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Lot 109
A collection of silver objects to include a silver handled button hook, Birmingham 1906, maker J.G , a silver handled shoe horn, Chester 1912, maker J & R Griffin, a silver card case, Chester 1896, maker Cornelius Desormeaux Saunders & James Francis Hollings Shepard, two silver napkin rings, marks well rubbed, and a silver plated rattle, (6)
Lot 1
Ancient Coins, Greek Coins, Bruttium, Kaulonia (525-500 BC), silver nomos, KAVΛ to l., Apollo advancing r., holding branch aloft in r. hand, l. arm extended, upon which a small daimon, holding branch in each hand, runs r., to r. stag stg. r., hd. reverted, rev. incuse of obverse, but daimon in outline and no ethnic, wt. 7.79 gms. (Noe, Caulonia Group A, 8 (same dies); Gorini 3; HN Italy 2035; Boston MFA 173 = Warren 139 (same dies); Gillet 278–9; Gulbenkian 120 (same dies); Pozzi 270 (same dies); Weber 982 (same dies), choice extremely fine, attractive even grey tone with golden hues around the devices, a hint of die wear on obverse *ex Leu 50, 25 April 1991, lot 36 ex Peter M. Suter Collection, Münzen und Medaillen AG 89, 14 June 2000, lot 18
Lot 107
British Coins, George III, pattern halfpenny, in bronzed copper, undated, toothed border, narrow rim, laur. bust r., small eagle’s head below, rev. nude Britannia seated, pointing l., her l. arm resting on shield, paddle behind (P.994 [Extremely Rare]), certified and graded by NGC as Proof 66 Brown, a superlative example of this early pattern for the coming Soho Mint coinage, its surfaces smooth as silk and the colour of fine mahogany, one of the finest known *ex Cheshire collection While the obverse image of King George is familiar and appears, with minute variations, on a number of patterns and proof coppers, it is the reverse of the presently offered pattern coin that compels study and appreciation. In fact, this beautiful coin is almost an illustration, in and of itself, of the achievements of both the Soho Mint and the later die-sinker who ‘rescued’ Soho’s dies, re-struck them, and thereby made coins available for collectors who otherwise would never lay eyes on such items, nor understand their history. All numismatists owe Taylor a huge debt in this regard. We can all study the progression of dies as related by Peck, but why does a regal coin feature on one side an exquisite, heavily frosted portrait of King George, and on the other side an ‘unfinished’ and therefore nude portrayal of the emblem of the land? Crowther tells us what probably happened: ‘The figure of Britannia on the halfpennies by Droz is very graceful. To ensure the agreement of his work with the rules of anatomy, Droz first engraved a nude figure, and afterwards added the drapery. . . . All the halfpennies with the nude reverse were struck by Mr. Taylor’ (pp.43-44). Further, he explains that among the scrap bought by Taylor at the Mint sale in 1848 ‘were found several dies for halfpennies by Droz, and other patterns. A few of these dies had never been used, nor even hardened’. Taylor took these dies, hardened them, paired various ones, burnished them to rid them of rust, and struck small quantities, then destroyed some of the dies. Other dies survived and passed into collections in the late 19th century, but were never used again. Even Crowther, in 1886, says no one knows how many were made, but evidently precious few. All of Taylor’s re-striking activity occurred between 1862 and 1880. He did not evidently set out to deceive collectors. His output of medals was prodigious, as a talented engraver and die-sinker. In the 1850s he was responsible for such creations as the Port Philip gold coins, copper patterns for the Republic of Liberia, and numerous Australian merchants’ tokens, or store cards. His plan was to mint coins on contract as a serious businessman, much as Boulton had done earlier, but his dreams were ruined just a few years later when the price of gold made his ideas difficult to implement. In 1857, his coining press was sold. His passion for coining was not dead, though, and he seems to have wandered into re-striking many of the Soho dies obtained at that sale in 1848. Peck’s cataloguing of all his issues gave credence to his work, and enumerated all known examples for collectors to consider and seek to obtain. Clearly, then, even though this is a restrike, it is a sample of what was a 1790-era trial piece, albeit by a man who did not himself create or engrave either of the dies. What he did was leave for us a testimonial, or memorial, to the artistic accomplishments of earlier artists.
Lot 114
British Coins, George IV & Victoria, farthings (3): 1821; 1828; 1860, beaded borders, laur. head/young bust l., rev. Britannia std. r., with shield and trident (S.3822/25/58), all certified and graded by NGC, the first as Mint State 66 Red Brown, the others as Mint State 66 Red (3) The first two are the highest graded by NGC; the last is one of four graded, none higher.
Lot 115
British Coins, George IV, farthing, 1822; third farthing, 1827; Victoria, farthing, 1860, beaded borders, laur. head/young bust l., rev. Britannia std. r., with shield and trident (S.3822/27/58), all certified and graded by NGC, the first two as Mint State 65 Red Brown, the last as Mint State 66 Red (3)
Lot 118
British Coins, William IV, pattern crown, 1834, plain edge, bare head r., rev. crowned shield of arms over mantle (S.3833; L&S.6; ESC.275 [R5]; Bull 2465 [R5]), certified and graded by NGC as Proof 66 Cameo, one of the most beautiful and well-preserved examples of this great 19th-century crown rarity Linecar and Stone referred to this as a pattern, but in reality it is a Proof of Record, sometimes called a VIP Proof, made according to the law of 1800 so as to assure that a few examples of the coinage would be maintained in museums, to which typically they were sold during the 19th century. The intention was not to provide collectors with these coins, but rather institutions. This 1834 crown is literally hundreds of times rarer than the 1831 proof crown issued in the Coronation sets, and it’s magnificent - in fact, the ultimate acquisition among coins of this reign.
Lot 124
British Coins, Victoria, proof five pounds, 1839, ‘Una and the Lion’, lettered edge, young head l., 9 leaves to rear fillet, rev. DIRIGE legend, crowned figure of the queen as Una stg. l., holding orb and sceptre, lion behind, date below (S.3851; W&R.279), certified and graded by NGC as Proof 62+ Ultra Cameo, of a pleasing yellow-gold colour This is the type issued in the proof set and of the variety with delicately-raised decorations on the fillets in the queen’s hair and DIRIGE in the reverse legend, the entire legend translating into English as ‘May God Direct My Steps’ (Psalm 118:133). The largest gold proof coin from the Coronation set of this year. A classic of the Victorian Age in both style and sentiment, and one of master engraver William Wyon’s masterpieces.
Lot 125
British Coins, Victoria, proof half sovereign, 1839, plain edge, young head l., rev. crowned garnished shield of arms, struck en médaille (S.3859; W&R.344), certified and graded by NGC as Proof 64 Ultra Cameo Mintage figures for the 1839 proofs have long been argued about, 300 original sets being accepted by many numismatists as approximately accurate, but it is worth noting that the £5 Una and the Lion piece was struck by the Royal Mint on demand from collectors through some five decades, up until about 1886, with varying minute details, including edge styles, being telltale indications of whether they were minted in 1839 or later. The same does not seem to be true of the other denominations, although both the sovereign and the half-sovereign are known with either plain or reeded edging, and in both types of die-orientation. The ‘coin rotation’ version was most likely the piece placed in the 1839 sets. The ‘medal rotation’, or en médaille, die orientation, on the other hand, possibly indicates special pieces which may have been presentation items, made during or close to 1839. Such pieces exist for both the sovereign and the half-sovereign. Most collectors, however, seek this coin as a representation of the special proof striking of the charming, early portrait of the queen.
Lot 128
British Coins, Victoria, proof five pounds, 1887, small B.P. in reverse exergue, ‘Jubilee’ bust l., rev. St. George and the dragon (S.3864; W&R.285), certified and graded by PCGS as Proof 63 Deep Cameo, another beautiful example of this highly popular type, issued in only one year for the Jubilee celebration The type generally issued in the proof set.
Lot 129
British Coins, Victoria, proof five pounds, 1887, small B.P. in reverse exergue, ‘Jubilee’ bust l., rev. St. George and the dragon (S.3864; W&R.285), certified and graded by PCGS as Proof 66+ Deep Cameo, one of the few examples given this exalted grade The type generally issued in the proof set.
Lot 133
British Coins, Victoria, proof two pounds, 1887, ‘Jubilee’ bust l., rev. St. George and the dragon, no B.P. in exergue (S.3865; W&R.290), certified and graded by NGC as Proof 64* Ultra Cameo, rare in this high grade The type generally issued in the proof set, this was purchased from Baldwin’s in the 1920s.
Lot 144
British Coins, Victoria, pattern crown, 1837, in gold, by Bonomi, plain edge with tiny incuse capital T (probably for ‘Thomas’) and, on opposite side of edge, tiny incuse number 4, sunken designs both sides, VICTORIA REG DEI GRATIA incuse, Greek-style portrait of the young queen l., the date 1837, also incuse, split into two digits on either side of truncation, rev. BRITT MINERVA / VICTRIX FID DEF incuse, split vertically in the field, full-length helmeted Britannia in flowing gown and holding body-length trident r., extended right hand supporting classic Victory image, Royal shield partially obscured but glowing behind lower gown, on each rim a border of tiny stars (W&R.364 [R5]; ESC.320A [R5, 6 struck]; Bull 2613, ‘weight of 5 sovereigns’; L&S.14.2, 22-ct gold), certified and graded by NGC as Mint State 66, virtually as struck with toned, frosted surfaces *ex Glendining, 30 April 1972, lot 379 This is the actual piece illustrated in Wilson & Rasmussen. This intriguing, large gold coin has mystified many collectors since it first appeared in 1893. Dated 1837 and the size of a silver crown, it occurs in a variety of metals but its style had never been seen by any numismatist over the course of more than five decades since its apparent date of issue, 1837. Sceptical collectors at first rejected it as a fake, and this opinion continued largely unquestioned until the 1960s. Other collectors, finding its unique design appealing, called it a medal and eagerly bought up specimens as they appeared for sale. Research over the intervening years, however, ended the controversy and revealed that it was privately minted but is collectible as a legitimate pattern crown of Queen Victoria. Examples struck in gold, which are exceedingly rare as only 6 were struck, are now viewed as among the most alluring and important of Victorian pattern crowns. In truth, the Bonomi patterns are indeed a web of fact and fiction, and they remain misunderstood by many. The coins bear a Greco-Roman-Egyptian inspired design: on the obverse, a diademed portrait of the young Queen Victoria, her hair coiled into a bun, facing left, clearly resembling an Egyptian princess. She wears a dangling earring and a thin tiara. In 1837, as the date on this coin suggests, Victoria was still a princess for some months before the crown passed to her upon the death of her uncle, King William IV. She was only 18 years old at the time. On the reverse, Britannia appears standing (not seated, as was tradition), presented as the Greco-Roman goddess Minerva holding Victory in her hand. All in all, the emblematic designs are elegant and suggestive of themes which captured the British public’s imagination circa 1837. Despite the visual appeal of the Bonomi crowns, their means of manufacture remained mysterious for decades after their appearance. Derisive criticism of their origin accompanied examples offered at auction until the late 1960s, and occur even today, but the information in Linecar & Stone’s reference, English Proof and Pattern Crown-Size Pieces, published in 1968, essentially ended the controversy. The book cited the research of Capt. Pridmore, who had discovered that the proceedings of the Numismatic Society of London’s meeting of November 16, 1837, had disclosed the origin of this pattern. The discussion at that meeting mainly focused on the incuse method employed in the minting of these pieces, the intention being to seek to lengthen the life of the coinage by holding back obliteration, or wear from use. That was the primary purpose behind the design: to ‘defy injury’ to the coin’s images during use in commerce. No further proof is really required to label this piece a true pattern. The proceedings of that 1837 meeting mention that Joseph Bonomi, gentleman, was a traveller in Egypt, and an antiquary. They state that Bonomi had designed what he called a medallion in ‘incavo-relievo’ style which would ‘maintain’ the queen’s image for a national coinage. Bonomi’s design was described in the proceedings as showing the queen wearing a tiara on which appeared the royal Uraeus of the pharaohs (a sacred serpent, the cobra, their image of supreme power), and that the surrounding stars of the borders represented the Egyptian emblem of the heavens. The idea of encircling so as to protect was an ancient one. The date of 1837 was meant to represent Victoria’s age at her accession. Finally, the proceedings stated that the reverse inscription, or legend as we call it today, combines the name of a celebrated Egyptian queen with that of the British queen, and includes national emblems. The design for this so-called medallion was never submitted to the authorities of the Crown for consideration as a coin, and examples in any metal rarely appeared for sale until the 20th century. So, the question remains: when and where were they made? Pridmore also revealed that, in May 1893, an advertisement appeared in a publication in England called Numismatology which at last provided some facts about the issuance of the now-famous Bonomi crowns. The 1893 advertisement revealed that the die-sinker was none other than Theophilus Pinches, and that in the same year his well-known company produced a number of pieces in aluminum (or ‘white metal’), tin, copper, bronze, silver, and even gold. Back in 1837, when the coin was designed, Joseph Bonomi had sent nothing more than a cast of his proposed crown to the Numismatic Society. He had not struck any examples. On the cast, Britannia is not shown holding the long trident that appears on the struck pieces. The Pinches pieces were engraved using the cast as the model but added the trident, and also changed the original larger, elongated stars of the borders to small, uniform-sized stars. The 1893 advertisement offered the struck silver pieces for 21 shillings apiece, and included information (some of it nothing but imaginative advertising, for the purposes of selling the coins) indicating that the date of manufacture was 1893, and that all were produced under the auspices of J. Rochelle Thomas. From this source, we know that Thomas engaged the Pinches firm to engrave the dies and to strike the pieces, which in their incuse state faithfully carried out the original concept of the inventor, to use Thomas’s own words. The designs were sunk below the surface, a style that had never been used before and in fact was not used again until the early 20th century on two denominations of U.S. gold coins. In his advertisement, Thomas stated that 10 pieces were struck in white metal. He described his own product as being ‘specimen proofs’, although the presently offered coin has been graded as Mint State. Thomas further stated that the total mintage, in all metals, was 196 pieces. Linecar & Stone, as well as Pridmore, believed that additional pieces were made to order shortly after the 1893 advertisement appeared. However, they concluded that the final mintage figures are as follows: 150 in silver, 10 in tin, 10 in bronze, 10 in copper, 10 in aluminum or white metal, and 6 in 22-carat gold (each weighing the equivalent of five sovereigns, all numbered on the edge).
Lot 16
Ancient Coins, Roman Coins, Commodus (AD 177-192), aureus, Rome mint, M AVREL COMMODVS AVG, dr. laur. bust r., rev. TRP III IMP II COS PP, Castor stg. l. with spear holding the reins of his horse, wt. 7.30 gms. (BMC 774; Calico 2337 b; Coh.760; RIC.648), well struck, good extremely fine *ex Auktion Münzen und Medaillen AG 64, Basel 1984, nr. 261
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297887 item(s)/page