me And By One, Fields & Wade Ward - Country Music (RC-6002), Raphael Boguslav - Songs From A Village Garret, Timrose, Leonard Cohen, Bob Dylan, Paul Simon, Simon And Garfunkel and Michelle Shocked. The condition is generally VG to Ex/ Ex+.
Ice Hockey signed trading card collection includes 15, great names such as Jeff Daniels, Evgeny Davydov, Aaron Miller, Bill McDougall, Shawn McEachern, Dmitri Kvartalnov, Stephanne Yelle, Radek Bonhk, Raphael Berger, Nikolai Borschevsky, Chris Osgood, Daniel Ott, Sandis Ozolinsh, Ralph Ott, Chris O'Sullivan and Jason Dawe
Dohlmann, Augusta Henriette Johanne (1847 Frederiksberg - 1914 Skotterup, dänische Blumenmalerin, Unterricht bei den Malern Tony Robert-Fleury, Gustave Courtois, Alfred Steevens und Raphael Collin, engagierte sich in einem Komitee zur Gründung der Kunstschule für Frauen an der Kunstakademie),"Blauregen", Öl auf Leinwand, signiert und datiert unten links A. Dohlmann 1897, rückseitig bezeichnet Augusta Dohlmann Copenhagne Dänemark, 52 x 47 cm
2002-2003 Elizabeth II Golden Jubilee Coin & Silver Set. This set contains 24 silver proof coins from 12 commonwealth countries. The silver proof golden jubilee set is stored within a velvet lined cherry wood presentation box and each coin is encapsulated for protection. 22 of the coins comprise of .925 sterling silver weighing 28.28 g. The remaining two from Australia with the denomination of one dollar weigh 31g and comprise of .999 fine silver, bringing the total silver content of the Golden Jubilee set to 637.69g. The set was designed by Raphael Maklouf and Ian Rank-Broadley. 20 of the 24 portraits are also embellished with 24 carat gold in further reference to the celebration of the Jubilee. The reverse side of each coin commemorates a significant moment from various tours made by Queen Elizabeth II. The set also includes an information booklet with photos of the Queen and an explanation of inspiration behind each engraving.
Salvador Dalí (1904-1989)Raphael 'Le Mariage de la Vierge', from Changes in Great Masterpieces (Field 74-2C; M&L 1477)Lithograph printed in colours, 1974, signed in pencil, numbered from the edition of 350, published by Sidney Lucas, New York, with the Phyllis Lucas copyright ink stamp verso, on wove paper, with full margins, sheet 900 x 556mm (35 3/8 x 22in)With the Dali Trade authentication inscription and signature in pencil verso (dated 8/5/24).
WILLIAM-ADOLPHE BOUGUEREAU (FRENCH 1825 - 1905) RÉFLECTION Oil on canvas Signed and dated '1905' (lower right) 100.5 x 80.5cm (39½ x 31½ in.)Provenance: (possibly) The collection of R. Lerondelle, Paris Anonymous sale, American Art Association, New York, 8 January 1930, lot 96, as The Model (incorrectly catalogued as dated 1904) Anonymous sale, Parke-Bernet Galleries, New York, 15 November 1945, lot 60, as The Model (incorrectly catalogued as dated 1904) The collection of William E. Greve, Southampton, NY Gifted by the above to the Parrish Art Museum, Water Mill, NY, 1955 Deaccessioned by the above, 16 September 1978 Alexander Raydon Gallery, New York Literature: M. S. Walker, 'A Summary Catalogue of the Paintings', in William Bouguereau: l'art pompier, exh. cat., Borghi & Co., New York, 1991, p. 75, as Le modèle D. Bartoli and F. Ross, William Bouguereau: Catalogue Raisonné of his Painted Work, New York, 2010, pp. 358-359, no. 1905/02, illustrated William-Adolphe Bougereau was born in La Rochelle in 1825. Studying at the École des Beaux-Arts in Pairs, he dedicated his life and career to traditional subjects, infusing classical subjects with a sense of real-life beauty, earning him a life-time of critical acclaim. Bourgereau was awarded the Grand Prix de Rome in 1850 and spent the following three years at the Villa de Medicis. Here he was inspired by themes from Classical Antiquity, as well as Italian masters of the Renaissance such as Raphael. It was during this period that Bourgereau coined his tableaux de fantasie, which would appear frequently in his oeuvre and provided the perfect vehicle for the artist's dedication to the creation of beautiful forms and harmonious colours. The Antiquity provided innumerable Venuses, nymphs, muses and allegories, all of whom take centre stage in Bourgereau's work. In a lecture given at the Institut de France in 1885, the artist said, 'Antiquity reveals what an inexhaustible source of variegated inspiration nature is. With a relatively restricted number of elements - a head, a bust, arms, a torso, legs, a stomach - how many masterpieces she has made! Then why seek out other things to paint or sculpt?' (W. Bouguereau, 'Discours de M. Bouguereau', in Séance publique annuelle des cinqs Academies du 24 Octobre 1885, Institut de France). There was no end to William Bouguereau's artistic career, and he was still sending paintings to the Paris Salon a year before his death. An anonymous contributor to the Fine Arts Journal wrote: 'Even now, in spite of failing health he works incessantly. Only the other day I found him painting with boyish enthusiasm, full of joy over his new picture'. (Anonymous author, quoted in Bartoli and Ross, op. cit., p. 427). Bouguereau himself declared, 'People say I paint to make money; it's not true. I don't need to make money; my family and I have more than we need. But I have to paint all the time, as I see, feel and know. That's all there is to it. People pay a lot for my paintings, and I'm not complaining; it proves that my work is still appreciated. But if they didn't sell as well as they do, it wouldn't stop me from making them' (quoted in Montréal, Musée des Beaux Arts, William Bouguereau, 1984, p. 68). It is unsurprising therefore that Réflexion offered here and painted in the year of the artist's death, still attains a level of excellence and quality upon which his career and reputation were based. Depicting a young, dark-haired model seated on a simple stone bench before a draped background, she is in turn draped in a beautiful, emerald chiton-like vestment, her arms outstretched, one breast exposed. Even as late as the 1900s, Bouguereau's relish for feminine beauty remained undiminished. Not unusually for Bougereau's composition, the model's steady gaze is directed straight out of the picture plane, drawing the viewer into the painting. The lack of background or 'story' serves to heighten the beauty of the sitter, as it presents very little to detract from the model herself. Bouguereau used this same backdrop in Jeune prêtresse (1902, Memorial Art Gallery of the University of Rochester, New York) to similar effect. Condition Report: The canvas has been lined and there is some cracking to the paint surface, but it is in stable condition. Examination under ultra violet light reveals some retouching and strengthening to the flesh tones in the right hand side of the sitter's face, her arm and breast. There is scattered spots of retouching in the background, in the centre of lower edge. Condition Report Disclaimer
g Elizabeth II (1952-2022), gold proof Quarter Ounce of Twenty-Five Pounds, 1987, Britannia, struck in 916.7 gold, crowned head right, RDM on truncation for designer Raphael Maklouf, Latin legend and toothed border surrounding ELIZABETH II. DEI. GRATIA. REGINA. F. D. 25 POUNDS., rev. design by Philip Nathan, Britannia standing on upon a rock in the sea, her right hand grasping a trident and her left hand resting on a shield and holding an olive branch, inscription '1/4 OUNCE FINE GOLD BRITANNIA 1987', 8.51g (S.BGD1). Faint handling marks with a slight tone and lustre, accompanied by original Royal Mint box and certificate of authenticity.
g Elizabeth II (1952-2022), gold proof Sovereign, 1993, crowned head right, RDM incuse on truncation for designer Raphael Maklouf, Latin legend and toothed border surrounding, ELIZABETH II DEI. GRA. REG. F.D, rev. St. George and dragon right, date in exergue, B.P. to upper right of exergue for designer Benedetto Pistrucci, edge milled, 7.98g (Marsh 313D; S.SC2). Toning spot near date on reverse, otherwise a pleasing proof example, accompanied by Royal Mint box and certificate of authenticity.
g Elizabeth II (1952-2022), gold proof 1/10th ounce of Ten-Pounds Britannia, 1993, struck in 22ct gold, crowned head right with initials RM for designer Raphael Maklouf, inscription ELIZABETH II DEI GRATIA REGINA FD 10 POUNDS, rev. Britannia standing on a rock in the sea, right hand holding a trident, with her left hand resting on a shield and holding an olive branch, inscription 1/10 OUNCE FINE GOLD BRITANNIA 1993, 3.39g (S.BGC1). Proof state in accompanied by Royal Mint box and certificate of authenticity. Issued: 997 plus coins in sets.
g Elizabeth II (1952-2022), gold proof 1/10th ounce of Ten-Pounds Britannia, 1995, struck in 22ct gold, crowned head right with initials RM for designer Raphael Maklouf, inscription ELIZABETH II DEI GRATIA REGINA FD 10 POUNDS, rev. Britannia standing on a rock in the sea, right hand holding a trident, with her left hand resting on a shield and holding an olive branch, inscription 1/10 OUNCE FINE GOLD BRITANNIA 1995, 3.39g (S.BGC1). Proof state in accompanied by original Royal Mint box and certificate of authenticity.1,500 issued individually
g Elizabeth II (1952-2022), gold proof Two Pounds, 1995, for the 50th Anniversary of the End of World War II, smaller crowned bust right, RDM incuse on truncation for designer Raphael Maklouf, denomination below bust, Latin legend and toothed border surrounding, ELIZABETH II DEI. GRATIA. REGINA. F. D, rev. design by John Mills, a representation of a dove as the symbol of Peace, edge inscribed 1945 IN PEACE GOODWILL 1995, 15.98g (S. K5). Proof state, a pleasing example, accompanied by Royal Mint box and certificate of authenticity.
Louis William Wain (1860-1939) 'Signorita Cats', signed lower left, watercolour, 38cm x 27.5cm Provenance: The Brook Street Art Gallery Ltd., Mayfair, London Raphael Tuck & Sons Ltd., Moorfields, London Private collection, West Sussex Note: This work has previously been authenticated by Chris Beetles
Scotland, The Scottish National Sabbath School Union, a pair of high-relief pointed-oval copper medals awarded for Scripture Examination, by A. Wyon, Feed My Lambs after Raphael, both named along edge (Won by David C. Brown, Parish Ch. S. S., Barrhead, Advanced Division, 1918; Won by Robina H. Barr, Cathcart U. F. Ch., S. S., Advanced Division, 1919), both 65mm x 44mm, in Wyon cases [2]. About extremely fine, cases fine and one with broken catch £40-£60
England, Sunday School Union Established A.D. 1803, a pair of high-relief pointed-oval copper medals awarded for Scholars Examinations, by J.S. & A.B. Wyon, Feed My Lambs after Raphael, both named along edge (Scholars Scrip: Exam: Junior Div: Awarded to William G. Mathias, 1893; Awarded to Elsie Maddocks, Upper Mid. Division Scholars Exam, 1904), both 78mm x 52mm, in Wyon cases [2]. About extremely fine, cases fine £40-£60
Elizabeth II (1952-2022), Two-Pounds, 1994, bi-metallic Royal Mint trial, with cupro-nickel centre and broad nickel brass border, with third portrait by Raphael David Mackouf, signed on truncation; elizabeth ii dei gratia regina f d around, no mark of value, reverse man-of-war; royal mint trial above, 1994 below, edge straight-grained and plain every other quarter, 28mm, 12.37g (cf. DNW, Lot 299, 19-6-2002). Extremely fine and extremely rare £200-£300
![[MUSIC AUTOGRAPHS]A group of signed photos, autographs, a letter, and a postcard comprises ANTON RUBINSTEIN. Signed cabinet p](https://cdn.globalauctionplatform.com/63d3e3f8-fe96-4a18-98cf-b2ea011467be/d437d19a-f780-42a2-a1cb-b2ea011712ed/468x382.jpg)
[MUSIC AUTOGRAPHS]A group of signed photos, autographs, a letter, and a postcard comprises ANTON RUBINSTEIN. Signed cabinet photograph. Half-length portrait photograph cabinet card by J. Ganz of Brussels, boldly signed by Rubinstein. 6 1/4 x 4 1/4 inches. The photo's surface has a few scratches and a crease, the card is somewhat toned with worn edges and small chips at the corners; together with, MORITZ MOSZKOWSKI. Autograph letter signed. Three-page letter in ink addressed to "Herr Cavour" dated 11/7/1897. Old folds and short splits at fold's ends, two small spots from remnants of adhesives; RAOUL PUGNO. Signed cabinet photograph. Cabinet card portrait photograph, signed "Souvenir de Raoul Pugno 20 Mars, 1910" on verso. Light silvering to the photo, the card with fading on recto and toning to the verso; RAPHAEL JOSSEFY. Cut autographed inscription and a portrait photo postcard. Inscribed "Zur freundlichen Einerung.,. New York, 19/17/80." Remnants of album leaf to autograph's verso, one corner of postcard chipped; AUGUST MILHELMJ. Autograph card. The calling-card-sized autograph is mounted on a slightly larger piece of paper, annotated in English in ink. A few faint stains from adhesive; And with, PABLO DE SARASATE. Portrait postcard. Light toning, silvering, and wear. No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available. Request a condition report
* DAVID REDPATH MICHIE OBE RSA RWA FRSA RGI (SCOTTISH 1928 - 2015), SNAKE MAN, BLUE AND WHITE, MARRAKECH oil on board, signed, titled labels verso framed and under glass image size 21cm x 21cm, overall size 36cm x 36cm Handwritten artist's label verso Exhibition labels verso: The Christmas Show at the Royal Scottish Academy 2020 Note: David Michie OBE RSA was born in San Raphael, France, the son of painter Anne Redpath. After National Service (1947 to 1949), when he qualified as an instructor in the Royal Artillery Signals Training regiment, he studied at Edinburgh College of Art (ECA) from 1949 to 1953, where he was taught by William Gillies, and then won a travelling scholarship to Italy, with fellow student, John Houston. David originally lectured at Gray’s School of Art in Aberdeen. He returned to ECA to teach in 1961 and retired almost 30 years later, in 1990, as Head of School of Drawing and Painting, having served as Vice Principal from 1974-1977 and being made a Professor in 1988. In 1979, David was Visiting Artist at the University of the Arts in Belgrade. In 1991, he went to the University of California at Santa Barbara as Visiting Professor. He was awarded an OBE in the New Year of 1997. He received an Honorary Fellowship from ECA in 2009 “in recognition of [his] outstanding contribution to the life of the College and the education of its students”. David Michie's drawings, prints and paintings explore two major themes. Firstly, the diversity of nature, particularly seen through studies of birds, plants and insects from his wide-ranging travels. He recorded his observations in many sketchbooks, gathering a lifetime of visual data. He was also very much drawn to the more colourful, absurd, eccentric, and humorous sides of human behaviour, such as performance, theatre and people at play. David was a long-time enthusiast of French Cinema, enjoying the diverse work of directors from Pagnol to Jaques Tati. A prolific artist, David had many solo exhibitions in Edinburgh, London and throughout the UK, as well as further afield in the USA and across Europe. His work is held in numerous public collections, including those of : HM Queen Elizabeth II, Aberdeen Art Gallery & Museums; Allied Lyons; Art & Heritage Collections,; Robert Gordon University, Aberdeen; Artemis; ArtForm; Art in Healthcare; City of Edinburgh Council; Dumfries and Galloway Council; Dumbarton Educational Trust; Edinburgh College of Art; Edinburgh University; Falconer Museum; Moray Council; Fife Council; Fleming-Wyfold Art Foundation (previously known as The Fleming Collection); Glasgow Museums; Heriot-Watt University, Edinburgh; Highland Council; James Capel; King’s College, London; Lillie Art Gallery; East Dunbartonshire Council; Maggie’s Edinburgh (Cancer Care); McLean Museum and Art Gallery; Inverclyde Council; National Galleries of Scotland; NM Rothschild; Paintings in Hospitals; Perth & Kinross Council; Queen Elizabeth College, London; RAC; Reading Art Gallery; Royal Scottish Academy of Art & Architecture; Royal West of England Academy; Scottish Borders Council; Scottish Life Assurance Co.; Shetland Museum and Archives; Tate Gallery, London; University of Stirling; Victoria Gallery & Museum; University of Liverpool; Woolley Hall, Wakefield Council. He was an Academician of the Royal Scottish Academy (where he showed many times), a member of the Royal Glasgow Institute of Fine Art and a Fellow of the Royal Society of Arts. A retrospective of his work, celebrating the artist’s 80th birthday, was held in 2008 at The Scottish Gallery, Edinburgh.
A QUANTITY OF MISCELLANEOUS 18TH, 19TH AND 20TH CENTURY PRINTS COMPRISING: A 19th century print of a gentleman; A portrait of a gentleman, After Eden Upton Eddis; A print of a gentleman with his horse and hounds, After Sir Francis Grant; a reproduction lithograph of Horse and Hounds signed by Alfred Haigh; two mezzotints of The Flying Dutchman and Voltiguer, After John Frederick Herring; Madonna and Child, After Raphael; A portrait of a gentleman in Investiture Robes, After Eden Upton Eddis; A portrait of John Earl of Rothes, After Sir Joshua Reynolds; and a print of Mr and Mrs Beaufort hunting, After Frederick Grant, Various Sizes, the largest plate approx: 82 x 66cm, (10)
Clara Klinghoffer, Polish/British 1900-1972 - Nude portrait of a woman, 1930; oil on canvas, signed and dated lower right 'Clara Klinghoffer Sep 1930', 70.5 x 60 cm (ARR) Note: Klinghoffer was referred to as the 'Girl Who Draws Like Raphael' following her first exhibition at the age of 19 and this is a dazzling example of her mature painterly style. She exhibited in the 1920s at the Goupil Gallery alongside Augustus John and Lucien Pissarro, and her works are now in collections including the Fitzwilliam Museum, Cambridge, Ben Uri Gallery & Museum and the National Portrait Gallery.
Attributed to John Raphael Smith (1751-1812) Two young women readingblack, red and white chalks 25 x 19cmCondition ReportFramed: 43 x 35.5cmExecuted on laid paper. Scattered spots of mould to the background. A little light smudging. Under raking light some light horizontal creasing is visible to the upper half. Please see additional condition images. Not viewed out of glazed frame.
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