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Lot 126

NEAR PAIR OF EARLY TWENTIETH CENTURY CAROLEAN STYLE CARVED OAK SINGLE DINING CHAIRS, each with vine carved backs and barley twit uprights, flat fronted seats, one caned, the other with padded seat covered in close-studded brown hide, and block and turned front supports, tied by conforming stretchers, (2) C/R- play to the back joints, cane seat good but feels slightly soft, usual rubbing to the polish and joints slightly open to the splat part of the backs, hide seat recent, very clean

Lot 13

HEAVY QUALITY EMBOSSED WASHED CHINESE CARPET, the plain pale blue field having grey mon medallion, the broad cream border decorated in each corner with a Chinese character and each side centred by a mon, plain light blue narrow outer border, 9ft x 6ft (274 x 193cm) c/r sky blue is now grey blue, oatmeal border now cream

Lot 131

ANTIQUE COUNTRY ELM SINGLE DINING CHAIR, with pierced splat and padded seat, covered in red and orange fabric, and raised on square front legs tied by a H stretcher C/R- woodworm holes to the lower section, seat rails strengthened/restored and later upholstered

Lot 132

GEORGE III MAHOGANY CROSSBANDED OAK LOW BOY, the moulded top with in-turned fore corners and fall-flap to the back, set above three drawers to the fret cut frieze, and raised on square, moulded supports with chamfered inner edges, 29? (73.7cm) high, 36? x 20 ¼? (91.5cm x 51.4cm) C/R-the top with two splits and the usual scratching and black marks, split to the central drawer base, split to left side, splash marks to the right side

Lot 134

NINETEENTH CENTURY CARVED OAK SETTLE, the three panel back well carved with stylised foliage, flanked by mask capped downswept arms with mythical mask carved terminals and short turned supports, enclosing a solid seat and raised on turned supports tied by square sectioned stretchers, 45? (114.3cm) high, 67? x 27? (170cm x 68.6cm) C/R-joint splits to the seat and light wear, otherwise good

Lot 397

A limited edition print by Robert Taylor, 'Hurricane', first edition, Bath 1979, signed by Wing Commander R R Stanford-Tuck DSO, DFC, RAF (Retd)', framed

Lot 458

Two Folding Plate Cameras, an Agfa Standard, shutter working, sometimes irratic on slow speed, damage to focus lever, focusing jammed, body G, with 10.5cm f/6.3 Anastigmat lens, elements G, in original box, inner box with film plate holder, suppliers label on box, a Butcher Klimax, body G, damage to hinge, with Kodak Automatic shutter, pat May 7 1907, shutter working, with R & J Beck 6in f/6 Neostigmar lens, elements G, lot includes two rollfilm backs

Lot 80

Leica and Nikon Accessories, a Leica SF58 electronic flashgun, battery corrosion, a Nikon Speedlite SB-15, battery corrosion, a Leica Motor-Winder R and an Asahi Pentax Winder MX, all untested, Leica items with maker's boxes and instructions, Nikon with maker's case only, A/F

Lot 219

A Leitz Canada Summicron-R 35mm f/2 Lens, serial no 2732837, 1975, 2-cam, barrel F, scuffs to distance scale, elements G, slight haze, dust, with 12509 lens hood and 14162 J rear cap

Lot 212

A Lalique 'Primeveres' opalescent glass bowl,moulded with flowers, impressed 'R Lalique' and wheel cut 'France',16cm diameterFrom the collection of Deryck Healey.Condition report: Base has scratches and rubbing. No other issues viewed.

Lot 213

A Lalique 'Ormeaux' glass bowl,moulded with tinted leaves, stencilled 'R Lalique France', 19cm diameter7.8cm highCondition report: Minor scuffing and scratches to the base, watermarks and scratches to the inside.

Lot 227

'Walkers - For a Good Start use the Motor Bus',a colour lithographic travel poster, designed by C R W Nevinson (1889-1946), printed by 'The Avenue Press, Upcott Gill & Son, 55-57 Drury Lane London WC2', 62.5 x 100cm, framedCondition report: Horizontal folds and creases to the poster. Colour sapped. Spotting to the upper section - some visible tears. Not viewed out of the frame.

Lot 413

A contemporary silver wine jug and two goblets, by Ian Calvert, London 1998, the jug and the beakers each inset with a band of beads, jug 24.5cm high, goblets 11cm high, 72ozt approximately (3)Ian Calvert was born in 1938 and began his craft education at thirteen. Whilst at Gravesend School of Art, a visiting lecturer, Jack Stapley, inspired him to stay on for extra evening classes and, by his third year, he contacted silversmith R E Stone and was offered a four-year apprenticeship in 1954.In 1957, he was chosen to represent Great Britain in the International Apprenticeship competition in Madrid and was awarded first prize by General Franco.He became a Freeman of the Goldsmiths' Company in 1959, then worked for Wakely and Wheeler with Frank Beck, before setting up the Silver Workshops Ltd.Condition report: Some oxidized areas - good overall condition. The beads on one of the goblets move around - the other and the jug are fixed. Further images uploaded.

Lot 497

R B Kitaj (American, 1932-2007)'The Adding Machine';'Boss Tweed';'Hours with Men and Books'screenprints, unsignedlargest 75 x 54cm82 x 62cm, all framed (3)From the collection of David Pocknell.

Lot 5

A pair of ash and elm ladderback side chairs, attributed to C R Ashbee (1863-1942) for the Guild of Handicraft, each with rush seats and double stretchers,46.6cm wide36cm deep 86.5cm high, seat 44cm high (2)Condition report: One seat re-rushed, other worn, some old worm holes to supports.Rails worn under front seat.

Lot 290

2 x 9k gold rings, total w: 3.7 gms, sizes Q and R

Lot 321

9k gold gents ring with cushion old cut diamond, w: 8.6 gms, size R/S, Clarity SI1, Colour L/M, Size 1.20 ct approx

Lot 379

Enamel and painted French mantle clock with pendulum, marked R & C 2714, 12” (30cm) high x 8.25” (21cm) wide. No glass on face

Lot 926

19th century wall-mounted barometer with 8 inch silvered dial, hygrometer, separate thermometer and spirit level, signed 'R. M. Barrett, Bromley Street Commercial Street East', in a mahogany onion-top case, 92cm overall length

Lot 306

Late 20th century rectangular silver-mounted picture frame, Birmingham 1997, makers R&Co, 23.1cm x 18.4cm, a miniature oval silver-mounted picture frame, 11cm high and a miniature circular silver mounted picture frame, 8.3cm diameter (3) 

Lot 447

Aubrey R Phillips (1920-2005) Oil on canvas boardWinter at Malvern, signed and dated 77 lower right, 29cm x 34cm E Morgan Oil on boardAutumnal still life, signed and dated 78 lower left, 44cm x 35cm (2) 

Lot 459

20th century school Oil on board'Stream near Eckington'Inscribed to reverse Dated to reverse 'Ashleworth 1981'Unsigned24cm x 29cm;R E Barnes (late 19th / early 20th century)Oil on canvas Cattle with figures on path at duskSigned lower right (2) 

Lot 75

A 9ct Gold Amethyst And Pearl Set Ring Of Oval Form, 6.2 grams, ring size R

Lot 540

Joanna Dunham, watercolour study of flowers in a vase; R E Campbell study of Leiston Abbey; unsigned gouache of a garden scene; a watercolour depicting a country cottage; and a still life by Margaret James

Lot 542

A R Kusel, Welsh farm study with lake and mountainous background, signed oil on canvas

Lot 892

John R Pretty, two watercolour studies of Southwold and Walberswick ; and a watercolour study of a rural scene

Lot 119

Two ladies vintage silver rings, sizes O & R. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Lot 141

* WILLIAM CROSBIE RSA, RGI (SCOTTISH 1915 - 1999), THE ORCHARD IN AUTUMN oil on canvas board, signed and dated 47 36cm x 46cm Framed and under glass Label verso: T & R Annan & Sons Note: The Scottish Gallery (Edinburgh) staged their fifth "highly successful" William Crosbie solo show "The Devoted Creative" 1st - 28th April 2020.

Lot 155

R DUFFIELD, AUTUMN AMBIANCE oil on board, signed 60cm x 60cm Framed

Lot 161

R DUFFIELD, BLAZING SUNSET oil on board, signed 61cm x 61cm Framed

Lot 30

* WILLIAM NORMAN GAUNT (BRITISH 1918 - 2001), BOATS ON THE CLYDE oil on board, signed, titled verso 51cm x 61cm Framed Provenance: Notable private Scottish collection Note: William Norman Gaunt was born in Leeds In 1918 and studied at Lancaster School of Art under Walter Bayes RWS. He gained his National Diploma in 1949 and was made a Fellow of the International Institute of Arts and Letters in 1959. His work is well renowned for his characterful depictions of figures, coastal scenes and equestrian portraits. Gaunt worked in oils but was also a gifted watercolourist. It's not known how often he visited Scotland but he is known to have painted in Kirkcudbright, Sutherland, Loch Earn, in Glasgow and around the Clyde. His Scottish paintings were sold by T&R Annan & Sons (Glasgow). Norman Gaunt's Scottish paintings rarely appear at auction but we sold "Kite Flying" lot 18, 27th November 2016, for £900 (hammer). Until now "Kite Flying", probably not a Scottish scene, remains the only example of Gaunt's work we have offered. In our opinion "Boats on The Clyde" is an exceptional example of Gaunt's work and although undated we believe it was probably painted in the late 1940's or early 1950's. In a manner similar to Herbert Whone, Norman Gaunt, although not a native Glaswegian, captured the city and The Clyde in manner which only the very finest Scottish artists have ever achieved.

Lot 32

R V ASTLEY TRIPTYCH VANITY MIRROR, faux shagreen detail, 71cm x 61cm approx.

Lot 65

R V ASTLEY TABLE LAMPS, a pair, contemporary chrome with shades, 63cm H. (2)

Lot 493

A mid 20th century upholstered corner sofa, bearing a label for R R Stevens, London, in two parts, 125cm overall

Lot 104

Great Britain Stamps : 6d Purple mounted mint over-printed I R OFFICIAL SG O18

Lot 348

WW1 1914-1915 Medal trio and ribbons, named 8107 Driver T H Gregory R A

Lot 357

WW1 1914-1915 medal trio and ribbons named 107019 Driver R Hales RFA - RA

Lot 358

WW2 Palestine mounted medal group, GSM named T/61241 driver D Blair R A S C

Lot 359

3 WW1 Victory medals, 57023 PTE C S Hart Lancashire fusililers, W Z 3071 W H Edwards A B R N VR, 318956 A CPL V Huntingford RA

Lot 373

WW1 medal pair with original ribbons, named 22987 pte J P Capper N Staff R

Lot 390

7 Masonic R A O B jewels, including Chapter jewel and Steward

Lot 605

A SMALL RUSSET-SPLASHED ‘HARE’S FUR’ BOWL, SONG DYNASTY China, 960-1279. The bowl is covered with a thick and lustrous blackish-brown glaze suffused with russet ‘hare’s fur’ streaks and accented with russet splashes, stopping neatly above the lower body and exposing the body of greyish-brown color with one thick glaze drop ending at the short foot ring. Condition: Excellent condition with some old wear and minor firing flaws. Provenance: E. W. Hendriks Oriental Art, Amsterdam. Dr. Koos de Jong, acquired from the above in 1996 (invoice not available). Dr. de Jong is a Dutch art historian and has been privately collecting Chinese art over decades. He has authored hundreds of articles and several books on Dutch fine and decorative arts spanning from the Middle Ages to the modern era. In 2013, he published an extensive study of Chinese riding gear in “Dragon & Horse, Saddle Rugs and Other Horse Tack from China and Beyond”. Between 1976 and 2009 he worked for numerous museums across the Netherlands and was the director of the European Ceramic Work Center in Den Bosch. Weight: 103. 8 g Dimensions: Diameter 8 cm The bowl has rounded sides rising to a slightly incurved rim and is supported on a short ring foot. The superior quality of this remarkable bowl consists of the fascinating shades of the colors black, red, brown and green on the inside and the, entirely coincidental, symmetrical fan-shaped streamlining of the stripes on the outside. The bold russet splashes accenting the blackish-brown glaze on this piece are often referred to as zhegu ban, or ‘partridge-feather mottles’. ‘Hare’s fur’ tea bowls, much beloved by tea connoisseurs, were first made at the Jian kilns in Fujian in southern China. Following the Jin conquest of the north in 1127, such bowls became virtually unattainable as trade between northern and southern China diminished. Trying to tap into the lucrative market for these specialized dark-glazed wares, the Cizhou potters began to produce wares exhibiting their own version of this highly desirable glaze. Literature comparison: Priestley & Ferraro, London 2008, p. 4. R. Mowry, Hare’s Fur, Tortoiseshell, and Partridge Feathers. Chinese brown- and blackglaze ceramics, 400-1400, Harvard University Art Museums, Cambridge (MA) 1996, no. 38 a-b, p. 143. Fire & Earth, Chinesische Frühkeramik, Museum für Ostasiatische Kunst, Köln 2008, no. 166, p. 207. 小褐色釉兔毫盞,宋代 中國,960-1279。小盞覆厚重黑色釉层,透出均匀细密的丝状筋脉条纹,圈足露出灰褐色胎體,一層厚厚的釉滴聚集在圈足上方。 品相:品相極好,一些老磨損,輕微燒製瑕疵。 來源:阿姆斯特丹E. W. Hendriks Oriental Art收藏。Drs. Koos de Jong 1996年購於上述收藏 (無發票)。Drs. Koos de Jong是一位荷蘭藝術史學家,幾十年來他一直私人收藏中國藝術品。他撰寫了數百篇文章和幾本書,內容涉及從中世紀到現代的荷蘭美術和裝飾藝術。2013年,他在《Dragon & Horse:Saddle Rugs and Other Horse Tack from China and Beyond》中發表了有關中國騎馬裝備的詳盡研究。1976年至2009年間,他曾在荷蘭的許多博物館工作,並曾擔任登博世歐洲陶瓷工作中心的主任。 重量:103. 8 克 尺寸:直徑8 厘米

Lot 1119

I: Briot, Warin and Rawlins, England, Charles I, Briot’s First Machine-made issue, Halfgroat, no mm., crowned bust within inner circle, signed b below, carolvs d g mag brit fr et hib r, rev. ivstitia thronvm firmat, square-topped shield over long cross fourchée, 0.83g/12.9gr/6h (SCBI Brooker 721, same dies; N 2302; S 2856). Extremely fine with considerable mint bloom, lightly toned £200-£300 --- Provenance: Bloomsbury Auction, 11 October 2004, lot 391

Lot 1125

I: Briot, Warin and Rawlins, England, Peace or War, 1643, a struck silver medal by T. Rawlins, bust of Charles I right, signed r below, carolvs d g ang sco fr et hib rex, rev. in vtrvmqve paratvs, crossed sword and olive-branch between c r crowned, date in exergue, 29mm, 6.65g (Platt I, pp.205-6, type A; MI I, 308/134; E 142). Cleaned in the past and partially re-toned, otherwise very fine £200-£300 --- Provenance: A.P. Adams Collection, Part II, Glendining Auction, 22 November 1989, lot 12. This piece and the next are considered to be a military rewards after the Royalist capture of the city of Bristol on 27 July 1643. While this and the next piece are signed ‘R’ for Rawlins, others are signed ‘B’ for Briot. They were probably made in Oxford for more than one victory. The bust (punch) must certainly be by Briot

Lot 1127

I: Briot, Warin and Rawlins, England, Charles II, before 1660 (?), a cast and chased silver Royalist badge, unsigned [by T. Rawlins or T. Simon], young crowned bust right, rev. crowned arms within Garter between c r, in imitation of engraving, 38 x 30mm, 5.76g (Platt II, p.354; MI I, 444/19; E 204). Very fine, rare; with integral loop and ring for suspension £300-£400 --- Provenance: SNC May 2011 (CM 1368). This is a high quality youthful bust of the King, far superior to the general badges of the period. If made during the Interregnum then it would have been by Rawlins, but if made c. 1660 it could have been by Simon, simply because of the quality of the portraiture. Platt refers to it as the ‘restoration badge’, without further comment

Lot 1129

I: Briot, Warin and Rawlins, England, Charles II, Coronation, 1661, a struck silver medal, unsigned [by T. Rawlins], crowned bust left wearing Collar of the Garter, carolvs ii d g mag bri fra et hi rex coronatvs, rev. dixi cvstodiam xxiii april 1661, Charles as a shepherd tending his flock, edge pastore ovat ovile coronato, 33mm, 22.78g (MI I, 473/78; E 220). Good very fine, old cabinet toning, very rare £600-£800 --- Provenance: Greta Heckett Collection, Sotheby Auction, 25 May 1977, lot 165; A Very Fine Collection of British Historical and Commemorative Medals, Sotheby Auction, 9-10 March 1989, lot 85; An Important Collection of Stuart Badges and British Commemorative Medals, Spink Auction 120, 9-10 July 1997, lot 416. This piece is unsigned, but of the same group as other dies, some of which are signed ‘R’ for Rawlins. Rawlins died in 1670 but had been nominal chief engraver since 1660. This is a highly professional and finished medal, probably made in 1661 and for the Coronation, as opposed to commemorate it later. However, it was not the ‘official’ medal approved for general circulation as was Simon’s. (Note the portrait in comparison with Simon’s halfcrowns in his hammered issues along with the Simon warrant; an amazingly close similarity. Did they perhaps originate from the same painting or drawing? And if so, which?). What is also surprising is the lettered edge made with a collar; there is a vertical witness line, and the letter bases are flat. Presses were still available, and of course Simon had access to them, as would Rawlins. However, the appearance of collars are unexpected. The thick Ramage coins of 1651 used them, so the knowledge existed, very possibly having originated with Briot. David Ramage was still at the Mint until his death before August 1662 and could have been involved with the mechanics – remembering his competent work in 1651. However, the ‘R’ signature could not be his, for he is not known to have any portraiture ability, but of course Rawlins did. Blondeau did not return to England until the end of 1661

Lot 1142

IV: Coins of Oliver Cromwell, Pattern Broad or Fifty Shillings, 1656, by T. Simon, in gold, laureate bust left, olivar d g r p ang sco et hib &c pro, rev. pax qværitvr bello, crowned shield, edge protector literis litteræ nummis corona et salvs, 22.66g/350.2gr/6h (Lessen, BNJ 1996, A1; WR 38; N 2743; S 3224). Some minor marks and hairlines, otherwise better than extremely fine, extremely rare; about 12 specimens believed known £100,000-£150,000 --- Provenance: V.M. Brand Collection; A Small Group of Early English and Scottish Milled Gold Coins, Glendining Auction, 18-19 November 1970, lot 16. From the same dies as the broad (see next two Lots). The purpose of the thick lettered edge version of the coin is not known. However, the edge legend was specified in the legal warrant for the broad, which proved too thin for it, and thus was grained instead. It is believed that these lettered edge coins could have been presentation pieces intended to show what Simon and Blondeau could produce, so long as the Mint supplied the bullion and some wealthy individual paid for them. The precise provenance of this coin prior to its acquisition by Virgil Brand remains uncertain

Lot 1145

IV: Coins of Oliver Cromwell, Crown, 1658/7, laureate bust left, olivar d g r p ang sco et hib &c pro, rev. pax qværitvr bello, crowned shield, edge has nisi peritvrvs mihi adimat nemo, 30.06g/464.0gr/6h (Lessen, BNJ 1996, E12; L & S 1; ESC 240 [10]; S 3226). Traces of tooling to remove parts of the customary die break on neck, otherwise good extremely fine with old cabinet toning and reflective fields £4,000-£5,000 --- Provenance: A Small Collection of Crowns, Glendining Auction, 19 June 1968, lot 176

Lot 1146

IV: Coins of Oliver Cromwell, Halfcrown, 1656, laureate bust left, olivar d g r p ang sco et hi &c pro, rev. pax qværitvr bello, crowned shield, edge has nisi peritvrvs mihi adimat nemo, 14.86g/229.6gr/6h (Lessen, BNJ 1996, H25; ESC 251 [446]; S 3227). Characteristic small die flaws in front of face and other minor marks on obverse, otherwise about extremely fine and toned, arguably the finest known specimen £8,000-£10,000 --- Provenance: J.L. Dresser Collection, Stack’s Auction (New York), 29 April-1 May 1987, lot 1792. The first recorded appearance or issuance of this coin was on 1 June 1657

Lot 1148

IV: Coins of Oliver Cromwell, Halfcrown, 1656, an obverse trial strike in lead, laureate bust left, olivar d g r p ang sco et hi &c pro, edge plain, 21.58g/333.5gr (Lessen, BNJ 1996, H25a, this piece; cf. S 3227). Fine or better, UNIQUE £400-£600 --- Provenance: C. Freedman Collection, Spink Auction 55, 8 October 1986, lot 106 (part). Simon’s obverse die trial, strike or test impression. This is a genuine impression from the die as an early trial of sorts by Simon: the flan is larger than the die and the full extent of the die is apparent, showing the full beading of the die of about 2mm, in contrast to an actual silver coin with its truncated beading of about 1mm, proving that such an impression can only have been done by the die. The usual die flaws present on a silver coin are not evident here, but that might be because it is lead. To safeguard the die, and still get a good image from it, lead would have been an obvious choice of material, and the impression was probably made by a manual screw press, avoiding the use of great force – there is no way of knowing if the die was even hardened at this stage. This is one of the few surviving original Simon die proofs (others are the British Museum’s pewter shilling and lead Lord General obverse strikings, and two pewter sixpences, one of which was previously in the British Musuem, and some Charles II thin gold impressions)

Lot 1149

IV: Coins of Oliver Cromwell, Halfcrown, 1658, laureate bust left, olivar d g r p ang sco et hib &c pro, rev. pax qværitvr bello, crowned shield, edge lettered, has nisi peritvrvs mihi adimat nemo, 15.00g/231.9gr/6h (Lessen, BNJ 1996, I26; ESC 252 [447]; S 3227A). Light scratch on neck, otherwise extremely fine, old cabinet toning £3,000-£4,000 --- Provenance: With Eedle 1963; bt D.R. Sear March 2009

Lot 1151

IV: Coins of Oliver Cromwell, Shilling, 1658, laureate bust left, olivar d g r p ang sco hib &c pro, rev. pax qværitvr bello, crowned shield, edge grained, 5.99g/92.6gr/6h (Lessen, BNJ 1996, J28; ESC 254 [1005]; S 3228). About extremely fine, attractively toned £2,000-£2,600 --- Provenance: H.K. Hepburn-Wright Collection; bt Spink 1964

Lot 1154

IV: Coins of Oliver Cromwell, Farthing, undated, by D. Ramage, from the same obv. die as previous, rev. thvs vnited invincible, three columns bound together, r below, lozenge stops both sides 4.22g/65.5gr/6h (Lessen, BNJ 1996, O44; Cooke 813; BMC 391; Montagu 1; N 2749; S 3230). About very fine, extremely rare £6,000-£8,000 --- Provenance: Sir Kenyon Vaughan-Morgan Collection, Sotheby Auction, 17-18 June 1935, lot 382; F. Brooks Collection [from Spink 1956]; H.K. Hepburn-Wright Collection; bt Spink 1964

Lot 1171

VI: Original struck Dunbar Medals by Simon, Battle of Dunbar, 1650, a large struck uniface silver medal, unsigned [by T. Simon], bust left in plain field, no legend or signature, 35 x 31mm, 8.56g (Lessen, BNJ 1981, p.125 and pl. xiv, 32, this piece; cf. MI I, 392/14; cf. E 181a). Probably a trial striking of the bust punch before the legends were added, some edge and flan marks, otherwise fine; probably UNIQUE £600-£800 --- Provenance: R. Stucker Collection, Bourgey Auction (Paris), 21-3 November 1977, lot unspecified; SNC June 1978 (8419). An original Simon trial striking from a bust punch die before the legends were added, or perhaps a striking from a separate, unfinished die. This was later reworked in the round (as opposed to in the puncheon) by engraving or tooling to remove the armour and replace it with an imperial draped type of garment. The sash itself is fuller than on the completed Dunbar medal, and the entire drapery and garment image approaches that of the Lord Protector medal, implying that Simon used this as a model of sorts for the 1655 medal. The striking is definitely Simon’s work, but there is no guarantee that the modifications are his, although in all likelihood they are

Lot 1175

VIII: Original struck gold Medals by Simon, Lord Protector, c. 1655-8, a struck gold medal by T. Simon, armoured and draped bust left, signed tho:simon:f below, olivervs dei gra reipvb angliæ sco et hib & protector, rev. pax qværitvr bello, lion séjant displaying arms, 39mm, 29.68g (Lessen, BNJ 1977, type 1 and pl. xii, 1, this piece; Nathanson p.25; MI I, 409/45; E 188a). Numerous surface and rim marks and scratches, otherwise about extremely fine with reflective fields, extremely rare and important £10,000-£15,000 --- Provenance: R. Huth Collection, Part II, Sotheby Auction, 8 April 1927, lot 15; SCMB M311, March 1940 (64049); bt Spink 1966. In Simon’s archive there are invoices for five medals and their recipients, namely two English officers and three ambassadors. The officers were Major Daniel Redman (August 1655) and Colonel John Sadler (September 1655); the ambassadors were the Swedish Agent, who would be either Christer Bonde or less likely Peter Coyet (between June and October 1656), James, Duke of Courland, Rudolf von Strauch (July or August 1657) and the Portuguese ambassador, Adelino José Rodrigues de Mello (January 1657/8). In the 17th century it was normal for a ruler to give out precious awards to diplomats in the form of such items as miniature pictures in jewelled mounts, or gold medals and chains, and Cromwell employed both methods. Hence the bust has drapery to give it an imperial look (like the later crown, where Simon, on paper, originally had Oliver in a plain coat, but the Council altered that to a Caesarean image on the coin). There are two enigmas with this important historical, artistic and numismatic medal. The first is the unsuccessful attempt to correlate the surviving examples with the known recipients (BNJ 1977, p.121). Simon’s invoice and a separate petition for payment covers five medals and their weights with chains: Courland was added to the 1657 Simon account also in the same year, but the Portuguese was in a subsequent petition of his on 13 July 1658. So it is possible that there were other separate official requests for medals and payments. We can only rely on the extant paper records, and these five are all that are known. The surviving medals are: 1. Gold. The present specimen. The lettering is absolutely not bifurcated, meaning a collar was used, and there may possibly be evidence of a witness line, but this is not certain for the edge is scored all round. There is certainly no trace of a loop having been removed. 2. Gold. British Museum, illustrated by Henfrey (pl. i, 6). No discernible witness line and apparently flat letter bases. 3. Gold. Montagu Collection (lot 234), present location unknown. With loop and ring and bifurcated letters. 4. Gold. Murdoch Collection (lot 152), present location also unknown. With bifurcated letters but no loop. 5. Silver. British Museum, ex Hawkins. Bifurcated letters and, with its badly cracked reverse, would have been made by Simon for the record when it was too late to do anything further. Had it been necessary, he could have made a new reverse die. It was made without a collar, which is somewhat surprising, because a collar could have prevented a broken die from completely destroying itself. It is possible that the Montagu and Murdoch specimens are one and the same, if mention of the loop and ring was omitted by the Murdoch cataloguer. The Montagu specimen sold to Spink and the Murdoch to Whelan for £9 more. The Murdoch catalogue annotated by Jacques Schulman implies that the medal was in fact ex Montagu, so there may only be three examples with just the Montagu/Murdoch medal being untraced. The second enigma is the problem of how these medals were made, what the dies looked like and how the chains were handled, for all had chains, which was their main monetary value. Assuming that the two gold medals known today were made with collars, as must have been the case with no fish-tail letters, then the dies had to be circular with no integral loop, as was true for many of Simon’s oval medals on round dies. The Montagu or Murdoch examples with bifurcated letters would simply have been struck without using collars, and that is acceptable. But what about the Montagu with a loop? This loop does not appear integral to the dies, and could simply have been gold soldered on - we do not know. Regardless of all this, the question remains – how were the expensive chains attached? Always, other Simon medals had loops and rings and the chains threaded through the ring (for example the 1653-4 naval rewards). The missing Montagu specimen might tell us if this bifurcated striking without a collar does or does not have an integral loop in the die(s). A separate surround mount with ring could have been supplied with the medal to take the chains, for the chains most certainly would not have been given with the medal with no method of attachment. Thus the type of dies, the question of bifurcation or not, and the ring to hold the chains, all tie in to these unanswered questions. This medal is sometimes incorrectly called an ‘Inauguration Medal’, which it was not. The inauguration of the Lord Protector was in December 1653, but no medal was made for the occasion or later; the term Lord Protector medal, too, is simply a modern composed designation

Lot 1176

VIII: Original struck gold Medals by Simon, Death of Oliver Cromwell, 1658, a struck gold medal by T. Simon, laureate armoured bust left, signed t simon below shoulder, olivar d g r p ang sco hib &c protector, rev. non defitient oliva sep 3 1658, shepherd with his flock under an olive tree, landscape in background, 22 x 20mm, 6.21g (Lessen, BNJ 1982, p.152 and pl. i, 1, this piece; Nathanson p.30; MI I, 433/82; v. Loon II, 420; E 202a). About extremely fine and extremely rare; with integral suspension loop £3,000-£5,000 --- Provenance: A. Morrison Collection, Part I, Christie’s Auction, 23 July 1965, lot 5; SNC October 1970 (11571). Cromwell died on 3 September 1658, but his state funeral was not held until 23 November. We lack official documentation or Simon invoices for this issue, but it was probably made for certain officials at the funeral procession. Then again, these could have been a private commission. It is thought that at least six gold medals are known, as well as one each in copper and lead. There are later cast copies in gold and other metals, but all struck medals are original. Simon also made Cromwell’s death mask

Lot 1178

IX: Original Naval Rewards (and Electrotypes), Naval Reward, 1650-1, a gilt uniface British Museum electrotype of the obv. of the small gold medal by T. Simon, from the same die as previous, 24 x 21mm 6.86g (cf. Lessen, BNJ 1981, pp.112-13; Platt II, p.335, type B; cf. MI I, 390/12; cf. E 179). Extremely fine, with loop for suspension, the reverse inscribed with an italic capital R £80-£100 --- Provenance: Baldwin FPL Spring 2002 (13). This is presumably a British Museum display specimen, hence only the one side. The R, inscribed on the plain reverse, is probably for Robert Ready

Lot 1181

IX: Original Naval Rewards (and Electrotypes), Naval Reward, 1653-4, a struck gold medal by T. Simon, shields of England, Scotland and Ireland superimposed on anchor surrounded by rope, signed ts monogram, rev. elaborate naval battle scene, signed simon and ts, edge plain, 41 x 36mm, 26.55g (Lessen, BNJ 1997, p.63, PB3, and pl. xiii, 16, this piece; Platt II, p.335, type C; MI I, 400/28; v. Loon II, 366; E 185). Trifling surface marks, otherwise extremely fine and extremely rare; with integral loop for suspension £30,000-£40,000 --- Provenance: Probably awarded to Clerk of the Cheque John Clifton, on the Commonwealth warship George, and thence by descent; Property of a Lady, Sotheby Auction, 11 July 1898, lot 265; R. Day Collection, Part II, Sotheby Auction, 18-19 April 1910, lot 8; G.Ll. Palmer Collection, Glendining Auction, 18-20 June 1919, lot 10; D. Thomson Collection, Glendining Auction 12 February 1964, lot 1; D.F. Spink Collection; bt Spink August 1986. ‘The Plaine Borderless Medal’, first authorised in August 1653, was awarded after the successful conclusion of the last of the three great naval battles of the First Anglo-Dutch War (Portland, Gabbard and finally Texel on 31 July 1653). Apart from Clifton, probable recipients would have included acting-lieutenant William Sanders of the Triumph, captains Joseph Ames of the Samuel Talbot, Roger Cuttance of the Sussex and William Haddock or his son Richard of the Hannibal. Based on Calendar entries, captains Joseph Taylor (not listed for any ship in June), Giles Shelley of the Waterhound and Jeremiah Smyth of the Advice should have received this award or the similar medal with laurel border. Additionally, some of the captains listed as killed at the Battle of Texel, James Peacock of the Triumph, Thomas Graves of the Andrew, Edmund Chapman of the Golden Cock, one of the Taylors of the William, William Newman of the Mayflower and John Crisp of the Prosperous would also have been eligible

Lot 1237

XIV: Seals by Simon, Second Great Seal of the Commonwealth, 1651, a cast bronze uniface Counterseal (reverse), view of the House of Commons in session, in the third yeare of freedome by gods blessing restored 1651, 143mm, 238.17g (Nathanson p.21; Vertue pl. vii; Birch 599). Hollow reverse, cast from a wax original, about extremely fine, excellent detail £500-£700 --- Provenance: R. Stucker Collection, Bourgey Auction (Paris), 21 November 1977, lot 79. Early in 1649 Thomas Simon was granted a commission to engrave the Great Seal of the Commonwealth, but because Parliament were in a great hurry to have the Seal Simon was given less than a month to complete it (Allen, BNJ 1940, p.440; Nathanson p.19). This first hasty effort was replaced in 1651 with another Seal of the same design, but executed with much greater care. The 1651 Seal is a magnificently crafted work, full of fine detail; the best known illustration of it was first published by Vertue in 1753 from a wax impression, then in the collection of Margaret Cavendish, Dowager Duchess of Portland; her collections of coins, medals and gems were dispersed post mortem in two auctions in 1786. The Simon archive included a pen and brown ink design for the 1649 Seal (Christie’s 14 July 1987, lot 17), but no sketch of the completed design for the 1651 Seal is believed extant

Lot 1247

XIV: Seals by Simon, Great Seal of Richard Cromwell, 1659, a cast bronze uniface Counterseal (reverse), Oliver Cromwell left on horseback, view of London below, arms in field behind, richardvs dei gra reipvblici angliæ scotiæ et hiberniæ &c protector, 140mm, 225.64g (Vertue xxiii; Birch 607). Hollow reverse, better than very fine, a handsome object £400-£500 --- Provenance: R. Stucker Collection, Bourgey Auction (Paris), 21 November 1977, lot 78. The name has been altered from Oliver’s Seal, but not the effigy

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