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Lot 533
Greek Coinages, Abdera: Stater, struck c. 380, by the magistrate Philas Obverse: griffin with pointed wing perched left on rock, right forepaw raised; cicada in field Reverse: επι φιλαδοσ: Herakles wearily seated on rock draped with ion’s skin; supporting weight with left arm, while the right rests across his knee and holds club Metal: silver; reduced Chian standard; 13.09g/3h References: May VI, – [A276/R–]; Lorber 178a, this coin; BMC – Condition: Almost extremely fine, toned and of superb style; this reverse die extremely rare and uncrecorded in the standard reference work £15,000-£20,000 --- Provenance: Ex Abdera Hoard, 1986 Sternberg Auction XIX, Zurich, 18, November 1987, lot 87 LHS Auction 102, Zurich 29 April 2008, lot 105 Nomos Auction 15, Zurich, 22 October 2017, lot 41 Philas’ ordinary ‘sitting Herakles’ Tetradrachms are celebrated for their high artistry; Lockett had one, as did Gulbenkian, while ‘Prospero’ felt it necessary to acquire two. The composition employed on this coin is quite distinct from that normally seen. Herakles does not sit stiffly upright, but rather reclines in a relaxed fashion, suggesting exhaustion following some labour. The hero’s limbs are spread outwards in way that is not only more naturalistic, but also one that opens the scene up, drawing the viewer’s eye horizontally across the composition. As a consequence our attention comes, eventually, to rest at the centre of the coin. No doubt, this was by design, for it is here that the artist has deployed his greatest technical skills on the foreshortening of Herakles’ legs, the detailing of the drapery, and the rendering of the creased abdominal muscles. All of these features are superb.
Lot 543
Greek Coinages, SELEUKID KINGDOM, Seleukos I Nikator (as King, 305-281): Tetradrachm struck at Susa, c. 305/4-295 Obverse: head of Seleukos right, wearing panther-skin helmet adorned with bull’s ear and horns, panther skin tied around neck like chlamys Reverse: βασιλεωσ σελευκο: Nike standing right, crowning trophy of Macedonian arms; ap to lower right, monogram [πα] in inner field Metal: silver; Attic weight standard; 17.22g/11h References: Marest-Caffey Gp1.11 [A25/R–]; Houghton/Lorber 173.15; Kritt Tr.106 Condition: Extremely fine and struck from dies of the finest style; a magnificent example of Hellenistic portraiture £15,000-£20,000
Lot 26
George John Pinwell (British, 1842-1875)The Elixir of Love signed and dated 'G J Pinwell/70' (lower left); further signed, titled and inscribed with artist's address 'N1. The Elixir of Love/GJPinwell/52 Adelaide Rd/NW' (on artist label attached to the reverse)watercolour and bodycolour45 x 105.5cm (17 11/16 x 41 9/16in).together with a preparatory watercolour sketch of the same subject (14.5 x 24cm) and an engraving of the subject by Robert Walker Macbeth. (3)Footnotes:ProvenanceErnest Gambart (1814–1902).His sale, Christie's, London, 31 March –1 April 1871, lot 195 (260 guineas to Tooth).Arthur Tooth & Co., London.Thomas Wood, 2 Mandeville Place, London.Ludwig Messel (1847–1915).Sharpley Bainbridge (1845–1921).His sale, Christie's, London, 10 February 1922, lot 88 (640 guineas to Thomas Agnew & Sons).Thomas Agnew & Sons, London.Frost & Reed, London and Bristol.Private collection, UK.ExhibitedLondon, Royal Watercolour Society, 1870. no.114.London, Deschamps Gallery, Exhibition of Works by the Late G. J. Pinwell, 1876, no.70 (lent by Wood).London, Royal Academy of Arts, Winter Exhibition, 1901, no. 124 (lent by Messel).Glasgow, International Exhibition, 1901 no. 1102 (lent by Bainbridge).Literature'Society of Painters in Watercolours, 5 Pall Mall East: Private View', The Era, 24 April 1870, p. 14.'Old Watercolour Society', The Times, 27 April 1870, p. 4.'Fine Arts: The Society of Painters in Watercolours', Illustrated London News, 30 April 1870, p. 458.G. C. Williamson, George J. Pinwell and His Works, London,1900, pp. 20, 40, 58, 66, 150.Donato Esposito, Frederick Walker and the Idyllists, London, 2017, pp. 62, 64, 72–73, 82, 86, 88, 89.The present watercolour was based on a poem, with the same title, about the properties of a love potion offered by an unscrupulous, but convincing, salesman. The first two verses describe its attractive qualities:'Buy,—who'll buy!' In the market-place,Out of the market din and clatter,The quack with his puckered persuasive face,Patters away in the ancient patter.'Buy,—who'll buy!' In this flask I hold,—In this little flask that I tap with my stick,sir,Is the famed infallible Water of Gold,—The One, Original, True Elixir!Set in the distant past, the medieval period judging by the clothes, Pinwell has conjured a throng of needy recipients for such a potion, and a wide variety of figures, in age and status, are depicted in this lively urban scene. Leading up the enthralled group of would-be buyers are a pair of young women who gaze at the mesmeric glass phial before them. One of these females is modelled on the artist's sister-in-law, a favourite model.Pinwell, a leading Idyllist, had begun his career as an illustrator. In 1865 he shifted tack and submitted a watercolour to the Dudley Gallery, London. Based on Oliver Goldsmith's Vicar of Wakefield, it is now in the British Museum, London (inv. PD 1967,1014.131) and was the first of many successful submissions to come. He showed work there for several more years but in 1869 sent his first watercolour to the older, more prestigious and lucrative Royal Watercolour Society. The present work came at an important time for the artist, and 1870 proved to an important year for Pinwell. The year before, on 3 April 1869, he had been elected an associate of the Royal Watercolour Society. His rise in the institution was rapid and by the following year in the wake of the success of The Elixir of Love he was elected a full member.The work was Pinwell's largest watercolour to date and was met with near universal praise. The Illustrated London News noted the 'exquisite sense of beauty and character evinced in all the faces, and the consummately delicate precision of the draughtsmanship.' The critic of The Times thought it displayed many 'uncommon merits qualified by some serious defects' but conceded that it was marked by a 'singular tenderness and beauty.' But the long column inches of The Era were unequivocal in declaring it 'the picture of all pictures.' In conclusion the same critic contended that The Elixir of Love evidenced the 'highest form of art ... and makes us live in a purer and sweeter atmosphere.' The work was one of Pinwell's best-known works and was exhibited several times after his early death. To commemorate the tenth anniversary of his passing in 1875 the dealer Arthur Tooth & Co. commissioned fellow Idyllist Robert Walker Macbeth (1848–1910) to translate the watercolour into a large etching. The print was duly published in 1885.Williamson lists an untraced reduced watercolour version of the present work as 'unfinished' and having once been owned by Edward Dalziel (1817–1905), of the celebrated firm of printmakers and publishers. It measured 11 x 25 inches and was sold at Pinwell's estate sale in 1876 for 31 guineas (to Dalziel), suggesting some level of finish. The Museum of Fine Arts, Boston has a preparatory drawing in graphite for The Elixir of Love (inv. 55.2713), and was one of several such studies for the present work, that had once belonged to the keen Idyllist art collector and bibliophile Harold Hartley (1851–1943).We are grateful to Donato Esposito for compiling this catalogue entry.Saleroom notices:Please note that since the publication of the catalogue, further research indicates that the present lot was not exhibited at The Royal Academy in 1901 and was not in the possession of Ludwig Messel, as stated.For further information on this lot please visit Bonhams.com
Lot 358
Max Clarenbach1880 Neuss - 1952 KölnWinterlandschaft am NiederrheinKanal mit Brücke, im Horizont eine Stadtsilhouette. R. u. signiert. Rücks. am Keilrahmen unleserlich bezeichnet. Öl auf Lwd. 54,5 x 63,5 cm. Rahmen (56,5 x 65 cm).An diesem Gemälde lassen sich die Stärken Clarenbachs sehr gut feststellen: Das ganze Bild besteht fast nur aus Braun- und Grautönen, gemischt mit weißen Flächen. Lediglich in den Bäumen sind ganz dezent Grüntöne verarbeitet. Doch diese Mittel reichen, um mit dem Motiv zusammen eine dichte Atmosphäre zu erschaffen, die uns den Winter empfinden lässt. Doch auch das Motiv ist sehr präzise ausgewählt: Der Horizont ist bewusst hoch gewählt und gibt dem Himmel kaum Platz, doch es kommt aufgrund der Spiegelung auf der flachen Wasseroberfläche nicht das Gefühl einer Enge auf. So erscheinen die Bäume, die nur am Rand angeschnitten sind, in der Reflexion bis zur Baumkrone. Ebenso wird die Brücke durch ihre Spiegelung aufgewertet und erscheint in einer neuen Form.
Lot 231
Lucas Cranach d. Ä. und Werkstatt1472 Kronach - 1553 WeimarMartin Luther - Philipp MelanchthonGemäldepaar. Hüftbilder nach rechts bzw. links. Vor grünem Fond. L. s. bzw. r. s. (später) mit dem Schlangensignet bezeichnet. Öl auf Holz. 20,8 x 14,2 (Luther) - 20,5 x 14,1 cm (Melanchthon) cm. Beide Holzplatten aufgedoppelt, das Bildnis Melanchthons parkettiert. Rest. Rahmen (je ca. 31,5 x 25 cm). Auf der Rahmenrückseite der Bildnisses Luthers hs. Nummerierung 1207 und Schweizer Zollstempel 1930. Auf der Rahmenrückseite des zweiten Gemälde hs. Nummerierung 1208.Das Bildnis Luthers ist am oberen Rand bezeichnet: "EST PATEFACTA ITERV[M] CHRISTI [DE]MOSTRANTE LVTHERO GLORIA QUAE TENEBRIS ANTE SEPVLTA FVIT." ("Die Herrlichkeit Christi, die zuvor in der Dunkelheit begraben war, wurde Luther erneut offenbart.") Das Bildnis Melanchthons ist am oberen Rand bezeichnet: "CONATVR PARVAS ARTES PHILIPPVS MELANCHTON NON TAMEN ID MERITVM DVXERIS ESSE LEVE." (i. S. "Philipp Melanchthon versucht es mit kleinen Mitteln, dennoch darf sein Verdienst nicht unterschätzt werden." Wittenberg im heutigen Sachsen-Anhalt war um 1500 ein Ort größter Gelehrsamkeit. 1502 gründete Kurfürst Friedrich III. von Sachsen (Friedrich der Weise) dort eine Universität, die sich in den folgenden Jahren zu einer der bedeutendsten Universitäten der damaligen Zeit entwickelte. An dieser Universität promovierte Martin Luther 1512 in Theologie und erhielt 1513/14 die Professur für Bibelauslegung. 1518 wurde dann Philipp Melanchthon auf Empfehlung von Johannes Reuchlin auf den neu gegründeten Lehrstuhl für Altgriechisch berufen, zu diesem Zeitpunkt gerade einmal 21 Jahre alt. Luther war begeistert von dem jungen Professor: "In meinem ganzen Lehramt achte ich nichts höher als den Rat Philipps". In langjähriger Freundschaft und Zusammenarbeit sind nun zwei eigenständige, große Geister verbunden, die sich in vielen Themen gegenseitig unterstützten. Melanchthon trug beispielweise mit seinen Sprach-Kenntnissen entscheidend zur Bibelübersetzung Luthers bei. Neben seinem Lehrauftrag war Philipp Melanchthon Vertreter der Wittenbergischen Positionen auf Reichstagen und reichsübergreifenden Religionsgesprächen, sicherlich am bedeutendsten seine Verhandlungen auf dem Reichstag in Augsburg 1530. Melanchthon war aber nicht nur Unterstützer und Vermittler der Reformation, er war ein Universalgelehrter. Neben den Sprachen beschäftigte er sich umfassend mit Theologie, Mathematik, Astronomie, Rechtswissenschaften, Geschichtsschreibung, medizinischen Erkenntnissen und Philosophie. Auch gründete er Lateinschulen und entwickelte Reformen für Schulen wie Universitäten, womit er als "Praeceptor Germaniae" ("Lehrer Deutschlands") in die Geschichte einging. 1532 entstehen die ersten der Doppelbildnisse Luthers und Melanchthons, Melanchthon hier gekleidet in schwarzer Schaube, der Tracht der Universitätslehrer (ein solches Bildnis beispielsweise in den Bayerischen Staatsgemäldesammlungen, Inv.-Nr. 713 B). In der Serie an Bildnispaaren, die 1543 entstanden, trägt Melanchthon neben der universitären Kleidung noch ein Barett, die Reformatorenkappe, und der kurze Spitzbart ist zu einem Vollbart geworden. Lucas Cranach der Ältere wurde 1505 von Kurfürst Friedrich III. von Sachsen (Friedrich der Weise) als Hofmaler nach Wittenberg berufen. 1508 verlieh ihm der Kurfürst den Wappenbrief und die Familie Cranach trug seither das Wappen, das uns noch heute als das Signum der Cranachschen Werke bekannt ist: die geflügelte Schlange mit einem Rubinring im Maul. Als Hofmaler unterlag Cranach nicht den städtischen Zunftordnungen und konnte eine große Werkstatt mit zahlreichen Mitarbeitern führen. Die Größe dieser Werkstatt erlaubte ihm auch bei seinen durch seine höfische Position bedingten, oft längeren Abwesenheiten von Wittenberg, einen reibungslosen Betrieb der Werkstatt. Für das konstant qualitative Niveau der Werke, reichte jedoch allein eine hohe Zahl an Mitarbeitern nicht aus. Cranach entwickelte einen Werkstattstil, der eine rationale und strenge Arbeitsteilung voraussetzte. Entgegen anderen Künstlern wie seinem Zeitgenossen Albrecht Dürer oder später Peter Paul Rubens, deren ebenfalls große Werkstätten bekannt sind, nahm Lucas Cranach d. Ä. seinen Individualstil gegenüber dem Werkstattstil zurück. Eine Unterscheidung der Hände Cranachs d. Ä., seiner Söhne und seiner Werkstatt ist daher heute kaum möglich.Werkverzeichnis: Corpus Cranach, WVZ-Nr. CC-POR-510-080 und CC-POR-530-012. Provenienz: Auktion Paul Graupe, Berlin, 29./30. Januar 1934, S. 71, Kat.-Nr. 366 (mit Abb. Taf. 10). - Seitdem in deutschem Privatbesitz. Echtheitsbestätigung Max J. Friedländer, Berlin, 11. Juli 1929. Wir danken Dr. Michael Hofbauer, Heidelberg, für die Unterstützung im Rahmen der Katalogisierung und die Untersuchung der Gemälde mittels Infrarotreflektographie. Michael Hofbauer kategorisiert beide Gemälde nach der Prüfung der Originale als "C1" (= Lucas Cranach d. Ä und Werkstatt). In seiner Mail-Stellungnahme vom 15. Juli 2024 äußert sich Hofbauer zu den Schlangensignets wie folgt: "Beide Schlangensignets weichen deutlich von der in der Cranach-Werkstatt verwendeten Form ab und sind ohne Zweifel spätere Zugaben. Direkt unterhalb der nach rechts weisenden Schlange auf dem Melanchthon-Bildnis könnten sich die übermalten Reste der originalen Signatur befinden."
Lot 306
Emanuel (Carl Frederik Emanuel) Larsen 1823 Kopenhagen - 1859 ebenda Küstenlandschaft R. u. signiert, Ortsbezeichnung Marseille und 1853 datiert. Rücks. auf dem Keilrahmen bezeichnet und nummeriert 5802 bzw. Etikett mit Nummer 22. Auf dem Rahmen ms. Zettel sowie Etikett "Kgl. Hof Forgylder F. E. Weber & Sønner". Öl auf dünnem Karton auf Lwd. 42,5 x 65 cm. Rest. Rahmen min. besch. (56 x 78,5 cm). Provenienz: Hugo Ruef, München, Auktion 407, 11.-14. November 1981, Kat.-Nr. 1885. - Süddeutsche Privatsammlung.
Lot 225
Eduard Thöny1866 Brixen - 1950 Holzhausen/Ammersee"Vorahnung"Drei Buben im Gespräch. R. u. signiert und bezeichnet. Mischtechnik auf bräunlichem Papier, aufgezogen auf dünnem, unregelmäßig beschnittenen Karton. 35 x 29 cm. Fleckig. Rahmen min. besch. (49 x 42 cm).Entwurf für eine Illustration im Simplicissiums, 7. Jahrgang, Heft 9, 27.5.1902, S. 67.
Lot 333
Hiasl (Mathias) Maier-Erding1894 Erding - 1933 MünchenBauer mit Pferd im Stall (Der Roßbauer)R. u. signiert. Öl auf Holz. 46,2 x 49,5 cm. Einschubleiste. Rest. Min. besch. Rahmen (59 x 63 cm).Im Werkverzeichnis zum Schaffen Hiasl Maier-Erdings ist ledglich eine einzige Pferdestudie aufgeführt, die wohl im Gutshof Ising entstand. Ein von Maier-Erding geschaffener Pferdekopf wird als verschollen genannt. Dem Autor waren weitere Tierbilder des Künstlers nicht bekannt. Bei den verschollenen Gemälden wird allerdings ein Gemälde "Der Roßbauer" aus dem Jahr 1925 genannt. Es ist wahrscheinlich, dass es sich hierbei um vorliegendes Gemälde handelt. Vgl. Aigner, Fritz, Hiasl Maier-Erding. Sein Leben und sein Werk. Prien am Chiemsee 1982, S. 377, WVZ-Nr. 341 (mit Abb.): die Pferdestudie. Ebda., S. 401, Nr. 41: das verschollene Gemälde "Der Roßbauer".
Lot 363
Max Clarenbach1880 Neuss - 1952 KölnMondnacht am Meer - Dorf im Sonnenuntergang - Dorf mit See im SonnenuntergangKonvolut aus 3 Arbeiten. Jew. r. u. signiert, eines datiert 47. Ein Gemälde mit Künstleretikett, dort nummeriert "132" und betitelt "Mondnacht-Studie I.". Ölstudien auf Lwd. bzw. Pappe. 32 x 41,5 cm / BA 25,5 x 40 cm / 27 x 36 cm. Auf Holz bzw. dicken Karton aufgezogen. Min. besch., min. rest. Zwei Arbeiten gerahmt (39 x 49 cm bzw. 34,5 x 49 cm).Mit diesen drei Studien zeigt Clarenbach eine weitere Vielfältigkeit in seinem Schaffen. Deutlich äußert sich durch die kräftigen Farben und den breiten und intensiven Farbauftrag seine spätimpressionistische Kunstauffassung, die er immer wieder variiert und durch neue Einflüsse der Moderne erweitert.Die Authentizität der Werke wurde mündlich durch die Familie des Künstlers bestätigt.
Lot 335
Maurice Pillard (Pillard-Verneuil) 1869 Saint-Quentin - 1942 Chexbres Kriegsleiden Eine verzeifelte junge Frau auf einem Bett liegend, im Hintergrund ein Soldat gerade durch die Tür den Raum verlassend. R. u. signiert "Pillard". Rücks. auf dem Keilrahmen Etiketten "WM. Whiteley LTD. Fine Art Department" und Nr. 269. Öl auf Lwd. 92 x 72 cm. Rest. Min. besch. Rahmen min. besch. (101,5 x 81 cm). Maurice Pillard-Verneuil war ein bedeutender und vielseitiger Künstler des französischen Jugendstils und Art-Déco, dessen Werk v. a. mit Dekorationsentwürfen und Ornamentik verbunden ist. Vereinzelt werden aber immer wieder auch Gemälde von ihm auf dem Auktionsmarkt angeboten.
Lot 315
Heinrich Bürkel1802 Pirmasens - 1869 MünchenVorgebirgslandschaft bei aufziehendem Gewitter (Murnauer Moos)R. u. signiert. Öl auf Lwd. 48 x 68 cm. Rest. Rahmen (66,5 x 86 cm).Literatur: Bühler, Hans-Peter / Krückl, Albrecht, Heinrich Bürkel - mit Werkverzeichnis der Gemälde. München 1989, S. 259, WVZ-Nr. 304 (mit Abb.): dort "um 1845/50" datiert.Provenienz: Lange, Berlin, Auktion 19. Mai 1941, Kat.-Nr. 28 (mit Abb.). - Philipps, London, Auktion 28. November 2000, Kat.-Nr. 7. - Koller, Zürich, Auktion 18. September 2009, Kat.-Nr. 3241.
Lot 288
Barbara Rosina Lisiewska1713 Berlin - 1783 DresdenDie Tänzerin Barbara Campanini, gen. Barbarina, als ThetisDreiviertelfigur vor Landschaftshintergrund. Auf der Rahmenrückseite Klebeetikett mit der transkribierten Bezeichnung "peint par R. Matthieu née Lisiewska 1755 / 26 [o. Z6]" (wohl Transkription einer Bezeichnung auf der Originalleinwand). Auf dem Keilrahmen Inventarnummer 3056 (Anhalt-Zerbst) und auf Keilrahmen und Rahmenrückseite durchgestrichene Nummerierung "N° 113". Öl auf Lwd. 146 x 109,5 cm. Doubliert. Rest. Min. besch. Rahmen besch. (151,5 x 116 cm).Barbara Campanini, gen. Barberina bzw. Barbarina, wurde 1719 in Parma geboren (das bisher tradierte Geburtsjahr 1721 konnte durch Andrea Peregos Recherche im Taufregister korrigiert werden). Sie gilt als eine der bedeutendsten Ballett-Tänzerinnen des 18. Jahrhunderts. Ihre Ausbildung als Tänzerin erhielt sie am Teatro Farnese in Parma bei Rinaldi Fossano, mit dem sie 1739 an der Oper in Paris debütierte. Eine Besonderheit ihres Tanztalents war die Tatsache, dass sie ihre Füße bei Luftsprüngen, den "entrechats", achtmal aneinanderschlagen konnte. Selbst die vergleichbar berühmte Tänzerin Marie Camargo konnte dies nur viermal. Ihre noch junge Laufbahn setzte sie in London und Venedig fort, 1743 war sie wiederum in Paris. Literatur: Parthey, Gustav, Deutscher Bildersaal. Verzeichniss der in Deutschland vorhandenen Oelbilder verstorbener Maler aller Schulen. 2. Bd. Berlin 1864, S. 47, Nr. 11 "Weibliches Bildniss; halbe tanzende Figur" von Barbara Rosina Lisiewska in Schloss Coswig. Parthey weist für Schloss Coswig noch sechs weitere Gemälde der Künstlerin nach. - Olivier, Jean-Jacques / Norbert, Willy, La Barberina Campanini (1721-1799) - Une étoile de la danse au XVIIIe siècle. Paris 1910. - Ausst.-Kat. Jahrhundert-Ausstellung deutscher Kunst 1650 - 1800. Veranstaltet von S. K. Hoheit Großherzog Ernst Ludwig von Hessen und bei Rhein. Darmstadt, Residenzschloss, Oktober 1914. Darmstadt 1914, S. 94, Kat.-Nr. 347: Das vorliegende Gemälde. Hier Erwähnung der Bezeichnung auf der Rückseite (mit dem Text des heute auf der Rahmenrückseite befindlichen Klebeetiketts). - Eckert, Helmut, Von Oper und Schlössern in Berlin und Charlottenburg 1746. Berichte eines Besuchers, in: Festschrift der Landesgeschichtlichen Vereinigung für die Mark Brandenburg zu ihrem hundertjährigen Bestehen, 1884-1984. Berlin 1984, S. 213-226. - Berckenhagen, Ekhart, Anna Rosina Lisiewska-Matthieu-de Gasc, in: Niederdeutsche Beiträge zur Kunstgeschichte. Band 31 (1992), S. 77-114: Werkverzeichnis. Dort sind lediglich zwei Brustbilder der Barbarina aufgeführt sowie eine Darstellung der Tänzerin im Park vor einer höfischen Gesellschaft tanzend (WVZ-Nrn. 23-25). - Perego, Andrea, Barbara - Un affare di Stato. Venedig 2020. - Kovalevski, Bärbel, Barbara Rosina Lisiewska (1718 - 1783) - Hofmalerin in Berlin und Braunschweig. Bildnisse mit Geschichten. Berlin 2022.Provenienz: Sammlung des Hauses Anhalt-Zerbst. - Süddeutscher Privatbesitz.Wir danken Frau Dr. Bärbel Kovalevski, Berlin, für ihre freundliche Unterstützung im Rahmen der Katalogisierung.
Lot 107
dating: first quarter of the 20th Century provenance: Kingdom of Italy, Body of stiff felt hemmed with black moiret and white feathers, gold-embroidered stripe on a tricolour, silver-thread cockade, gold button with the inscription 'FERT' in relief. White silk lining with gold-embroidered initials 'LB', with the manufacturer's mark 'Fornitura della R. Casa - L. Beretta e Co - Succursale Farè - Milano Roma Torino'. height 16 cm.
Lot 547
dating: 1863 - 1875 provenance: USA, Octagonal, 8', rifled, 44 cal. barrel (clean bore, visible rifling), with foresight, featuring the standard three-line mark at the back “NEW MODEL” (not clearly visible), with “L” and “S” marks. Six-shot cylinder with mark 'R' and 'S'. Frame marked like the cylinder. Well working mechanism. Brass trigger guard. Serial number '73xxx'. Preserving most of its antique nickel-plated finishing (later?). Wooden grip scales, the left one with military inspection stamp. length 35,5 cm.
Lot 337
dating: Third quarter of the 19th Century provenance: Spain, Smoothbore, two-stage, 16,4 mm cal. barrel, first octagonal then round, featuring remains of brass inlaid marks at the breech, one of which is crowned and features the letters 'R. DB / MAS', followed by the mark 'G.s DEL CUERPO DEL REY', with foresight at the nozzle. Pitting. Lock with slightly round lock plate with Ripoll mark at the tang. Well working mechanism. Wooden full stock (some small cracks). Iron mounts. Crowned back shield. Counterplate partially pierced with spirals and floral motifs. Pitting, signs of time. Iron-tipped wooden ramrod with cartridge extractors. length 50,6 cm.
Lot 513
dating: Mid 19th Century provenance: Vienna, Smoothbore, round, twisted barrel, with flat back signed 'PIRKO IN WIEN' and octagonal nozzle, brass foresight, 14.7 mm. cal. at the nozzle. The breech block and tang engraved with racemes. Forward spring lock, also engraved with racemes and signed 'PIRKO'. Working mechanism, but the cock does not hold the second cocking position. Wooden full stock with horn elements and checkered grip. Iron trigger guard engraved with racemes. Brass butt-plate with floral decoration. Square white metal shield on the back. Horn-tipped wooden ramrod. This beautiful specimen is described and photographed in the volume 'Carl Pirko l'Armaiolo Viennese - Der Wiener Waffenschmeid', 2nd edition, by R. Vecchi, Parma 2005. Pages 42-43. length 34,5 cm.
Lot 581
dating: 1888 provenance: USA, Round, rifled, 45/70 cal. barrel (a few areas of slight pitting inside, visible rifling), with foresight and foldaway and adjustable rear sight, with various marks including the letters 'A', 'P', eagle's head, 'V' and 'R'. Bolt with 'trapdoor' system, with remains of 'U.S MODEL 1884' mark. Lock with lock plate marked 'US SPRINGFIELD' alongside the US eagle. Back tang with serial number '56xxxx'. Wooden, full stock marked '9B28' on the butt stock and with remains of stamps with colour now faded and no longer legible. Iron mounts. Butt plate marked 'US' and with loading gate. Bands stamped 'U'. Some pitting. Complete with its integrated bayonet-ramrod. 'The last of the U.S. Trapdoor single shot, big caliber, black powder longarms, the Model 1888 marked the end of an era and is a key-piece for any collector of Springfields'. (cit. Flayderman's Guide, 9th Edition, pag. 587, 9A-387.) length 131,5 cm.
Lot 542
dating: about 1880 provenance: Belgium, Round, rifled, 11 mm cal. barrel with high foresight, square base marked 'ADLERS PATENT GUSS-STAHL' and with marks 'J' under star and 'R' under crown. Smooth, six-shot cylinder engraved with floral motifs. Frame marked 'S. MARKE' with marks and with serial number '94xxx', engraved en suite. Loading gate and extractor. Cow-horn grip scales (missing parts). Suspension ring. Working mechanism but which needs revision. length 39 cm.
Lot 345
dating: Third quarter of the 19th Century provenance: Austria, Rifled, round, 13.9 mm cal. barrel with octagonal breech featuring the marks '12.9. /28.', 'CP' (probably for Carl Pirko), 'W' surmounted by a double eagle, and with remains of other marks (not clearly legible) on the right side, provided with foresight and with foldaway rear sight set to 900 schritte. Four lines inside. Lorenz system lock with lock plate dated '858' and tangs with mark of a double eagle. Well working mechanism. Wooden full stock. Iron mounts. Some pitting to the butt-plate. Trigger guard marked 'B'. Working trigger and set trigger. Brass-tipped iron ramrod. This rifle is described and photographed in the volume 'Carl Pirko l'Armaiolo Viennese - Der Wiener Waffenschmeid', 2nd edition, by R. Vecchi, Parma 2005. Pages 116-117. From the explanatory text of the volume 'Fucile [...] con stecher per tiratori scelti [...] in dotazione al terzo rango e ai sergenti' ('Rifle [...] with set trigger for sharpshooters [...] issued to the third rank and sergeants'). length 133,4 cm.
Lot 514
dating: Mid 19th Century provenance: Vienna, Smoothbore, round barrel with brass foresight, 18 mm. cal. at the nozzle. Breech with acanthus leaves frames and tang engraved with racemes. Forward spring lock, richly engraved in racemes, as is the cock and signed 'PIRKO WIEN'. Well working mechanism. Well-preserved wooden stock with light signs of use, with checkered grip. Brass mounts. Brass trigger guard engraved with racemes. Articulated ramrod. This beautiful specimen is described and photographed in the volume 'Carl Pirko l'Armaiolo Viennese - Der Wiener Waffenschmeid', 2nd edition, by R. Vecchi, Parma 2005. Pages 98-99. length 35,5 cm.
Lot 336
dating: 1813 provenance: Brescia, Round, smoothbore, 17.6 mm cal barrel (a light deformation at the nozzle) with octagonal breech, marked ‘N’ and ‘R’ at the breech, both surmounted by crown. Tang dated ‘1813’. Lock with brass pan and marked ‘M.re R.le di Brescia’, with two marks surmounted by a crown. Three-quarter wooden stock (restoration at the front end of the grip) with remains of various stamps including the date ‘1813’. Iron mounts with various marked elements. Iron ramrod. length 34,5 cm.
Lot 332
dating: first quarter of the 19th Century provenance: France, Round, smoothbore, 17 mm cal. barrel with square breech. Flintlock with flat lock plate and marked with the imperial manufacture of Charleville and with mark 'R'; brass pan, rounded end. Wooden half stock with brass mounts. Iron ramrod. length 36 cm.
Lot 112
Greek Coinages, Italy: Half Shekel, struck in Bruttium, c. 216-211, during the Second Punic War Obverse: head of Tanit left, wearing crown of barley, pendant earring and pearled necklace Reverse: horse standing right; solar disk flanked by uraei above Metal: silver; Punic weight standard; 3.68g/4h References: Robinson Gp II, 3-4; Rutter 2016; Ashmolean 2174 Condition: Almost extremely fine with lustrous grey patina; a little weak on the reverse £300-£360 --- Provenance: R. Laughlin Collection, Adolph Hess Auction, Lucerne, 18 December 1933, lot 49 Bt Seaby, January 1934
Lot 164
Greek Coinages, KINGDOM OF MACEDONIA, Philip V: Tetrobol, autonomous issue struck at Amphipolis Obverse: Macedonian shield, the central boss containing a star of sickle-shaped limbs Reverse: μακε-δονων: prow right; m before Metal: silver; reduced Attic weight standard; 2.21g References: Kremydi O5/R–; Mørkholm 593; Ashmolean 3284 Condition: Very fine; dark patina with a few light deposits £80-£100 --- Provenance: Bt Baldwin, September 1951
![Greek Coinages, Rhegium: Tetradrachm, struck c. 415-387 Obverse: lion’s head facing Reverse: ρηγ[ινον]: laureate head of Ap](https://cdn.globalauctionplatform.com/c36b13b2-d092-46ba-8a48-b0d900c5e3d9/822ac117-a8c0-4bb7-a1ca-b1b800cd46ce/468x382.jpg)
Lot 42
Greek Coinages, Rhegium: Tetradrachm, struck c. 415-387 Obverse: lion’s head facing Reverse: ρηγ[ινον]: laureate head of Apollo left, olive sprig behind Metal: silver; Attic weight standard; 16.78g/12h References: Herzfelder 103h, this coin [D61/R88] = Warren 173, this coin = Jameson 459, this coin; Rutter 2496; Ashmolean 1589 Condition: Good very fine and struck in high relief on a compact flan; marks on edge and light graffiti on reverse £3,000-£4,000 --- Provenance: W.P. Warren Collection, Sotheby Auction, 2 May 1905, lot 175 Hirsch Auction XX, Munich 13 November 1907, lot 96 R. Jameson Collection Bt Spink, September 1961
Lot 172
Greek Coinages, SELEUKID EMPIRE, Antiochos Eupator (164-162): Tetradrachm, struck at Antioch under the Regent Lysias Obverse: head right with tightly curled hair, wearing royal diadem; filleted border around Reverse: bασιλεωσ αντιοχου ευπατοροσ: Zeus seated left on ornate stool, holding wreath-bearing Nike and sceptre; δι to outer left Metal: silver; Attic weight standard; 16.64g/1h References: Le Rider 243, this coin [A20/P179] = Newell 76.2, this coin; Houghton/Lorber 1575.9 Condition: Very fine and toned; with an excellent Hellenistic portrait and a particularly distinguished pedigree £300-£360 --- Provenance: Prince Chachowsky Collection Egger Auction XX, Vienna, 7 January 1908, lot 74 M. Collignon Collection Feuardent Freres Auction, Paris, 19 December 1919, lot 390 Naville Auction X, Lucerne, 15-18 June 1925, lot 1059 R. Laughlin Collection Adolph Hess Auction, Lucerne, 18 December 1933, lot 102 Glendining Auction, 25 March 1947, lot 19
Lot 75
Greek Coinages, Syracuse: Tetradrachm, struck under the Second Democracy, c. 440 Obverse: quadriga stepping slowly right, charioteer holding kentron and reins; wreath-bearing Nike flying right above to crown horses; ketos in exergue Reverse: συρακοσιον: head of Arethusa right, her hair rolled up and tied with cord, wearing hoop earring and pearled necklace with ornament; framed by three dolphins around Metal: silver; Attic weight standard; 17.36g/2h References: Boehringer 557.5, this coin [V282/R387] = Jameson 766, this coin; Rizzo pl. XXXVII, 14; Ashmolean 1973 Condition: Good very fine; pretty old tone, with a few light marks £1,500-£1,800 --- Provenance: R. Jameson Collection Bt L.S. Forrer, July 1949
Lot 175
Greek Coinages, PTOLEMAIC EMPIRE, Arsinoe II (c. 273-68): Dekadrachm, memorial issue struck under Ptolemy II at Alexandria, c. 249-46 Obverse: veiled head of Arsinoe right wearing stephane and ram’s horn by ear; lotus sceptre over far shoulder (terminating above head) Reverse: αρσινοησ φιλαδελφου: double cornucopia bound with royal diadem Metal: silver; Macedonian weight standard; 35.61g/12h References: Lorber 368; Weber 8258, same obv. die; Svoronos 961 Condition: Almost extremely fine and grey toned; silver chloride deposit behind head obscuring control mark £2,000-£2,600 --- Provenance: R. Laughlin Collection, Adolph Hess Auction 221, Lucerne, 18 December 1933, lot 132 Bt Seaby, March 1934
![Greek Coinages, Terina: Stater, struck c. 400-356 Obverse: [τ]εριναιων: head of nymph right, her hair bound up, wearing cord](https://cdn.globalauctionplatform.com/c36b13b2-d092-46ba-8a48-b0d900c5e3d9/9ddb2351-e5c4-4fe1-ac58-b1b800cd44c6/468x382.jpg)
Lot 45
Greek Coinages, Terina: Stater, struck c. 400-356 Obverse: [τ]εριναιων: head of nymph right, her hair bound up, wearing cord neclace with ornament Reverse: nymph seated left on cippus, holding out patera, wreath-bearing Nike rising behind Metal: silver; Achaean weight standard; 7.69g/7h References: Regling 77 [LL/ννν]; Jameson 491, this coin; Rutter 2628; Ashmolean 1628 Condition: Good very fine and prettily toned; striking weakness on the nymph’s hair £1,500-£1,800 --- Provenance: Sir Edward Bunbury Collection, Sotheby Auction, 15 June 1896, lot 241 [part] F.S. Benson Collection, Sotheby Auction, 3 February 1909, lot 166 R. Jameson Collection Bt Spink, September 1961
Lot 158
Greek Coinages, KINGDOM OF MACEDONIA, Demetrios Poliorketes: Tetradrachm, struck at Amphipolis, c. 289/288 Obverse: head of Demetrios right, wearing royal diadem and bull’s horn Reverse: βασιλεωσ δημητριου: Poseidon standing left holding trident, leaning forward with right foot raised on rock; monogram to outer left [φπυ] and outer right [σε] Metal: silver; Attic weight standard; 17.22g/6h References: Newell 121, this coin listed [CXVIII/230] = Pozzi 2016, this coin; Ashmolean 3254 Condition: Almost extremely fine, beautiful dark tone, characterful portrait struck in high relief £2,000-£2,600 --- Provenance: Prof. S. Pozzi Collection, Naville Auction I, Lucerne, 4 April 1921, lot 963 R. Laughlin Collection, Hess Auction, Lucerne, 18 December 1933, lot 62 H.P. Hall Collection, Glendining Auction, 19 July 1950, lot 83
Lot 170
Greek Coinages, KINGDOM OF PONTOS, Mithradates Eupator (120-63): Tetradrachm, struck at Pergamum in third month of year 205 [December 93] Obverse: head right with wild, unkempt hair formed into an anastole on forehead, wearing royal diadem Reverse: βασιλεωσ μιθραδατου ευπατοροσ: Pegasos grazing left; star in crescent, date [cσ] and monogram [ωνκρ] above, γ below; all within garland wreath Metal: silver; Attic weight standard; 16.88g/12h References: Callataÿ D27/R1a, this coin = Waddington et al., Sup A., 13, this coin; Ashmolean 198-200 var. [date and controls] Condition: Light scratch on obverse and the reverse double struck, otherwise almost extremely fine, old grey tone £1,200-£1,500 --- Provenance: R. Carfrae Collection Sotheby Auction, 23 May 1894, lot 180 British Museum Collection Naville Auction V, 18 June 1923, lot 2327 H.P. Hall Collection Glendining Auction, 19 July 1950, lot 116
Lot 122
Greek Coinages, Ainos: Diobol, struck c. 408-406 Obverse: head of Hermes right with fleshy features, wearing petasos with beaded rim, loose locks of hair falling by the cheek and along the nape of the the neck Reverse: aινι: bearded and long-horned goat skipping right; crab in field Metal: silver; Persian weight standard; 1.32g/6h References: cf. May 302 [A186/R–]; Lockett 1160; Ashmolean 3536 Condition: Good very fine, small surface flaw on reverse, beautiful iridescent tone £200-£260 --- Provenance: Bt Baldwin, December 1951
Lot 76
Rene Lalique, 'Herblay' design opalescent glass vase, design introduced 1932, heightened with staining, with original metal light fitting to convert to a table lamp, etched 'R. LALIQUE France', vase body 18cm.Condition report:In very good condition, just one very small (pinhead) sized nick to the exterior rim. Otherwise the rim retains a good even thickness and bevel. No damages to the walls of the body. A good opalescence. The base is free of any bruising or chips, just surface scratching from being picked up/ put down over the years. The original light fitment has lost a little patina but it fits very snug.
Lot 73
René Lalique, 'Perruches' an opalescent glass bowl, design introduced 1931, moulded in relief with twenty parakeets, acid etched mark 'R Lalique France', diameter 25cm.Condition report:A small number of very small nibbles to the internal bevelled rim and external rim. The rim otherwise remains a good even width and retains the original bevel, with no evidence of polishing. The body of the walls, including the birds, are fine, no chips or cracks. The base again is in good order, no chips or bruises.
Lot 75
René Lalique, 'Ceylan' an opalescent glass vase, design introduced 1924, moulded in relief with paired parakeets, wheel engraved 'R Lalique', height 24.2cm.Condition report:In very good condition, no chips, cracks, or evidence of polishing. The rim has a good even bevelled edge to top and bottom, and the baseline has a nice even slight bevel as well. No signs of polishing to the rim - it retains a good thickness. There are two pinpoint nicks to the side of the rim above one of the bird's heads. The main body of the vase is free of any chips or surface scratching. There are some very fine annealing lines to the body in the vicinity of the tail feathers (and vertical mould lines from the manufacturing process).
Lot 74
René Lalique, 'Ceylan' an opalescent glass vase, design introduced 1924, moulded in relief with paired parakeets, wheel engraved 'R Lalique France' and 'no.905, height 24.2cm.Condition report:In very good condition, no chips, cracks, or evidence of polishing. The rim has a good even bevelled edge to top and bottom, and the baseline has a nice even slight bevel as well. No signs of polishing to the rim - it retains a good thickness. There is a small internal air bubble on the inside curvature of the rim. The main body of the vase is free of any chips or surface scratching.
Lot 72
René Lalique, 'Ondines' an opalescent glass bowl, design introduced 1921, moulded in relief with six swimming sirens, wheel engraved 'R Lalique France' and 'No. 381', 20cm diameter, height 7.5cm.Condition report:In very good condition, no chips or cracks. A nice evenly rounded rim with no evidence of polishing. No chips to the moulded figures on the exterior. The underside of the base is mostly free of any scratching. The interior well has two 1.5cm surface scratches that do catch the eye.
Lot 206
1743 George II silver Crown (S 3688, ESC 124, Bull 1667). Obverse: old laureate, cuirassed and draped bust with 'GEORGIUS · II · DEI · GRATIA ·' around. Reverse: crowned cruciform shields of royal arms with roses in each of the angles around a central garter star, 'M · B · F · ET · H · REX · F · D · B · ET · L · D · S · R · I · A · T · ET · E · 17 43 ·'. Edge: raised letterign which reads 'DECVS · ET · TVTAMEN · ANNO REGNI · DECIMO · SEPTIMO'. Weight: 29.88g. Diameter: 39mm. Grade: aVF - rich mid to dark tone with some trivial edge bruises, strong edge lettering, approaching Very Fine. Comes with an old catalogue/list clipping.
Lot 81
Charles I (1625-1649) gold Unit, Tower under the king, group F, star mintmark (S 2694, North 2154). Obverse: sixth crowned 'Briot's bust' with stellate lace collar and 'XX' behind, clear star mintmark and 'CAROLVS ·D.' G.' MAG.' BRI.'FR.' ET · HIB.' REX ·' around. Reverse: ornate crowned shield of royal arms with crowned 'C' and 'R' to each side, 'FLORENT · CONCORDIA · REGNA ·' around with a star mintmark to the left of the crown. Weight: 9.04g. Diameter: 33mm. Grade: aVF - good flan with bold details, slight edge loss above the crown on reverse, possibly the sign of a historic mount with some metal stress; otherwise about Very Fine.
Lot 443
Costa Rica, 1842 silver 1/2 Half Real, unholed/countermarked (KM 32). Obverse: radiating star within a circle with a wreath at the bottom, EST · D · COSTA-R ·' around. Reverse: tobacco plan with '1/2 R' on either side, '10 D 20 G ·' above and 'M. M. 1842' below. Grade: XF Details, Cleaned (# 2915844-002).
Lot 224
1791 George III gold Half Guinea (S 3735, Bull EGC 834). Obverse: fifth laureate bust with 'GEORGIVS III DEI GRATIA' around. Reverse: 'Spade' design with a flat-topped shield of royal arms, surmounted by a crown with the date (1791) below and 'M · B · F · ET · H · REX · F · D · B · ET · L · D · S · R · I · A · T · ET · E ·' around. Weight: 4.16g. Diameter: 20mm. Grade: aVF - almost Very Fine, a few hairlines. Accompanied by a handwritten ticket.
Lot 479
1937 Hoover Coronation Contest silver medal awarded to R J Bambridge (W&E 7020A). Obverse: conjoined left-facing portraits of King George VI and Queen Elizabeth, the Queen Mother with a crown above and an orb and sceptre below, 'H.M. GEORGE VI & H.M. QUEEN ELIZABETH' above. Reverse: exterior of the Hoover building with 'IN RECOGNITION OF THE COOPERATION TENDERED DURING THE HOOVER CORONATION CONTEST 1937' above and 'PRESENTED TO R.J. BAMBRIDGE' below. Composition: 925 silver, hallmarked, Birmingham. Weight: 156.7g. Diameter: 70mm. Grade: EF - patchy distortion, mainly on the reverse, a couple of contact marks, Extremely Fine.
Lot 221
1784 George III gold Guinea (S 3728, Bull ECG 705/706). Obverse: right-facing portrait with 'GEORGIVS · III DEI · GRATIA.' around. Reverse: crowned, garnished, quartered shield of royal arms with the date (1784) divided above and 'M · B · F · ET · H · REX · F · D · B · ET · L · D · S · R · I · A · T · ET · E ·' around in large lettering. Weight: 8.20g. Diameter: 24mm. Grade: VG/nF - attractive with no major issues, Very Good/near Fine. Accompanied by a hand written ticket.
Lot 201
1723 George I silver South Sea Company Shilling (S 3647, ESC 1176, Bull 1586). Obverse: first draped and laureate bust, 'GEORGIVS · D · G · M · BR · FR · ET · HIB · REX · F · D ·' around. Reverse: crowned cruciform shields of royal arms around a central garter star with 'SSC' for South Sea Company in the angles, 'BRVN ET · L · DVX S · R · I · A · TH ET · EL · 1723' around. Weight: 5.94g. Diameter: 26mm. Grade: VF - light tone with vivid and attractive blue colouration between the legends, Very Fine.
Lot 230
1763 George III silver 'Northumberland' Shilling - scarce (S 3742, ESC 1214, Bull 2124). Obverse: young laureate and draped bust, facing right with 'GEORGIVS · III DEI GRATIA ·' around. Reverse: crowned cruciform shields of royal arms around a central garter star, plain angles, 'M · B · F · ET · H · REX · F · D · B · ET · L · D · S · R · I · A · T · ET · E · 1750 ·' around. Weight: 6.05g. Diameter: 26mm. Grade: nUNC - near Uncirculated with mint brilliance.
Lot 71
James I gold Unite, second coinage (1604-1619), cinquefoil mintmark (S 2620, North 2085). Obverse: half-length armoured fifth bust facing right with orb and sceptre, his crown extending to the edge of the coin, cinquefoil mintmark, 'IACOBS: D.' G.' MA.' BRI.' FRA.' ET.' HI.' REX ·'. Reverse: Quartered and crowned shield of royal arms with 'I' and 'R' either side, '· FACIAM: EOS: IN: GENTEM: VNAM ·' around with cinquefoil mintmark. Weight: 10.0g. Diameter: 36mm. Grade: aVF - full flan, minor crack in front of the bust and some flat areas to the left of the shield; otherwise about Very Fine. Unites get their name from their reverse inscription - 'FACIAM EOS IN GENTEM UNAM' - from Ezekiel 37:22, which translates from the Latin as 'I will make them one nation'. These hammered gold coins were first produced after James VI of Scotland ascended to the English throne as James I. The inscription alludes to James' wish to make his personal union of the crowns of the two nations into a full political union though this would not be achieved for nearly a century.
Lot 68
Scotland, Mary billon Bawbee, first period (1542-1558), Edinburgh (S 5432). Obverse: crowned thistle with 'M' and 'R' to either side, '+ MARIA D G REGINA SCOTORV' around. Reverse: saltire through a crown, cinquefoil to either side, fleur mintmark, 'OPPIDVM EDINBVRGI' around. Weight: 1.52g. Diameter: 20mm. Grade: aVF - almost Very Fine for issue, full flan with some surface oxide deposits.
Lot 215
1741 George II silver Sixpence (S 3708, ESC 1613, Bull 1751). Obverse: young laureate and draped bust, facing left with 'GEORGIUVS · II · DEI · GRATIA ·' around. Reverse: crowned cruciform shields of royal arms around a garter star with roses in the angles and 'M · B · F · ET · H · REX · F · D · B ET · L · D · S · R · I A · T · ET · E · 1741 ·' around. Weight: 3.04g. Diameter: 21mm. Grade: EF - Extremely Fine.
Lot 43
Henry VIII silver Halfgroat, second coinage (1526-1544), Canterbury mint under Archbishop Warham, cross patonce mintmark (S 2343, North 1802). Obverse: crowned profile portrait, facing right with cross patonce mintmark and 'hENRIC' x VIII' x D' x S x R' x AGL' x Z x F' around. Revere: shield of royal arms quartered by a long cross fourchee with 'W' to left and 'A' to the right for Archbishop of Canterbury, William Warham, cross patonce mintmark and 'CIVITAS xxx CANTOR x' around. Weight: 1.34g. Diameter: 19mm. Grade: nVF - near Very Fine, light tone with some slight undulation.
Lot 87
Charles I (1625-1649) silver Halfcrown, Tower under the king, group II, portcullis mintmark (S 2771, North 2207). Obverse: second horseman, left, type 2c, portcullis mintmark, 'CAROLVS D.' G.' MAG.' BR.' FR.' ET HI · REX ·' around. Reverse: oval shield of royal arms with 'C' and 'R' to either side, portcullis mintmark and '· CHRISTO AVSPICE REGNO ·' around. Weight: 14.94g. Diameter: 35mm. Grade: aF/aVF - irregular flan, the obverse a bit patchy in tone, otherwise almost Fine/almost Very Fine.
Lot 198
1723 George I silver Crown (S 3640, ESC 114, Bull 1545). Obverse: right-facing laureate draped bust with 'GEORGIVS · D · G · M · BR · FR · ET · HIB · REX · F · D ·'. Reverse: crowned cruciform shields of royal arms with a central garter star and 'SSC' in the angles for South Sea Company, the legend around reading 'BRVN ET · L · DVX S · R · I · A · TH ET · EL · 1723 ·'. Edge: raised lettering reading '· + DECUS · ET · TUTAMEN · ANNO · REGNI · DECIMO'. Weight: 30.0g. Diameter: 38mm. Grade: gF - good Fine, mid-grey tone, the usual trivial contact marks and minor scratches under magnification.
Lot 220
1764 George III gold Guinea (S 3726, Bull EGC 674). Obverse: right-facing second laureate head with 'GEORGIVS · III · DEI · GRATIA ·' around, stop over the head. Reverse: garnished shield of royal arms surmounted by a crown which divides the date (1764), 'M · B · F · ET · H · REX · F · D · B · ET · L · D · S · R · I · A · T · ET · E ·' around. Weight: 8.26g. Diameter: 24mm. Grade: G/F - attractive for Good/Fine - a key date with bad scuffs on the obverse. Clipping from old catalogue/list included.
Lot 213
1750 George II silver Shilling (S 3704, ESC 1210, Bull 1729). Obverse: old laureate and draped bust, facing left with 'GEORGIVS · II · DEI · GRATIA ·' around. Reverse: crowned cruciform shields of royal arms around a central garter star, plain angles, 'M · B · F · ET H · REX · F · D · B ET · L · D · S · R · I A · T · ET · E · 1750 ·' around. Weight: 6.00g. Diameter: 26mm. Grade: nEF - near Extremely Fine.
Lot 7
Cantuvellauni, Rues (c 1-10 AD), bearded bronze Unit (S 272, ABC 2754). Obverse: bearded head facing right, 'RVII' in front. Reverse: warrior riding a horse, 'R' below and 'VII' in front. Weight: 1.56g. Diameter: 17mm. Grade: VF - very clear details for a Celtic bronze detecting find; therefore, Very Fine or better for the issue.
Lot 204
1740/39 George II gold Two Guineas (S 3668, Bull EGC 575). Obverse: intermediate laureate head, facing left with 'GEORGIUS · II · DEI · GRATIA ·' around. Reverse: garnished, crowned and quartered shield of royal arms with the date (1740) divided by the crown and over 1739, the legend reading 'M · B · F · ET · H · REX · F · D · B · ET · L · D · S · R · I · A · T · ET · E ·'. Weight: 16.74g. Diameter: 31mm. Grade: gVF - good Very Fine with much eye appeal.
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