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Lot 25
14th-18th century AD. A mixed group comprising: a small lead vessel with crimped rim; two square knapped gunflints; a rowel spur fragment and locket, two rowels; twenty small keys; a bronze awl; six bronze fragments; seventeen bronze fittings and strap ends; eight bronze casting spoons; twenty finger rings; ninety-seven bronze harness rings; sixteen bronze fittings. 868 grams total, lead vessel: 47mm (2"). The Chris Rudd collection, Norfolk, UK; formed since the 1970s; collection number DM3,21,23,36,39,42,48,45,49,51; 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. [176, No Reserve] Fair condition.
Lot 6
12th-19th century AD. A mixed group of bronze buckles and belt fittings. 1.5 kg total, 18-73mm (3/4 - 3"). The Chris Rudd collection, Norfolk, UK; formed since the 1970s; collection number DM30-34; 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. [145, No Reserve] Fair condition.
Lot 366
An 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.
Lot 45
18th-20th century AD. A mixed group of bronze horse harness mounts and blinker plaques. 885 grams total, 27-65mm (1 - 2 1/2"). The Chris Rudd collection, Norfolk, UK; formed since the 1970s; collection number DM16,17 and 19; 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. [32, No Reserve] Fine condition.
Lot 22
16th-19th century AD. A mixed group of buttons including flat discoid, spherical with loop, Tudor, military and other types. 1.1 kg, 13-32mm (1/2 - 1 1/4"). The Chris Rudd collection, Norfolk, UK; formed since the 1970s; collection number DM26-29; 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. [257, No Reserve] Fair condition.
Lot 455
20th century AD. A group of five composition items consisting of: a human face; a Foo lion reclining on coins; a frog among water plants; a reclining dragon with coin in mouth; a gourd with scrolling plant to body. 130 grams total, 33-67mm (1 1/2 - 2 1/2"). Property of a London gentleman; acquired before 1980. [5, No Reserve] Fine condition.
Lot 36
1st-19th century AD. A mixed group including a small cow-bell, five lead seals, four lead musket balls, bronze brooches and fragments, bronze harness rings, two bronze miniature cannons, a bronze finger ring, bronze purse frame fragments, brass brooches and clasps, a Fairbairn-Sykes(?) knife and other items. 1.6 kg total, 2-29cm (2 - 11 1/2"). The Chris Rudd collection, Norfolk, UK; formed since the 1970s; collection number DM1,6,7,20,24,38,44,47,37,52 and CB19; 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. [99, No Reserve] Fair condition.
Lot 351
An undated archaistic moulded composition horn in the form of a Taoist god with peaked cap, smiling face and long beard; long robes down to feet; left hand holding a coin, right hand holding three coins on a rope. 746 grams, 29.5cm (11 1/2"). Property of a London gentleman; acquired before 1980. [No Reserve] Fine condition.
Lot 126
17th-19th century AD. A mixed group comprising: a silver ring with flat-section hoop, stepped shoulders with chevron detailing, square bezel; a hammered shilling coin of Charles I (1625-1649 AD) showing his bust and arms, the legends almost absent due to contemporary clipping of the flan. 7.19 grams total, 20-24mm (3/4 - 1"). Ex Stratford collection, Suffolk, UK; acquired on the UK art market after 2000. [2, No Reserve] Fine condition; the coin fair.
Lot 30
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.
Lot 3083
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.
Lot 3084
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.
Lot 3024
British Coins and Medals, Celtic (c.40-30 B.C), gold stater, ornate yoke type, devolved head of Apollo with wreath, ‘cloak’, crescents, trio of pellets, pellet in annulet and yoke motif, rev. annulated horse right with backward pointing ear, cogwheel above, yoke motif, pellets and pellets in annulet with linked pellets before a face, wheel and pellets below, wt. 5.42gms. (S.-; ABC.-; VA.-; BMC.-; Sills, Divided Kingdoms, 17.1583), about extremely fine and a piece of exceptional style and quality, featuring multiple hidden faces - an important piece, unique Dr. Sills has catalogued and included this coin in his forthcoming publication, Divided Kingdoms: The Iron Age Gold Coinage of Southern England. He comments ‘The obverse is a variation on the ABC Cheesefoot Head type, but there are significant differences on the reverse which make it a new type. It is one of a small number of issues where it is possible to hazard a guess that someone who also worked in another region cut the dies. The horse’s mane is engraved in a very distinct way, as two lines with the mane shown as upturned spikes; the animal has an annuulate body and a distinctive backward-pointing ear. Other relevant features are the many pellets-in-annulets in the field and the yoke motif above the cogwheel. There is only one other that has all these features - especially the mane - that is ABC.2240, Middle Whaddon Chase stater, a rare Essex type that belongs to a group with strong Kentish influence. There is no doubt it is a new and unique Hampshire type and it is important evidence for the presence of peripatetic die cutters in the 40/30s B.C.’
Lot 3089
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.
Lot 3060
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
Lot 3111
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
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