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Lot 207
A RARE CARTER STABLER ADAMS POOLE POTTERY RED BODIED EARTHENWARE VASE shape no. 958 designed by Harold Stabler, the cylindrical ribbed form, painted on grey pot facing glaze by Mary Brown (1926-34) with a foliate and geometrical design in brown, mocha, grey and black, impressed mark no. 11 (1921-34), shape no. 958, painter's mark and '/CA', 18.5 cm high. See illustration
Lot 60
Peter MURDOCH (Né en 1940) &PAPER INTERNATIONAL (Éditeur) Chaise "Spotty", 1963, en papier cartonné enduit de polyéthylène, à décor de grands pois bleus sur fond blanc, à découpe supérieure par pliure pour former assise. Cachet de l’artiste. (Quelques usures). A rare printed cardboard "Spotty" chair, 1963. Producer’s stamp. (A few wears). Haut. 51 cm - Larg. 50 cm - Prof. 43 cm Height. 20 1⁄8 in. - Width. 19 3⁄4 in. - Depth. 16 7⁄8 in. Historique : Ce modèle n’a été réalisé qu’entre 1964 et 1965. Première chaise à être entièrement réalisée en papier cartonné, elle répondait aux attentes d’un marché de consommation plus attaché à l’effet de nouveauté qu’à la durabilité. Ce modèle est de ce fait devenu très rare. This model was created between 1964 and 1965. It’s the first chair fully made with only paperboard. It was a respond to the consumer expectations more linked to the novelty rather than durability. This model become, for this reason, very rare to find. Bibliographie : - Charlotte & Peter Fiell, "1 000 chairs", Éditions Taschen, Cologne, 1997, p. 465. - Carole Daprey, "Mobilier Design pour enfants", Piqpoq, 2009, Paris, p. 108.
Lot 61
Peter MURDOCH (Né en 1940) &PAPER INTERNATIONAL (Éditeur) Chaise "Spotty", 1963, en papier cartonné enduit de polyéthylène, à décor de grands pois bleus sur fond blanc, à découpe supérieure par pliure pour former assise. Cachet de l’artiste. (Quelques usures). A rare printed cardboard "Spotty" chair, 1963. Producer’s stamp. (A few wears). Haut. 52 cm - Larg. 50,5 cm - Prof. 43 cm - Height. 20 1⁄2 in. - Width. 19 7⁄8 in. - Depth. 16 7⁄8 in.
Lot 151
Karin MOBRING & IKEA (Éditeur) Rare fauteuil, circa 1963, structure en bois naturel, formant en arc de cercle, montants fuselés, proposant deux hauteurs d’assise par renversement. A rare natural wood and plywood chair offering two seat heights. Haut. 38 CM / Height. 15 in. Bibliographie : Eva Ottillinger, Marta Herford, "Fidgety Philip": A Design History of Children’s Furniture", Éditions Taschen, Cologne, 2006, p. 154.
Lot 238
Peter RAACKE (Né en 1928) & Ellen RAACKE (Éditeur) Très rare mobilier pour enfant "Siebensachen", 1967, composé de sept modules en carton polychrome formant kit pouvant être emboîté à l’intérieur d’un carton parallélépipédique. L’ensemble comprend deux sièges, un cube de jeu, deux grandes boîtes et deux petites. A very rare "Siebensachen" cardboard set consisting of two chairs, one stool, two big boxes and two small boxes combined to a compact set, 1967. Stamped and signed. Dim carton : 55 x 30 x 30 cm Dim cardboard. 21 5⁄8 x 11 3⁄4 x 11 3⁄4 in. Bibliographie : Eva Ottillinger, Marta Herford, "Fidgety Philip": A Design History of Children’s Furniture", Éditions Taschen, Cologne, 2006, pp. 85-163.
Lot 240
Nana DITZEL (1923-2005) & KOLDS SAWVERK (Éditeur) Rare berceau en pin d’orégon, 1963, piétement en T inversé reposant sur des roulettes, hampe supérieure bifide accueillant deux larges disques sur lesquels pivote le berceau hémicylindrique. A rare cradle in oregon pine, standing on castors, 1963. Haut. 80,2 cm - Long. 80 cm - Larg. 49 cm Height. 31 5⁄8 in. - Length. 31 1⁄2 in. - Width. 19 1⁄4 in. Bibliographie : Gerd Hatje, "New Furniture", Édition George Wittenborn, 1955.
Lot 4
†Richard II (1377-1399), noble, mm. cross pattée, London, king holding sword and shield stg. facing in ship, annulet over sail, rev. ornate cross within a tressure of eight arches, with alternating crowned lions in angles and lis at ends of cross, R at centre within square cartouche (S.1654; N.1302), in plastic holder, graded by PCGS as Mint State 65, virtually as struck, a coin having mint bloom and bold details throughout, including on the king’s tiny face and on his initial at centre of reverse, in all an unusually choice example of this golden classic and a rare piece
Lot 7
NOT AVAILABLE FOR ONLINE BIDDING. PLEASE CONTACT THE AUCTIONEER IF YOU WANT TO BID ON THIS LOT.Henry VIII, third coinage (1544-47), sovereign, Tower mint, mm. lis, crowned bearded king seated on throne, holding orb and sceptre with large double Tudor rose below feet, rev. lion and griffin supporting crowned royal shield, HR monogram below, wt. 12.84gms. (S.2289; N.1823; Schneider 607), nearly extremely fine, evenly struck on a broad and almost perfectly round flan, king’s portrait unusually well defined as is his royal shield and its supporters, the legends complete, bold for type and clearly lettered, with much of the outer rim on each side in evidence, an unusually choice example of this early representation of a golden denomination that has lasted into our own time, a famous piece, extremely rare and the finest known of the three pieces in private hands *ex British Museum (Sale of Duplicates, 1811) ex Durrant ex Bergne ex Brice ex Montagu ex Lockett lot 1751 ex Strauss, Sotheby 26 May 1994, the cover coin
Lot 22
†Charles I, Newark besieged, ninepence, 1645, arched crown between C-R, mark of value below, rev. OBS NEWARK, date below (S.3144; N.2641), weakly struck above crown, otherwise extremely fine to mint state and beautifully toned An exceptional specimen and very rare thus. *ex St James’s Auction 5, 27 September 2006, lot 332 ex Bridgewater House collection, Sotheby’s, June 1972, lot 307
Lot 24
†Charles I, Pontefract besieged, two shillings, 1648, lozenge-shaped, crown above C R with central dot, Latin legend surrounding, rev. castle gate and turrets between OBS and sword, P C above, date immediately below gate, each side encircled by a border of connected beads, wt. 9.85gms. (S.3147; N.2645 [extremely rare]), fully original flan of sound metal showing patchy toning, unusual sharpness of detail throughout, good very fine, exceedingly rare *ex Devonshire, 1844 (lot 467) ex Bergne, 1873 (lot 788) ex Addington, 1886, purchased by Montagu, 1893 ex Montagu part 3, 1896 (lot 642) ex Moon, 1901 (lot 237) ex Murdoch, 1903 (lot 347) ex St James’s Auction 2, May 2005 (lot 137) The siege of the ancient castle at Pontefract in West Yorkshire was an endurance test for the defending royalists, lasting from June 1648 through the end of March 1649, two months after King Charles was captured, tried, and executed on 30 January. The castle was held with the hope that an army being raised in Scotland by the Duke of Hamilton would arrive in time to scatter the attackers but his army was defeated before reaching Pontefract. While Cromwell’s generals Rainsborough and Lambert kept their forces before the walls, attempting to allow no passage in or out, the defenders issued emergency monies for the purchase of necessities. These were almost entirely shillings fashioned from hand-cut dies and struck on pieces of silver taken from plate. Pieces struck during King Charles’s life offered an image of the castle as seen here with the initials OBS for ‘besieged’ placed sideways along the left turret, while the legend of the other side, DVM SPIRO SPERO, translates from Latin to mean ‘Whilst I live, I hope’ which seems more of a plea than a stance in wartime, and in fact Pontrefract’s defence was Charles’s last hope for victory. So resented was the castle’s resistance that the victors ordered it torn down within weeks of its fall. Of the coins made during this siege, relatively few shillings and apparently only a few two-shillings coins have survived. This is one of the most historic of all English coins.
Lot 26
†Oliver Cromwell, broad, 1656, by Thomas Simon, laur. bust l., rev. crowned shield of arms (S.3225; N.2744), in plastic holder, graded by PCGS as Mint State 62, a handsome example with a most pleasing golden red tone, nearly as struck with deeply frosted portrait and shield, light handling in the fields, finer than many seen, rare and appealing as the first milled gold coin equivalent in value in its day to the early guinea, which would appear within a few years of this historic coinage
Lot 35
†George III, pattern ‘Military’ guinea, 1813, by Lewis Pingo after Marchant, short-haired laur. bust r. with long bow down neck, within a border of denticles, rev. crowned royal crest with legend of the Order of the Garter surrounding, date divided as 18 13 immediately below, legend in small letters encircling with beaded border, curved grained edge (W&R.115 [R7] - 1 or 2 known [incorrect photos in W&R]), in plastic holder, graded by PCGS as Proof 63 CAMEO, boldly detailed and thoroughly delightful in appearance, an exceedingly rare pattern in choice state
Lot 43
†George III, pattern crown, 1817, by W. Wyon, the ‘Incorrupta Crown’, laur. head r., date below, W. WYON below truncation, rev. crowned shield of arms, edge plain (ESC.229 [R4]; L&S.159), in plastic holder, graded by NGC as Proof 65, beautifully toned, extremely rare *ex Willis II, Glendining’s, October 1991, lot 465 ex Ariagno, Goldbergs, June 1999 lot 1838 (back cover picture) ex Kardatzke III, Goldbergs, June 2000, lot 4663 (front cover picture) ex St James’s Auction 1, October 2004, lot 520 Only 18 silver and 7 gold proof examples struck. This is one of the two 1817 pattern crowns designed and engraved by a young William Wyon as entries in a competition for the production of a new crown coinage for Great Britain to begin in 1818. This would be the first crown coinage struck by the new Tower Hill Mint’s steam presses which began striking other coins in 1816. As all students and collectors of British coinage know, William Wyon went on to a very successful career as the chief engraver for the British Empire, but at this point in his life, having recently gained an assistantship at the Mint under his cousin, Chief Engraver Thomas Wyon, William was in a competitive battle with a foreigner, Italian gem engraver Benedetto Pistrucci, whose beautiful engravings had caught the eye of Sir Joseph Banks, an influential friend of the Master of the Mint. After Thomas Wyon’s death in 1817, Banks determined to make Pistrucci his successor as chief engraver but ran into problems as the law prohibited a foreigner from holding the position. Since the government had decided to produce a new Crown coinage in 1818, both men, Wyon and Pistrucci, were tasked with producing samples for the new coinage. As is well known, Pistrucci ultimately won that competition with his design of St. George and the dragon which appeared on the new crown series of 1818-1820.However, William Wyon’s design entries, the Incorrupta crown in this lot, as well as the 1817 Three Graces Pattern, show clearly the talents for design and engraving that would shortly put an end to Pistrucci’s coinage ambitions, catapult William to fame during the reigns of George IV and, most importantly, Queen Victoria, and establish him forever as one of the pre-eminent engravers in the history of coinage. The popular name of this crown, ‘Incorrupta’, derives from the reverse legend, in Latin, which translates as ‘An Untarnished Faith’, or roughly ‘A Faith that is Beyond Corruption’ or incorruptible. A superb example of this famous rarity with its masterful bust of George III, it exhibits lovely bluish purplish toning acquired over centuries, and its fields and devices show very few distractions and no wear. NGC has graded it PF65, equivalent to gem proof in the American system, FDC in the British. It is the finest graded at NGC and tied for finest at PCGS, the two main US grading services. Its rarity and outstanding condition for a 200-year old coin combine to make this a prize for the advanced collector of British crowns. That this coin’s prior ownership traces to a set of very discriminating collectors also attests to its desirability as does its appearance on the back and front covers of two previous auctions. When bidding on this coin, remember that it is almost impossible to find early 19th century proof coins in such a state of preservation given the sensitivity of proof surfaces and the lack of concern about handling and surface marks that characterized the habits of past generations of collectors.
Lot 48
GGeorge IV, proof five pounds, 1826, bare head l., rev. crowned shield of arms over mantle, SEPTIMO in raised letters on edge (S.3797; W&R.213 [R3 - very rare]), in plastic holder, graded by PCGS as Proof 65, a splendid coin in every way, virtually as struck for the sets of this year, with deeply mirrored fields and a perfect proof impression of the dies, lovely gold colour – not only wonderful in its own right but also among the finest certified pieces in a truly elusive ‘65’ holder!
Lot 54
NOT AVAILABLE FOR ONLINE BIDDING. PLEASE CONTACT THE AUCTIONEER IF YOU WANT TO BID ON THIS LOT.GVictoria, five pounds, 1839, ‘Una & the Lion’, raised TERTIO lettered edge, young head l., rev. the queen crowned holding orb and sceptre, wearing a long flowing gown, guiding a lion behind her, date below in Roman numerals, DIRIGE in the legend translating as ‘May God direct my steps’ (S.3851; W&R.278), in plastic holder, graded by PCGS as Proof 63+ DEEP CAMEO, an unusually fine specimen exhibiting brightly mirrored fields, the frosted cameo of Victoria just delightful, one of the finest we have seen A very rare piece and especially elusive in this condition.
Lot 55
NOT AVAILABLE FOR ONLINE BIDDING. PLEASE CONTACT THE AUCTIONEER IF YOU WANT TO BID ON THIS LOT.GVictoria, five pounds, 1839, ‘Una & the Lion’, plain edge, young head l., rev. the queen crowned holding orb and sceptre, wearing a long flowing gown, guiding a lion behind her, date below in Roman numerals, DIRIGE in the legend translating as ‘May God direct my steps’ (S.3851; W&R.280), a choice specimen showing very light handling and faint hairlines, a couple of spots of toning on reverse, in all practically as struck and seldom offered for sale, extremely rare with this edge A Bonomi Pattern Crown, Number 1
Lot 60
†Victoria, pattern crown, 1887, in silver, by J.R. Thomas for Spink & Son, veiled and draped bust l. wearing the bejewelled ‘small crown’ (sometimes called the ‘Jubilee Tiara’), legend in English in raised capital letters forming a perfect circle enclosing the portrait entirely within another circle of connected tiny roses, thistles and shamrock (the so-called Ornate Border), SPINK & SON on truncation, rev. FIVE SHILLINGS above a round central shield enclosed by the Latin legend of the Order of the Garter, supported by a crowned lion and a collared unicorn, date in Roman numerals below, the entire motif surrounded by another Ornate Border, plain edge (ESC.344 [R3]), in plastic holder, graded by NGC as Proof 64, virtually as struck, an exceptionally choice specimen exhibiting lovely greyish mauve toning, extremely rare, a classic of the late Victorian Era Only 32 pieces struck.
Lot 74
NOT AVAILABLE FOR ONLINE BIDDING. PLEASE CONTACT THE AUCTIONEER IF YOU WANT TO BID ON THIS LOT.†Scotland, James VII (James II of England), 60 shillings, 1688, in gold, laur. bust r., 60 below truncation, rev. crowned arms in the collar of the Order of the Thistle, floral border inside legend, date divided by crown, plain edge (S.5635), a lovely specimen with frosty lustre and choice surfaces, nearly as struck, exceedingly rare *ex Cochran-Patrick Collection, Sotheby’s, 1957 (selling for £1100, 22 times the price of a Cromwell broad in the same auction) ex Lucien LaRiviere Scottish Collection, Spink, March 2006 Following a succession of mint appointments, charges of corruption over the weights of the various denominations issued in Scotland during the reign of the English king Charles II, political bickering inside the Mint, and the eventual replacement of officials running the facility, the Mint was closed and remained inoperable at the end of Charles II’s reign in 1685. The innovative coiner John Falconer wished to be reinstated but parliament instead appointed Lord Maitland and master coiner William Sharpe. New coinage was to undergo the Trial of the Pyx to put an end to corruption. As a consequence of these changes, no gold or copper coins were minted during the reign of James VII, whose title designated him as James II on his Scottish coins because of the addition of MAG BR to the royal title. The die engraver remains unknown but was likely one or more of the Roettiers. While five silver denominations were intended, including the 60-shillings coin, only the denominations of 40-shillings and 10-shillings were produced during this brief reign. The portrait utilized for those coins is the same as that appearing on the 60-shillings coin seen here, although almost all of the contemporaneous coins known are of poorer quality and saw much use. It is quite possible that the reason no 60-shillings coins were issued was James II’s infamous conversion to Catholicism, which fostered a crisis of confidence and led to the Glorious Revolution which ended his reign. We today have only to thank Matthew Young for rescuing the dies and producing c1828 literally a handful of examples of this beautiful coin, which is very scarce in silver and of exceeding rarity in gold, with only 3 known.
Lot 75
†Scotland, James VII (James II of England), 60 shillings, 1688, in silver, laur. bust r., 60 below truncation, rev. crowned arms in the collar of the Order of the Thistle, floral border inside legend, date divided by crown, plain edge (S.5634), in plastic holder, graded by NGC as Mint State 64 Prooflike, boldly struck with rich grey toning, rare so fine, a highly superior specimen There are no known examples of this piece struck during the reign of James VII/II - all examples are believed to be struck from original dies by Matthew Young circa 1828.
Lot 81
†British Proof Trade Dollar, 1897B, Bombay mint, Britannia standing l. holding shield and trident, rev. value within ornate design (KM.T5), in plastic holder, graded by NGC as Proof 64, an especially choice specimen having rich golden grey original surfaces, extremely rare in proof state * ex Remick Collection
Lot 82
†British Proof Trade Dollar, 1898B, Bombay mint, Britannia standing l. holding shield and trident, rev. value within ornate design (KM.T5), in plastic holder, graded by NGC as Proof 64, an especially choice specimen having rich silvery grey and blue original surfaces, extremely rare in proof state * ex Remick Collection
Lot 83
†British Proof Trade Dollar, 1899B, Bombay mint, Britannia standing l. holding shield and trident, rev. value within ornate design (KM.T5), in plastic holder, graded by NGC as Proof 64, an especially choice specimen having rich silvery golden blue original surfaces, extremely rare in proof state * ex Remick Collection
Lot 85
British Trade Dollar, 1921B, Bombay mint, Britannia stg l., holding shield and trident, rev. value within ornate design (KM.T5), in plastic holder, graded by NGC as Mint State 63, sharp and very choice with superb lustre A very rare date - reputedly only some 6 examples are known to exist. The piece offered here is an extraordinary coin, possibly the finest known example of this date (tied with another MS63 graded by PCGS), the next-finest certified piece being graded by NGC as About Uncirculated 55 – this is an important opportunity to obtain a major colonial rarity.
Lot 90
India, Princely States, Baroda, Sayaji Rao III, mohur, VS.1959 (1902), bust r., rev. value and date within wreath (KM.Y39; Fr.1037), in plastic holder, graded by NGC as Mint State 65, extremely rare in this grade An extraordinary example of this elusive type and the highest ever graded by NGC.
Lot 97
India, Princely States, Mewar, proof set of rupee, ½ rupee, ¼ rupee, 1⁄8 rupee, and 1⁄16 rupee, VS.1985 (1928), landscape, legend above, rev. legend and date (cf KM.Y22/Y21/Y20/Y19/Y18 - not listed in proof), in plastic holders, graded by PCGS, the first four as Proof 63, the last as Proof 65, very rare (5) A superb brilliant proof set.
Lot 193
NOT AVAILABLE FOR ONLINE BIDDING. PLEASE CONTACT THE AUCTIONEER IF YOU WANT TO BID ON THIS LOT.Russia, Nicholas I, Imperial Family 1½ roubles or 10 zlotych, 1836, with full designer’s name, bust r. rev. encircled bust r. of the Empress Alexandra at centre among facing portraits of the royal children (KM.C172.3; Sev.3180; Bit.886), in plastic holder, graded by PCGS as About Uncirculated 55, a most pleasing example of this popular rarity showing only light even wear with pleasing grey toning and choice surfaces for the grade, exceedingly rare A coin struck by Nicholas I to honour his wife and children, it was modelled after the 1828 ‘Blessings from Heaven Thaler’ of Bavaria. There were three types produced in 1836: without initials; with initials and the type with the medallist’s full name, Pavel Utkin. Nicholas and Alexandra produced ten children, seven of whom are featured on this famous coin: Alexander (destined to become Czar Alexander II), Maria Nikolaevna, Olga Nikolaevna, Alexandra Nikolaevna, Constantine Nikolaevich, Nicholas Nikolaevich, and Michael Nikolaevich. Two other children were stillborn, and Elizabeth Nikolaevna died about 1829, aged only 3. All seven children married into German aristocratic families. This charming coin was clearly meant as more than a mere memento; while this specimen’s light wear and choice overall condition suggest that it was cherished as a pocket piece, others are known with considerably more wear and clearly were carried for many years by admirers of the Romanovs, the last imperial family of Russia. Only 50 pieces were minted in total, novodels appearing only with initials. This piece is exceedingly rare - Severin lists it as RRR.
Lot 208
NOT AVAILABLE FOR ONLINE BIDDING. PLEASE CONTACT THE AUCTIONEER IF YOU WANT TO BID ON THIS LOT.USA, Panama-Pacific Exposition, 1915, commemorative set in gold and silver: gold octagonal 50 dollars, gold round 50 dollars, gold 2½ dollars, gold dollar, and silver 50 cents, all struck at the San Francisco mint, the rare complete set in original case with certificate of issue, extremely fine or better with some light hairlines, the two 50 dollars lightly wiped, rich gold toning on the gold coins, the silver 50 cents having lovely silvery gold surfaces with rich blue peripheral toning (5) The concept of a ‘world’s fair’ showcasing human achievement was an idea essentially of the 19th century, even though exhibitions were an age-old phenomenon. In America, the Centennial Exhibition of 1876 held in Fairmount Park in Philadelphia was intended both to show off new technical achievements and to celebrate a century of independence as a nation. The Paris Exhibition of 1889 followed. The World’s Columbian Exhibition of 1892-93 in Chicago was an even grander affair, where a small city was erected consisting of buildings, canals and parks; its ostensible purpose was to mark the 400th anniversary of the discovery of the New World. Not to be outdone, Paris again hosted an exhibition in 1900, and St Louis in Missouri felt a need to express itself and hosted a fair in 1904, where the summer Olympic Games were only part of all the excitement. Its formal name was The Louisiana Purchase Exposition but its purpose was largely as a commercial enterprise to attract tourists who wished to purchase gifts of many kinds for themselves as mementoes, and to be entertained. The west coast of the United States, however, was a long-distance trip not only for Europeans arriving by ship on the east coast but also for much of the American population. Californians were clamouring for their own world’s fair by the turn of the century. Beginning in 1904, a variety of plans and schemes for a festival was being considered in San Francisco, and the goal was to outdo other American exhibitions. The terrible earthquake disrupted plans only temporarily, and by 1911 the organizing council had the approval of none other than President Taft, who embraced the idea of a West Coast fair celebrating both American ingenuity and the opening of the Panama Canal in 1911, which was being hailed as a new wonder of the world. What is today known as the Marina District was filled with land while engineers constructed a variety of buildings meant to be temporary. Included in the plans for this mini city was even a 5-acre reproduction of the Panama Canal! After 3 years of construction, the Panama-Pacific International Exposition opened on 20 February 1915, occupying 635 acres by the bay. Featuring a vast array of landscape architecture, statuesque buildings, ornate gardens, art of many kinds, clever inventions, countless displays of wares and products, sports and entertainment — the fair showed the throngs of visitors what the world looked like in 1915. Perhaps the most spectacular event of the fair was the first-ever use of electricity to light up the entire city at night. Although coins commemorating such fairs had been issued before, at this exposition an entire set of specially designed coins was produced for sale to fair-goers. They could purchase single coins or, rarely, an entire set, as we see in the presently offered lot. Due to the high value of the set, at a time when the average yearly income was about $1500, few sets were purchased. Thus was born a modern rarity, in which the individual coins featured designs intended to commemorate the opening of the Panama Canal expressed in Art Deco style. All of the coins were struck at the fair. The half-dollar features the symbolic Miss Liberty scattering flowers which she received from a cornucopia, with the rising sun behind her, an expression of bounty and optimism. The gold dollar depicts a capped labourer, among many who built the Panama Canal. Its reverse features a pair of dolphins, symbolizing the flowing together of two oceans via the canal. The gold 2½ dollars, or ‘quarter eagle’, reputedly shows Columbia seated upon a hippocampus with a vigilant eagle on the other side said in its day to be warding off war. The huge, impressive gold 50 dollar coins, similarly designed but of different shapes, were supposedly meant to pay obeisance to the fifty-dollar ‘pioneer gold’ coins of the 1849ers. Each featured a helmeted Greek goddess Athena as a symbol of wisdom and of warfare, as well as of the practical arts, opposed by a large owl alluding to the inspiration of antiquity. It is seated upon a branch surrounded by Ponderosa pinecones, native to California. Dolphins ‘swim’ around the rim of the Octagonal, emblematic sailors’ guardians seen in the open seas on each side of the canal. Each coin also boasts a proud legend of the nation and another indicating its origin at the Exposition. It took massive hydraulic presses to produce these beautiful coins. They are among the finest of all numismatic expressions of the Art Deco era.
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