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Los 1152
British Coins, George III, proof farthing, 1806, K on truncation, date double-struck, laur. bust r., rev. Britannia std. l., holding trident and olive branch (S.3782; P.1386), about mint state An extremely interesting coin, with a double-struck date reading 11880066. The portrait is the one used on the 1806 Irish farthings.
Los 12
British Coins, George IV, sovereign, 1823, laur. head l., rev. St. George and the dragon (S.3800; Marsh 7, [R3 in any condition]), a marvellous example, lustrous with choice surfaces, certified and graded by PCGS as Mint State 63+ Certainly the finest known of this very rare date, and the only example graded MS63+ by PCGS Superior to the Bentley specimen, which fetched £18,000. This is a special coin. Retaining so much lustre, as a rarity seldom seen in any condition approaching that of the presently offered coin, it is indeed a special example of the rarest date sovereign of this design type. In all, some 21 million sovereigns of the Laureate Head style were coined between 1821 and 1825, but only during 1823 did the mintage fall below one million (616,770 struck in 1823). After only five years, this regal style ended, being replaced at the king’s own command by the Bare Head portrait issue. It’s a familiar story that, during 1823, in the middle of this style’s short existence, a new portrait showing George IV without the laurel wreath and more thin-faced was first prepared as a medallion by Sir Francis Chantrey. The obverse die for the sovereign was engraved by J.B. Merlen, as the senior engraver Pistrucci famously refused to simply copy the work of another artist. The king approved of it without delay, and in mid-year 1825 the new portrait began to appear. George IV was a luxurious man who had admired a large bust of himself in this style, showing him to be slimmer in demeanour than the Laureate portrait suggested; but he was not slim at all, and in fact the first style of portrait, as seen on this sovereign, is the more lifelike. There seems to be no specific reason for this date’s rarity. Economic activity in 1823 was not out of the ordinary and in reality, it was a period of economic plenty, and this would account for the issuance of a then-novel £2 gold coin, struck only during 1823 for commerce, the same time as this sovereign was minted. Half-sovereigns of 1823 were accordingly also struck in smaller numbers compared to other dates in this series. It is a logical assumption, then, that the £2 coin was seen, at the time, as fulfilling the requirement for gold used in commercial transactions, although clearly the larger coin was deemed unnecessary in subsequent years, as no others were made for commercial purposes until the Jubilee issue of 1887. We must ultimately conclude that sovereigns of 1823 saw continual use, wore down over the years, and that the majority of remaining pieces were part of the 90 million sovereigns melted into bars by the Bank of England during 1930 and 1931.
Los 14
British Coins, George IV, sovereign, 1825, laur. head l., rev. St. George and the dragon (S.3800; Marsh 9 [R2 in any condition]), lustrous with only minimal abrasions, certified and graded by PCGS as Mint State 62, clearly among the top few best pieces known of the 1825 sovereign with the laureate portrait of the king Very rare and superior to the Bentley specimen that realised £7440. Only four other examples graded MS62 by PCGS.
Los 146
British Coins, Victoria, sovereign, 1880/70, B of BP very small, WW incomplete, buried in narrow truncation, horse with long tail, first young head l., rev. St. George and the dragon (cf. S.3856A), certified and graded by PCGS as About Uncirculated 58, scarce The overdate not listed in the Standard Catalogue for examples with the first portrait and a long-tailed horse. Only two other examples graded AU58 by PCGS.
Los 1636
British Commemorative Medals, Emma, Lady Hamilton (1765-1815), white glass paste cameo portrait, late-18th century, by James (1735-1799) or William (1777-1860) Tassie , after a gem by Filippo Rega, her head and shoulder bust to r., as ‘Hope’, her hair with single braid and wearing band, signed in Greek below ΡΕΓΑ, 52 x 43mm., the cameo 40 x 32mm. (cf. S. Comfort, Matthew Boulton’s Naval Medals, Wimbledon 2017, p. 94, a contemporary plaster cast illustrated), in a Victorian gold brooch mount with floral embellishments, a delightful and rare image, much as made In the portrait, Lady Hamilton’s hair is bound and braided in a self-conscious attempt at a Grecian coiffure, designed to complement Emma’s famous Grecian profile or here Elpis, the Goddess of Hope. The cameo is identical to that in the National Maritime Museum (JEW0338), there attributed to William Tassie, this in a gilt-metal mount and set in a black frame; the British Museum has a similar but intaglio image (1867,0708.1), in amber glass, set in gold frame with suspension loop attached, for use as a seal and supposed to have been owned by Lord Nelson. A left-facing hardstone cameo with a very similar image was sold at Sotheby’s, Trafalgar - Nelson and The Napoleonic Wars, including The Matcham Collection, 5 October, 2005, lot 154. Filippo Rega (1761– post 1833), born in Chieti on 26th August 1761, he was trained in Rome by the famous Pichler family between 1776 and 1787, before moving to Naples where he became director of the Laboratorio della Pietre Dure di Napoli, an institution founded by Carlo di Borbone in 1738.
Los 1640
British Commemorative Medals, Frederick, Duke of York, Death, copper medal, 1827, by Benedetto Pistrucci (1783-1855), bare head of the Duke r., in high relief, FREDERICK DUKE OF YORK AND ALBANY, rev. legend and date in 23 lines, ADMIRABLE AND EXEMPLARY ..., 60mm. (BHM.1283; Eimer 1189; Stef pl.26; Marsh pl.20), an excellent portrait, good extremely fine
Los 1648
British Commemorative Medals, Anti-Slavery, Thomas Clarkson (1760-1846), Abolitionist, silver medal, 1840, for the British and Foreign Anti-Slavery Society Convention, London, by J. Davis, bust r. in frock coat, rev. kneeling slave in chains, arms raised to God, legend encircling, 51.5mm. (BHM.1977; Eimer 1342, neither list in silver), toned, nearly extremely fine and exceedingly rare The portrait on the medal copies the painting by Benjamin Robert Haydon (now in the National Portrait Gallery) of the 81 year old Clarkson, President of the Society, speaking at the Convention held in the Great Room of the Freemasons’ Tavern, London in June 1840.
Los 1666
Foreign Medals, Russia, Peter I, the Great, Catherine II, the Great and Alexander I, terracotta coloured wax sulphide impressions of the portrait obverses of medals, c.1820, by Pingret (2) and Andrieu; others (7): Prussia, Frederick the Great, by Georg Holtzhey; Friedrich Wilhelm III, by Gayrard; Napoleon and Charlemagne, by Andrieu; Napoleon, King of Rome, by Andrieu; Henri, Count of Chambord (disputedly King Henry V of France, 2-9 August 1830), by Levèque; Marie-Thérèse-Charlotte de France, Madame Royale, known after her marriage as the Duchesse d’Angoulême, by Gayrard; Prince Eugène de Beauharnais, Viceroy of Italy and stepson of Napoleon, by J. Losch, each set in card border, top edge gilt, very fine and decorative (10)
Los 1673
Foreign Medals, Sweden, Count Nicodemus Tessin, the Younger (1654-1728), Baroque architect, city planner and administrator, silver medal, 1728, by Johann Carl Hedlinger (1691-1771), his draped bust to right, with flowing hair, N TESSIN COM REGNI SVEC SEN ET S MARESCH, rev. Minerva seated by broken column with shield, globe and other emblems, PROFERT ET PROTEGIT ARTES, 62mm. (Felder 73; Hild. p.107, 4), extremely fine with dark tone, especially on the obverse, rare *ex Alan Irvine Collection and Spink, NC November, 1999 (4902) The medal was commissioned by his son, Karl Gustav Tessin, in the year of Nicodemus’s death. The popular medal was used as a prize medal for the arts. The portrait is considered to be one of Hedlinger’s finest.
Los 1674
Foreign Medals, Sweden, Johann Carl Hedlinger (1691-1771), self-portrait medals (2), the ‘Lagom’ medal, in copper, 1733, his head l., rev. an owl with helmet, spear and shield stands to the left, head turned back, Λ Α Γ Ο Μ, 35.5mm. (Felder 134; Hild.6; illus), a most pleasing example, mount-mark on top edge, otherwise extremely fine, scarce; bronzed white-metal, 1730, head and shoulders bust l., IOHANNES CAROLVS HEDLINGER, rev. fringed cloth covers plinth, on which sits a mirror, NE DISSIMVLA NE LVSINGER, 41.5mm. (Felder 114; Hild.169), this struck from flawed dies, scratch on reverse, very fine, very rare (2) *ex Alan Irvine Collection The Greek legend on the first spells the Swedish word ‘Lagom’, which became Hedlinger’s motto, implying ‘not too much and not too little’.
Los 1689
British Banknotes, Misprints and Erros, J. S. Fforde, ten shillings (4), 1967-68, 37R 157922, extra paper lower left side; 05S 627104, paper concertina error; 23W 535553, missing upper serial number; 44W 817836, 44W 817836, slightly faded portrait at right (Dugg. B309), second and third extremely fine or better, others very fine to good very fine (4)
Los 17
British Coins, George IV, sovereign, 1825, bare head l., rev. crowned shield of arms (S.3801; Marsh 10), a superior example of this type, generally sharp with an excellently detailed royal portrait and showing almost full details in the shield, the satiny lustre showing some small abrasions in the soft gold and some small marks mostly on the obverse rim, lovely old-gold colour, certified and graded by PCGS as Mint State 64 Only two other examples graded MS64 by PCGS.
Los 2031
Ancient Coins, Roman, Macrinus (AD 217-218), silver denarius, struck AD.218, IMP C M OPEL SEV MACRINVS AVG, laur., dr. and cuir. bust r., rev. P M TR P II COS P P, Macrinus, togate, seated l., on a curule chair, holding globe and short sceptre, wt. 3.48gms. (RIC.27; BMC.47; C.51; RCV.7341), an outstanding example, excellent portrait, perfectly struck, lustrous and mint state *ex Spink Numismatic Circular, August 2001, vol. CIX, no.4, item RM0460
Los 2050
British Coins, Henry VI, first reign, noble, annulet issue (1422-1430), London mint, king standing in ship holding sword and shield, three lis in upper l., quarter, annulet by sword arm, two ropes to l., one rope to r., ornaments in top line of hull 1-1-1, quatrefoils 3/3, trefoil stops in legend, lis after first word, rev. annulet stops in legend, initial mark lis, h at centre, ornate cross with lis terminals, crown over lion in each angle, within beaded and linear tressure of eight arcs, fleurs in spandrels, annulet in upper r., spandrel, beaded circle surrounding, outer beaded border both sides, wt. 6.97gms. (S.1799; N 1414; cf. Schneider 282), fully round on a broad flan with outer border visible, otherwise well struck with a good facial portrait, a pleasing coin, practically extremely fine *ex Phil Wallick, Simpsonville, Maryland, USA, c.1998
Los 2068
British Coins, Charles I, triple unite, Oxford mint, mm. plumelet on obverse only, 1644, small module, crowned half-length armoured bust l. holding long thin sword and olive branch, gloved hand on top of beaded circle, no scarf, diamond-shaped stops, rev. Declaration in three bands of a wavy scroll, mark of value ‘III’ centred above with three plumes around, date below with OXON underneath, wt. 26.52gms. (S.2729; N.2385 [extremely rare]; Brooker 842, this coin; Sch.304; B-J dies VIII/L8), about extremely fine, on a fully round uncracked flan, portrait of the king and much of reverse sharply detailed but softly struck in areas, as illustrated, because struck from rocker dies, no serious abrasions, pleasing gold colour *ex J. Nunn, 27 November 1896, lot 434, £12-8-0 ex O’Hagan, 16 December 1907, lot 154, £5-5-0 ex J. Dudman, 15 December 1913, lot 111, £8-12-6 ex J. Bliss, Sotheby’s, 22 March 1916, lot 347, £9 ex J. G. Brooker, SCBI, 33:842 ex Spink Numismatic Circular, February 1983, 177 ex Glendinings, 15 October 1985 ex St. James’s Auction 20, 18 November 2011, lot 55 In our modern collectors’ world, obsessed with quality, it is easy to forget that for many coins ‘MS63’ or whatever numerical grade might apply is not especially relevant to the pursuit of quality historical coinages. In the case of emergency issues or siege coins, mere survival is something of a miracle. Such coins were typically born of momentary good fortune in the face of impending doom, and survivors somehow escaped the punishments of the ages that followed their creation. Certainly this is true of the massive Triple Unites of King Charles I, each valued contemporaneously at three pounds sterling and struck in soft gold. Literally speaking, a mere handful of those created at the temporary Oxford Mint during the Civil War have survived the ages. Perplexing difficulties compromised Charles’s traditional divine right, ranging from his marriage to the Catholic princess Henrietta Maria of France to revolts in Ireland and Scotland, but most serious of all were his seemingly endless clashes with Parliament. Early in his reign he enjoyed a strong popularity with his subjects at large and with his aristocratic court, but this began to fail during the Thirty Years War, when his alliances suggested that he sided with Catholic ecclesiastics. As time went on, needing funds he reintroduced, against the wishes of Parliament, long-obsolete feudal taxes including the widely hated Ship Tax. Through his first quarter century as monarch, an unusual number of internal political/religious battles lessened his popularity while external war threatened his kingdom. At last, members of the ‘Long Parliament’ seized power in January 1642, forcing Charles to march north. He reached Nottingham by late August, then went on to Oxford, where he set up court in October and began to make ready for war. Lacking income from taxes, he had a dire need for support from local loyalists. On 26 October, the Civil War commenced at the Battle of Edgehill. In the college town of Oxford, the king found friendly souls; they must surely have been most welcome sights for the beleaguered monarch. His supporters saw first and foremost, beyond the instant need to protect the king’s person, that his cause would quickly fail without financing of his army. Lacking such aid, Charles would be captured and dethroned, and quite possibly killed. Loyalists rallied, and the king’s mint at Oxford continued to issue money in his name until sometime in May 1646. All during this time, coinage was solely the king’s prerogative, traditionally his right and his alone in the kingdom, and the history abounds with stories of college plate and other local riches being converted to money bearing the king’s name, perhaps most famous of all being his massive Triple Unites in gold, which were the ultimate pledges of his monetary power and by far the largest repositories of wealth in coinage form. Most of this money coined at Oxford saw use for procuring supplies, arms, rents and other necessities, not least of which was loyalty. The smaller denominations from Oxford and other local, temporary mints paid soldiers and bought goods for the cause. At one of the war’s early skirmishes, at Wellington, the king had urged support when he made what has come down through history to be called the Wellington Declaration. He vowed to uphold, even enforce, the Protestant religion, the laws of England, and the liberty of parliament—thereby seeking to dissuade any and all opponents that he was pro-Catholic, or a monarch who might disavow laws for his convenience. His vow became his war slogan and it appears as the central reverse inscription on this and other triple unites. Most of the war’s famous battles and sieges - at Naseby, Newark and Oxford - ended by the spring of 1646 but negotiations for peace failed and open hostilities began again in the summer of 1648, led by a Scots invasion. The Civil War ran intermittently from the autumn of 1642 until Charles was beheaded on 30 January 1649. Never before had an English king been brought to trial as a monarch, accused of treason, and executed. Although they outlived him, most of the coins made at Charles’s rudely established mints disappeared long ago. At their best, even when new, most bore witness to the anguish of the king as they were sometimes poorly engraved, unevenly struck, and blemished at issue. None of this money was likely to be saved for posterity. Some was intentionally defaced and melted by the king’s enemies. By the time the Civil War ended, the concept of monarchy had changed forever. Even the king’s centuries-old sole right to issue money had vanished. The Triple Unite we see in this lot was one of the last of its kind made at the king’s mint at Oxford - in fact, the last of the truly royal money. It remains as mute testimony to some of the nation’s most troubled times. Within five years of its creation, the kingship it proclaims had ended. The Latin legend which appears above and below the Declaration, on the reverse of this coin, expressed more hope than reality. Exurgat Deus Dissipentur Inimici translates to mean ‘Let God Arise, Let His Enemies Be Scattered’, but the royal assertion failed. Divine right was gone. The king was dead. The age-old monarchy died off with him. And yet, today’s collectors may still hold the king’s hopes in their hands, here in this golden emblem of its age.
Los 2084
British Coins, George III, proof guinea, 1787, laureate bust r., rev. crowned spade-shaped shield, plain edge (S.3728; WR.104 as R3), certified and graded by PCGS as PR65 CAM Terner, a gem example of this type, dies engraved by Pingo and clearly struck in proof state to memorialize the first date of issue of the Spade guinea, the king’s portrait heavily frosted against the mirrored field, as are the royal shield and all letters of the legends on both sides, with rich gold colour, clearly an exceptionally fine guinea with a provenance to the now-famous collection of American collector Jacob Y. Terner, M.D.
Los 2115
British Coins, William IV, proof pattern sovereign 1830, 2nd bust, rev. crowned garnished shield of arms, plain edge (S.3829B; WR.260 as R5), certified and graded by PCGS as PR63 Deep Cameo, faintest hairlines in the fields, splendid frosted portrait of the new king as well as deep frosted contrast on the reverse shield, a beautiful example of the first sovereign date of this reign, struck prior to the coronation (on 8 September 1831)
Los 2118
British Coins, William IV, sovereign, 1832, 2nd bust, rev. crowned garnished shield of arms (S.3829B), certified and graded by PCGS as MS64, exceptionally choice with intense satiny lustre, minor disturbance on the obverse but the portrait is sharply struck, the reverse boldly detailed in the royal shield and a distinct die-break following the date
Los 2122
British Coins, Victoria, sovereign, 1851, young head l., engraver’s initials W.W. in relief, rev. crowned shield of arms within wreath (S.3852C), certified and graded by PCGS as MS65, a truly beautiful coin having very little disturbance in the soft lustre on either side, the portrait and royal shield both sharply struck, rare thus and among the finest to be found
Los 2168
British Medals, William IV, official gold medallion for the Coronation, 1831, by William Wyon, after Sir Francis Chantrey, RA, bust of William IV r., rev. diademed bust of Queen Adelaide r., each portrait signed C on truncation, 33mm., wt. 27.52gms. (BHM.1475; Eimer 1251), some light surface marks, small scratch on reverse from Queen’s neck to hair, otherwise about mint state and frosted 965 specimens struck.
Los 24
British Coins, William IV, pattern sovereign, 1830, plain edge, second portrait, bare head r., rev. crowned shield of arms (S.3829B; W&R.260 [R5, 6-10 known]; Nobleman 203; DM.178), evidence of some handling, bold proof impression, beautifully mirrored fields surrounding frosted images of the king and his royal shield, certified and graded by PCGS as Proof 62 Deep Cameo, only one other example graded PF62DC by PCGS Victoria’s uncle reigned just short of a decade, having spent most of his adult life in the Royal Navy, where he was influential in its modernisation and as a result of which he was sometimes called ‘the sailor king’ by admirers, who were relatively few as he was not an outgoing person; he seemed lacking in many kingly qualities, doubtless as a result of his experience at sea and in the Admiralty until his older brother, George IV, left the crown to him. The kingdom itself enjoyed prosperity during these years, which marked the end of the Romantic Age in the arts. Politically and militarily this was the beginning of the modern empire; it would be Victoria who led the nation into a new period of military might, but it was her Uncle William who prepared the way by advancing the naval forces. William’s coinage included tiny silver and bronze coins made purposely for use in far-flung reaches of the empire, where few of his subjects would encounter his gold sovereigns and none would ever have set eyes on a coin like this, a deluxe proof specially made to show off the coin’s qualities to best advantage, and an image of the king as custodian of the realm. Commercial sovereigns of this reign are invariably entirely different from this coin, as their lustre is satiny, whereas here we see the king’s image set off by watery mirrored fields. J. B. Merlen’s elegant royal shield on reverse also captivates the viewer’s eye. ‘Regal’ is a fitting description of this very rare golden treasure.
![British Coins, William IV, sovereign, 1831, first portrait, bare head r., rev. crowned shield of arms (S.3829; Marsh 16 [R2])](https://cdn.globalauctionplatform.com/fe061505-a236-4de7-9c43-a94c00d57363/6deb1200-c8d4-446b-f268-e8f318854d76/468x382.jpg)
Los 25
British Coins, William IV, sovereign, 1831, first portrait, bare head r., rev. crowned shield of arms (S.3829; Marsh 16 [R2]), highly lustrous and sharply struck with normal light abrasions, mostly in the fields, certified and graded by NGC as About Uncirculated 58 This appealing example ranks with the better pieces to come to market in recent years and is easily distinguished from later, more commonly seen dates by the style and fullness of the curls in front of the king’s ear, as well as his nose pointing to the second N rather than the I in the title. It is a distinctive portrait that is rarely seen. This is a high-end specimen for the variety.
Los 26
British Coins, William IV, sovereign, 1831, WW without stops, first portrait, bare head r., rev. crowned shield of arms (S.3829A; Marsh 16 [R2 for the date]), certified and graded by PCGS as Mint State 64+ Certainly the finest known - the only example graded MS64+ by PCGS - and as such exceedingly rare.
Los 27
British Coins, William IV, proof sovereign, 1831, plain edge, second portrait, bare head r., rev. crowned shield of arms (S.3829B; W&R.261 [R3, extremely rare]; Nobleman 205/6; DM.179), a beautiful example taken from one of the coronation sets of this year, nearly as struck with only faint handling, certified and graded by PCGS as Proof 64 Deep Cameo, among the finest available - only five other examples graded PF64DC by PCGS
Los 29
British Coins, William IV, sovereign, 1832, first portrait, bare head r., rev. crowned shield of arms (S.3829; Marsh 17A), a sharp coin having full lustre on the reverse but some abrasions on the obverse, also a few noticeable marks on the king’s portrait, certified and graded by PCGS as Mint State 62, this portrait variety very rarely seen Probably the finest known of this great rarity and the only example graded MS62 by PCGS.
Los 35
British Coins, Victoria, proof sovereign, 1838, plain edge, young head l., rev. crowned shield of arms within wreath (S.3852; W&R.300 [R4, 11-20 known]; DM.202), a lovely coin indeed, certified and graded by PCGS as Proof 64 Deep Cameo, exceptionally rare as a proof date, among the finest known and the only example graded PF64DC by PCGS This splendid sovereign, seen normally only in the finest of advanced collections, was the product of one of the most skilled die engravers in history, William Wyon. It is very similar to his patterns of 1837 and 1838 (WR.296-299) but here on this proof we see Victoria more lifelike, with a fuller neck and face, her portrait in fact a bit larger than on any of the patterns (which are also denoted by the presence of a tiny star-like rose on each side of the date). Evidently Wyon was experimenting with the overall appearance, adjusting the size of the image of the queen as well as the placement of the royal titles. The final proof, as seen here, is a stunning testament to the engraver’s sense of artistic perfection.
Los 37
British Coins, Victoria, sovereign, 1838, ‘narrow shield’ variety, young head l., rev. crowned shield of arms within wreath (S.3852A; Marsh 22A), obvious commercial wear on the queen’s portrait most notably, but the fields also show wear and some abrasions, the strike being somewhat soft, certified and graded by PCGS as About Uncirculated 53, only one other example graded AU53 by PCGS, extremely rare The reason for this reverse die’s existence on some sovereigns of 1838 and 1843 remains a mystery, but over recent decades a search has been on worldwide for coins exhibiting this variant of the royal shield, with few coins being located of either date. The 1843 is the more famous but 1838 appears to be rarer. While the mintage for this first year of issue of gold sovereigns for Queen Victoria was sizable at more than 2.7 million pieces, its rarity today is likely explained by Challis (A New History of the Royal Mint, page 484): he states that ‘by 1835 the quantity of light [worn] gold in circulation was worrying enough to be the subject of a Mint report to the Treasury. . . . Between July 1842 and March 1845 some £14 million in light coin, roughly one-third of the total gold circulation, was withdrawn and replaced’. Into that melt, it would seem, poured most of the unknown quantity of ‘narrow shield’ sovereigns dated 1838.
Los 899
An early 19th Century oil on canvas portrait of a Regency gentleman in an oval gilt frame Condition Report;The portrait is in very good condition. May possibly have been re varnished at some stage.No signs of any damage or repair to the canvas.Sizes are approximately;59 cm top to bottom including the frame. 49 cm across including the frame.Portrait size;51 cm top to bottom. 41 cm across.
Los 169
Various GB uncirculated coin sets, etc., Queen Elizabeth II 70th Birthday Commemorative crown, 1997 Commemorative crown x 2, one in outer plastic wrapping, Credit Union part coin set, various annual coin sets, 2016, 2014, Emblems of Britain uncirculated coin set, Royal Portrait Collection, etc. (a quantity)
Los 179
Various uncirculated GB coin sets, to include a £2 1997 Industrial Development, HS 50p coin, Queen Elizabeth Commemorative crown, Britain's new coinage £2, £1, and 50p 2005, 400th Anniversary of The Gun Powder Plot £2 coin, Royal Mint Queen Elizabeth II Portrait Collection, Prince of Wales 50th Birthday Commemorative crown, Equestrian Crown Collection etc. (a quantity)
Los 236
Portrait Miniature of a Georgian Officer in the 33rd Regiment of Foot, finely painted miniature showing the officer in scarlet coatee wearing winged epaulette and regimental cross belt plate. Believed to be of Captain later Major Frances Ralph West who commanded the Grenadier Company at Seringapatam in 1799. Miniature is set into a glazed gilt oval frame with broad pin to the reverse. Very good overall condition.
Los 35
The Spirit of Prayer. Selected and Compiled by Herself, from Various Portions Exclusively on that Subject, in Her Published Volumes by Hannah More. London, Printed for T. Cadell, and W. Blackwood & Sons, Edinburgh, 1836. Tenth edition. 8vo. pp. x, 226. Bound with: Practical Piety; or, the Influence of Religion of the Heart on the Conduct of the Life by Hannah More. London, T. Cadell, and W. Blackwood and Sons, Edinburgh, 1838. Seventeenth edition. pp. vii, [I], contents, 264. Engraved portrait frontispiece of the author. Ownership inscription of H. Strickland on verso of front free endpaper. Contemporary half brown calf, marbled boards, raised bands, gilt decorated spine, red leather label lettered gilt on spine, all edges marbled. Spine darkened and marked, extremities rubbed, some staining to joints and endpapers.
Los 19
Etruria, Populonia AR Diobol (?). Late 4th - 3rd century BC. Head of Silenus facing / Blank. Cf. EC I, 123. 1-3; HN Italy 232; SNG ANS 23. 0.64g, 10mm. Extremely Fine. Unique and unpublished. From the collection of a Swiss Etruscologist, and outside of Italy prior to December 1992. An important addition to the corpus of Etruscan numismatics, the die for this previously unknown silver fraction was engraved in an elegant style, evidently by an artist who was no stranger to facing portrait design - as well we might expect of Populonia.
Los 462
Time of Pompey the Great Æ20 of Soloi-Pompeiopolis, Cilicia. Pseudo-Autonomous issue, circa 66-48 BC. Bare head of Pompey the Great right / ???????????????, Nike advancing right, holding palm and wreath; monogram above POY ?H. RPC I -; SNG France 1217. 5.91g, 20mm, 11h. Good Very Fine. A fine style portrait of Pompey Magnus. Sold with export licence issued by The Israel Antiquities Authority.
Los 233
Kingdom of Macedon, Alexander III 'The Great' AV Stater. Babylon, circa 315-311 BC. Struck under Peithon, for Antigonos I Monophthalmos. Head of Athena right, wearing triple-crested Corinthian helmet, loop earring and double-banded necklace / Nike standing left, wings spread, holding laurel wreath and stylis; monogram in wreath below left wing; BA?I?E?? to left, A?E?AN??O? to right. Price -; Waggoner, Babylon 258a-b var. (helmet type); SNG Copenhagen 637 var. (same); Roma IV, 224 (same dies). 8.56g, 19mm, 3h. Good Extremely Fine. Extremely Rare. This stater variety bearing the monogram within wreath and no secondary symbol is not included in Price's vast work on the coinage of Alexander. Two similar coins were however noted by Waggoner, with one residing in the BM and the other in Copenhagen. However, including the present specimen only four examples with this very particular obverse portrait type are known. This issue is remarkable not only for its rarity, but also for the innovative and fresh nature of the obverse die, which presents us with an abstemious but elegant Athena. The goddess' helmet, which usually displays a coiled serpent, flying griffin or seated sphinx is here completely unadorned. What was previously identified as a 'pellet ornament' on the bowl is in fact two loops - part of the metalwork that attaches the right hand crest to the outside of the helmet. Athena herself, who on these staters is almost exclusively depicted with an intricate drop-pendant earring and pearl necklace, now wears a simple loop earring and a plain double-banded necklace or torque. The engraver has combined these features with a skilled portrait of Athena in a high classical feminine style. The result is an intriguingly demure Olympian; a vision of understated beauty.
Los 755
Commodus, as Caesar, AV Aureus. Rome, AD 175. COMMODO CAES AVG FIL GERM, bare-headed and draped bust right / LIBERALITAS • AVG, Commodus, togate, seated to left on curule chair set on platform, extending right hand; Liberalitas standing to left before, holding abacus and cornucopiae; togate citizen at base of platform standing to right, left foot on steps, holding out fold of toga in both hands. RIC 597 (Aurelius); MIR 18, 304-12/13, pl. 2 (same obv. die); Calicó 2274 (same dies); BMCRE 635 (Aurelius and Commodus), pl. 66, 4 (same rev. die); Biaggi -. 7.02g, 19.5mm, 6h. Good Extremely Fine. Extremely Rare, one of only two examples on CoinArchives, and the first issue to feature the portrait of Commodus. Ex Classical Numismatic Group 100, 7 October 2015, lot 1907. In AD 175, Commodus entered the College of Pontiffs and thus begun his career in public life. In the same year, he gave a congiarium, as commemorated on this coin, this being a gift to the people usually from the emperor but here given by the teenaged heir. Congiaria were originally distributions of oil or wine (congius meaning a measure of liquids) but the emperors’ gifts grew more generous over time to include grain and money and thus the word congiarium disappeared from the numismatic legend to be replaced with liberalitas - the spirit of imperial generosity. We can date this liberalitas thanks to a comment in the Historia Augusta which states that before his departure to the East with his father in AD 175, Commodus “in his fourteenth year…even though still in the youth’s praetexta gave largess” (Historia Augusta 2.1). Therefore, this took place around June 175, during the time of the revolt of Avidius Cassius. Avidius Cassius had been appointed governor of Syria by Marcus Aurelius and had by AD 173 successfully quelled the revolt of the Bucoli in Egypt at the head of a large army, second only in power to Marcus Aurelius himself. Cassius remained in Egypt following the rebellion, ruling the East in the name of the emperor who was spending much of his time fighting the Germanic tribes away from Rome. It is said a rumour that Marcus Aurelius had died from an illness on the Danube reached Cassius, who then persuaded his legions to acclaim him emperor. Another report is that Faustina, fearing for her husband’s ill health and what this would mean for her young son Commodus, goaded Cassius to usurp Aurelius (see Historia Augusta, Avidius Cassius, 7). Whatever the case, Cassius, whether aware of Marcus Aurelius’ good health or not quickly gained support in the East, with Egypt, Syria and most of the Asian provinces declaring for him. He controlled much of the East for three months, during which time Aurelius, who had been forced to withdraw from the Marcomannic war to deal with the usurper, amassed troops and prepared to march east to depose Cassius. This rebellion proved to be the catalyst for a hastening of Commodus’ official entry into adulthood and assumption of imperial duties. He assumed his toga virilis on the Danubian front on 7 July 175 during preparations for the campaign against Cassius and, as this coin demonstrates, was also entrusted with performing deeds usually carried out by reigning emperors. Cassius’ rebellion lost momentum as soon as news reached the East that Aurelius was approaching with a greatly superior military force than Cassius had at his disposal. He was murdered by one of his centurions sometime in late July AD 175, as Egypt chose to recognise Aurelius again on July 28. Perhaps realising his need for a secure succession and reliable imperial colleague, two years later Marcus Aurelius made Commodus consul - the youngest consul in Roman history - and later in the same year Commodus was given the titles of Imperator and Augustus, elevating him to the position of co-emperor despite his being only sixteen years old.
Los 696
Vespasian Æ Sestertius. Judaea Capta series. Rome, AD 71. IMP CAES VESPASIAN AVG P M TR P P P COS III, laureate head right / IVDAEA CAPTA, Vespasian standing right, holding spear and parazonium, foot on helmet; before him, Jewess in attitude of mourning seated to right on cuirass beneath palm tree. RIC 167; BMCRE 543-4; BN 497-8; Hendin 1504. 19.71g, 31mm. Extremely Fine. Privately purchased from B&H Kreindler; Ex Brody Family Collection, The New York Sale XXXIX, 10 January 2017, lot 236 (cover coin); Ex Abraham Bromberg Collection Part II, Superior Galleries, 10 December 1992, lot 611. Struck for 25 years by Vespasian and his sons Titus and Domitian, the Judaea Capta coins were issued in bronze, silver and gold by mints in Rome, throughout the Roman Empire, and in Judaea itself. They were issued in every denomination, and at least 48 different types are known. The present piece proudly displays imagery of this significant Roman victory, after which Vespasian boldly closed the gates of the Temple of Janus to signify that all of Rome's wars were ended, and that the Pax Romana again prevailed. The obverse portrait of Vespasian shows him as strong, robust and in the prime of life; the reverse celebrates Rome and Vespasian's triumph over the Jewish revolt in Judaea, which Titus had brought to a close the previous year with the capture of Jerusalem after a seven month siege and the destruction of the Second Temple. It had been a costly and devastating war which had cost the lives of twenty five thousand Roman soldiers and somewhere between two hundred and fifty thousand and one million Jewish civilians. The reverse design is simple, but contains powerful imagery: a Jewish woman is seated in an attitude of mourning beside a date palm; behind her looms large the figure of the victorious emperor. It has been occasionally suggested that the female figure represents Jerusalem, and it is sometimes noted that the reverse of this coin can be interpreted to reflect the prophecy of Isaiah 3:8, 25-26: 'For Jerusalem is ruined, and Judah is fallen... Thy men shall fall by the sword and thy mighty in the war. And her gates shall lament and mourn, and she being desolate shall sit upon the ground'. It is also possible that the reverse is symbolic of the general enslavement of the Jewish population; Josephus reports that one of Titus' freedmen "selected the tallest and most handsome of the youth and reserved each of them for the triumph; of the rest, those over seventeen years of age he sent in chains to the mines in Egypt, while multitudes were presented by Titus to the various provinces, to be destroyed in the theatres by the sword or by wild beasts; those under seventeen were sold". The Arch of Titus in Rome, completed by his brother Domitian shortly after his death and in commemoration of this victory, depicts the Roman army carrying off the treasures from the Temple of Jerusalem, including the Menorah, after the siege of the city had ended. The spoils were used to fund the building of the Flavian Amphitheatre, more commonly known as the Colosseum, the great lasting monument of the Flavian dynasty.
Los 54
Etruria, Populonia AR 10 Asses. Circa 300-250 BC. Laureate male head right, with sideburn; + behind / Blank. EC I, 74, 1-2 (O14) HN Italy 169. 4.12g, 20mm. Near Extremely Fine. Extremely Rare; the finest of three recorded examples from this die (two of which are in private hands including this example, one in Berlin), and one of only five examples from this issue, of which two are in Museums (Berlin, Florence). From the collection of a Swiss Etruscologist, and outside of Italy prior to December 1992. The quality of die engraving employed in the production of this issue is considerably superior to that of the preceding and following series, which all display a more angular technique, resulting in a much less individualistic and instead more stylised portrait. The laureate male head on this issue is by contrast far more refined, and would have been out of place in Sicily or mainland Greece; indeed, the style is somewhat reminiscent of some of the finer Apollo portraits struck on coins at late fourth century Katane and early third century Olynthos, as well as generic statuary depictions of classical Greek athletes.
Los 637
Sextus Pompey AR Denarius. Uncertain mint in Sicily (Catania?), 42-40 BC. MAG•PIVS• IMP•ITER, diademed and bearded head of Neptune right; trident over left shoulder / Naval trophy set on anchor, top of trident visible above helmet; the arms composed of the stem of a prow in right and aplustre in left; heads of Scylla and Charybdis at base; PRAEF•CLAS•ET ORAE•MARIT•EX•S•C around. Crawford 511/2a; RSC 1a; Sydenham 1347; CRI 333. 3.74g, 19mm, 12h. Good Extremely Fine; attractive old cabinet tone. Ex Molard Collection, Switzerland. It has been remarked that the coinage of Sextus Pompey was a step towards the propagandistic issues of the Roman emperors. Having decided upon an affinity with Neptune, he minted a series of coins depicting the god and continuing his theme of pietas. This virtue was highly valued in Roman society; the city's founder Aeneas' epithet is pius and tradition details that his piety was three-fold; to his father, his homeland and the gods. Pompey was not the only imperator to draw upon the Aeneas myth on his coinage (see Crawford 458/1), however he was unique in commandeering a theme and using it repeatedly. His earliest denarii feature a personification of the goddess Pietas (Crawford 477/1a), but references become subtler and more complex on later issues as per the present example. Here, Pompey Magnus is remembered within the obverse legend, with Pietas also explicitly referenced. Sextus Pompey does not allow us to forget that it was the Senate who declared him praefectus classis et orae maritima, tying his patriotism in neatly. This military title lends itself obviously to Neptune, whose portrait is displayed on the obverse. The naval trophy not only alludes to Pompey's naval victories but also to his piety towards Neptune to whom he is reported to have sacrificed 100 bulls and in whose honour a live horse was flung into the sea, along with an offering of gold (Florus 2.18.3).
Los 766
Caracalla AV Aureus. Rome, AD 205. ANTONINVS PIVS AVG, laureate, draped and cuirassed bust right / PONTIF TR P VIII COS II, Mars standing left, right foot on helmet, holding olive branch and reversed spear. RIC 80a; BMCRE 476; C. 419; Calicó 2777. 7.16g, 20mm, 5h. Fleur De Coin. A bold portrait, struck on a broad flan. Lustrous metal and perfect surfaces. Rare. Ex Hermann-Joseph Lückger Collection, Dr. Busso Peus Nachf. 417, 2 November 2016, lot 409; Ex Getrudenstrasse Hoard, found in Cologne in 1909. The Getrudenstrasse Hoard was found by workmen digging the foundation of a building. It consisted of approximately 15,000 denarii and 150 or so aurei - a sizeable accumulation. Many of the coins of that hoard bear a distinctive colouration similar to that of the Boscoreale Hoard, derived from the decomposition of the original container.
Los 638
Sextus Pompey AR Denarius. Uncertain mint in Sicily (Catania?), 42-40 BC. Bare head of Pompey Magnus right; capis behind, lituus before; MAG•PIVS•IMP•ITER around / Neptune standing left, holding aplustre and with foot on prow, between the Catanaean brothers, each carrying a parent on their shoulders; PRÆF above, [CL]AS•ET•ORÆ•[MARIT•EX•S•C] in two lines in exergue. Crawford 511/3a; CRI 334; RSC 17. 3.66g, 19mm, 11h. Good Extremely Fine; attractive old tone. A superb portrait of Pompey Magnus. Privately purchased from Agora Numismatiek.
Los 668
Claudius I Æ Sestertius. Rome, AD 41-42. TI CLAVDIVS CAESAR AVG P M TR P IMP, laureate head right / EX SC OB CIVES SERVATOS in four lines within oak wreath. Von Kaenel type 54; C. 39; BMCRE 115; RIC 96; CBN 152. 29.60g, 35mm, 6h. Good Extremely Fine. A magnificent portrait of Claudius in the finest style. Ex Roma Numismatics VII, 22 March 2014, lot 1001 (hammer: £16,000). Ex James Howard Collection. Struck for his accession, the reverse of this stunning sestertius bears a simple yet pleasing type that highlights Claudius’ familial ties to Augustus while at the same time bestowing upon him the honour of the corona civica, the award traditionally given to those who had saved the life of a citizen. A prerogative that was passed to each new emperor ‘by decree of the Senate’ (EX S C), the corona civica had originally been granted to Augustus for ending the strife of the civil wars and thus ‘saving’ the citizens of Rome.
Los 370
Ptolemaic Kingdom of Egypt, Cleopatra VII Thea Neotera Æ Obol - 40 Drachmai. Alexandria, circa 51-30 BC. Diademed and draped bust right / K?EO?ATPAC BACI?ICCHC, Eagle standing left on thunderbolt; cornucopia to left, M to right. Svoronos 1872; Weiser 184-5; SNG Copenhagen 422-4; Noeske 383. 8.77g, 22mm, 11h. Extremely Fine; in outstanding condition for the type, with a high-relief portrait of fine style. Sold with export licence issued by The Israel Antiquities Authority. Much has been written concerning the differences in appearance of the queen on her various coinage issues, and the apparent inconsistency in depicting both her age and beauty. Collectors often wonder at her plain appearance on the surviving coins both in her sole name and those issued jointly with Marc Antony, an appearance which seems at odds with her famous seduction of two of the most powerful men in history – first, Julius Caesar in 48/47 BC when she was twenty-one, then Marc Antony in 41/40 BC, the year this coin was struck. Surviving busts of Cleopatra certainly are more flattering than her coinage; the exaggeration of certain features on the coinage can often be explained by deliberate emphasis on attributes associated with strength and power, notably the angular jaw and chin, and distinctive Ptolemaic nose.
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