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Click here to subscribeGraham Kingsley Brown (British 1932-2011): ‘Still Life in Landscape’, enamel paint on board, signed titled and dated 1982 verso, 28cm x 40cm Notes: A rare enamel painting, of a phase in the early 1980’s which included 'Harbour Moon' sold these rooms 21st June 2024 Lot 211; this is the only remaining example available.
Graham Kingsley Brown (British 1932-2011): ‘Riverside House’, acrylic on board c.1991, signed and titled verso, 29.5cm x 22cm Notes: A larger example of the artist's 'decorative landscape' style of painting from the early 1990s, and the one remaining piece of this kind still available. This piece was a gift from Graham to his wife Elizabeth Brown, which is now offered for auction.
Hains, Graham 3 Fotos: Old sunny (Coney Island), The Thinker (Wall-Street), The science (Central Post Office). 3 S/W Abzüge, 2000. Jew. 12,5 x 17,6. False Dawn (englische Südküste). Lands End (englische Südküste), Verso jeweils betitelt, datiert und signiert. Und eines von P. de Hollander beigegeben, jeweils im Passepartout
Schramm, Jean Noël, 8 Fotos: "Gerhard Richter, Gilbert & George (von den Künstlern signiert), Ridney Graham, Leni Riefenstahl, Sigmar Polke, Antoni Tapies, Neo Rauch, Ben Vautier, je Silbergelatineabzüge, verso mit Atelierstempel Düsseldorf. Vom Fotografen datiert und signiert, mit Passepartout
Ice Hockey signed trading card collection includes 10, great names such asWayne Gretzky, Adam Graves, Chris Gratton, Dirk Graham, Nicolas Goumaz, Michel Goulet, Marco Gosselin, Viktor Gordijuk, Sergei Gonchar and Alexander Godynyuk. Good condition . All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Vinyl: a collection of 1970s-80s LP albums, mostly Rock and Pop - to include XTC; The White Noise; Steely Dan; Lou Reed; Wings; The Rutles; Sparks; OMD; Roxy Music/Bryan Ferry (x4); Magic Fly; Dan Fogelberg; ELO/Jeff Lynn (x 7); Roy Wood/Wizzard (x 4); Manfred Mann's Earth Band (x 2); Elton John (x 6); 10cc (x 2); The Steve Miller Band; Steve Winwood (x 2); David Essex (blue vinyl); Dave Edmunds (x 3); The Doobie Brothers; Chris White; City Boy; Graham Gouldman; Blue Mink; John Dummer Band; Dave Mason; David Foreman; etc. (approx. 125)
Jackie Berridge Sanctuary, 2025 Oil on primed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About My paintings and drawings are inspired by childhood memories, dreams, and traditional stories. I create fantastical landscapes populated with beings and anthropomorphic creatures, telling tales of joy and sadness mixed with shades of darkness. Education 2018-2019 Turps Banana Correspondence Course, UK 2004-07 MA Children's Book Illustration, APU Cambridge 1995-1996 Post Grad Certificate in Arts Practice. University of Derby 1992-1995 Fine Art BA (Hons). First Class, Nottingham Trent University Solo Exhibitions 2024-2025 Flights of Fancy, Enia Gallery, Athens, Greece 2019 Living Rooms, The Angelus Gallery Winchester College, Winchester, UK 2017 Fantastical Landscapes, Tarpey Gallery, Castle Donington, Derbys, UK 2016 Lost, Rabley Drawing Centre, Marlborough, Wilts, UK 2014 Perfume and Savages, Angears Centre, Lakeside Arts, Nottingham, UK 2012 Short, Sharp, Blow to the Head, Solo Show, Trade Gallery, Nottingham UK 2007 Grace:Sequential Drawings, Frances Bardsley Visual Arts Centre, Romford 2002 Unnatural Selection, Derby Museum & Art Gallery, Derby Selected paintings, Royal College of Pathologists, London Extracting Anatomy, The Yard Gallery, Wollaton Hall, Nottingham Group Exhibitions 2024 Silent DISCO 24, Graham Crowley's Studio, Wickham Market, Sussex Royal Scottish Academy Open, Edinburgh, Scotland 2023 No Place Like Home, Arthouse Jersey, Jersey PLOT at Platforms Project 2023, Athens, Greece 2022 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK 2021 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK Royal Academy Summer Exhibition, London UK 2020 Art-Athena Art Fair, Athens, Greece 2019 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK 2019 Exceptional - graduate award, Collyer Bristow Gallery, London UK Group Show by 8 Indian artists and 3 UK artists, Reliance Arts Centre, Baroda, India 2018 Back to basics: Painting, ENIA GALLERY, Athens, Greece When All is Said... and Done', Curated by Artemis Potamianou, Angus-Hughes, London, 2017 Royal Academy Summer Exhibition, London UK London Group Open Part 2, Cello Factory, London www.thelondongroup.com Untold, PLATFORMS 2017, Athens 2016 Royal Academy Summer Exhibition, London UK Awards 2024 W Gordon Smith & Jay Gordonsmith Award, Scottish Royal Academy 2022 RSA Maude Gemmell Huchinson Prize, Scottish Royal Academy 2022 2019 Exceptional - graduate award, Collyer Bristow Gallery 2016 Nottingham Castle Open - awarded the John E Wright Prize 2014 Tarpey Prize, Nottingham Castle Museum & Art Gallery Open 2013 SKETCH2013, Exhibition Prize, Rabley Drawing Centre, Marlborough 2012 Nottingham Castle Open Prize, Nottingham Castle Museum & Art Gallery Open 2011 Nottingham Castle Open Prize, Nottingham Castle Museum & Art Gallery Open 2007 MA Dragon Prize, Anglian Ruskin University 1995 Leicester Open prize winner, City Gallery, Leicester Gallery Representation Enia Gallery, Athens, Greece Tarpey Gallery, Castle Donington, Leics Public Collections Cambridge School of Art Statement about AOAP Submitted Artwork These four paintings are like vignettes of larger work where I create imagined landscapes carpeted with lush trees and dazzling flowers. These provide the backdrop for tiny tales and are inspired by trips to public parks and botanical gardens at home and abroad. Gorgeous colours and exquisite patterns of Indian miniatures have also played a part after a visit to Baroda, Gujarat in 2019. The cast are an assortment of hybrids, ornaments, toys and her own inventions. Some are 'precious' mementos, others are family figures; a few are gifted to find a role in the paintings. Whilst I have an idea about the narratives, I leave it for the viewer to make their own interpretations. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Siobhan McLaughlin Lizard Point Detail, 2024 Earth pigment and oil paint on sewn remnant materials Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Siobhan McLaughlin is an artist and freelance curator based between Glasgow and Penzance. Working with remnant textiles and gathered earth pigments, her practice connects experiences of the landscape, layered with memories and connections to people, the body, and time. Exploring themes of place, memory, and sustainability, she considers how past activities leave impressions on our ecologies. Education 2014-2019 MA Fine Art, Painting and History of Art at Edinburgh College of Art and the University of Edinburgh, Scotland. 2013-2014 Portfolio Preparation, Tramway Visual Art Studio, Glasgow, Scotland. Solo Exhibitions 2024 Pilgrimages, Hweg Gallery, Penzance, Cornwall Group Exhibitions Selected Group Exhibitions: 2024 British Art Fair, Wilhelmina Barns-Graham Trust, Saatchi Gallery, London, England Make Yourself at Home, Hweg Gallery, Penzance, England Residency Room, VAS Centenary, Royal Scottish Academy, Edinburgh, Scotland London Art Fair with Ruup & Form, Islington Business Centre, London, England 2023 Elemental, Royal Scottish Academy, Edinburgh, Scotland Scottish Landscapes: A New Generation, Dovecot Studios, Edinburgh, Scotland Coast to Coast, 108 Fine Art, Harrogate, England 2022 HERE: Between you and the World, POP Griffiths Gallery, Brisbane, Australia 50 X 50, The Auction Collective, London, England Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London, England On Paper, PAPER Gallery, Manchester, England 2021 Abstract Zeitgeist, Rafiki Gallery at the Biscuit Factory, Edinburgh, Scotland 2019 OPEN SSA+VAS, Royal Scottish Academy, Edinburgh, Scotland July Exhibition, Arusha Gallery, Edinburgh, Scotland All, Entire, Whole, New Glasgow Society, Glasgow, Scotland 2018 Guest Room in Sightseers, G39 Gallery, Cardiff, Wales THE SALON, EMBASSY Gallery, Edinburgh, Scotland Awards 2023 Stephen Palmer Bursary Award, Engage Scotland Art Trade Forum Bursary, Paul Mellon Centre for British Art, London Henderson Bursary Award, Pittenweem 2022 VAS From One to Another: Cornwall x Scotland Exchange Residency, Wilhelmina Barns-Graham Trust and Borlase Smart John Wells Trust RSA Residencies for Scotland- Cromarty Arts Trust, Royal Scottish Academy 2021 Hospitalfield Graduate Residency Programme, Arbroath Shortlisted for the Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London Selected Member of PLACE Collective, UK's Centre for National Parks, Cumbria 2020 Selected member of Emerging Curators Group, British Art Network, Tate, London 2019 SSA Wilhelmina Barns-Graham Award, Wilhelmina Barns-Graham Trust, RSA Huntley MacDonald Sinclair Prize for Best Dissertation, Edinburgh University Helen A Rose, Bequest for distinguished artwork, Edinburgh College of Art 2018 Research Grant, Conservation dept. at the Pompidou Centre, Paris, Edinburgh University Astaire Art Prize, 2nd Place, Edinburgh College of Art Statement about AOAP Submitted Artwork My practice starts by walking: slowing down to encounter the nuances of landscape, gathering spectrums of site-specific colours affected by light, weather and time. I prioritise care while gathering earth to grind into pigment, connecting to an ancient form of paint-making. Remnant materials - an old fisherman's smock, childhood bedroom curtains - are gathered and sewn to create a patchwork canvas for painting. The gathering of these materials is important, from the landscapes I walk in and communities I meet, sewing the stories and histories of these textiles into the landscape of the painting. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Siobhan McLaughlin Run Off From the Mine, 2024 Earth pigment and oil paint on sewn remnant materials and thread Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Siobhan McLaughlin is an artist and freelance curator based between Glasgow and Penzance. Working with remnant textiles and gathered earth pigments, her practice connects experiences of the landscape, layered with memories and connections to people, the body, and time. Exploring themes of place, memory, and sustainability, she considers how past activities leave impressions on our ecologies. Education 2014-2019 MA Fine Art, Painting and History of Art at Edinburgh College of Art and the University of Edinburgh, Scotland. 2013-2014 Portfolio Preparation, Tramway Visual Art Studio, Glasgow, Scotland. Solo Exhibitions 2024 Pilgrimages, Hweg Gallery, Penzance, Cornwall Group Exhibitions Selected Group Exhibitions: 2024 British Art Fair, Wilhelmina Barns-Graham Trust, Saatchi Gallery, London, England Make Yourself at Home, Hweg Gallery, Penzance, England Residency Room, VAS Centenary, Royal Scottish Academy, Edinburgh, Scotland London Art Fair with Ruup & Form, Islington Business Centre, London, England 2023 Elemental, Royal Scottish Academy, Edinburgh, Scotland Scottish Landscapes: A New Generation, Dovecot Studios, Edinburgh, Scotland Coast to Coast, 108 Fine Art, Harrogate, England 2022 HERE: Between you and the World, POP Griffiths Gallery, Brisbane, Australia 50 X 50, The Auction Collective, London, England Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London, England On Paper, PAPER Gallery, Manchester, England 2021 Abstract Zeitgeist, Rafiki Gallery at the Biscuit Factory, Edinburgh, Scotland 2019 OPEN SSA+VAS, Royal Scottish Academy, Edinburgh, Scotland July Exhibition, Arusha Gallery, Edinburgh, Scotland All, Entire, Whole, New Glasgow Society, Glasgow, Scotland 2018 Guest Room in Sightseers, G39 Gallery, Cardiff, Wales THE SALON, EMBASSY Gallery, Edinburgh, Scotland Awards 2023 Stephen Palmer Bursary Award, Engage Scotland Art Trade Forum Bursary, Paul Mellon Centre for British Art, London Henderson Bursary Award, Pittenweem 2022 VAS From One to Another: Cornwall x Scotland Exchange Residency, Wilhelmina Barns-Graham Trust and Borlase Smart John Wells Trust RSA Residencies for Scotland- Cromarty Arts Trust, Royal Scottish Academy 2021 Hospitalfield Graduate Residency Programme, Arbroath Shortlisted for the Gilchrist-Fisher Award 2022, Rebecca Hossack Gallery, London Selected Member of PLACE Collective, UK's Centre for National Parks, Cumbria 2020 Selected member of Emerging Curators Group, British Art Network, Tate, London 2019 SSA Wilhelmina Barns-Graham Award, Wilhelmina Barns-Graham Trust, RSA Huntley MacDonald Sinclair Prize for Best Dissertation, Edinburgh University Helen A Rose, Bequest for distinguished artwork, Edinburgh College of Art 2018 Research Grant, Conservation dept. at the Pompidou Centre, Paris, Edinburgh University Astaire Art Prize, 2nd Place, Edinburgh College of Art Statement about AOAP Submitted Artwork My practice starts by walking: slowing down to encounter the nuances of landscape, gathering spectrums of site-specific colours affected by light, weather and time. I prioritise care while gathering earth to grind into pigment, connecting to an ancient form of paint-making. Remnant materials - an old fisherman's smock, childhood bedroom curtains - are gathered and sewn to create a patchwork canvas for painting. The gathering of these materials is important, from the landscapes I walk in and communities I meet, sewing the stories and histories of these textiles into the landscape of the painting. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Jackie Berridge Peeps, 2025 Oil on primed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About My paintings and drawings are inspired by childhood memories, dreams, and traditional stories. I create fantastical landscapes populated with beings and anthropomorphic creatures, telling tales of joy and sadness mixed with shades of darkness. Education 2018-2019 Turps Banana Correspondence Course, UK 2004-07 MA Children's Book Illustration, APU Cambridge 1995-1996 Post Grad Certificate in Arts Practice. University of Derby 1992-1995 Fine Art BA (Hons). First Class, Nottingham Trent University Solo Exhibitions 2024-2025 Flights of Fancy, Enia Gallery, Athens, Greece 2019 Living Rooms, The Angelus Gallery Winchester College, Winchester, UK 2017 Fantastical Landscapes, Tarpey Gallery, Castle Donington, Derbys, UK 2016 Lost, Rabley Drawing Centre, Marlborough, Wilts, UK 2014 Perfume and Savages, Angears Centre, Lakeside Arts, Nottingham, UK 2012 Short, Sharp, Blow to the Head, Solo Show, Trade Gallery, Nottingham UK 2007 Grace:Sequential Drawings, Frances Bardsley Visual Arts Centre, Romford 2002 Unnatural Selection, Derby Museum & Art Gallery, Derby Selected paintings, Royal College of Pathologists, London Extracting Anatomy, The Yard Gallery, Wollaton Hall, Nottingham Group Exhibitions 2024 Silent DISCO 24, Graham Crowley's Studio, Wickham Market, Sussex Royal Scottish Academy Open, Edinburgh, Scotland 2023 No Place Like Home, Arthouse Jersey, Jersey PLOT at Platforms Project 2023, Athens, Greece 2022 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK 2021 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK Royal Academy Summer Exhibition, London UK 2020 Art-Athena Art Fair, Athens, Greece 2019 Trinity Buoy Wharf Drawing Prize, Trinity Buoy Wharf, London, UK 2019 Exceptional - graduate award, Collyer Bristow Gallery, London UK Group Show by 8 Indian artists and 3 UK artists, Reliance Arts Centre, Baroda, India 2018 Back to basics: Painting, ENIA GALLERY, Athens, Greece When All is Said... and Done', Curated by Artemis Potamianou, Angus-Hughes, London, 2017 Royal Academy Summer Exhibition, London UK London Group Open Part 2, Cello Factory, London www.thelondongroup.com Untold, PLATFORMS 2017, Athens 2016 Royal Academy Summer Exhibition, London UK Awards 2024 W Gordon Smith & Jay Gordonsmith Award, Scottish Royal Academy 2022 RSA Maude Gemmell Huchinson Prize, Scottish Royal Academy 2022 2019 Exceptional - graduate award, Collyer Bristow Gallery 2016 Nottingham Castle Open - awarded the John E Wright Prize 2014 Tarpey Prize, Nottingham Castle Museum & Art Gallery Open 2013 SKETCH2013, Exhibition Prize, Rabley Drawing Centre, Marlborough 2012 Nottingham Castle Open Prize, Nottingham Castle Museum & Art Gallery Open 2011 Nottingham Castle Open Prize, Nottingham Castle Museum & Art Gallery Open 2007 MA Dragon Prize, Anglian Ruskin University 1995 Leicester Open prize winner, City Gallery, Leicester Gallery Representation Enia Gallery, Athens, Greece Tarpey Gallery, Castle Donington, Leics Public Collections Cambridge School of Art Statement about AOAP Submitted Artwork These four paintings are like vignettes of larger work where I create imagined landscapes carpeted with lush trees and dazzling flowers. These provide the backdrop for tiny tales and are inspired by trips to public parks and botanical gardens at home and abroad. Gorgeous colours and exquisite patterns of Indian miniatures have also played a part after a visit to Baroda, Gujarat in 2019. The cast are an assortment of hybrids, ornaments, toys and her own inventions. Some are 'precious' mementos, others are family figures; a few are gifted to find a role in the paintings. Whilst I have an idea about the narratives, I leave it for the viewer to make their own interpretations. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Bank of England, Graham E. A. Kentfield, £5 (3), 1991, 1993, prefixes R06, AA01 and DA81, and £10 (2), 1992, 1993, prefixes A01 and KD21, also Merlyn V. Lowther, £20, 1999, serial number AA01 999391, £10 (2), 2000, serial numbers AA05 009947 and CC65 962979, also £5 (2), 2002, serial numbers HA01 010898 and HE82 414324, uncirculated, two with first prefixes (10 notes) EPM B362, B363, B364, B366, B369, B386, B388, B390, B393, B395 £120-£160
George I (1714-27), silver Halfcrown, 1717, roses and plumes reverse, laureate and draped bust right, Latin legend and toothed border surrounding, GEORGIVS. D. G. M. BR. FR. ET. HIB. REX. F. D., rev. crowned cruciform shields, roses and plumes in alternate angles, nine strings to Irish harp, garter star at centre, date either side of top crown, Latin legend and toothed border surrounding, .BRVN ET. L. DVX S.R.I.A:TH ET. EL., edge inscribed in raised letters of upright orientation to obverse, +.+.DECVS. ET. TVTAMEN. ANNO. REGNI. TIRTIO+, 14.92g (Bull 1554; ESC 589; S.3642). Toned with wear from circulation both sides, some spots, has been slabbed and graded by NGC as VF25.NGC certification 8368437-011.The Latin legends translates as on the obverse "George, by the grace of God, King of Great Britain, France and Ireland, Defender of the Faith" and on the reverse "Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." and additionally on the edge "An ornament and a safeguard, in the third year of the reign." This year of halfcrown always has TERTIO mis-spelled as TIRTIO.The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.The total silver output for the calendar year of 1717 at the Mint amounted to £2,939.
Anne (1702-14), silver Pre-Union Halfcrown, 1705, plumes reverse, first draped bust left, Latin legend and toothed border surrounding, ANNA.DEI. GRATIA., rev. Pre-Union crowned cruciform shields, Welsh plumes in angles, seven strings to Irish harp, garter star at centre, date either side of top crown, Latin legend and toothed border surrounding, .MAG BR. FRA ET. HIB REG., edge inscribed in raised letters of upright orientation to obverse, .++ DECVS. ET. TVTAMEN. ANNO. REGNI. QVINTO, 14.97g (Bull 1360 R; ESC 571; S.3581). Toned with wear both sides, nicks and surface marks, has been slabbed and graded by NGC as XF40, rare.NGC certification 8368441-001.The Latin legends translate as on the obverse "Anne by the Grace of God," and abbreviated on the reverse as "Queen of Great Britain, France and Ireland." and additionally on the edge "An ornament and a safeguard, in the fifth year of the reign."We note the silver output for the calendar year of 1705 was a mere £1,332 which pales into insignificance when compared to the over half a million coined in gold that year. This small output of silver would have been spread across Crowns, Halfcrowns shillings and sixpences only.The plumes reverse indicate that this coin is made from silver sourced from Wales. For further reading see "The Metal in Britain's Coins" by Graham Birch.
George I (1714-27), silver Halfcrown, 1715, roses and plumes reverse, laureate and draped bust right, Latin legend and toothed border surrounding, GEORGIVS. D. G. M. BR. FR. ET. HIB. REX. F. D., rev. crowned cruciform shields, roses and plumes in alternate angles, nine strings to Irish harp, garter star at centre, date either side of top crown, Latin legend and toothed border surrounding, .BRVN ET. L. DVX S.R.I.A:TH ET. EL., edge inscribed in raised letters of upright orientation to obverse, +.+.DECVS. ET. TVTAMEN. ANNO. REGNI. SECVNDO+, 14.92g (Bull 1550 R; ESC 587; S.3642). Toned with wear and haymarking both sides, has been slabbed and graded by NGC as AU50.NGC certification 8368437-010.The Latin legends translates as on the obverse "George, by the grace of God, King of Great Britain, France and Ireland, Defender of the Faith" and on the reverse "Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." and additionally on the edge "An ornament and a safeguard, in the second year of the reign."The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.The total silver output for the calendar year of 1715 at the Mint amounted to £5,093.
George I (1714-27), silver Crown, 1716, laureate and draped bust right, Latin legend and toothed border surrounding, GEORGIVS. D. G. M. BR. FR. ET. HIB. REX. F. D., rev. crowned cruciform shields, eleven strings to Irish harp, garter star at centre, roses and plumes in alternate angles, date either side of top crown, Latin legend and toothed border surrounding, .BRVN. ET. L. DVX S.R.I.A:TH ET. EL., edge inscribed in raised letters of inverted orientation to obverse, note use of letter U in edge wording, +.DECUS. ET. TUTAMEN+ ANNO. REGNI. SECVNDO., 30.11g (Bull 1540; ESC 110; S.3639). A little bright and perhaps once cleaned as some residual tone remains around rim and within hair, short scratch on cheek, a couple of tiny digs on obverse, otherwise about very fine, reverse a little stronger.The abbreviated Latin legends translate as on the obverse "George by the Grace of God, King of Great Britain, France and Ireland, Defender of the Faith" and on the reverse as "Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." Additionally on the edge as "an ornament and a safeguard, in the second year of the reign."The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.
George I (1714-27), silver Halfcrown, 1720, 20 of date struck over 17, roses and plumes reverse, laureate and draped bust right, Latin legend and toothed border surrounding, GEORGIVS. D. G. M. BR. FR. ET. HIB. REX. F. D., rev. crowned cruciform shields, roses and plumes in alternate angles, nine strings to Irish harp, garter star at centre, retrograde Z type 1 in date either side of top crown, Latin legend and toothed border surrounding, .BRVN ET. L. DVX S.R.I.A:TH ET. EL., edge inscribed in raised letters of upright orientation to obverse, +.+.DECVS. ET. TVTAMEN. ANNO. REGNI. SEXTO+, 14.96g (Bull 1555; ESC 590; S.3642). Toned with wear and haymarking both sides, has been slabbed and graded by NGC as VF30.NGC certification 8368437-012.The Latin legends translates as on the obverse "George, by the grace of God, King of Great Britain, France and Ireland, Defender of the Faith" and on the reverse "Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." and additionally on the edge "An ornament and a safeguard, in the sixth year of the reign."The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.The total silver output for the calendar year of 1720 at the Mint amounted to £24,279.
George II (1727-60), silver Crown, 1746, LIMA. below older laureate and draped bust left, Latin legend and toothed border surrounding, GEORGIVS.II. DEI.GRATIA., rev. crowned cruciform shields, Irish harp with ten strings, coat of arms of Brunswick and Luneberg with seven hearts, garter star at centre, date either side of top crown, Latin legend and toothed border surrounding, .M.B.F.ET. H.REX.F.D.B. ET.L.D.S.R.I. A.T.ET.E., edge inscribed in raised letters of inverted orientation to obverse, .DECVS. ET. TVTAMEN. ANNO. REGNI. DECIMO. NONO, 30.17g (Bull 1668; ESC 125; S.3689). Toned with a little wear to high points, has been slabbed and graded by NGC as AU55.NGC certification 8368422-012.The Latin legends translate to on obverse "George the second by the Grace of God" continuing on the reverse in abbreviated Latin which if in shown in full reads "Magnae Britanniae Franciae et Hiberniae Rex Fidei Defensor Brun et Lunebergen-sis Dux, Sacri Romani Imperii Archi-Thesaurius et Elector" and translates as "King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." Additionally on the edge as "an ornament and a safeguard, in the nineteenth year of the reign."The coins provenance marked LIMA under the bust are all made from silver from treasure captured from the Spanish by the English Privateers John Morecock and James Talbot, Captains of the Prince Frederick and the Duke in 1745. The total silver output for the calendar year 1746 was an immense £136,431.The story behind these captures is revealed in detail in the new book published by Spink "The Metal in Britain's Coins" by Graham Birch, where Chapter 9 pages 116-142 deals with the back story of the journey of silver mined and coined in Peru by one nation, subsequently captured and finding its way reminted into the pockets of the populous of another nation, the two biggest sea powers of the era.
Anne (1702-14), silver Pre-Union Halfcrown, 1707, roses and plumes reverse, first draped bust left, Latin legend and toothed border surrounding, ANNA.DEI. GRATIA., rev. Pre-Union crowned cruciform shields, roses and plumes in alternate angles, six strings to Irish harp, garter star at centre, date either side of top crown, Latin legend and toothed border surrounding, .MAG: BR: FRA. ET. HIB: REG:, edge inscribed in raised letters of inverted orientation to obverse, .+ DECVS. ET. TVTAMEN. ANNO. REGNI. SEXTO, 15.00g (Bull 1364; ESC 573; C&R 583 R; S.3582). Toned with wear both sides, some flecking, has been slabbed and graded by NGC as XF45.NGC certification 8368437-009.The Latin legends translate as on the obverse "Anne by the Grace of God," and abbreviated on the reverse as "Queen of Great Britain, France and Ireland." and additionally on the edge "An ornament and a safeguard, in the third year of the reign."The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.The total silver output for the calendar year of 1707 at the Mint amounted to £3,639.
Charles II (1660-85), silver Crown, 1662, by Roettier, first laureate and draped bust right, rose below, Latin legend and toothed border surrounding, CAROLVS . II. DEI. GRA., rev. inverted die axis, crowned cruciform shields, pairs of interlinked Cs in angles, garter star at centre, eight strings to Irish harp, date either side of top crown, Latin legend and toothed border surrounding, .MAG. BR. FRA. ET. HIB. REX., edge inscribed in raised letters, lettering of inverted orientation to obverse with words of closely spaced letters, +*DECVS. ET. TVTAMEN*, 30.00g (Bull 340; ESC 15A; S.3350). Toned with rim knock at top of obverse, a few nicks and flecks, has been slabbed and graded by NGC as AU50.NGC certification 8368422-001. The Latin legends on this coin translate as "Charles the Second, by the grace of God" on the obverse, "King of Great Britain, France and Ireland" on the reverse, and finally on the edge "An ornament and a safeguard" a reference to the prevention of the edge being clipped or mutilated by the unscrupulous. The new issue of machine made "milled" coins were introduced to the public in the latter part of the year 1662, with the production of these English silver Crowns, the first denomination issued proudly by this method. The smaller denominations of Halfcrown and Shilling would follow dated 1663 with the Sixpence not arriving till 1674, the Twopence in 1668 and other small silver from 1670. It seems there was good reason for the issue of the silver Crowns first as in the year 1662 King Charles II sold the town of Dunkirk back to the French for five million French Livres, the town having been captured by the Parliamentarian forces in 1658. This created a massive influx of silver into the Mint to convert to British silver, reportedly 1,500,000 silver Ecus transported in 300 chests from December 1662 until mid-1663 at a total weight of 108,636 pounds. Naturally the biggest denomination in silver would be the most efficient way to work through the supply, hence the Crown being the coin of choice. There are two distinct varieties of silver Crown dated 1662 as well as a number of more minor variations, the main one being whether the coin carries a rose under the bust or not. It has often been conjectured that the rose indicates silver supplied from the west country of England, so perhaps the non-rose variety would mean silver from the Dunkirk sale, however, research is ongoing to hopefully one day find documentary evidence, as the West Country theory seems to be more of an assumption and extrapolation of when the rose mint mark was used for the Truro and Exeter area for provincial silver coins in the reign of Charles I some 20 years earlier. This sentiment was echoed by Alan Broad in his article "1662 Rose below" who also remarked that the old Commonwealth hammered cross and harp money was also being recoined so that was more likely a source for the rose below mark. This has been echoed more recently in "The Metal in Britain's Coins" by Graham Birch in Chapter 16 "The Enigmatic Roses Coins" page 217.
George II (1727-60), silver Crown, 1734, young laureate and draped bust left, legend and toothed border surrounding, GEORGIVS. II. DEI. GRATIA., rev. crowned cruciform shields, roses and plumes in angles, garter star at centre, date either side of top crown, M.B.F. ET. H. REX. F.D. B.ET. L. D. S. R. I. A. T ET. E., edge inscribed in raised letter and dated, DECVS. ET. TVTAMEN. ANNO. REGNI. SEPTIMO., 30.00g (Bull 1662; ESC 119; S.3686). Toned with wear to high points of portrait on hair and eye, has been slabbed and graded by NGC as XF45.NGC certification 8368422-009.The Latin legends translate to on obverse "George the second by the Grace of God" continuing on the reverse in abbreviated Latin which if in shown in full reads "Magnae Britanniae Franciae et Hiberniae Rex Fidei Defensor Brun et Lunebergen-sis Dux, Sacri Romani Imperii Archi-Thesaurius et Elector" and translates as "King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." Additionally on the edge as "an ornament and a safeguard, in the seventh year of the reign."The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.We note the silver output for 1734 was a mere £4,929 which would have gone towards minting Crowns, Halfcrowns, Shillings, and Sixpences.
George II (1727-60), silver Halfcrown, 1734, young laureate and draped bust left, Latin legend and toothed border surrounding, GEORGIVS. II. DEI. GRATIA., rev. crowned cruciform shields, roses and plumes in angles, garter star at centre, date either side of top crown, M.B.F. ET. H. REX. F.D. B.ET. L. D. S. R. I. A. T ET. E., edge inscribed in raised letter and dated, DECVS. ET. TVTAMEN. ANNO. REGNI. SEPTIMO., 15.00g (Bull 1676; ESC 597; S.3692). Toned with wear to high points both sides, some adjustment marks to neck, has been slabbed and graded by NGC as XF40.NGC certification 8368437-014.The Latin legends translate to on obverse "George II by the Grace of God" continuing on the reverse in abbreviated Latin which if in shown in full reads "Magnae Britanniae Franciae et Hiberniae Rex Fidei Defensor Brun et Lunebergen-sis Dux, Sacri Romani Imperii Archi-Thesaurius et Elector" and translates as "King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." The inscription on the edge translates as "An ornament and a safeguard, in the seventh year of the reign."The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.We note the silver output for 1734 was £4,929 which would have gone towards minting Crowns, Halfcrowns, Shillings, and Sixpences.
George II (1727-60), silver Halfcrown, 1736, young laureate and draped bust left, Latin legend and toothed border surrounding, GEORGIVS. II. DEI. GRATIA. rev. crowned cruciform shields, roses and plumes in alternate angles, garter star at centre, date either side of top crown, M.B.F. ET. H. REX. F.D. B.ET. L. D. S. R. I. A. T ET. E. edge inscribed in raised letter and dated, DECVS. ET. TVTAMEN. ANNO. REGNI. NONO., 14.92g (Bull 1678; ESC 599; S.3692). Toned with considerable wear, rubbed on obverse, has been slabbed and graded by NGC as VF details cleaned.NGC certification 8368444-003.The Latin legends translate to on obverse "George II by the Grace of God" continuing on the reverse in abbreviated Latin which if in shown in full reads "Magnae Britanniae Franciae et Hiberniae Rex Fidei Defensor Brun et Lunebergen-sis Dux, Sacri Romani Imperii Archi-Thesaurius et Elector" and translates as "King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." The inscription on the edge translates as "An ornament and a safeguard, in the ninth year of the reign."The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.We note the silver output for 1736 was £5,310 which would have gone towards minting Crowns, Halfcrowns, Shillings, and Sixpences.
Charles II (1660-85), silver Crown, 1666, elephant below second laureate and draped bust right, Latin legend and toothed border surrounding, CAROLVS. II. DEI. GRATIA, rev. crowned cruciform shields, pairs of interlinked Cs in angles, garter star at centre, date either side of top crown, MAG. BR. FRA. ET. HIB. REX. edge inscribed in raised letters, +.DECVS. ET. TVTAMEN. . ANNO. REGNI. XVIII.+, 29.61g (Bull 368; ESC 33 R; S.3356). Old dark tone with brighter elements to lettering and design, good fine, reverse stronger, rare.The Latin legends translate as on the obverse "Charles the Second, by the grace of God," and on the reverse, "King of Great Britain, France and Ireland," additionally on the edge "An ornament and a safeguard, in the 18th year of the reign," the regnal year being counted from the time of the death of Charles I his Father.The elephant was the provenance mark of Company of the Royal Adventurers of England trading into Africa set up in 1662. For further informative reading see "The Metal in Britain's Coins" by Graham Birch.
Anne (1702-14), silver Pre-Union Crown, 1705, plumes reverse, first draped bust left, Latin legend and toothed border surrounding, ANNA.DEI. GRATIA., rev. Pre-Union crowned cruciform shields, seven strings to Irish harp, Welsh plumes in angles, garter star at centre, date either side of top crown, Latin legend and toothed border surrounding, .MAG BR. FRA ET. HIB REG., edge inscribed in raised letters of upright orientation to obverse, .++ DECVS. ET. TVTAMEN. ANNO. REGNI. QVINTO, 30.00g (Bull 1341 R2; ESC 100 R2; S.3577). Lightly toned, some wear to high points, has been slabbed and graded by NGC as AU53 and the rarest date for the denomination in this reign.NGC certification 8368384-003. The Latin legends translate as on the obverse "Anne by the Grace of God," and abbreviated on the reverse as "Queen of Great Britain, France and Ireland." and additionally on the edge "An ornament and a safeguard, in the fifth year of the reign." We note the silver output for the calendar year of 1705 was a mere £1,332 which pales into insignificance when compared to the over half a million coined in gold that year. This small output of silver would have been spread across Crowns, Halfcrowns, Shillings and Sixpences only. The plumes reverse indicate that this coin is made from silver sourced from Wales. For further reading see "The Metal in Britain's Coins" by Graham Birch.
Anne (1702-14), silver Crown, 1713, third draped bust left, Latin legend and toothed border surrounding, ANNA. DEI. GRATIA., rev. crowned emblematic Post-Union cruciform shields, eight strings to Irish harp, garter star at centre, roses and plumes in alternate angles, date either side of top crown, Latin legend and toothed border surrounding, .MAG. BRI.FR. ET.HIB. REG., edge inscribed in raised letters and dated, +DECVS. ET. TVTAMEN ANNO. REGNI. DVODECIMO., 30.00g (Bull 1349; ESC 109; S.3603). Olive grey tone, has been slabbed and graded by NGC as AU55, the final year and type of the reign for this denomination.NGC certification 8368384-001.The Latin legends translate as "Anne, by the grace of God," on obverse and on the reverse as "Queen of Great Britain, France and Ireland," additionally on the edge as "an ornament and a safeguard, in the twelfth year of the reign."We note the silver output for the calendar year of 1713 was a mere £7,232 which pales into insignificance when compared to the over half a million coined in gold that year. This small output and would have been spread across Crowns, Halfcrowns and Small silver only.The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.
Anne (1702-14), silver Pre-Union Halfcrown, 1706, roses and plumes reverse, draped bust left, Latin legend and toothed border surrounding, ANNA. DEI. GRATIA., rev. Pre-Union type crowned cruciform shields, roses and plumes in alternate angles, garter star at centre, date either side of top crown, legend and toothed border surrounding, .MAG. BR. FRA. ET. HIB. REG., edge inscribed in raised letters, .+.DECVS. ET. TVTAMEN. ANNO. REGNI. QVINTO., 15.00g (Bull 1361; ESC 572; S.3582). Toned with light scratch and adjustment marks on neck, has been slabbed and graded by NGC as AU53.NGC certification 8368437-008.The Latin legends translate as on the obverse "Anne by the Grace of God," and abbreviated on the reverse as "Queen of Great Britain, France and Ireland." and additionally on the edge "An ornament and a safeguard, in the third year of the reign."The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.The total silver output for the calendar year of 1706 at the Mint amounted to £2,889.
George II (1727-60), silver Halfcrown, 1731, young laureate and draped bust left, Latin legend and toothed border surrounding, GEORGIVS. II. DEI. GRATIA., rev. crowned cruciform shields, roses and plumes in angles, garter star at centre, date either side of top crown, M.B.F. ET. H. REX. F.D. B.ET. L. D. S. R. I. A. T ET. E., edge inscribed in raised letter and dated, DECVS. ET. TVTAMEN. ANNO. REGNI. QVINTO., 14.78g (Bull 1674; ESC 595; S.3692). Uneven old tone with brighter elements, has been slabbed and graded by NGC as XF details cleaned.NGC certification 8368444-001.The Latin legends translate to on obverse "George II by the Grace of God" continuing on the reverse in abbreviated Latin which if in shown in full reads "Magnae Britanniae Franciae et Hiberniae Rex Fidei Defensor Brun et Lunebergen-sis Dux, Sacri Romani Imperii Archi-Thesaurius et Elector" and translates as "King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." The inscription on the edge translates as "An ornament and a safeguard, in the fifth year of the reign."The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.We note the silver output for 1731 was a mere £2,182 which would have gone towards minting Crowns, Halfcrowns, Shillings, Sixpences and smaller silver.
George II (1727-60), silver Halfcrown, 1739, young laureate and draped bust left, Latin legend and toothed border surrounding, GEORGIVS. II. DEI. GRATIA. rev. crowned cruciform shields, roses in angles, garter star at centre, date either side of top crown, M.B.F. ET. H. REX. F.D. B.ET. L. D. S. R. I. A. T ET. E. edge inscribed in raised letter and dated, DECVS. ET. TVTAMEN. ANNO. REGNI. DVODECIMO., 15.07g (Bull 1679; ESC 600; S.3693). Toned with light wear to hair, some surface marks, has been slabbed and graded by NGC as AU53.NGC certification 8368437-015The Latin legends translate to on obverse "George II by the Grace of God" continuing on the reverse in abbreviated Latin which if in shown in full reads "Magnae Britanniae Franciae et Hiberniae Rex Fidei Defensor Brun et Lunebergen-sis Dux, Sacri Romani Imperii Archi-Thesaurius et Elector" and translates as "King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." The inscription on the edge translates as "An ornament and a safeguard, in the twelfth year of the reign."The roses reverse is traditionally thought to be indicative of silver sourced from English mine operations only and the most recent update about this is to be found in "The Metal in Britains Coins" by Graham Birch.We note the silver output for the calendar year of 1739 was £10,528 and this output and would have been spread across Crowns, Halfcrowns, Shillings, Sixpences and small silver.
George II (1727-60), silver Halfcrown, 1732, young laureate and draped bust left, Latin legend and toothed border surrounding, GEORGIVS. II. DEI. GRATIA., rev. crowned cruciform shields, roses and plumes in angles, garter star at centre, date either side of top crown, M.B.F. ET. H. REX. F.D. B.ET. L. D. S. R. I. A. T ET. E., edge inscribed in raised letter and dated, DECVS. ET. TVTAMEN. ANNO. REGNI. SEXTO., 15.03g (Bull 1675; ESC 596; S.3692). Toned with wear to high points, some digs, has been slabbed and graded by NGC as XF45.NGC certification 8368437-013.The Latin legends translate to on obverse "George II by the Grace of God" continuing on the reverse in abbreviated Latin which if in shown in full reads "Magnae Britanniae Franciae et Hiberniae Rex Fidei Defensor Brun et Lunebergen-sis Dux, Sacri Romani Imperii Archi-Thesaurius et Elector" and translates as "King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." The inscription on the edge translates as "An ornament and a safeguard, in the sixth year of the reign."The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.We note the silver output for 1732 was a mere £2,620 which would have gone towards minting Crowns, Halfcrowns, Shillings, Sixpences and smaller silver.
George II (1727-60), silver Crown, 1741, young laureate and draped bust left, legend and toothed border surrounding, GEORGIVS. II. DEI. GRATIA., rev. crowned cruciform shields, eight strings to Irish harp, roses in angles, garter star at centre, date either side of top crown, M.B.F. ET. H. REX. F.D. B.ET. L. D. S. R. I. A. T ET. E., edge inscribed in raised letter and dated, DECVS. ET. TVTAMEN. ANNO. REGNI. DECIMO. QVARTO, 30.09g (Bull 1666; ESC 123; S.3687). Toned with wear to high points of portrait on hair and eye, has been slabbed and graded by NGC as XF45.NGC certification 8368422-010.The Latin legends translate to on obverse "George the second by the Grace of God" continuing on the reverse in abbreviated Latin which if in shown in full reads "Magnae Britanniae Franciae et Hiberniae Rex Fidei Defensor Brun et Lunebergen-sis Dux, Sacri Romani Imperii Archi-Thesaurius et Elector" and translates as "King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." Additionally on the edge as "an ornament and a safeguard, in the fourteenth year of the reign."We note the silver output for the calendar year of 1741 was £9,486 and this output and would have been spread across Crowns, Halfcrowns, Shillings, and Sixpences.The roses reverse is traditionally thought to be indicative of silver sourced from English mine operations only and the most recent update about this is to be found in "The Metal in Britains Coins" by Graham Birch.
Anne (1702-14), silver Pre-Union Halfcrown, 1704, plumes reverse, first draped bust left, Latin legend and toothed border surrounding, ANNA.DEI. GRATIA., rev. Pre-Union crowned cruciform shields, Welsh plumes in angles, seven strings to Irish harp, garter star at centre, date either side of top crown, Latin legend and toothed border surrounding, .MAG: BR: FRA. ET. HIB: REG:, edge inscribed in raised letters of upright orientation to obverse, .+ DECVS. ET. TVTAMEN. ANNO. REGNI. TERTIO, 14.88g (Bull 1359 R2; ESC 570; S.3581). Toned with weakness to higher points, some adjustment marks on one plume, long scratch from 04 of date, has been slabbed and graded by NGC as XF details reverse scratched.NGC certification 8368437-007.The Latin legends translate as on the obverse "Anne by the Grace of God," and abbreviated on the reverse as "Queen of Great Britain, France and Ireland." and additionally on the edge "An ornament and a safeguard, in the third year of the reign."The plumes reverse indicate that this coin is made from silver sourced from mining companies associated with Wales, for further reading see "The Metal in Britain's Coins" by Graham Birch. The total output of silver from the Mint in the calendar year of 1704 amounted to £12,422 which probably includes continued production of 1703 dated coins from the VIGO treasure.
George II (1727-60), silver Halfcrown, 1735, young laureate and draped bust left, Latin legend and toothed border surrounding, GEORGIVS. II. DEI. GRATIA., rev. crowned cruciform shields, roses and plumes in angles, garter star at centre, date either side of top crown, M.B.F. ET. H. REX. F.D. B.ET. L. D. S. R. I. A. T ET. E., edge inscribed in raised letter and dated, DECVS. ET. TVTAMEN. ANNO. REGNI. OCTAVO., 14.87g (Bull 1677; ESC 598; S.3692). Toned with wear to high points revealing brighter elements, has been slabbed and graded by NGC as XF details cleaned.NGC certification 8368444-002.The Latin legends translate to on obverse "George II by the Grace of God" continuing on the reverse in abbreviated Latin which if in shown in full reads "Magnae Britanniae Franciae et Hiberniae Rex Fidei Defensor Brun et Lunebergen-sis Dux, Sacri Romani Imperii Archi-Thesaurius et Elector" and translates as "King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." The inscription on the edge translates as "An ornament and a safeguard, in the eighth year of the reign."The roses and plumes on the reverse are indicative of metals sourced from mines in England and Wales operated by the London Lead Company which occurred on some years of coinage from 1706 in the reign of Queen Anne until 1737 in the reign of George II. For further reading see new publication "The Metal in Britain's Coins" by Graham Birch, Chapter Fourteen.We note the silver output for 1735 was a mere £3,460 which would have gone towards minting Crowns, Halfcrowns, Shillings, Sixpences and smaller silver.
George II (1727-60), silver Halfcrown, 1741, young laureate and draped bust left, Latin legend and toothed border surrounding, GEORGIVS. II. DEI. GRATIA. rev. crowned cruciform shields, roses in angles, garter star at centre, date either side of top crown, M.B.F. ET. H. REX. F.D. B.ET. L. D. S. R. I. A. T ET. E. edge inscribed in raised letter and dated, DECVS. ET. TVTAMEN. ANNO. REGNI. DECIMO. QVARTO, 14.97g (Bull 1681; ESC 601; S.3693). Wear to high points both sides, perhaps once cleaned with a light overtone, good fine to almost very fine.The Latin legends translate to on obverse "George II by the Grace of God" continuing on the reverse in abbreviated Latin which if in shown in full reads "Magnae Britanniae Franciae et Hiberniae Rex Fidei Defensor Brun et Lunebergen-sis Dux, Sacri Romani Imperii Archi-Thesaurius et Elector" and translates as "King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Luneberg, High Treasurer and Elector of the Holy Roman Empire." The inscription on the edge translates as "An ornament and a safeguard, in the fourteenth year of the reign."The roses reverse is traditionally thought to be indicative of silver sourced from English mine operations only and the most recent update about this is to be found in "The Metal in Britains Coins" by Graham Birch.We note the silver output for the calendar year of 1741 was £9,486 and this output and would have been spread across Crowns, Halfcrowns, Shillings, and Sixpences.
* GRAHAM H D MCKEAN, RAINY WALK pastel on paper, signedmounted, framed and under glassimage size 64cm x 49cm, overall size 86cm x 70cm Note: In 1996, after 17 years as a graphic designer, Graham McKean decided to commit himself totally to producing his oil paintings. Graham McKean’s paintings have featured in numerous exhibitions and are increasingly appearing at the U.K.’s leading auction houses. His work has now become highly collectible and is held in prestigious private and public collections worldwide. Graham also supports a number of charities through events and auctions. A review by the late W. Gordon Smith (Art Critic, The Scotsman), described the work of Graham McKean as a cross between the painters John Byrne and Stanley Spencer, but with an “interesting bite”. Graham McKean needs little introduction to our buyer audience having been consistently one of our most popular and best selling artists since the inaugural Scottish Contemporary Art Auction in November 2008.
* JACQUELINE ORR RSW RGI PAI (SCOTTISH b. 1961) IN THE GARDEN mixed media on board, signedmounted, framed and under glassimage size 28cm x 35cm, overall size 48cm x 57cm Note: Jacqueline Orr was born in Glasgow in 1961 and studied Drawing and Painting at Glasgow School of Art under the tutelage of Dr James D Robertson, Dr Barbara Rae, Dr Jack Knox and Dr John Cunningham. James Robertson was her mentor until his death in 2010. A few years after graduating from Glasgow School of Art, she gained an MSc in Information Technology from the University of Glasgow and worked in the private sector, specialising in IT and technical project management while simultaneously pursuing her painting career. However, by the beginning of 2004, she found herself frustrated by the lack of time to paint and decided to paint on a full time basis. She set up studios both in Scotland and in France and is now based full-time in Scotland. I'm a painter. I tend to be drawn to subjects that visually stimulate me. In addition, the process and the craft of making paintings are very important to me, so draughtsmanship, mark making, composition and the intelligent use of colour are all key tenets of my work. I try to make best use of these tools to create rich and dynamic paintings. Jacqueline Orr exhibits widely and has gained a number of awards. 2013 Elected member of the Royal Glasgow Institute Of The Fine Arts (RGI) 2013 Mackintosh Residency, Collioure 2009 Riverside Gallery Exhibition Award (RSW) 2009 The Joe Hargan Award, Paisley Art Institute 2008 RSW Alexander Graham Munro Award, Royal Scottish Society of Painters in Watercolour 2007 Elected member of Royal Scottish Society of Painters in Watercolour (RSW) 1996 Armour Award, Royal Glasgow Institute Of The Fine Arts 1995 James Torrance Memorial Award, Royal Glasgow Institute Of The Fine Arts 1983 Armour Prize, Glasgow School of Art
GRAHAM H D MCKEAN, PLENTY MORE FISH IN THE SEA oil on canvas, signed, titled versoframedimage size 50cm x 50cm, overall size 68cm x 68ccm Note: In 1996, after 17 years as a graphic designer, Graham McKean decided to commit himself totally to producing his oil paintings. Graham McKean’s paintings have featured in numerous exhibitions and are increasingly appearing at the U.K.’s leading auction houses. His work has now become highly collectible and is held in prestigious private and public collections worldwide. Graham also supports a number of charities through events and auctions. A review by the late W. Gordon Smith (Art Critic, The Scotsman), described the work of Graham McKean as a cross between the painters John Byrne and Stanley Spencer, but with an “interesting bite”. Graham McKean needs little introduction to our buyer audience having been consistently one of our most popular and best selling artists since the inaugural Scottish Contemporary Art Auction in November 2008.
* GORDON HOPE WYLLIE RSW (SCOTTISH 1930 - 2005), MACLEOD'S TABLES, SKYE mixed media on paper, signed and titledmounted, framed and under glassimage size 21cm x 50cm, overall size 43cm x 70cmNote: Gordon Wyllie was born in Greenock and in 1949 was accepted to study at the Glasgow School of Art. Under the tutelage of such luminaries as Edward Odling and Mary and Willie Armour, Gordon distinguished himself, graduating in 1953 after an eminent final year. He was awarded the post-diploma, or Masters course, won the Scottish Academy Award and also the Newbery Medal, the school's most prestigious prize. This was all the more remarkable considering that Gordon had, in his diploma year, returned home to care for his father, whose seriously deteriorating health ended in death two months before the degree show, and Gordon himself had suffered a bout of pneumonia. With a scholarship award, he studied that summer at Hospitalfield, Arbroath, as a post-graduate under Ian Fleming. Fleming inspired Gordon and encouraged him in abstraction, with which he occupied himself for the next few years. Meanwhile, he trained at Jordanhill College of Education in Glasgow to become a teacher, in the vanguard of the resurgence of art teaching in Scottish schools by the new art masters, undoubtedly because they painted actively while teaching full-time. Passionate about art education, he was instrumental in influencing many students to pursue a career in the creative industry. A former pupil aptly described his classroom as a "guided exploration rather than a formal lesson". His love of the Scottish countryside is mirrored in his work and undoubtedly stemmed from the bank of images he built when, as a youngster, he travelled with his parents around the country. Argyll and the Western Isles were his favourite destinations, where he was fascinated by the crofts and farms sprouting from the land. Small houses typified his landscapes and still-lifes included abstracted landscapes; flowers, particularly poppies, fruit and fish feature in his later output. In 1996, he was awarded the Alexander Graham Munro prize at the RSW exhibition in Edinburgh. His work featured regularly in one-man and combined shows and at his last one-man show in London in 2003, demand for his paintings remained high, as it has done ever since.
GRAHAM H D MCKEAN, NIGHT WATCHMAN oil on canvas, signed, titled versoframedimage size 25cm x 25cm, overall size 43cm x 43cm Note: In 1996, after 17 years as a graphic designer, Graham McKean decided to commit himself totally to producing his oil paintings. Graham McKean’s paintings have featured in numerous exhibitions and are increasingly appearing at the U.K.’s leading auction houses. His work has now become highly collectible and is held in prestigious private and public collections worldwide. Graham also supports a number of charities through events and auctions. A review by the late W. Gordon Smith (Art Critic, The Scotsman), described the work of Graham McKean as a cross between the painters John Byrne and Stanley Spencer, but with an “interesting bite”. Graham McKean needs little introduction to our buyer audience having been consistently one of our most popular and best selling artists since the inaugural Scottish Contemporary Art Auction in November 2008.
GRAHAM H D MCKEAN, SORROW oil on canvas, signed, titled versoframedimage size 25cm x 25cm, overall size 43cm x 43cm Note: In 1996, after 17 years as a graphic designer, Graham McKean decided to commit himself totally to producing his oil paintings. Graham McKean’s paintings have featured in numerous exhibitions and are increasingly appearing at the U.K.’s leading auction houses. His work has now become highly collectible and is held in prestigious private and public collections worldwide. Graham also supports a number of charities through events and auctions. A review by the late W. Gordon Smith (Art Critic, The Scotsman), described the work of Graham McKean as a cross between the painters John Byrne and Stanley Spencer, but with an “interesting bite”. Graham McKean needs little introduction to our buyer audience having been consistently one of our most popular and best selling artists since the inaugural Scottish Contemporary Art Auction in November 2008.
GRAHAM H D MCKEAN, OLD SCHOOL oil on canvas, signed, titled versoframedimage size 25cm x 25cm, overall size 43cm x 43cm Note: In 1996, after 17 years as a graphic designer, Graham McKean decided to commit himself totally to producing his oil paintings. Graham McKean’s paintings have featured in numerous exhibitions and are increasingly appearing at the U.K.’s leading auction houses. His work has now become highly collectible and is held in prestigious private and public collections worldwide. Graham also supports a number of charities through events and auctions. A review by the late W. Gordon Smith (Art Critic, The Scotsman), described the work of Graham McKean as a cross between the painters John Byrne and Stanley Spencer, but with an “interesting bite”. Graham McKean needs little introduction to our buyer audience having been consistently one of our most popular and best selling artists since the inaugural Scottish Contemporary Art Auction in November 2008.
Jean Dryden Alexander (British, 1911-1994) A Small Bouquetsigned lower rightoil on board 28.5cm x 23cmProvenance:The Oriel GalleryJean was the daughter of the East Anglian landscape artist, Robert Graham Dryden Alexander and regularly exhibited at the Royal Academy and the New English Art ClubFrame size: 46cm x 40.5cm
Clarice Cliff & John Armstrong - Chaldean - An Art In Industry tureen and cover circa 1934, hand painted with stylised horses and dash lines with brown banding over a white glazed ground, artists signature together with Bizarre mark, width 26.5cm. NB - This was designed by John Armstrong for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
John Armstrong - E Brain & Co Ltd (Foley) - A tea cup and saucer, circa 1934, painted with swimming fish over a brown brushed ground, printed marks and facsimile signature, painted pattern no.Y615, height 7.5cm, together with a sauce boat, brown glazed band and painted four pointed starts to the lip, facsimile signature to base, length 18cm. NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Graham Sutherland - Foley China - A 'White Rose' pattern trio, circa 1930, produced for the Modern Art for the Table Project, culminating in the Harrods Exhibition, comprising cup, saucer and side plate, printed marks to base and facsimile signature, painted pattern no.V626, diameter of saucer 16cm. (3) NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Clarice Cliff - Duncan Grant - Poppy - An Art In Industry tureen and cover circa 1934, hand painted with stylised flowers and foliage with a dot and swagged line border over a white glazed ground, artists signature together with Bizarre mark, width 26.5cm. NB - This was designed by Duncan Grant for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Thomas Acland Fennemore - Foley China - A part tea service, circa 1930, decorated with interlocking bubbles and wavy line border, in tones of pink, blue and grey, comprising four cups, saucers, side plates, bread and butter plate, milk jug and sugar bowl, printed black marks and facsimile signature, marked First Edition, painted pattern no. V608, maximum width 24cm.NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
Dame Laura Knight - Foley China - A 'Cupid' trio, monochrome roundel depicting cupid and maidens, withing striped jade green and wavy line border, printed black marks and facsimile signature, marked First Edition, painted pattern no.V611, together with a matching side plate, diameter 18cm. (4) NB - This was designed for the 1934 Harrods and Art in Industry 'Modern Art for the Table' exhibitions. Marked 'First Edition'. In 1934 Foley China and Clarice Cliff were asked to produce a range of table wares for the exhibitions and notable artists of the day such as Paul Nash, Laura Knight, Duncan Grant, Graham Sutherland, Gordon Forsyth, Ben Nicholson and Barbara Hepworth were invited to submit designs. Due to poor marketing, the public were largely unaware of the designs and after an initial twelve sets were commissioned of each, further production was halted.
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