ALPHONSE CHAIGNON (Paris, 1828-1898)."Architectural Fantasies", 1882.Pair of paintings on porcelain.Signed and dated on one side.Measurements: 50 cm. diameter each; 69 x 69 cm.(frames).French painter and decorator, author of "architectural fantasies" very celebrated in his time, of which we show two good examples. Alphonse Chaignon trained with Jean-Hilaire Belloc (1786-1866), a history painter and talented portraitist who, as director of the Paris School of Drawing, had a notable influence on many of his pupils (Fantin-Latour, Whisler, Lhermitte, Bracquemond, Carlus-Duran). He would also have been - according to the press which praises his qualities as an "archaeological painter" - a pupil of Viollet-le-Duc (1814-1879) or, more probably, one of his ardent disciples in view of his artistic career. A. Chaignon was present from 1865 at the Salon des Artistes Françaises, with a "View of Quimperlé" (1868, oil painting, no. 464). Chaignon became known as a "decorative artist painter": he produced, between 1867 and 1878, for the church Sainte-Madelaine de Montargis (Loiret) and the chapel Saint-Vincent de Paul of the church Saint-Jean-Baptiste de Belleville in the Buttes-Chaumont, ornamental frescoes and decorative paintings or even "vast panels painted in matt oil on canvas" (Sainte-Geneviève) destined for the church of Saint-Pierre -de- Montmartre in Paris. These compositions, celebrated for the delicacy of the drawing and the combination of tones, won the artist the Bronze Medal in 1874 and 1876. Alphonse Chaignon was to share this distinction with one of the most talented decorative painters of the time, Albert Lenoir (1801-1892). As part of the Concours de la Ville de Paris, two projects for mural frescoes for the Salle des Mariages in the town hall are particularly noteworthy: his interesting restitutions of Old Paris imagined with animated landscape frescoes, The Court of Miracles and The Montmartre Gate in the 16th century.
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AURELI TOLOSA Y ALSINA (Barcelona, 1861 - 1938)."Landscape and figures at dusk".Oil on canvas.Signed in the lower right corner.Size: 68 x 138 cm; 95 x 165 cm (frame).The present canvas shows a landscape worked in depth, with achieved perspective, perfectly defined in colours and shades. Its colour, brushstroke, theme, composition and general vision are typical of Aureli Tolosa: his natures are emotional, in them he pours his feeling, as well as in the peasants who always populate them.Tolosa y Alsina was initially a disciple of the French master and painter Justin Simon and later of the master Modest Urgell. From his youth he was noted for his technical skill and his inspiration, especially in the field of landscape painting, which is borne out by his enormous collection. He found numerous clients and powerful admirers among the Catalan and Spanish bourgeoisie and aristocracy, and worked on the decoration of bourgeois houses, such as the Palace of the Count of Figols and the Casa del Senyor Vitellin in the Plaça de Catalunya, as well as decorating the new headquarters of the Banco Americano. His popularity among the bourgeoisie made him much in demand as a private painting master; he thus came to have a large number of disciples and attained a high social standing. He took part in various art competitions and exhibitions in Barcelona, where he was awarded several prizes. His work includes paintings of landscapes and vases of flowers, but it was his fan paintings that earned him the status of a neat painter and excellent decorator. Also worthy of note are his imitations of antique paintings, as well as the tapestry, enamel and gilding of various works that he painted in his studio in the Plaza de Letamendi, in the city of Barcelona. He became very popular on the peninsula, and specialised newspapers such as La Esfera: la ilustración mundial or La Ilustración Artística, among others, often mentioned him as a great master. His presence in exhibitions and competitions at the national level was frequent and he was often awarded prizes. For example, he took part in the General Exhibition of Fine Arts in Barcelona in 1894, the National Exhibition of Fine Arts in Madrid in 1930 and even in an exhibition of Spanish products held in Melilla in 1916. Although he painted individually, he was a member of the Artistic and Literary Society of Catalonia, based in the Sala Parés, which organised annual exhibitions in which its members - Catalan painters such as Modest Urgell, Joaquim Mir and José Masriera - exhibited their work. He also often collaborated with the Sala Busquets in Passeig de Gràcia, also in Barcelona. As has been said, he was a highly valued figure at local and national level, and was awarded numerous prizes, including the following: General Exhibition of Fine Arts of 1894. Painting Section Prize at the Exhibition of Plants and Flowers in 1895. 1st Class Medal. International Furniture Exhibition of 1924. Medal of Honour.
VICENTE PALMAROLI GONZÁLEZ (Zarzalejo, Madrid, 1834 - Madrid, 1896)."Young Parisian Girl", c. 1876.Oil on canvas. Re-coloured.Attached certificate issued by Don Ángel Castro.Signed in the lower left corner.Measurements: 62 x 51 cm.Son of an Italian lithographer, Palmaroli entered in the Superior School of Fine Arts of the Academy of San Fernando, in Madrid, in 1848. A few years later, in 1853, he succeeded his father in the post of lithographer at the Museo del Prado, created especially for him by the king consort Francisco de Asís with the support of José de Madrazo. In 1857 this post enabled him to go to Italy to further his training, accompanied by Eduardo Rosales and Luis Álvarez Catalá. On his return he submitted two paintings executed during his trip to the National Exhibition of Fine Arts of 1862, which were awarded second and first medals. From his earliest works, Palmaroli began to move away from the official aesthetic of his time, evolving towards much more intimate, refined plastic works inspired by contemporary and even everyday motifs. He returned to Italy in 1863 and stayed there for three years, during which time he painted "The Sermon in the Sistine Chapel" (Caja Duero, Salamanca), a work of enormous success which won him the first medal at the National Exhibition of 1866 and very good reviews in Paris. During this period of splendour and pictorial maturity he also painted numerous portraits, including that of the Infanta Isabel de Borbón (Royal Palace, Madrid). Once he settled in Madrid again, in 1871 he obtained his third first-class medal at the National Academy, and the following year he was appointed a member of the San Fernando Academy. In 1873 Palmaroli settled in Paris, where he worked extensively as a painter of tableautins for ten years, at the end of which he was called to Rome as director of the Accademia di Roma. In the Italian capital he continued with the same genre of anecdotal inspiration until 1894, when he was appointed director of the Museo del Prado, a post he held until 1896. Towards the end of his life, his painting cautiously approached symbolism in such significant works as his Martyrdom of Saint Christina (Prado, on deposit in Jaen). Palmaroli was also the teacher of prominent painters such as Carlota Rosales, daughter of Eduardo Rosales, Casimiro Sainz, Eduardo León Garrido and Domingo Muñoz Cuesta, among others. Vicente Palmaroli is currently represented in the Prado Museum, the Malaga Municipal Museum, the museums of Jaén, L'Empordà, Granada and La Coruña, the Ministry of Public Works and the Royal Theatre in Madrid, the Royal Academy of San Fernando and the Romantic Museum in Madrid, among others.
GONZALO BILBAO (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvas.Attached certificate issued by Don Gerardo Pérez Calero.Signed in the lower left corner.Measurements: 77 x 100 cm.Gonzalo Bilbao started drawing as a child and in 1880 he began his pictorial career. During these years he made a trip to Italy and France together with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, including prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.
JOSEP ROCA SASTRE (Terrassa, 1928 - Barcelona, 1997)."Interior", 1967.Oil on canvas.Signed in the lower right corner.With Sala Parés label on the back.Measurements: 92,5 x 65 cm; 113 x 86 cm (with frame).Trained in Barcelona, from the 1960s onwards Roca began to develop a personal, independent style and created his own language. His proposal focused on recovering the gaze of the close and the everyday, the familiar. He exhibited for forty years at the Sala Parés in Barcelona, and also showed his work in other Spanish cities, as well as in the United States. In 1966 he was awarded the Sant Jordi prize by the Diputació de Barcelona, and two years later the medal of honour at the Salon des Artistes Français in Paris. In 1980 he was made a member of the Sant Jordi Royal Academy of Fine Arts, and in 1993 he was awarded the Quadern Prize of the Fundació Amics de les Arts i de les Lletres de Sabadell (Friends of the Arts and Letters Foundation of Sabadell). Roca Sastre developed a figurative style with intimate themes, applying a personal and subjective gaze to his interior scenes as well as to his urban and natural landscapes. Since his death, retrospectives of Josep Roca's work have been held at La Pedrera and the Muncunill (Terrassa), Oriol (Barcelona) and Juan Oliver Maneu (Palma de Mallorca) galleries. His work is kept in the Museo Nacional de Arte de Cataluña.
GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938).Untitled.Oil on canvas.Attached certificate issued by Don Gerardo Pérez Calero.Signed in the lower right corner.Measurements: 69 x 88 cm; 73 x 93 cm (frame).The landscape was one of the genres in which Gonzalo Bilbao cultivated the most, in such a way that his work reflects a wide variety that goes from maritime, fluvial and terrestrial views, adapting pictorially diverse locations that go from the Andalusian countryside to the city of Morocco. Sometimes they are populated by people, while at other times they are desolate, as in this painting. His mastery and intense activity as a landscape painter involved a great mastery of technique, and he was a master of capturing light and atmosphere. This work is a clear example of this, as the artist captures a specific moment of the day.Gonzalo Bilbao took up drawing as a child and in 1880 he began his career as a painter. Around this time he travelled to Italy and France with Jiménez de Aranda. In Rome he worked with the painter José Villegas Cordero, and travelled around the various Italian capitals, painting urban and rural views until his return to Spain in 1884. In the following years he visited Rome again, travelled around Spain and also went to Morocco, Paris and Munich. In Spain he taught painting, initially as a private tutor and, from 1903, as Jiménez de Aranda's successor at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville. In 1904 he married and took up residence in Madrid, where he continued his teaching work at the San Fernando Academy. During his career he took part in numerous fine arts exhibitions, both national and foreign, being awarded a third medal at the Universal Exhibition of Paris (1889) and the International Exhibition of Barcelona (1891), a single medal at the Universal Exhibition of Chicago (1893), and a gold medal at the International Exhibitions of Berlin (1899), Munich (1905), Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). He also took part in the National Fine Arts Nationals, winning second medals in 1887 and 1892, first in 1899 and 1901 and an honourable medal in 1915. A traditional painter, representative of Spanish genre painting, his pictures were colourful depictions of Andalusian life and its most popular figures, and he also painted landscapes, figures and portraits, depicting prominent figures of the time such as King Alfonso XIII and the actress Carmen Díaz. The light and vitality of his compositions bring his language closer to the Impressionist aesthetic, focusing on the essential representation of atmospheres and landscapes. Gonzalo Bilbao is represented in the Museo de Bellas Artes in Seville, where he has a room devoted entirely to his work, the Museo del Prado, the Museo Jaume Morera in Lleida and the Museo de Bellas Artes in Cordoba, among others, as well as in private collections both in Spain and abroad.
A pair of Restauration giltwood fauteuils by Pierre-Antoine Bellangé (1758-1827) or Louis-Alexandre Bellangé (1799-1863)1815-1820Each with a scrolled dished top and an opposing volute scroll, anthemion and acanthus spray toprail centred by a flowerhead, the bowed seat frame with similar decoration centred by an elongated scrolled tablet, with lotus-leaf clasped and scroll capped arm supports, on two acanthus and stiff-leaf wrapped lion-bust headed monopodiae terminating in animalistic legs and lion paw feet, with splayed square section rear legs, each side applied with scrolled stylised foliage interspersed with anthemia and paterae, each fauteuil stamped: 'L.BELLANGE' and one fauteuil stamped: 'CH', approximately: 71cm wide x 72cm deep x 100cm high, (27 1/2in wide x 28in deep x 39in high) (2)Footnotes:Provenance Purchased Koller, Zürich, September 2005, Collection Dino Fabbri, Monte Carlo, lot 1276. An identical pair of fauteuils, which along with the offered lot, likely formed part of an extensive set apparently made by the cabinet maker Louis-Alexandre Bellangé, sold Christie's, London, 23 March 2017, Robert de Balkany Rome and the Cote d'Azur, lot 494. Both pairs have the same 'L. BELLANGE' and 'CH' stamps which prove that they were originally from the same commission. The Christie's armchairs previously belonged to Aladar Zellinger de Balkany (1900-1983), and passed thence by descent.A further pair of fauteuils of this same type were offered, together with a matching sofa, Sothebys, Paris, 23 June 2021, Important Mobilier, lot 156. However, interestingly these Paris examples were attributed to the workshop of Pierre-Antoine Bellangé, who was the father of Louis-Alexandre.The design for the present armchairs is based upon a watercolour entitled 'Deux Projets de Fauteuils' (1817-1820), bearing the signature of Louis-Alexandre Bellangé. It forms part of a collection of illustrations, taken from 'l'Atelier Bellangé', which are at the Metropolitan Museum of Art in New York, S. Cordier, Bellangé, Ebenistes: une Histoire du Gout au XIX Siecle, 2012, Paris, fig. 4. However the antecedent, which incorporates similar lion monopodia to those of the above, was one of a number of drawings for related seat furniture and tables which first appeared in Charles Percier and Pierre-Francois Leonard Fontaine, Recueil de Decorations Interieures, originally published in 1812. It is notable that these Percier and Fontaine examples had in fact been sourced themselves from antiquity.Another closely related design for fauteuils, one attributable to Pierre-Antoine Bellangé (Louis-Alexandre's father), was executed during the period 1815-1820 and corresponds well with a set of chairs and sofas supplied to the Comtesse du Cayla for the Chateau of Saint-Ouen of Zoe, Ibid, p. 489, PAB107. This strong association or interrelationship between father and son implies that at an early stage the much younger figure of Louis-Alexandre must have undertaken a thorough analysis of his father's oeuvre.Indeed between 1820 and 1825, towards the end of their contractual arrangement during their co-operation based at the family workshop on Rue Neuve-Saint-Denise, various pieces of seat furniture made at this time are either stamped: 'L. BELLANGE', such as appear on the offered lot, or: 'P. BELLANGE'. Some of the models that have the 'L. BELLANGE' stamp feature in Ibid, p. 500, LAB1 and a pair of such fauteuils also sold Sotheby's, New York, 25-26 October 2007, Ariane Dandois Collection, lot 523.Furthermore, an assortment of designs dating to circa 1818, which were completed by Louis-Alexandre, are today with the Metropolitan Museum in New York. Interestingly this particular portfolio even includes an engraved plate depicting a near conforming armchair to the present ones, which was itself evidently made in Pierre-Antoine's workshop at some point during 1815-1820.Pierre-Antoine Bellangé became maitre in 1788. But despite working as a cabinet maker throughout the Revolution (1789-1799), it appears that his career really flourished during the Empire period and the initial part of the Restauration, or restoration of the monarchy. Pierre-Antoine developed into one of the principal suppliers of furniture to Napoleon and also to those closest to the Emperor, before in due course serving as cabinet maker to the Garde-Meuble de la Couronne (basically the Royal furniture repository) during the reign of Louis XVIII.Louis-Alexandre Bellangé, who ran his own atelier and shop at 33 Rue des Marais-Saint-Martin, established himself and his firm as specialist in the production of furniture incorporating porcelain, lacquer and hardstones, as well as Boulle-inspired pieces. In 1833 he tried unsuccessfully to get a place at the Garde-Meuble de la Couronne restoring earlier works. However, disappointment at this rejection must have been tempered by his subsequent appointment as a supplier to the Duc d'Orléans. His gold medal-winning contribution to the Paris exhibition of 1839 won him significant praise from the jury at that event. Although fairly early on in his career Louis-Alexandre supplied furniture to Charles X, subsequently at the 1844 Exposition des Produits de l'Industrie Française Louis-Philippe (when King) acquired a Boulle table from the illustrious cabinet maker. Later on, at the 1851 Great Exhibition, he was awarded a second class medal for the Boulle objects his firm had produced for Crystal Palace. Examples of his oeuvre, made either independently or in collaboration with his father, may be found in the Wallace Collection, London and in the collection of Her Majesty the Queen at Windsor Castle.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot 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
A large 17th century German silver-gilt coin tankardJakob Haase, Danzig (Gdansk Poland) circa 1745 Tall cylindrical form, with hinged shallow-domed cover inset with a German 'Peace of Dresden' Silver Medal dated 25 December 1745, enclosed by embossed auricular style scrolls, a bifurcated thumbpiece and moulded handle, the body inset with various silver thalers dated 1566 to 1640 from Poland, Brunswick, Saxony, Pomerania, Saxe-Altenburg, Saxe-Weimar, Brandenburg, Metz, Transylvania, Saxe-Gotha, Gluckstadt and Elbing, surrounded by flat-chased foliage against a matted ground, atop a spreading domed foot decorated with repeating lobate scrolls, and inset centrally to the base a Rudolph II, House of Habsburg thaler from 1590, featuring three Emperors - Maximilian I, Karl V and Ferdinand I, height 23.5cm, diameter 16cm, weight 64.5oz.Footnotes:The commemorative silver medal inset to the cover celebrates two events; the Prussians victory over the Royal Saxon Army and the Imperial Army of the Holy Roman Emperor at the 'Battle of Kesselsdorf' fought on 15 December 1745, and the 'Peace of Dresden' (otherwise known as the 'Treaty of Dresden') enacted on 25 December 1745. This Peace Treaty was signed at the Saxon capital of Dresden between Austria, Saxony and Prussia, concluding the Second Silesian War. Under the terms of the 'Treaty of Dresden', Austria was forced to adhere to the terms of the earlier 'Treaty of Breslau', ceding Silesia to Prussia. Silesia's flourishing mining and textile industries had made it the richest of all the Habsburgs' Austrian provinces, and it was chiefly its wealth that tempted Frederick II (the Great) of Prussia to wrestle Silesia from the Habsburg heiress Maria Teresa, in the War of the Austrian Succession (1740–48). In total there were three Silesian Wars fought between Frederick the Great's Prussia and Maria Theresa's Austria, all three of which ended in Prussian control of Silesia. ProvenanceSold at Sotheby's auction 'European Silver', Geneva 12th November 1990, Lot 218From a private collectionLiteratureFeatured in the following publication:Anna Frackowska, 'Gdansk Silver Tankards of the 17th and 18th centuries', (Warsaw: ARGRAF 2013), p.407, no. XLVIII/3For further information on this lot please visit Bonhams.com
Police, nursing and similar display including Special Constabulary medal awarded to Leonard Gretton, Ministry of Health hospital service, Southend Airport Police, Gloucestershire Ambulance Service, Buckinghamshire Ambulance Service, St. John Ambulance, Red Cross, Gwent Health Authority, Unison, RSPCA and Golden Express security, overall size 44 x 62cm
Archbishop Sancroft and the Bishops, 1688, a cast silver medal by G. Bower, 49mm (E 288b); The W.H. Medal, 1839, a copper award by T. Halliday, tablet numbered (151), 58mm (D & W 278/555); Colonial and Indian Exhibition, London, 1886, a bronze medal by L.C. Wyon, 52mm (BHM 3209); London and Birmingham Railway, Centenary, 1938, a bronze medal by Pinches, 64mm (BHM 4391) [4]. First very fine, others about extremely fine or better; last cased £150-£200
Queen Charlotte, Coronation, 1761, a bronze medal by L. Natter, draped bust right, rev. Fame crowning standing Queen, 34mm, 19.30g (E 696); Death of Viscount Palmerston, 1865, a white metal medal by W. Mack, 44m (E 1579); together with miscellaneous medals in base metal (8) [10]. Varied state, several pierced for suspension £40-£60
![Captain James Cook, Memorial, [1784], a silver medal by L. Pingo, uniformed bust left, rev. Fortune standing beside column, h](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/7a2ab8d3-cf0a-4d9c-b020-aebc00aa9a81/468x382.jpg)
Salford Hundred Agricultural Society, a silver prize medal by T. Pingo, Ceres standing facing, holding cornucopia and two corn ears, rev. wreath, named (To John Leigh Esq of Oughtrington, For the Cleanest Turnep Fallow, 1785), 48mm (Eimer 39). Lightly cleaned, remains of mount at top, otherwise good very fine, rare £200-£260
Battle of the First of June, 1794, a white metal medal by W. Barnett, uniformed bust of Admiral Earl Howe left, rev. Neptune standing in marine car, handing trident to seated Britannia, Fame flying right above, inscribing obelisk, view of the battle in background, 57mm (BHM 382; E 854). A few minor marks, otherwise about extremely fine, rare £200-£260
Marriage of the Prince of Wales and Princess Caroline of Brunswick, 1795, a copper medal by C.H. Küchler, incorrectly dated 1797, 48mm (BHM 392); British Victories, 1798, a copper medal by C.H. Küchler, 48mm (BHM 458); George III, Preserved from Assassination, 1800, a copper medal by C.H. Küchler, 48mm (BHM 483) [3]. All with some contact marks, second with discolouration on obverse, otherwise good very fine or better £150-£200
![Battle of Cape St Vincent, 1797, a copper medal, unsigned [by T. Wyon Sr], uniformed bust of Earl St Vincent facing, rev. two](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/520c3618-d7da-4c96-befc-aebc00aa90df/468x382.jpg)
![George III, National Jubilee, 1809, a white metal medal, unsigned [by P. Kempson?], conjoined busts of George III and Charlot](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/de4b9c9e-6c02-45f8-94dc-aebc00aa8dbf/468x382.jpg)
George III, National Jubilee, 1809, a white metal medal, unsigned [by P. Kempson?], conjoined busts of George III and Charlotte left, rev. legend within wreath, 39mm (BHM 643). About extremely fine; set in brass ring with integral suspension loop, ribbon attached £50-£70 --- Provenance: Claremont Collection, DNW Auction 199, 1-2 December 2021, lot 912
George IV, Coronation, 1821, a copper medal by B. Pistrucci, laureate bust left, rev. Britannia, Scotia and Hibernia approaching the enthroned King being crowned by Victory, 35mm (BHM 1070; E 1146a). Extremely fine, toned £150-£180 --- Provenance: St Olave’s Grammar School Collection (Kent)
Royal Dublin Society, an oval silver award medal, Hibernia seated with Irish shield and cornucopiæ, rev. named (Royal Dublin Society to Mr Wm McCalla in Testimony of their Approbation of the first part of his work on the Algae Hibernicæ 1845), 57 x 45mm. Extremely fine £400-£500 --- Provenance: Baldwin Auction 55, 7 May 2008, lot 2654; A Collection of Irish Historical Medals, DNW Auction 172, 11 March 2020, lot 356 William McCalla (1814-49), botanist and naturalist from Roundstone, co Galway, where he was a schoolmaster by profession
Great Exhibition, Hyde Park, 1851, Exhibitor’s Medal, a copper award by W. Wyon, bust of Prince Albert left, rev. dove atop globe within wreath, edge inscribed (United Kingdom, Class 22. No. 42), 44mm (Allen HP-A055; BHM 2463; E 1459). Minor clouding to fields, otherwise good extremely fine £50-£70 --- Provenance: St Olave’s Grammar School Collection (Kent)
Royal Dublin Society, Spring Cattle Show, 1853, a silver prize medal by W. & F. Woodhouse, Hibernia seated left, head right, holding spear and cornucopia, rev. cattle, edge named (Hugh Barton, Esqr., For a Devon aged Fat Ox), 51mm. Fields brushed, otherwise about extremely fine and toned £150-£180
![Lincoln Cathedral, [c. 1855], a copper medal by J. Wiener, exterior view of the Cathedral, rev. interior view, 59mm (BHM 2591](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/be60811c-50d7-4bad-bef5-aebc00aa7e03/468x382.jpg)
Metropolitan & Provincial Industrial Exhibition, 1866, Prize Medal, a silver award by J.S. & A.B. Wyon, crowned head of Victoria left, rev. four shields arranged around beehive, 51mm (D & W 71/189). Two small drill-holes and other marks on edge, otherwise extremely fine and toned, rare in silver; in fitted case by John Pinches, 27 Oxendon Street, London £200-£260
City of London School, New Buildings Opened, 1882, a bronze medal by J.S. & A.B. Wyon for the Corporation of the City of London, conjoined busts of the Prince and Princess of Wales right, rev. frontal elevation of the School, 77mm (W & E 1461A.1; BHM 3133; E 1690). Good extremely fine £200-£260
Victoria, Golden Jubilee, 1887, a copper medal by L.C. Wyon after Sir J.E. Boehm and Sir F. Leighton, crowned bust left, rev. enthroned figure of Empire surrounded by standing figures representing Science, Letters, Art, etc, Mercury and Time below, 77mm (W & E 2000A.1; BHM 3219; E 1733b). Extremely fine £120-£150
Gordon Boys Home, Exemplary Conduct medal, a silver award, edge named (3043 Col. Sgt J.L. Ashmore), 38mm; Confectioners, Bakers and Allied Traders Annual International Exhibition, London, a silver prize medal, rev. named (Whitworth Bros, Wellingbro’, 1910), 49mm; Glasgow University, Joseph Black Medal, a bronze award by N. Macphail, edge named (Alexander M. Roy, Summer 1922, in Physics Class [Prof. J.G. Gray]), 70mm (BHM 466); Royal Agricultural College, Cirencester, Haygarth Medal, a gilt-bronze award, edge named (John Richard Keyworth, 1936), 34mm; Devon Federation of Master Bakers’ Associations, a silver and enamel award medal by Vaughton, rev. engraved (March 22nd 1950), 44mm [5]. Second polished, otherwise good very fine or better; two cased £80-£100
Institution of Civil Engineers of Ireland (Est. 1835), a silver award medal by J. Woodhouse, bust of Michael Mullins right, rev. legend, named (T.J.S. Mallagh, Some Aspects of the Civil Engineering Work for a Power Station Project, 1948-9), 39mm. Polished, very fine £60-£80 --- The paper for which this medal was awarded addressed the construction of a new Power Station at St James’s Gate Brewery, as ordered by Arthur Guinness, Son & Co.
![900th Anniversary of Westminster Abbey, 1965, a gold medal, unsigned [by M. Rizzello], view of the Abbey, rev. crowned head o](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/95b0abdb-06f2-4ff8-8138-aebc00aa5c55/468x382.jpg)
900th Anniversary of Westminster Abbey, 1965, a gold medal, unsigned [by M. Rizzello], view of the Abbey, rev. crowned head of Edward the Confessor facing, nine other heads of historical figures around, 57mm, 22ct, 127.96g (E 2107). About as struck; in case of issue £5,000-£7,000 --- No. 443 of 1000 issued in gold
![900th Anniversary of Westminster Abbey, 1965, a gold medal, unsigned [by M. Rizzello], view of the Abbey, rev. crowned head o](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/52387040-914b-45d4-bf40-aebc00aa5b52/468x382.jpg)
900th Anniversary of Westminster Abbey, 1965, a gold medal, unsigned [by M. Rizzello], view of the Abbey, rev. crowned head of Edward the Confessor facing, nine other heads of historical figures around, 57mm, 22ct, 127.68g (E 2107). About as struck; in case of issue £5,000-£7,000 --- No. 475 of 1000 issued in gold
50th Anniversary of the Easter Rising, 1966, a gold medal by P. Vincze, bust of Padraig Pearse right, rev. kneeling male and seated female with flags, legend in field, 38mm, 22ct, 62.96g, edge stamped 311 (E 2109b). Fields lightly hairlined, a few tiny scratches, otherwise good extremely fine; in case of issue £2,400-£3,000
75th Anniversary of the British Numismatic Society, 1978, a cast silver medal by R. Elderton for the Royal Mint, hand holding an Alfred London Monogram type penny, medieval coinage piles and trussels around, rev. legend in seven lines, shamrock, rose and thistle below, border of coins around, edge hallmarked London 1980, 76mm (W 3012 [not listed in silver]). Extremely fine; in green Royal Mint case of issue £80-£100
BAVARIA, Death of Ludwig II, 1886, a silver medal, uniformed bust right, rev. arms, 41mm; PRUSSIA, The Golden Sword, 1928, a silvered-bronze medal, unsigned, conjoined busts of Wilhelm II and Augusta Victoria right, rev. incuse legend within wreath, 51mm [2]. First lightly cleaned otherwise good very fine, with mount for suspension; second with small edge knock otherwise extremely fine, in fitted case £60-£80
BELGIUM, Jules Anspach, Burgomaster of Brussels, 1872, a copper medal by C. Wiener, 67mm (BDM VI, 482); GERMANY, Julius Stettenheim, c. 1910, a uniface bronze plaque by R. Placht, 61 x 43mm (cf. Hirsch 344, 4136); Ludwig van Beethoven, 1936, a uniface bronze medal by A. Coutin, 68mm (Niggl 124; CGMP p.107; cf. DNW 137, 550); SWITZERLAND, Bicentenary of the Birth of Jean-Jacques Rousseau, 1912, a bronze medal by R. de Niedernhäusern (‘Rodo’), 56mm (Martin 76) [4]. About very fine or better, third with partial hole drilled in the back for attachment £70-£100
FRANCE, Siège de la Bastille, Paris, 1789, a uniface lead cliché for the rev. of the medal by B. Andrieu, 82mm (Hennin 23); Église Notre Dame de Clignacourt, 1864, a copper medal by A. Borrel, 75mm; Exposition Universelle, Paris, 1867, Erard, a gilt turned rev. of a Juror’s medal by Massonnet, 75mm; Religion et Travail, Just Saleon-Terras, 1895, a bronze medal, unsigned, 68mm; Prière, a plated bronze Art Nouveau award plaque by A. Rivet, named (Souvenir de 1Ère Communion, Andrée Schumaker, 10 Mai 1911), 53 x 40mm [5]. Very fine or better, first two rare £60-£80
![FRANCE, Jean-Jacques Rousseau, a copper medal by R. Dumarest for Monneron, undated [1791], bust left, rev. legend, edge inscr](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/c8b42903-3271-4c64-a192-aebc00aa3d75/468x382.jpg)
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