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Click here to subscribeAn Efficiency medal to an Officer in the Royal Artillery. Efficiency medal, GVI 1st type, with Territorial Suspender, “LT D. HOBDAY R.A.” Commissioned 2nd Lieutenant, London Gazette 14th November 1941 and promoted to Captain, London Gazette 26th September 1947. Efficiency medal confirmed in London Gazette 18th February 1947.
A May 1915 killed in action 1914 Star medal to 2nd Battalion Northamptonshire Regiment.1914 Star medal, “9028 PTE. H. TAYLOR 2/NORTH ‘N R.” Harry Taylor from Kettering, Northamptonshire, attested for service on 5th August 1909 and was clearly a character having no fewer than 23 entries on his Conduct Sheet. He was serving in Egypt on the outbreak of war and transferred to the Western Front arriving on 6th November 1914. Killed in action on 9th May 1915 he is remembered on the Ploegsteert Memorial, Belgium.
Hallmarked Silver Northamptonshire Imperial Yeomanry Commemorative Medal, hallmarks Birmingham 1901; two sets of cufflinks with Northamptonshire yeomanry horses; Legion of Frontiersman long service and efficiency medal; 3x Frontiersman Mountbatten Walk medals and brass Frontiersman cap badge without fitting.
A poignant Great War 1914-15 trio to a Serjeant in the Cameron Highlanders who died of wounds received whilst on a working party on February 1916. 1914-15 Star medal, “S-16733 L-CPL J. BARROW CAM’N HIGHRS”, British War and Victory medals, “S-16733 SJT J. BARROW CAMERONS”. 20 year old Joseph Barrow, a resident of Withington Manchester served in France from 6th August 1915 and died of wounds on 23rd March 1916 whist serving with the 7th Battalion Cameron Highlanders. The Roll of Honour in The Retail Fruit, Flower, Fish and Allied Trader magazine (date unknown) records that he was leading a working party on 22nd February when he was hit by a bullet under the heart and died an hour later. The Battalion War Diary for the 22nd February records that a Sergeant of ‘A’ Company was wounded and died on the following day. Joseph William Barrow is remembered on the Loos Memorial, France.
A mixed lot of medals, including Fire Brigade Long Service medal, EIIR, “SUB OFFR ALBERT SMITH”; St. Johns Ambulance Brigade Long Service medal, with 2 additional service bars, engraved naming “L AMEY 1955”, with additional enamelled badge on ribbon; Pakistan Independence medal’ “1004376 SWR NUR KHAN PAC”; Renamed Victory medal, engraved naming, “9664 PTE W. HADAWAY R SUSSEX REGT”; Unidentified Indian medal; Copy Air Crew Europe Star medal and a Copy Efficiency medal EIIR.
WWI group of medals for Charles Percy Josling (b.1891) - 1914-15 star, British War medal, Victory medal, Royal Naval long service and good conduct medal (239502 C.P.Josling R.P.O. H.M.S. Columbine), Messina (1908) earthquake commemorative medal & WWII boxed medals (Defence medal, War medal 1939-45, Atlantic star, 1939-45 star - all with ribbons) + GVI scroll commemorating loss of life for King and country t/w cased QEII (1979) Imperial service medal with paperwork awarded to his son Percival Wallace Josling
* GORDON HOPE WYLLIE RSW (SCOTTISH 1930 - 2005), LONLEY COTTAGE oil on paper, signed and dated '77, titled versomounted, framed and under glassimage size 10cm x 13cm, overall size 26cm x 28cm Note: Gordon Wyllie was born in Greenock and in 1949 was accepted to study at the Glasgow School of Art. Under the tutelage of such luminaries as Edward Odling and Mary and Willie Armour, Gordon distinguished himself, graduating in 1953 after an eminent final year. He was awarded the post-diploma, or Master's course, won the Scottish Academy Award and also the Newbery Medal, the school's most prestigious prize. This was all the more remarkable considering that Gordon had, in his diploma year, returned home to care for his father, whose seriously deteriorating health ended in death two months before the degree show, and Gordon himself had suffered a bout of pneumonia. With a scholarship award, he studied that summer at Hospitalfield, Arbroath, as a post-graduate under Ian Fleming. Fleming inspired Gordon and encouraged him in abstraction, with which he occupied himself for the next few years. Meanwhile, he trained at Jordanhill College of Education in Glasgow to become a teacher, in the vanguard of the resurgence of art teaching in Scottish schools by the new art masters, undoubtedly because they painted actively while teaching full-time. Passionate about art education, he was instrumental in influencing many students to pursue a career in the creative industry. A former pupil aptly described his classroom as a "guided exploration rather than a formal lesson". His love of the Scottish countryside is mirrored in his work and undoubtedly stemmed from the bank of images he built when, as a youngster, he travelled with his parents around the country. Argyll and the Western Isles were his favourite destinations, where he was fascinated by the crofts and farms sprouting from the land. Small houses typified his landscapes and still-lifes included abstracted landscapes; flowers, particularly poppies, fruit and fish feature in his later output. In 1996, he was awarded the Alexander Graham Munro Prize at the RSW exhibition in Edinburgh. His work featured regularly in one-man and combined shows and at his last one-man show in London in 2003, demand for his paintings remained high, as it has done ever since. In the last couple of years auction prices, in Glasgow and elsewhere, have shown a significant surge, reflecting the increasing collector interest in Gordon Wyllie's work.
* GORDON HOPE WYLLIE RSW (SCOTTISH 1930 - 2005), HAYFIELD oil on paper, signed, titled versomounted, framed and under glassimage size 9cm x 15cm, overall size 23cm x 32cm Note: Gordon Wyllie was born in Greenock and in 1949 was accepted to study at the Glasgow School of Art. Under the tutelage of such luminaries as Edward Odling and Mary and Willie Armour, Gordon distinguished himself, graduating in 1953 after an eminent final year. He was awarded the post-diploma, or Master's course, won the Scottish Academy Award and also the Newbery Medal, the school's most prestigious prize. This was all the more remarkable considering that Gordon had, in his diploma year, returned home to care for his father, whose seriously deteriorating health ended in death two months before the degree show, and Gordon himself had suffered a bout of pneumonia. With a scholarship award, he studied that summer at Hospitalfield, Arbroath, as a post-graduate under Ian Fleming. Fleming inspired Gordon and encouraged him in abstraction, with which he occupied himself for the next few years. Meanwhile, he trained at Jordanhill College of Education in Glasgow to become a teacher, in the vanguard of the resurgence of art teaching in Scottish schools by the new art masters, undoubtedly because they painted actively while teaching full-time. Passionate about art education, he was instrumental in influencing many students to pursue a career in the creative industry. A former pupil aptly described his classroom as a "guided exploration rather than a formal lesson". His love of the Scottish countryside is mirrored in his work and undoubtedly stemmed from the bank of images he built when, as a youngster, he travelled with his parents around the country. Argyll and the Western Isles were his favourite destinations, where he was fascinated by the crofts and farms sprouting from the land. Small houses typified his landscapes and still-lifes included abstracted landscapes; flowers, particularly poppies, fruit and fish feature in his later output. In 1996, he was awarded the Alexander Graham Munro Prize at the RSW exhibition in Edinburgh. His work featured regularly in one-man and combined shows and at his last one-man show in London in 2003, demand for his paintings remained high, as it has done ever since. In the last couple of years auction prices, in Glasgow and elsewhere, have shown a significant surge, reflecting the increasing collector interest in Gordon Wyllie's work.
* GORDON HOPE WYLLIE RSW (SCOTTISH 1930 - 2005), RUINED CHURCH mixed media on board, signed and dated '77mounted, framed and under glassimage size 24cm x 40cm, overall size 48cm x 63cm Handwritten artist's label versoNote: Gordon Wyllie was born in Greenock and in 1949 was accepted to study at the Glasgow School of Art. Under the tutelage of such luminaries as Edward Odling and Mary and Willie Armour, Gordon distinguished himself, graduating in 1953 after an eminent final year. He was awarded the post-diploma, or Masters course, won the Scottish Academy Award and also the Newbery Medal, the school's most prestigious prize. This was all the more remarkable considering that Gordon had, in his diploma year, returned home to care for his father, whose seriously deteriorating health ended in death two months before the degree show, and Gordon himself had suffered a bout of pneumonia. With a scholarship award, he studied that summer at Hospitalfield, Arbroath, as a post-graduate under Ian Fleming. Fleming inspired Gordon and encouraged him in abstraction, with which he occupied himself for the next few years. Meanwhile, he trained at Jordanhill College of Education in Glasgow to become a teacher, in the vanguard of the resurgence of art teaching in Scottish schools by the new art masters, undoubtedly because they painted actively while teaching full-time. Passionate about art education, he was instrumental in influencing many students to pursue a career in the creative industry. A former pupil aptly described his classroom as a "guided exploration rather than a formal lesson". His love of the Scottish countryside is mirrored in his work and undoubtedly stemmed from the bank of images he built when, as a youngster, he traveled with his parents around the country. Argyll and the Western Isles were his favourite destinations, where he was fascinated by the crofts and farms sprouting from the land. Small houses typified his landscapes and still-lifes included abstracted landscapes; flowers, particularly poppies, fruit and fish feature in his later output. In 1996, he was awarded the Alexander Graham Munro prize at the RSW exhibition in Edinburgh. His work featured regularly in one-man and combined shows and at his last one-man show in London in 2003, demand for his paintings remained high, as it has done ever since.
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), HEIRESS watercolour and pen on paper, signed and dated 2006, titled label versomounted, framed and under glass image size 21cm x 14cm, overall size 39cm x 33cm Label verso: The Open Eye Gallery, EdinburghNote: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.
* ALEXANDER GOUDIE RP RGI (SCOTTISH 1933 - 2004), GREEN ANGEL pastel on paper, signed, titled partial label versomounted, framed and under glassimage size 54cm x 64cm, overall size 85cm x 94cm Note: Alexander Goudie was born in 1933 at Paisley and, as a child, showed prodigious talent for drawing. He studied at Glasgow School of Art when William Armour was head of drawing and painting and David Donaldson was the ubiquitous influence. Goudie, as a student at Glasgow, demonstrated his extraordinary ability. He received the Somerville Shanks Prize for Composition and, later, his draughtsmanship and sense of colour was recognized with the award of the Newbery Medal. As a young artist he grew up admiring three great masters, Sir John Lavery, George Henry and James Guthrie; all artists who had bridged the gap between Glasgow and Paris. It was these artists’ glorious virtuoso control of oil paint that appealed to Goudie, as well as their genre and realist subject-matter. Alexander Goudie was elected a member of the Glasgow Art Club in 1956 and a member of the Royal Society of Portrait Painters in 1970. He painted a portrait of the Queen for the Caledonian Club, London (1992/93), and exhibited widely, showing at Harari and Johns, in London, the Fine Art Society, Glasgow, and the Musee de la Faience, in Quimper. Sir Timothy Clifford, former Director of the National Galleries of Scotland, wrote: ''At his best, Goudie could draw better than any of his rivals in Scotland. There was magic and vision in his art and, I expect, history will be kind to him.'' Collections: 79 of Goudie's paintings are held in UK public collections including at Glasgow Museums & Galleries, The Hunterian, Rozelle House Galleries, Paisley Museum & Art Galleries and The Fleming Collection (London). Numerous prestigious corporate collections in the UK and France and in private collections around the world.
Thomas Sautelle Roberts (c.1760 - 1826) Wooded River Landscape with Waterfall and Ruin Oil on canvas, 101.5 x 127cm (40 x 50")Sautelle Roberts was born into a family of artists, the youngest son of architect John Roberts and his wife Mary Susannah Sautelle, who was of Huguenot descent. After the death of his older brother, the renowned painter Thomas, in 1778, he adopted his brother’s first name to benefit from his fame as Thomas Sautelle Roberts. Initially trained as an architect, he later enrolled in the School of Landscape and Ornament Drawing where he won a medal for draughtsmanship.Now working as an artist he divided his time between Dublin and London and exhibited at the RA between 1789 and 1811. He was also a regular exhibitor with the Society of Artists of Ireland from 1800. Sautelle Roberts was held in high esteem by his peers and was one of the first three members of the RHA when it was founded in 1823.
Group of seven non-silver United States commemorative coin sets including:2005 Westward Journey Nickel Series coin and medal set consisting of two nickels, a Sacagawea dollar, and a medal. With original packaging and certificate of authenticity.One 2003 First Flight Centennial commemorative coin; a proof clad half dollar coin. With the original packaging and certificate of authenticity.One 1983 A Year to Remember American Historic Society commemorative coin set including a penny, a quarter, a dime, a nickel, and a half dollar. With the original packaging and a certificate of authenticity.Three sets of the 2007 Presidential $1 coin proof sets. Each set consisting of a dollar coin featuring one president - either George Washington, John Adams, Thomas Jefferson, or James Madison. All with the original packaging and a certificate of authenticity.One 1967 mint proof set consisting of a penny, a nickel, a dime, a quarter, and a half dollar.(Boxes) height ranges from 1/4 in to 1 1/2 in; width ranges from 5 1/4 in to 6 1/4 in; depth ranges from 2 1/8 in to 5 3/8 in.Condition:All coins appear to be in mint condition and have not been removed from their plastic cases. These coins have not been professionally graded. We strongly suggest inspecting this coin prior to purchase. There is some wear to the packaging throughout as expected with age and handling.
Group of 25 international coins and medals including: one 1727 French ecu, two small medals with the Lord's prayer from the Cincinnati Pure Aluminum Company, six 1919 French 1 franc coins, one 1918 French 50 centimes coin, one medal commemorating the 1916 Battle of Verdun, one Winston Churchill 1965 commemorative crown, one Venezuelan Maria Lionza coin, one 1847 German coin commemorating a famine, one 1889 Queen Victoria jubilee crown, one 1889 Peruvian one sol coin, one 1959 Mexican independence one peso coin, one 1888 Mexican coin, six 1919 French 2 franc coins, and one Spanish 10 centimos coin.Diameter ranges from 11 mm to 40 mm.Condition:These coins have not been professionally graded. They likely has signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting these coins prior to purchase.
Sydney Alex Kumalo (South African, 1935-1988)St Francis of Assisi signed and numbered 'K VII | X' (beneath the figure's tunic)bronze on wooden base 70 x 27.5 x 22.5cm (27 9/16 x 10 13/16 x 8 7/8in). (including base)Footnotes:ProvenanceEgon Guenther Gallery, purchased 3rd November 1966;By descent;A private collection.ExhibitedJohannesburg, Egon Guenther Gallery, An Exhibition of Sculpture and Drawings by Sydney Kumalo, (8 May 1962). (edition i/x).LiteratureGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), SK13, p. 143.H. Toerien & G. Duby, ed. Our Art, vol.3, (Pretoria), p. 66. (illustrated).Elizabeth Rankin, 'Sydney Kumalo', ed. E. Burroughs & K. Nel, Re/discovery and Memory: The works of Kumalo, Legae, Nitegeka & Villa,(Cape Town: ABC Press & Norval Foundation, 2018), p. 131. (different edition of the same work illustrated). S. Sack, The Neglected Tradition: Towards a New History of South African Art (1930-1988), (Johannesburg Art Gallery, 1988), p. 51. (different edition of the same work illustrated), (edition 6/10).Born in 1935 and raised in the old suburb of Johannesburg known as Sophiatown, Sydney Kumalo grew up with and became absorbed into a community that would be destroyed by the apartheid, catalysing a generation of some of South Africa's most passionate, driven, and famous artists. Being Zulu in this community meant that Kumalo grew up surrounded people of different political beliefs and cultures, developing a grounding of cohesive societal understanding that would reflect in his later works of art. Kumalo was only seventeen when he began studying at the Polly Street Art Centre in Johannesburg under the guidance of Cecil Skotnes and Edoardo Villa, before becoming a teacher there himself in 1964. Kumalo would go on to exhibit alongside the two aforementioned artists (also prominent figures in today's market) in collaborative shows. Given his background Kumalo would establish himself as a prominent figure in modern African Art who overcame challenging adversity given his position as a Black creative during apartheid, emphasising his importance. Guenther Gallery cast two terrazzos and the first bronze (edition i/x) of this sculpture for the May 1962 exhibition, An Exhibition of Sculpture and Drawings by Sydney Kumalo. Further casts were created on a basis of supply and demand; the present rendition was cast in November 1966. Evidently a popular cast, Egon Guenther Gallery sold all future editions of St Francis of Assisi from 1966 to 1971. Elizabeth Rankin notes that Carlo Gamberini of the foundry remembered 'how Kumalo used to come to the foundry to oversee the finishing of the bronze casts, and also to work on the waxes of his sculptures, often using a saw blade to introduce surface texture.' This practise can be seen on the present work, with hairline etchings of texture most notable to the head, shoulders, and back of the work. This technique would further animate the figures the artist produced and displayed the artist's continuous passionate development of his works. Figures expressing spiritual emotion is a theme that is consistent within his oeuvre. With regards to his wider body of work, Kumalo's renditions of strong semi-abstracted figures, whether they be animals or humans, are somewhat characteristic of traditional African sculptures. As Jean Kennedy notes on the artist's technique: 'The solidity and central axis of his forms convey strength, the interpretation of which ranges from protest to endurance.' (Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.). In this instance, the image of St Francis of Assisi brings to the surface notions of peace which the figure is associated with. Differing from classical descriptive reproductions of the Saint, for instance often portrayed bearing stigmata in Old Master depictions of the Saint, Kumalo portrays the essence of Assisi, focusing on compositional form rather than the imitation of Christ which older western portraits tend to have leaned towards. While most associations of an animal interaction with the Saint are more famously through the legend of Francis and the Wolf of Gubbio, doves themselves are symbols of peace and therefore contribute to the humility of the figure. St. Francis is one of Kumalo's best known works. Conceived in 1962, the sculpture depicts the Christian saint renowned for his acts of compassion. It was described by Watter in Our Art 3 contemporary critic thus:'The mask-like head radiates spiritual serenity, yet the neck is rigid with strain. The wide-legged stance asserts confidence but the arms are pathetically thin. This is a representation of a man rent by spiritual conflict, caught in his frail human body. Movement is concentrated at two points: on the saint's left hand that cuddles a dove protectively against his chest, and on the strong thrust of the right arm reaching heavenwards in a gesture that combines blessing with threat. This double significance reinforces the tension caused by the amalgam of Christian content with forms redolent of African ritual. The soft pot-belly is opposed to hard purpose. The ludicrous little legs provide a stylised base for a gesture that challenges the universe. In Sydney Kumalo's St. Francis a man is portrayed who has galvanised himself through the strength of selfless compassion and so overcomes the limitations set by his fallible human body.'Since the creation of this work, Sydney Kumalo represented South Africa at the Venice Biennale in 1966, and in 1967 participated in the Sao Paulo Biennale. Kumalo received a number of awards throughout his career; he was invited to the Artist of Fame and Promise Exhibition in 1960 further winning the award for most promising up and coming artist. In 1967 won a bronze medal from the Transvaal Academy and a travel bursary from the US-SALEP (the United States/ South African Leadership Exchange Programme) enabling him to travel to the US in 1967. It seems appropriate, given the religious motivation behind much of the artist's work such as the present lot, that Kumalo also received commissions from religious institutions, such as a mural in the Catholic Church in Kroonstad that was completed in 1957. Therefore, we see Kumalo's career extending beyond these art circle bounds and into physical and pivotal societal structures.We are grateful to Gavin Watkins for his assistance with the above footnote.BibliographyGavin Watkins and Charles Skinner, The Sculptures of Sydney Kumalo and Ezrom Legae, A Catalogue Raisonné, (South Africa: Strauss & Co, 2023), pp. 142-145.H.Toerien & G.Duby, ed. Our Art, vol.3, (Pretoria), pp. 66-68.Jean Kennedy, New Currents, Ancient Rivers; Contemporary African Artists in a Generation of Change, (Washington: Smithsonian Institution Press, 1992), p. 175.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A 19th century or later copy of the Campo Dei Fiori Medal Jesus medal, relief cast with left facing portrait of Christ between Hebrew Initials Alef (for Adoneinu - Our lord) and Yeshu (Jesus) on either side, the reverse with five lines of Hebrew script, this medal was originally issued in the 16th to 18th centuries to Jewish converts to Christianity, 34mm diameter; Ashmore Benson, Pease Co Ltd , Stockton on Tees silver medal etc
SAMOA 2022 "LEGEND OF KING ARTHUR" $5 SILVER FOUR-PIECE COIN SETin the original box and capsules, no. 331/999; "King Arthur & The Knights of the Round Table" bronze medal, in the original box and capsule with Certificate of Authenticity, limited no. 87495; Waterloo Napoleon bronze medal, limited no. 13.500, in the original box with Certificate of Authenticity; and another bronze coin, in the original box and capsule (4)
A JUBILEE MINT EURO 2020 SILVER $1 PROOF COIN(c.8grams), no. 1001/4950, in the original box and capsule; two gold-plated FIFA World Cup Quatar 2022 coins, in original box and capsules, with the Certificate of Authenticity; a Team GB Beijing white metal medal, no. 120/200, with Certificate of Authenticity; and a FIFA World Cup Quatar 2022 gold-plated model of the World Cup trophy, 1oz, in the original box (5)
BARBADOS 2022 "THE LADY LIBERTY" SOLID SILVER $5 COIN BAR SETeach 1oz, in the original box and capsules with Certificate of Authenticity, no. 204/500; United States Armed Forces Silver Medal US Coastguard, (c.2oz) in the original box and capsule with Certificate of Authenticity; and a quantity of various other American and Mexican silver minted coins, in original boxes and capsules (a lot)
ANTON FRUHAUF: 'THE GARDEN OF EDEN' PENDANT NECKLACE in silver gilt, comprising a large textured pendant, enamelled and set throughout with round brilliant cut diamonds, depicting Adam and Eve, with bird of paradise, serpent and diamond set sun, suspended from an enamelled fancy link chain with diamond spacers, signed 'A FRUHAUF', stamped '800' and '750', 11.0 x 8.9cm, (gross weight - c.217.0g) Provenance: from the collection of Liesl Muller-Johnson 1922-2014. Anton Fruhauf - Artist Jeweller - Italian 1914-1999: Anton studied at Munich School of Applied Art and worked as a goldsmith in Rome before returning to the family business. From the 1950's his avant guard jewellery designs drew international attention, in the following decades he won prizes for design in Austria, Italy, Germany and Japan. A gold medal was awarded for his' Kings bracelet' in 1957. Fruhauf's work appears in The Boston Museum of Fine Arts and in the Pforzhiem Jewellery museum.Sold at auction in 2015 for £10,400.
2019 AMERICAN LIBERTY HIGH RELIEF SILVER MEDAL(c.2.5oz) in the original box and capsule with Certificate of Authenticity; a 2013 American Eagle Liberty 1oz fine silver dollar, in the original United States Mint box and capsule; a 2021 Eagle Liberty Type II United States $1, in the original United States Mint box and capsule; two United States Mint "Honour of Hope" silver 1oz coins, in the original boxes and capsules (5)
UNITED STATES MINT 2016 AMERICAN EAGLE 1OZ SILVER PROOF COINin the original box and capsule with Certificate of Authenticity; Royal Mint 1997 "Symbols of Freedom" two coin silver proof set, (c.31.103g and 9.50g) in the original box and capsule with Certificate of Authenticity; 2016 silver American Liberty medal, (c.31.072g), in the original box and capsule with Certificate of Authenticity; 2013 Central Bank of Ireland "John F. Kennedy" 10 Euro silver proof coin, (c.28.28g) in the original box and capsule; and an American Eagle 2022 $1 silver 1oz coin,in the original box and capsule withCertificate of Authenticity, no. 125/200 (5)
PERTH MINT "JOHN WAYNE" 2022 1OZ SILVER-COLOURED COIN in the original capsule and box with Certificate of authenticity, no.1636; a United States Mint Armed Forces silver medal honouring the US Coastguard, 1oz, in the original capsule and box with Certificate of Authenticity; a silver 500 francs coin in the original capsule and box; a view of Dormington 1oz silver coin in the original capsule and box with Certificate of Authenticity; a 2019 Liberty silver-gilt coin in the original capsule; a Queen Elizabeth II 2019 silver 50pence coin, in the original capsule; and a 2015 "Volcano Vesuvius - Pompeii" silver coin; a NZ $2 2oz silver coin, in the original capsule and box with Certificate of Authenticity (7)
Medals - A Bronze medal, designed by JS and AB Wyon, celebrating the recovery of Albert Edward, Prince of Wales from typhoid in 1872, depicts the allegorical figure of the City of London inviting Queen Victoria and the Prince of Wales to enter St Paul's Cathedral, while Britannia stands guard on the other side of the entrance, the reverse shows the congregation in the interior of the Cathedral at the crossing, with the lower stage of the dome visible.
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