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Lot 31
HISTORICAL IMPORTANCE: a Cromwellian silver portrait plaquette of William Lenthall'CT' unknown maker, probably Dutch circa 1653 Shaped-oval in form, intricately embossed in high and low relief, featuring a side view of the male bust with head turned facing right, staring outwards, the hair long and wavy, a plain Puritan shirt collar at the neck, the official robes of the 'Speaker of the Long Parliament' beneath, either a lion or devil's mask to his shoulder, 'CT' stamped under the truncated body, and in the background a chased foliate landscape within an elaborate cartouche border, ornamented with a skull, masks and two outstretched naked figures to the upper rim, width 7.6cm, height 8.9cm, weight 1oz.Footnotes:ProvenancePreviously held in several famous numismatic collections, including:The Montagu Collection of Coins, 'Catalogue of the Collection of Medals', sold Sotheby, Wilkinson & Hodge, London, Tuesday 25th May, 1897, Lot 233.The John G Murdoch Collection, 'Catalogue of the Valuable Collection of Coins and Medals - The Series of Scottish and Anglo-Gallic Coins', sold Sotheby, Wilkinson & Hodge, London, Monday 11th May, 1903, Lot 175.The Arthur Loebbecke Collection, 'Kunstmedaillen und Plaketten des XV bis XVII Jahrhunderts', sold Munich, 26th November, 1908, Lot 255.Spink & Son, sold London, 20th January, 1910, purchased by Vernon James Watney (24 October 1860 - 27 August 1928) of Watney Brewery fame, and owner of Cornbury Park, Oxfordshire. The plaquette comes with a letter of provenance from Spink to Vernon J. Watney, dated 1910.Thence by descent to the present owner.Biography of William Lenthall (1591-1662)William Lenthall, (born June 1591, Henley-on-Thames, Oxfordshire — died September 3rd, 1662, Burford, Oxfordshire), was an English Parliamentarian who, as Speaker of the House of Commons, was at the centre of repeated struggles between the Parliamentarians and Royalists during the English Civil Wars.Trained as a lawyer and called to the bar in 1616, Lenthall was chosen as Speaker of the House at the beginning of the Long Parliament, in November 1640. On 4 January 1642, King Charles I entered the House of Commons to arrest five Members of Parliament for high treason. Speaker Lenthall bravely defied the King to uphold the privileges of Parliament, refusing to reveal their whereabouts and uttering the infamous words 'May it please your Majesty, I have neither eyes to see nor tongue to speak in this place but as the House is pleased to direct me, whose servant I am here.' Lenthall believed in upholding the supremacy of the House of Commons and freedom of speech; as Speaker, he was a servant beholden to the House and not the King while within its walls. As such, Charles I had to leave without arresting the five Members, and no monarch has entered the House of Commons since then.During the Civil Wars Lenthall sided with Parliament, and upon the outbreak (1647) of the power struggle between the Presbyterians and Independents, he supported the Independents. At the same time he was probably secretly in sympathy with the Royalist cause. Lenthall continued as Speaker in the first Parliament (1654) held under Oliver Cromwell's Protectorate, and after the collapse of the Protectorate in 1659 he was speaker of the restored Long Parliament. Although he supported the Restoration of King Charles II in 1660, he was thereafter barred from public office. However, he soon regained royal favour by testifying against a man accused of participating in the trial and execution (1649) of Charles I.William Lenthall was therefore a remarkable man, not only intellectually astute but fearless. He survived twenty uninterrupted years as Speaker of the House, at a turbulent and violent time in British history. A period which bore witness to the execution of Charles I, the Civil War, the Interregnum years of Oliver Cromwell (1599-1658), and then the Restoration of Charles II as Monarch. This rare, silver uniface plaquette was commissioned around 1653 to possibly commemorate Lenthall's endeavours. However, it can be read in two different ways, either viewed as a celebration of his achievements and character, a lion's mask (how it had been traditionally described in past auction catalogues) on his shoulder symbolising his valour in defying the King; the border embossed with a skull, masks and naked figures, metaphorically illustrating that he had fearlessly risen above the temptations of evil, his moral integrity intact. Or alternatively, this plaquette can be viewed as an overt criticism of Lenthall, for on closer examination the lion's mask on his arm actually resembles 17th century imagery of the Devil.It is pertinent to note that Lenthall was viewed as a somewhat controversial figure, his political allegiance openly switching sides dependent on who was in power. An alternative reading therefore could be that this plaquette was created as an open condemnation of Lenthall, and that the mask on his shoulder was in fact a representation of Oliver Cromwell, who Royalists quite literally saw as the Devil incarnate. Lenthall was viewed by his enemies as politically 'in bed' with Cromwell, dancing to his tune, symbolised by the devil's mask on his shoulder and the dark imagery embossed around him. The common myth perpetuated, was that Oliver Cromwell had used satanic forces to win the Battle of Worcester in the English Civil War. In 1651, on the eve of the Battle of Worcester, Oliver Cromwell allegedly met Satan in Perry Wood. According to legend, he was granted seven years' prosperity in return for his soul, starting with his Civil War victory in 1653. At this point Oliver Cromwell was declared Lord Protector of the Commonwealth, which is interestingly around the time this silver plaquette was created. Nevertheless, with remarkable precision, the leader of England's only experiment in republican government died exactly seven years later, amid terrible storms, in September 1658.Simultaneously loved and loathed, Cromwell was seen by some as a revolutionary figure, freeing England from the absolutist Charles; others saw him as a regicidal, religious maniac who was one of the signatories of Charles I's death warrant. Cromwell was demonised in satirical illustrations by Royalist propagandists throughout the civil war period, their authors making fun of both Cromwell's appearance as well as his politics. After the restoration of the monarchy in 1660, Cromwell's body was exhumed and publicly hung. However, what cannot be denied is that Lenthall's survival strategy had worked. Despite walking a precarious ministerial tightrope, negotiating unimaginable parliamentary and civil unrest, he had prevailed over adversity and emerged triumphant; the consummate political player.Portraits of Lenthall as Speaker by Cornelius Johnson, Henry Paert and Van Weesop are to be found in the Palace of Westminster. The National Portrait Gallery also holds an anonymous portrait and a miniature likeness by Samuel Cooper.We would like to acknowledge Christopher Eimer for his assistance and expertise.LiteratureBritannica, 'William Lenthall, English politician', accessed 26/05/2023 via www.britannica.com/biography/William-LenthallBritish Library, 'Oliver Cromwell as the Devil', image 1660, accessed 12/06/23 via www.bl.uk/learning/timeline/item104116.htmlAndrew Thrush and John P. Ferris,'The History of Parliament: the House of Commons 1604-1629 - Willam Lenthall (1591-1662)', (published Cambridge University Press, 2010), accessed 26/05/2023 via www.historyofparliamentonline.orgPalace of Westminster, 'Speaker Lenthall defends Parliament', accessed 26/05/2023 via UK Parliament www.parliament.ukFor further information on this lot please visit Bonhams.com
Lot 84
Hiram Powers (American, 1805-1872): A very rare and early carved white marble ideal portrait bust of Ginevra, (first version)The serene maiden clad in classical drapery to her shoulders, her loosely dressed coiffure with trailing chignon adorned with a pearl diadem, the rear signed H POWERS Sculpt, raised on a swept circular socle, supported on rouge marble plinth, 70.3cm high overallFootnotes:ProvenancePrivate UK family collection, Clevedon, Somerset, England. Acquired sometime in the late 1960s and by repute purchased at a Bristol (England) house sale, thence by descent. Arguably the greatest and most influential American Neoclassical sculptor of the nineteenth century, Hiram Powers achieved international recognition for his near life-size marble figure of The Greek Slave, which at the time became one of the most famous Orientalist works of art in the world. The figure was subsequently taken on a tour of America in the late 1840's, as well as holding pride of place in the United States contribution to the Great Exhibition of 1851 in London.With humble beginnings in the state of Vermont, Powers moved with his family to Cincinnati in Ohio when he began to assist the Russian émigré sculptor Frederick Eckstein, training in the rudiments of sculpture. Whilst a pupil at Eckstein's Academy in the late 1820s, he began to produce portrait busts whilst also taking up commissions on the East coast of the country. By 1837 he had secured funding from a Colonel John S. Preston allowing him to relocate to Florence, Italy. Although originally intended as a temporary move, his love of the city with its rich artistic tradition, its proximity to the marble quarries of Carrara and Seravezza, and the influence and the encouragement of an Anglo-American expatriate community of sculptors led to him making Florence his permanent home. Initially trained in the skill of marble carving by a fellow Florentine expatriate sculptor, Horatio Greenough, Powers subsequently expanded his workshop, employing a variety of skilled craftsmen to assist in moulding, casting and carving. With a significant and successful high-profile business, wealthy American and European clients flocked to his studio, commissioning both portrait and 'ideal' bust subjects. In addition, Powers also went on to influence further generations of artists and sculptors living in Florence. As a Swedenborgian or 'New Churchman', Powers believed that 'the legitimate aim of art should be spiritual and not animal' and that the natural body was merely a veil over the soul and spiritual body. This belief inspired him to create 'ideal' sculpture based on subjects from history, religion, philosophy and mythology. Representing an archetypal beauty, these 'ideal' subjects were at the time highly regarded and considered to be the pinnacle of the artist and sculptors most worthwhile and creative endeavour. Powers first serious venture into 'ideal' sculpture was his bust of Ginevra dating from this earliest time in Florence in 1837-8. It was inspired by the poem 'Italy' by the English poet Samuel Rogers (1763-1855), which told the story of a young bride who vanishes on her wedding night and is then found dead in a chest more than fifty years later still wearing her wedding ring bearing her name. The bust, finely carved in a high Neoclassical style, depicts the doomed bride as a goddess clad in drapery with a pearl adorned diadem. It was later paired with a pendant work by Powers depicting perhaps his most famous 'ideal' female bust, that of Proserpine, the Roman goddess which was begun in 1839 but not completed until 1843. Proving to be immensely popular, Powers produced Proserpine in different versions, some with more simplified bases and in reduced edition sizes up until 1873. However, although Ginevra was a more short-lived and hence rarer composition, a second perhaps less severe version which was modelled some twenty years later by the sculptor whilst visiting his daughter in England which was possibly more suited to the tastes of the time and appears to have been more widely reproduced with a number of replica copies apparently ordered by English clients.Of the very limited number of known commissioned marble replica's of the first edition of the bust (the original plaster being presumed destroyed), these are listed in Richard P. Wunder's, Hiram Powers, Vermont Sculptor, 1805-1873, volume II, Catalogue of Works but include no documented English commissions. Only two are apparently of a comparable but slightly larger size including their circular socles, measuring 30 inches (76cm) high. One, which is signed 'HIRAM POWERS Sculpt' includes a dedication to 'N Longworth Esq' and is now in the Cincinnati Art Museum (acc. No. 1893.63) whilst the other, also signed 'HIRAM POWERS Sculpt' is now in the Clermont Museum, Clermont State Park, New York State (acc. No. X154a). Of the other listed replicas, all are apparently smaller in size at 24 inches (61cms) high, although it seems likely that the heights of these busts are recorded without the addition of socle bases. Of this group, four are listed as 'not located', whilst the final one, an unfinished bust found in Powers studio at the time of his death is now in the collection of Washington, DC NMAA SI (acc. No. 1968.155.23). Of the busts which are 'not located', these are as follows:1.) Ordered by George Tiffany, Baltimore, Md. 2.) Ordered by Stephen Clarendon Philips, Salem. Mass. 3.) Ordered by Dr Alban Goldsmith, New York. 4.) No details given.Given that the offered bust is also approximately 24 in. (61cm high) without its socle, it seems possible that it could be one of these unlocated busts, the most likely candidate being the fourth example where no details of the commission are provided. However, although it could be that the bust made its way to England directly from Power's studio in Florence given that the majority of Powers early commissions came from his fellow country men, it is also possible the bust may have come to Bristol in England by way of an Anglo-American family connection given Bristol's strong shipping links to the US, perhaps via the flourishing tobacco trade in the 19th century. Related LiteratureR. P. Wunder, Hiram Powers Vermont Sculptor, 1805 -1873, Newark, Delaware, 1990, p. 153-157.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 10
Sir Jacob Epstein (British, 1880-1959)Study for Resurrection signed 'Epstein' (to lower back)bronze with a green patina56cm (22 1/16in) highConceived in 1941Footnotes:ProvenanceSale; Sotheby's, London, 21 May 1986, lot 225, where acquired by the family of the present owner, and thence by descentPrivate Collection, U.K.ExhibitedLondon, The Leicester Galleries, Jacob and the Angel, and New Bronzes by Jacob Epstein, February 1942, no. 12 (another cast)London, The Leicester Galleries, Fifty Years of Bronzes and Drawings by Sir Jacob Epstein, 1880-1959, 10 June-7 July 1960, no. 37 (another cast)LiteratureR. Buckle, Jacob Epstein Sculptor, The World Publishing Company, Cleveland, 1963, p. 272, pl.410-411, illustrated (another cast)E.P. Schinman and B.A. Schinman, Jacob Epstein, A Catalogue of the Collection of Edward P. Schinman, Farleight Dickinson University Press, 1970, p. 99, illustrated (another cast)E. Silber, The Sculpture of Epstein with a Complete Catalogue, Phaidon, Oxford, 1986, p. 189, no. 317, illustrated (another cast)The present lot is based on the earlier bust by the artist, Pola Givenchy, which was conceived in 1937.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 1179
ALEXANDER III: (1845-1894) Emperor of Russia 1881-94. Attractive signed printed large folio copy of L´Illustration Journal Universel, French weekly edition, sixteen pages, 28th February 1885, signed by Alexander III, as Emperor, with his initial `A´ in red indelible pencil to the upper right corner of the front page. The Parisian journal includes multiple and very attractive large engravings, showing to the front page an engraving of a bust of Victor Hugo with angels holding a book and a laurel wreath, and to the inside pages bearing several attractive engravings relating to Sultan Achmet, to Victor Hugo giving a speech at a banquet at the Continental Hotel the 25th February 1885, also including articles related to Hugo, Balzac, Parisian theatres, etc…. The present copy was originally bound in a red leather folio volume for the Emperor, alongside other additions of the journal. Left edge very slightly trimmed, with some pages unbounded, otherwise G to VG
Lot 853
TWAIN MARK: (1835-1910) Samuel Langhorne Clemens. American writer and humourist. A fine, long A.L.S., Samuel, eight pages, 8vo, 'Study' [Hartford, Connecticut], n.d. ('Tuesday. P.M.', October 1880), to his wife, Olivia. Twain commences his letter in German, stating that he arrived at 7.15pm and continuing to inform his wife of the preparations being made at their house, 'Georg hat alles gethan wie du hast es befordert. Die halle-Teppiche sind aufgehoben, die Thuren von das FrauenZimmer unde deine Schlaf-Zimmer sind geschlusselt, die Mobel sind.....weggenommen. O nein, Ich habe nicht die Warheit gesprochen: er hat nicht das Tuch vor das Sideboard fest genagelt. - Also - eferydings else ist all und ganz gut gemacht' (Translation: 'George did everything as you requested. The hall carpets are lifted, the doors of the women's room and your bedroom are locked, the furniture is……removed. Oh no, I wasn't telling the truth: he didn't nail the cloth in front of the sideboard - Also - eferydings else is all very well done'), completing the remainder of the letter in English, writing, in part, 'I found Mr. Beals hard at work in the rain, with his decorations. With a ladder he had strung flags around our bedroom balcony & thence around to the porte cochere, which was elaborately flagged - thence all the flags of all nations were suspended from a line which stretched past the green house to the limit of our ground. Against each of the two trees on the mound half-way down to our gate stands a knight in complete armour. Piles of still bundled flags clutter up the ombra (to be put up) also gaudy shields of various shapes (arms of this & other countries); also some huge glittering arches & things, done in gold & silver paper, containing mottoes in big letters. I broke Mr. Beal's heart by persistently & inflexibly annulling & forbidding the biggest & gorgeousest of the arches - it had on it, in all the fines of the rainbow, "The Home of Mark Twain" in letters as big as your head. O, we're going to be decorated sufficient, don't you worry about that, Madam. At least I infer so, from what I have seen of Mr. Beals's hand & what he holds in reserve. I don't know but he is really going to decorate us too much. However, I'm letting him go on…..But wasn't it lucky that I arrived in time to bust up that Mark Twain business? I'm in the study…..& I've got a cheerful wood fire & four gas burners going…..It would be perfect if you were here to help me enjoy it, sweetheart….I hope you are reading & not half as lonesome as you were expecting to be' and concluding by referring to an important principle in the play of the cards during Bridge, 'I've been puzzling over it, and - but you better ask Whitmore, because I want to be certain about it - is it always second hand low, even when you haven't got a high card? - & if you do, what do you infer from it? Or do you infer at all, in that case? It being your partners turn to infer, likely. I wish I had brought the book along; several of those things are not clear to me'. Twain signs off the letter in an affectionate manner, 'Acres of love to you, my best & dearest, & love also to the kids, including Jean', and in a postscript returns to the decoration of their home, 'P.S. I'm going to get Mr. Beals to change that to God Bless Our Home. He said he would have to have a new motto; so that will do first rate for a novelty. It is to go over the front gate'. A letter of excellent content providing a superb glimpse of Mark Twain in his intimacy. VGOlivia Langdon Clemens (1845-1904) Wife of Samuel Langhorne Clemens from 1870. Livy, as she was known, assisted her husband with the editing of his books, articles and lectures and Twain once wrote of her "I am as proud of her brain as her beauty". The couple had three daughters, including Jean who had been born in July 1880.The extensive decorations to their home which Twain makes reference to in the present letter were in preparation of the visit of former United States President Ulysses S. Grant (1822-1885) to Hartford on 16th October 1880. Grant was seeking the Republican presidential nomination for a third term and upon his train arriving in Hartford he found that 'the city was thronged with visitors…..and the streets were lined with decorations, not only along the line of march of the procession, but elsewhere'. Twain gave a welcoming address to Grant in which the writer declared 'Your country loves you. Your country is proud of you. Your country is grateful to you. Her applauses which have been thundering in your ears all these weeks and months, will never cease while the flag you saved continues to wave. Your country stands ready from this day forth to testify her measureless love and pride and gratitude toward you in every conceivable inexpensive way. Welcome to Hartford, great soldier, honoured statesman, unselfish citizen'.
Lot 246
Circle of Mary Beale (1632-1697/99)Bust length portrait of a lady wearing dress décolleté in feigned oval, oil on canvas, 75 x 62cmHas been lined and cleaned. Fine cracking to the paint, poss old area of restoration/repair to the upper edge. Minor frame abrasions. Modern frame. Not examined under UV light.
Lot 36
A 19thC black slate mantel clock, with Arabic numeral dial, enamelled chapter ring, eight day movement, the case of architectural form, in classical style, the central section raised with Corinthian column pilasters, the top cast with bust of a Roman warrior above a battle scene, flanked by two further domed shaped sections, raised on reeded columns, on a shaped base, with pendulum and key, 38cm high.
Lot 892
An early 20thC carved oak hall stand, the scroll leaf and shell carved top above an arched mirrored and central panel with six turned coat hooks, above a frieze drawer carved with a bust, scrolls and leaves, with an undertier supported by front turned and carved columns, on bun feet, approximately 215cm high, 107cm wide, 31cm deep.
Lot 1890
A Charles II guinea 1681, elephant and castle below bust. Note: the elephant and castle below bust indicates that this coin was struck from gold supplied by the Royal African Company.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
Lot 66
A GOOD PAIR OF EARLY 18TH CENTURY DUTCH 16-BORE FLINTLOCK HOLSTER PISTOLS, 13.75inch sighted damascus two-stage barrels inlaid in silver with a hunter, a stag and a boar, standing upon a platform supported by scrolling foliate strapwork, border and foliate engraved barrel tangs, border and foliate engraved stepped locks and cocks, signed I.I. BEHR, full foliate carved stocks with ornate gilt brass mounts to include pierced sideplates incorporating mythical beasts amidst acanthus scrolls, the trigger guards decorated in the neoclassical fashion with winged cherubic figures, crowned escutcheons with central bust-form cameos flanked by flags and supported by classical figures, border and scroll decorated grotesque mask butt caps, brass tipped wooden ramrods. Johann Jacob Behr worked out of Maastricht and Liege between 1690 and 1740. (2)
Lot 67
AN EARLY 18TH CENTURY 54-BORE FRENCH QUEEN ANNE FORM TRAVELLING OR POCKET PISTOL, 3.75inch multi-stage rifled turn-off cannon barrel decorated with panels and a band of foliage in gold, border engraved stepped lock, signed F & A Penel Freres, half tiger stripe maple stocked with white metal mounts, rococo and foliate side plate, pillared foliate decorated trigger guard, the long eared butt cap with stepped base culminating in a profile bust of a warrior on a stippled gold ground. Works on FC and HC, small split to muzzle. Francois & Antoine Penel operated in St Etienne during the 1740's
Lot 419
A sculpted white marble bust of a youthful Ares, probably a Roman 2nd century A.D. copy version after the Classical Greek original by Alcamenes; portrayed looking straight ahead, his helmet modelled in relief with gryphons amongst scrolling foliage; above a diadem style front with confronting panthers; his curling locks descending beneath his ears to a scale cuirass; 31cm highlater mounted onto a waisted circular section marmo rouge griotte socle; the overall height 39cm
Lot 548
British School (circa 1823)Three portrait silhouettes of children of the Mahomed family, representing Frederick, Henry and Arthur Akbar Mahomed respectively, portrayed bust-length facing lefteach inscribed versowatercolour on cardeach 9 x 7cm (oval); together with a fourth, larger portrait silhouette of a lady, monogrammed C C Provenance - Private Collection, Dorset.By direct descent from Sake Dean Mohammed to the present owner.
Lot 514
Danbury Mint - Our Royal Sovereigns - A 1987 Danbury Mint 22ct gold plated silver sovereign medal coin set. Issued to mark the 1200th Anniversary of the first coronation. The obverse to show the monarchs bust and the reverse to show the monarchs coat of arms. Each coin being hallmarked for London to coin rim. Two coins missing. Held with lined wooden presentation case. Measuring 21.6mm diameter at 4.83g approx weight of sterling silver and 22ct gold.
Lot 370
A 19th century Victorian Queen Victoria 1897 jubilee Kenning & Son gilt silver medal. The medal having clasp to read '14 June 1897' over enamelled suspension in the for a crown over a medal in the form of a square and compass against an Anglo-Indian lotus type cartouche. The centre having Queen Victoria bust in relief surrounded by four rows of paste stones flanked by enamelled dates of 1837 and 1897. Issued to commemorate the 60th anniversary of Queen Victoria's reign. Held upon original pale blue ribbon. Stamped for Kenning of London & SILVER to verso. In original Kenning & Sons gilt tooled leather box.
Lot 183
A group of magic lantern slides,comprising three examples with pull out slides, depicting a lady smoking, a chariot, and a lady standing before a Classical bust, four mechanical examples, three kaleidoscope slides another depicting an erupting volcano, a boxed Primus 'Comical Cats and Dogs', containing eight slides, and six boxed negative examples (qty.)Condition ReportPull out slide examples in pieces. Boxes in poor condition. Wear and minor knocks. All mechanical ones function, although the kaleidoscopes are stiff. Please see the additional images.
Lot 63
Bust length, wearing a white, blue coat, buff waistcoat and white neckcloth, oil on panel, oval 25.5 x 20cm. Provenance: By descent in the family of the sitter. *Condition: Slight blistering of the paint, notably the sitter's right shoulder and above his left ear; some retouching at left; needs a clean.
Lot 99
A CASED COLLECTION OF FIFTY 20TH CENTURY STERLING SILVER PROOF INGOTS, '1000 Years of British Monarchy', each ingot depicting a different British monarch's bust with associated scene, reverse with name and description, each ingot hallmarked 'John Pinches (Medallists) Ltd' London 1973, approximate gross weight of one ingot 65.6 grams encased in a wooden display case with fitted interior lined in red material, set number 1069 (condition report: all ingots present in case, plastic covering present, minor scratches to case)
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