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Preisdatenbank abonnierenAn undated archaistic silver-coloured metal tubular box, lid and base made from a coin with portrait and Chinese characters; body of box decorated with meander pattern to the border and pair of cray fish to the centre. 79 grams, 55mm (2 1/4"). Private collection, London, UK; acquired prior to 1990. [No Reserve] Fine condition.
A pair of undated archaistic silver-coloured metal items consisting of; a oval lidded box with portrait of Chairman Mao to the top with Chinese characters below; a snuff bottle with figures of two ladies in a garden with central plant, red glass stopper to the top. 103 grams total, 45-75mm (1 3/4 - 3"). Acquired on the London art market in the late 1980s. [2, No Reserve] Fine condition.
13th-19th century AD. A mixed group including three bronze jews harps; a lead spindle whorl; forty-three lead musket and pistol balls; a lead gunpowder measure; fifty harness rings; a lead disc weight with male portrait bust; a bronze scorpion mount; two snake belt-clasps; a dished pendant; thirty-seven crotal bell fragments; five buttons; seven bronze drop handles; thirty other bronze and silver items. 1.9 kg total, 8-44mm (1/4 - 1 3/4"). The Chris Rudd collection, Norfolk, UK; formed since the 1970s; collection number DM2,5,12,14,22,25,40,41,43,46 and 50; found near Downham Market, Norfolk, UK. Chris Rudd has collected ancient coins and antiquities since the 1940s. As an amateur archaeologist he found many himself at Badbury Rings, Dorset, 1952-53. He also dug at Hod Hill with Professor Sir Ian Richmond and at Wroxeter with Dame Kathleen Kenyon and Dr Graham Webster. Today he is best known as a Celtic coin dealer. His catalogues have been described as ‘an important research source’ by Professor Sir Barry Cunliffe and ‘treasure houses of delight’ by Dr Anne Ross. Coins and artefacts associated with Chris Rudd – as a collector, dealer and valuer – can be seen in The British Museum and other museums. This collection was formed since the 1970s. [182, No Reserve] Fair condition.
Portrait of a Lady, late 19th century pencil indistinctly signed, Study of A Mouse, pen and ink on fabric, Still Life of Flowers, watercolour signed by Daisy Smith (British 1891-1963), Low Petergate, York, signed D.A.H and 'Cat on a Sill, ltd.ed woodblock print by M Cousin max 33.5cm x 28.5cm (5) Condition Report Click here for further images, condition, auction times & delivery costs
A porcelain portrait miniature, garnet and diamonds set ring, an oval portrait miniature within a frame set with vari-cut garnets and rose cut diamonds in collet settings, to forked shoulders on a plain polished shank, finger size P1/2 (a.f.) and a chased gilt metal locket pendant (2)The portrait miniature is heavily worn and hairlined. There are traces of lead solder to the reverse.
British Coins and Medals, William IV, proof crown, 1831, bare head r., W. WYON raised on truncation, rev. crowned shield of arms over mantle (S.3833; ESC.273 [R4]; Bull 2460; KM.715), certified and graded by PCGS as Proof 63, with evenly distributed, deep magenta blue toning This choice crown varies from the coins issued in the rare Coronation Sets of 1831, which express the engraver’s initials simply as ‘W.W.’ incuse on the truncation of the king’s portrait. More than likely, this specimen was struck earlier; then Wyon’s name was abbreviated, and the proofs for the set were struck. It is probably more correct technically to call this coin a pattern, and it is very rare. An opportunity for the astute collector of crowns to acquire a piece that remains less than fully appreciated.
British Coins and Medals, Benedetto Pistrucci (1783-1855), an original white wax portrait design, seemingly for the farthing of the first issue copper coinage of George IV, c.1821, the left-facing draped bust, laureate with 13 leaves in wreath, tied behind the head with ribband, set onto a thin circle of slate, squared for scale, 103mm. (cf. Stefanelli, vol I, pl. 23; vol II, 42-51; cf. Peck pp.392-393, 1407-1416; cf. BDM IV, p. 617, somewhat similar piece illustrated; cf. Pyke, pp.108-111), expected surface hairlines, bruising and scuffs to wax, but a highly important discovery and an exceedingly rare survivor The portrait is also very close to that chosen for the coinage, but the neck is not truncated, rather it descends into a mantle or gown. Other waxes by Benetto Pistrucci exist though most are now in Museum collections (see Stefanelli [Pirzio Biroli Stefanelli, Lucia, Roma, Museo della Zecca. Modelli in cera di Benedetto Pistrucci, Rome, 1989).
Foreign Coins and Medals, Italy, Ferrara, Alfonso I d’Este (1503-1534), gold doppio ducat, undated, bearded bust l., rev. Christ and the Pharisee, wt. 6.85gms. (Belesia 9a/c; Ravegnani Morosini 2; MIR 268; Fr.268), a fine profile portrait, rich colour with traces of orange toning within the legends, good very fine for issue and extremely rare *ex NAC Auction 76, December 2013, lot 49 ex Baldwin’s Auctions 101, September 2016, lot 3521
British Coins and Medals, Benedetto Pistrucci (1783-1855), hand-written note in five lines, to a Mr. Webb, dated 6th April, 1821 and addressed from the Royal Mint: ‘M. Pistrucci presenta i suoi rispetti a M. Webb e gli fa noto che avendo ricevuto il di lui grazioso invito della conversazione, vi farà un onore d’intervenire il giorno prefisso’ [Mr. Pistrucci sends his respects to Mr. Webb, informing him that having received his kind invitation for discussions, he will honour you with his presence on the specified day], below, in red and another hand, ‘Engraver to the Mint’, lightly mounted on heavier paper, approx. 178 x 113mm., in good order One contender for the recipient of this letter was John Webb (1776–1869), divine and antiquary, who ‘was a devoted student of antiquities … elected a fellow of the Society of Antiquaries in 1819’. Mostra, Rome 1956 (p.80, 13), identifies him as the sitter in a red wax portrait (in the Mint Museum, Rome), though Stefanelli, vol. I, 164, 152, lists the same wax as ‘Ignoto’ [unknown]. Stefanelli however quotes a letter (published in 1875) reading, ‘In the meantime, Mr. Webb, a great amateur of cameos, heard I had arrived, and, without knowing me, sent me an invitation to call at the house of a Mr. Charman, the owner of a shop for gems and other articles of virtù, at the corner of Albermarle street, Piccadilly …’ Another contender was John Webb (1799-1880), a London dealer, upholsterer, cabinet-maker and collector of the 1850s and 1860s, of 8 Old Bond Street and 13 George Street. A friend of Sir Henry Cole, he was an adviser to the South Kensington Museum (now the Victoria and Albert Museum), to whom, on his death, he left £10,000 for the purchase of objects. His biography seems more suited to a man who would go out of his way to meet Pistrucci, but in 1821 he would have been very young to be making such approaches.
British Coins and Medals, George IV, pattern crown in silver, 1825, bare head l., rev. crowned shield of arms over mantle, edge plain (S.3806; ESC.255 [R3]; Bull 2331; L&S.20), a superb example of one of the rarest crown patterns of the nineteenth century, featuring a full impression of the dies producing crisp details, completely free of blemishes, with mirrored surfaces exhibiting delightful pinkish blue iridescent toning; the finest we have seen, truly a treasure, FDC Engraving genius William Wyon produced this splendidly detailed portrait of King George IV reputedly at the behest of the king, who found himself inspired by a marble bust of himself crafted by Francis Legett Chantrey, which Wyon dutifully copied. The king had disliked the first image of his profile, created by ‘that Italian’, Benedetto Pistrucci. He was a vain monarch. Pistrucci’s ‘Laureate Head’ did not do justice to his elegant features. It made him look too pompous, too much like a Roman emperor, or so he must have thought. In fact it was a realistic portrait. Wyon’s new image made him appear thinner, more the refined English gentleman. For the revised coinage of 1825 onward, it was paired with the magnificent, crowned royal shield engraved by J.B. Merlen. Its baroque quality was much in keeping with the king’s preferences in art, as evidenced perhaps most vividly by the style of his retreat at Brighton. In this pattern, then, we see majesty portrayed at its most splendid, as the king himself preferred it. In the following year, this pattern was re-dated 1826 and produced as a proof for inclusion in the ‘long’ Proof Set, but these two coins are the only means of collecting the crown of this Bare Head style. In rarity, the 1826 pales by comparison to this pattern of the previous year, the year of inspiration for the revised coinage.
†British Coins and Medals, Mary, ‘fine’ sovereign, mm. pomegranate, 1554, crowned figure of queen enthroned facing, holding orb and sceptre, portcullis at feet, rev. shield of arms at centre of full-blown rose wt. 15.15gms. (S.2488; N.1956), has been lightly brushed and cleaned, light scratch on drapery, otherwise virtually extremely fine for issue and still with a strong portrait
G British Coins and Medals, Victoria, proof five pounds, 1839, ‘Una and the lion’, lettered edge, young head l., 9 leaves to rear fillet, rev. crowned figure of the queen as Una, wearing a long flowing gown, standing. to l. holding orb and sceptre, guiding a lion behind her, date in Roman numerals below, DIRIGE legend translating as ‘May God Direct My Steps’, small lettered TERTIO edge (S.3851; W&R.279; Fr.386; KM.742), certified and graded by NGC as Proof 65 Ultra Cameo, a magnificent Proof striking, one of the finest graded, and one of the finest in existence, a rare opportunity, second only to the proof 66 sold as part of a set in Baldwin’s Aucttion 96, September 2015. Boldly detailed, beautifully frosted portrait as well as Una motif, with distinct orange-peel texture to the surfaces and light haziness attesting to the originality of this specimen, a few stray old contact marks restricted to the fields, and faint hairlines; very close to FDC, very rare, and one of the most-wanted of all British gold coins The story is familiar, the mythical tale it is based on is ancient, but here we see a classic, exquisitely produced golden rarity whose origins and emblematic significance certainly bear repeating. In the Elizabethan epic poem by Edmund Spenser, the legend of The Faerie Queene was born. Ethereal Una, companion of the Redcrosse Knight in Book One of the allegorical poem, captivated readers’ imaginations for generations: she was more of the spirit than of the flesh, a delicate lady whose knight protected her virtue and her being with undying loyalty. Una was young, untried, innocent but majestic. Two centuries after the poem appeared, a new age in England evolved, and to the poets and adventurers of the Romantic Age no image had more appeal or offered more inspiration than did the mythical Una, who seemed so much like the new Queen Victoria, for she, too, was young, untried, innocent and majestic. At the Royal Mint, recently situated outside the ancient fortress on Tower Hill, the greatly talented engraver William Wyon sought to capture the public’s imagination and its loyalty to the young Victoria by working to create an image that would endure the ages. By so doing, he also secured his own position, for who could doubt the mastery of the largest gold coin appearing in Victoria’s coronation coin set of 1839? Not only was his sensitive portrait of the young queen lifelike and most beautiful, but his image of ‘Una’ leading the British lion across the Empire and across time itself truly captured the essential spirit of the last years of the Romantic Age, when adventuring ruled the British mind and when the world seemed Britain’s for the taking. Victoria’s ‘little wars’ around the globe were all yet to be played out, and Victoria herself faced the kinds of challenges that no teenager could ever imagine. Over the coming decades, both defeat and triumph would burn into Britain’s collective body politic as the wild escapades of Lord Byron and his contemporaries of the first four decades of the nineteenth century metamorphosed into the realities of conquest and dominion, and as Great Britain reached the zenith of its imperial ambitions. Victoria’s most cherished coin occurs with two small variant reverse legends, based on Psalm 119:133 and translating to state, or perhaps to pray, ‘May God Direct My Steps’. William Wyon in 1839 seemed to sense and express the untenable future of the Empire by the use of this legend, but his image of the queen guiding the British nation, engraved so beautifully on this coin, did foretell a future of unquenchable belief in Britain’s right to be great. Drawing on inspiration from an earlier age, the engraver achieved something few artists ever have - an indelible image of his own times, the Victorian Age.
British Coins and Medals, Victoria, proof crown in pure silver, 1847, edge plain, ‘Gothic’ bust l., rev. crowned cruciform shields (S.3883; ESC.291A [R6]; Bull 2580), nearly as struck, a brilliant Proof with reflective surfaces showing scattered abrasions but almost none touching the portrait, with a blush of delicate pinkish gold toning Very little is known or has been recorded about this unusual piece, struck not in the standard silver alloy but in nearly pure silver, which surely accounts for the noted abrasions in a softer metal than was the norm: doubtless mistaken over the years for the usual Gothic issue, and consequently not well handled when being examined. In English Silver Coinage, Alan Rayner simply noted that it was made for presentation purposes, giving no other detail. But was it really? Was it more likely a trial striking made to test the alloy? The rarity rating of R6 suggests that only 3 or 4 pieces are known. If this was in fact made for VIPs, wouldn’t there be more? If a trial piece, that sounds about right. Lacking documents, we will likely never know for certain. Of course, the crown preceded the Gothic-style florin, first struck in 1851, bearing the obverse legend of the crown but with the date not moved to the reverse, as on the crown. And here we encounter a curious controversy that may, possibly, have begun with the legend used on the crown, where the national name in Latin is abbreviated just slightly, so as to fit the space. On the florin, this was further abbreviated to just ‘brit’ for 1851, then changed to ‘britt’ beginning in 1868. Again, space did not permit the name in full. But the first abbreviation used on the florin was technically incorrect, as C. E. Challis points out (A New History of the Royal Mint, page 511): ‘Wyon had had to proceed under the watchful supervision of the queen and the prince consort, and visits to Osborne and Buckingham Palace had been necessary before the queen gave her approval. On one point there was later public controversy: the doubling of the T of BRITT in the inscription on the obverse. Here the classical scholarship of the chancellor himself had saved the Mint from error, but lesser minds failed to understand the application of the Latin rule that the final consonant of an abbreviation should be doubled when necessary to indicate the plural.’ Victoria’s bronzes first struck in 1860 all use the proper BRITT abbreviation. The two versions appear only within the Gothic florin series, and the legends are perfectly proportional on the Gothic crowns, but at some time beginning in the late 1840s the ‘controversy’ briefly occurred. Was young Victoria part of it? Was Prince Albert? Both provided ‘watchful supervision’, Challis declared. Was this ‘pure silver’ Gothic crown one of the VIP pieces shown to the royal couple? Was it a trial piece specially minted in pure silver for their inspection? Could it be that Victoria herself held this very coin, upon which her approval rested? After all, she was the ultimate VIP.
Foreign Coins and Medals, Italy, Milan, Galeazzo Maria Sforza (1466-1476), gold ducat, undated, cuirassed bust r. rev. helmeted arms, dividing the letters GZ and M, wt. 3.51gms. (Crippa 3; Mor 4; Fr.688), a fine Renaissance portrait, minor scratches in reverse field, otherwise good very fine and rare
British Coins and Medals, George III, pattern crown in silver, 1817, by William Wyon, the ‘Incorrupta’, draped laur. head r., date below, rev. crowned shield of arms, with Latin legend INCORRUPTA FIDES VERITASQUE (‘An Untarnished Faith’) surrounding, edge plain (ESC.229 [R4]; Bull 2029; L&S.159), certified and graded by PCGS as Proof 65, evenly toned in shades of russet grey, a couple of ancient shallow nicks on the king’s cheek, otherwise close to FDC, very rare and a classic British crown Named for the first word of the legend on its reverse, which features an unusually bold and crisp image of the royal shield, this is one of a pair of classic patterns conceived and engraved by William Wyon, who at the time was an under-engraver at the Royal Mint. Linecar and Stone comment rightfully that the large shield of arms occupying the centre of the reverse of this coin bears more than a little resemblance to the shield engraved in the middle of the seventeenth century by Thomas Simon. It also broke the tradition of a cruciform royal crest seen during much of the previous two centuries on crowns. Wyon’s portrait of the aged king was also an extraordinary feat of engraving. It differs from his portrait engraved for the Three Graces crown, which is simpler and sharper looking, but here we see King George perhaps a bit more lifelike and wearing an elegant drape around his neck. Curiously, while the lengthy obverse legend fits perfectly around the portrait on the Three Graces coin, here it seems a bit ‘busy’ and, as Linecar and Stone point out, it ends buried in the king’s drapery: this is unusual, they describe, ‘bearing in mind the mathematical accuracy of the designs of William Wyon which set a standard rarely equalled before or since his time’. But the design was not accepted, and in the following year, 1818, a simpler and more compact portrait was mated with Pistrucci’s St. George motif, to produce 5-shilling coins for commerce. The issued coin appeared for a scant three years, when the king suffered most from his mental imbalance; he passed away probably never having seen examples of his ‘New Coinage’ and surely never having laid eyes upon any of Wyon’s majestic patterns. *ex F Willis, Glendidning 7/10.1991, Lot 465 Dr. Rees Jones, Spnk 19/11/1996, Lot 200
G British Coins, Alderney, Elizabeth II, gold 1000 pounds, 2012, Chinese Year of the Dragon, diademed head r., rev. dragon, 0.999 fine, wt. 1005gms., issued by The Royal Mint, with certificate, in original polished wooden lockable display case of issue, brilliant mint state and extremely rare Number 4 of mintage of only 10 pieces. The coin is legal tender in Alderney, the third largest of the British Channel Islands. The obverse bears the acclaimed portrait of The Queen by Ian Rank-Broadley, FRBS and its unique dragon reverse was created by the most senior engraver at the Royal Mint, Gordon Summers
LILLIAN W. O'NEILL, "P.H. Pearse (1879-1916)", a profile portrait, head and shoulders, in pastel, signed, inscribed and dated 1979, 7.5" (19cm)h x 7.5" (19cm)w; together with an oval facsimile print of Pearse; a coloured portrait print "Countess Markievicz" after a watercolour by Holloway; another black and white ditto; and a small 19th century needlework picture on silk. (4)
Mary 1553 - 1554 Silver groat, London, rippled, fair Elizabeth I 1558 - 1603 - 1567 silver sixpence, near fine Elizabeth I 1558 - 1603 - 1592 silver sixpence, near fine Elizabeth I 1558 - 1603 silver groat crack across portrait, fair Elizabeth I 1558 - 1603 silver half groat, London, near fine Elizabeth I 1558 - 1603 silver half groat, London, worn Elizabeth I 1558 - 1603 silver threepence, cracked, poor Elizabeth I 1558 - 1603 silver threepence, poor Elizabeth I 1558 - 1603 silver penny, poor (9)
Henry II 1154 - 1189 silver penny, tealby type, poor Henry II 1154 - 1189 cut halfpenny, tealby type, fine Henry III 1216 - 1272 silver longcross penny, London mint, clear fine portrait Henry III 1216 - 1272 silver penny, Canterbury mint, edge clipped, fair Henry III 1216 - 1272 cut in two penny, fine (5)
A Doulton Lambeth stoneware jug commemorating the life of Benjamin Disraeli, with a portrait medallion to the front, and incised with quotes from a speech at the House of Commons, 7 Dec 1837, together with two other Doulton Lambeth jugs commemorating Queen Victoria's Golden Jubilee and the 60th Anniversary of her coronation, 18cm high (3)
A pair of early 19th Century portrait miniatures of Thomas Tobin and Esther Watson, dated 1806 oil on ivorine, 7 x 5cm in fitted easel stand case and three others comprising Gentleman, Lady and Olivia Maria Ellis at 3 Years old, oils on ivorine, 9 x 6cm and smaller, all in fitted easel stand cases (4)
Richard II 1377 - 1399 silver halfpenny, London, fair/fine Richard II 1377 - 1399 silver halfpenny, London, poor Henry V 1413 - 1422 silver halfpenny, London, fine Henry VI 1422 - 1461 silver groat, Calais, near fine Henry VI 1422 - 1461 silver half groat, Calais, holed poor Henry VI 1422 - 1461 silver penny, poor Henry VI 1422 - 1461 silver halfpenny, London, strong portrait (7)
Edward I 1272 - 1307 silver farthing London mint nice clear portrait, good fine Edward I silver halfpenny, London mint, fine Edward I silver penny, London mint, near fine Edward I silver penny, London mint, poor Edward II 1307 - 1327 silver farthing, near fine Edward II 1307 - 1327 silver halfpenny, near fine Edward II 1307 - 1327 silver penny, London, near fine Edward II 1307 - 1327 silver penny, Canterbury, near fine (8)
Dunston [G., M.I.M.E]: The Rivers of Axholme, with a History of the Navigable Rivers and Canals of the District, pub. A. Brown & Sons, London, 1909, four fold-out maps and plans, portrait frontis, green cloth; Bogg [Edmund]: The Old Kingdom of Elmet and the Ainsty of York, 1902, green cloth; Wilkinson [J]: Worthies, Families and Celebrities of Barnsley and District, first series, pub., Bemrose & Sons, London, gilt and black lined to red cloth; Rev. W. Parker Stamper (Vicar): Youlgrave, a Derbyshire Village, pub 1902, and a Collins Railway & Telegraph Map of Derbyshire. (5)
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