Printed Auction 43

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Closed March 20, 2024
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  1. Winning Losing Won Lost Watching Available in aftersale  
    A43, Lot 170:

    Electrotype of English hammered coinage. Eanbald II (Archbishops of York). 796-808. Penny electrotype (double-thick). 13.5 mm. BMC Type xv. Chester (Leigeceaster) mint; (Ælfsig? as per BMC). Central pellet surrounded by a circle of pellets; +EANBALD ARE around / Central pellet surrounded by a circle of pellets; EADVVLF. S. 868. (Seaby/Spink Standard Catalog plate coin, 1962 to 2007) (SSC 1-15:429. SSC 16-41:868.) BMC 1887. Eanbald II: 688 (Page 190. Not plated). As made.

     

    Electrotypes of Anglo-Saxon coins in the British Museum

    Many used for the Standard Catalog prior to 2007

     

    British Museum electrotypes of ancient coins were produced in quantity and distributed for educational use as well as for collectors. I have been unable to locate any history of the Anglo-Saxon electrotypes offered here. Some of these electrotypes are of images used for photographs of Anglo-Saxon coins in the Standard Catalog of British Coins, Part 1, first published in 1962 by Seaby’s Numismatic Publications. It is probable these actual pieces were photographed.

    Responsibility for the half-tone photographs in the volume as well as editorial responsibility for the Anglo-Saxon section (up to Edward II) fell on Frank Purvey, Seaby’s photographer and long-time director of the firm. Peter Seaby’s comments in the 1962 Coin and Medal Bulletin make no reference to the source for the coins photographed. Current practice for the Standard Catalog includes many pieces from important Spink auctions.

    Each of these electrotypes has been identified in one of the British Museum catalogs as well as in the “Standard Catalog” if the image actually made the cut when the reference was first published.

  2. Winning Losing Won Lost Watching Available in aftersale  
    A43, Lot 171:

    Electrotype of English hammered coinage. Ecgberht (Ecgbeorht) King of Wessex. 802-839. Penny electrotype (double-thick). 20 mm. DOROB C type. Ca 828-839. Canterbury (SSC Type III). The BMC piece is 1020 (Plate 43) in SCBI 67, British Museum Anglo-Saxon Coins II published in 2016. His diademmed head right, bust breaking inner circle. +ECGBEΛRTREX around between an inner and outer circle / Central monogram, "without doubt copied from the Karolus monogram on the coinage of Charles the Great" (Charlemagne). (BMC 1893 note, p xx). Probably for DOROB C (Dorobernia Civitas). +BOSEL TOHETV around (BOSEL MONETA). S. 1035. (Seaby/Spink Standard Catalog plate coin, 1962 to 2007) (SSC 1-15: 569B. SSC 16-41. 1035.) As made.

     

    Electrotypes of Anglo-Saxon coins in the British Museum

    Many used for the Standard Catalog prior to 2007

     

    British Museum electrotypes of ancient coins were produced in quantity and distributed for educational use as well as for collectors. I have been unable to locate any history of the Anglo-Saxon electrotypes offered here. Some of these electrotypes are of images used for photographs of Anglo-Saxon coins in the Standard Catalog of British Coins, Part 1, first published in 1962 by Seaby’s Numismatic Publications. It is probable these actual pieces were photographed.

    Responsibility for the half-tone photographs in the volume as well as editorial responsibility for the Anglo-Saxon section (up to Edward II) fell on Frank Purvey, Seaby’s photographer and long-time director of the firm. Peter Seaby’s comments in the 1962 Coin and Medal Bulletin make no reference to the source for the coins photographed. Current practice for the Standard Catalog includes many pieces from important Spink auctions.

    Each of these electrotypes has been identified in one of the British Museum catalogs as well as in the “Standard Catalog” if the image actually made the cut when the reference was first published.

  3. Winning Losing Won Lost Watching Available in aftersale  
    A43, Lot 172:

    Electrotype of English hammered coinage. Eadwig. 955-959. Penny electrotype (double-thick). 21 mm. BMC type ii, series B (without name of mint). The BMC piece is Wessex, Eadwig 14, p. 160. Plate XII(I: 1. BMC 1893. Small cross patée, +EΛDPIG REX I / Moneyer's name in two lines; ÆLFRED EXMOND divided by three crosses, an "M" in the field. S. 1122. (Seaby/Spink Standard Catalog plate coin, 1962 to 2007) (SSC 1-15: 643. SSC 16-41. 1122.) As made.

     

    Electrotypes of Anglo-Saxon coins in the British Museum

    Many used for the Standard Catalog prior to 2007

     

    British Museum electrotypes of ancient coins were produced in quantity and distributed for educational use as well as for collectors. I have been unable to locate any history of the Anglo-Saxon electrotypes offered here. Some of these electrotypes are of images used for photographs of Anglo-Saxon coins in the Standard Catalog of British Coins, Part 1, first published in 1962 by Seaby’s Numismatic Publications. It is probable these actual pieces were photographed.

    Responsibility for the half-tone photographs in the volume as well as editorial responsibility for the Anglo-Saxon section (up to Edward II) fell on Frank Purvey, Seaby’s photographer and long-time director of the firm. Peter Seaby’s comments in the 1962 Coin and Medal Bulletin make no reference to the source for the coins photographed. Current practice for the Standard Catalog includes many pieces from important Spink auctions.

    Each of these electrotypes has been identified in one of the British Museum catalogs as well as in the “Standard Catalog” if the image actually made the cut when the reference was first published.

  4. Winning Losing Won Lost Watching Available in aftersale  
    A43, Lot 173:

    Electrotype of English hammered coinage. Edward the Martyr (Eadweard II). 975-978. Penny electrotype (double-thick). 21 mm. BMC Type i. Canterbury. Æelfstan. Diademed bust right; +EΛDPEΛRD REX ΛNGLONX / Small central cross patée. ÆLFZTΛN M—O EÆNT around. S. 1142. (S. 662 in early editions, not photographed). BMC 1893: Eadweard II: 4 (page 193). Not plated. As made.

     

    Electrotypes of Anglo-Saxon coins in the British Museum

    Many used for the Standard Catalog prior to 2007

     

    British Museum electrotypes of ancient coins were produced in quantity and distributed for educational use as well as for collectors. I have been unable to locate any history of the Anglo-Saxon electrotypes offered here. Some of these electrotypes are of images used for photographs of Anglo-Saxon coins in the Standard Catalog of British Coins, Part 1, first published in 1962 by Seaby’s Numismatic Publications. It is probable these actual pieces were photographed.

    Responsibility for the half-tone photographs in the volume as well as editorial responsibility for the Anglo-Saxon section (up to Edward II) fell on Frank Purvey, Seaby’s photographer and long-time director of the firm. Peter Seaby’s comments in the 1962 Coin and Medal Bulletin make no reference to the source for the coins photographed. Current practice for the Standard Catalog includes many pieces from important Spink auctions.

    Each of these electrotypes has been identified in one of the British Museum catalogs as well as in the “Standard Catalog” if the image actually made the cut when the reference was first published.

  5. Winning Losing Won Lost Watching Available in aftersale  
    A43, Lot 174:

    Electrotype of English hammered coinage. Aethelred II. 978-1016. Penny electrotype (double-thick). 20 mm. BMC type ii var. d (BMC 1893: page 209:6). Aethelric, moneyer, Bath. His diademed bust right, scepter in front. +ÆDELRÆD REX ΛNGLONX around between an inner and outer circle / Hand of Providence descending from clouds, A and Ω on sides. ÆDELRIC M—O BΛDΛN around. S. 1146. (SSC 1962 to 1976: 665 type. As made; beautifully toned.

     

    Electrotypes of Anglo-Saxon coins in the British Museum

    Many used for the Standard Catalog prior to 2007

     

    British Museum electrotypes of ancient coins were produced in quantity and distributed for educational use as well as for collectors. I have been unable to locate any history of the Anglo-Saxon electrotypes offered here. Some of these electrotypes are of images used for photographs of Anglo-Saxon coins in the Standard Catalog of British Coins, Part 1, first published in 1962 by Seaby’s Numismatic Publications. It is probable these actual pieces were photographed.

    Responsibility for the half-tone photographs in the volume as well as editorial responsibility for the Anglo-Saxon section (up to Edward II) fell on Frank Purvey, Seaby’s photographer and long-time director of the firm. Peter Seaby’s comments in the 1962 Coin and Medal Bulletin make no reference to the source for the coins photographed. Current practice for the Standard Catalog includes many pieces from important Spink auctions.

    Each of these electrotypes has been identified in one of the British Museum catalogs as well as in the “Standard Catalog” if the image actually made the cut when the reference was first published.

  6. Winning Losing Won Lost Watching Available in aftersale  
    A43, Lot 175:

    Electrotype of English hammered coinage. Edward the Confessor (On a type of a Harold II PAX penny). 1042-1066. Penny electrotype (double-thick). 18.5 mm. BMC Type xvii. York. Snæborn, moneyer. His crowned bust right with scepter; +EΛDPΛRD REX around / PAX across the center; +SENEDBRN ON EOFR around. This coin type is not listed in any of the Standard Catalog editions nor in North. Both catalogs end with BMC xvi, the pyramids type. It is the only example of a type xvii in the 19th century BMC Anglo-Saxon catalogs. (BMC 1893: Edward the Confessor: 429. (Page 370) Plate XXIV: 14. As made. Oman (The Coinage of England. Oxford. 1931) commenting about the reason for the coin notes that "The only conceivable explanation is that this penny may be local and medallic—unlike all other coins of the reign. It may refer to the pacification of the North by Harold, acting as the king's minister and vice-regent in 1065....) Oman notes that the type is only known for York but in my copy of Oman, ex G V Doubleday (his signature), is a marginal notation indicating the type is also known for Norwich—also a northern mint.

     

    Electrotypes of Anglo-Saxon coins in the British Museum

    Many used for the Standard Catalog prior to 2007

     

    British Museum electrotypes of ancient coins were produced in quantity and distributed for educational use as well as for collectors. I have been unable to locate any history of the Anglo-Saxon electrotypes offered here. Some of these electrotypes are of images used for photographs of Anglo-Saxon coins in the Standard Catalog of British Coins, Part 1, first published in 1962 by Seaby’s Numismatic Publications. It is probable these actual pieces were photographed.

    Responsibility for the half-tone photographs in the volume as well as editorial responsibility for the Anglo-Saxon section (up to Edward II) fell on Frank Purvey, Seaby’s photographer and long-time director of the firm. Peter Seaby’s comments in the 1962 Coin and Medal Bulletin make no reference to the source for the coins photographed. Current practice for the Standard Catalog includes many pieces from important Spink auctions.

    Each of these electrotypes has been identified in one of the British Museum catalogs as well as in the “Standard Catalog” if the image actually made the cut when the reference was first published.

  7. Winning Losing Won Lost Watching Available in aftersale  
    A43, Lot 176:

    Electrotype of English hammered coinage. Edward the Confessor. 1042-1066. Penny electrotype (double-thick). 18 mm. BMC Type xv. Chester (Leigeceaster) mint; (Ælfsig? as per BMC). Diademed bust right with scepter; +EΛDPEΛRD REX / A voided short cross, a pyramid in each angle based on the inner circle. +ΛLXXI ON LEGEEE around. S. 1184. (S. 697 in early editions, not photographed). BMC 1893: Edward the Confessor: 661 (page 391) Not plated. As made; choice, unusual reverse legend.

     

    Electrotypes of Anglo-Saxon coins in the British Museum

    Many used for the Standard Catalog prior to 2007

     

    British Museum electrotypes of ancient coins were produced in quantity and distributed for educational use as well as for collectors. I have been unable to locate any history of the Anglo-Saxon electrotypes offered here. Some of these electrotypes are of images used for photographs of Anglo-Saxon coins in the Standard Catalog of British Coins, Part 1, first published in 1962 by Seaby’s Numismatic Publications. It is probable these actual pieces were photographed.

    Responsibility for the half-tone photographs in the volume as well as editorial responsibility for the Anglo-Saxon section (up to Edward II) fell on Frank Purvey, Seaby’s photographer and long-time director of the firm. Peter Seaby’s comments in the 1962 Coin and Medal Bulletin make no reference to the source for the coins photographed. Current practice for the Standard Catalog includes many pieces from important Spink auctions.

    Each of these electrotypes has been identified in one of the British Museum catalogs as well as in the “Standard Catalog” if the image actually made the cut when the reference was first published.

  8. Winning Losing Won Lost Watching Available in aftersale  
    Civil War tag; Ex Dr. Alan York Collection
    A43, Lot 348:

    UNITED STATES. Lincoln Emancipation Proclamation Medal. 1862. Bronze Civil war tag (holed). 13.41 gm. 31 mm. Bust of George Washington right; UNION below; thirty-four stars around, denticles at the rim / Legend punched in letter-by-letter: GRATE JOY TO OUR RACE around above running from 9 to 3; in six lines down the center: EMAN / CIPATION / BILL PASSED / APRIL 16 1862 / WASHINGTON / D. C. (Medal) Musante GW- 566 (Musante explains the reason for this issue in detail). Good Fine.

    Ex the Dr. Alan York Collection. Roland Auctions NY. New York. 19th May 2917. (York and his significant Americana collecting efforts are discussed in detail in various online articles.)

    This was created from a Civil War soldier's identification tag (Musante GW-565). The Emancipation Proclamation was signed on the first of January 1863 but Emancipation in Washington D.C. came eight-and-a-half months earlier as celebrated on this piece.

    The Musante examples have individual names as the legend around the top half. Those names may have been names of the original owners of the medals, freed slaves. The sale of the Baker Collection in Nov. 2019 offered a named piece noting that the cataloger was aware of 12 named examples (that piece sold for $14,400). Davissons, Auction 42, February 2023, sold an example without a specific name for $11,000 on an estimate of $1250.

  9. Winning Losing Won Lost Watching Available in aftersale  
    “I have not yet begun to fight!” (Ex John Adams Collection)
    A43, Lot 350:

    UNITED STATES. John Paul Jones. (Comitia Americana). Silver medal. 85.55 gm. 56 mm. By F. Dupre. Restrike by Paris Mint after 1880. Bust right of John Paul Jones; COMITIA AMERICANA below; JOANNI PAVLO JONES—CLASSIS PRAEFECTO around / The combat with the Serapis; HOSTIVM NAVIBUS CAPTIS AVT FVGATIS around above; AD ORAM SCOTIAE XXIII SEPT MDCCLXXVIIII below; DUPRE F below. Betts 568. BHM 222. Good Extremely Fine.

    Ex John Adams Collection: Stacks Bowers 11/14/2019.

    Captain John Paul Jones (1747-92), commander of the U.S.S. Bonhomme Richard, leading a combined French and American fleet, on September 23, 1779 off the Yorkshire coast near Flamborough Head and the town of Bridlington, engaged a large Baltic merchant fleet escorted by two British ships, the H.M.S. Serapis and the smaller Countess of Scarborough. Early on in the battle, the hull and rigging of the Bonhomme Richard were damaged and the American flag fell, leading Captain Richard Pearson of the Serapis to ask Jones if he wished to surrender. Jones defiantly proclaimed: “I have not yet begun to fight!” and went on to win the day. His rallying cry made him a national hero. The following day the badly crippled Bonhomme Richard sank. 

    This beautiful medal has the distinction of being the only naval medal authorized by the Continental Congress. And John Paul Jones became a Revolutionary War era hero who inspired American school children for generations.

  10. Winning Losing Won Lost Watching Available in aftersale  
    The War of Jenkins Ear
    A43, Lot 353:

    GREAT BRITAIN. George II. 1727-1760. Copper/copper alloy medal. 5.54 gm. 26.2 mm. Admiral Vernon, three-quarter length, standing half left with ADMIRAL VERNON TOOK PORTO BELLO around / Six ships—three in harbor and three approaching; semicircular harbor with town and forts behind; WITH SIX SHIPS ONLY NOV 22 1739. Adams & Chao PBv 16-M (page 60). Betts 194. Good Very Fine; small bit of edge missing at 4 obverse.

     

    The War of Jenkins Ear

    Admiral Vernon medals were created to commemorate the victories of the eponymous British naval commander in battles that took place between November 1739 and April 1741. The long and complex history of tension between England and Spain eventually came to a head when Spanish privateer coast guards, or guardacostas, boarded a Glasgow ship off Havana in 1731 and allegedly cut off her master's ear, to drive home the point of their anti-smuggling mission. When her captain Robert Jenkins produced his severed ear before Hampton Court in 1739, combined with many other merchant's complaints of lost cargoes and humiliation, the War of Jenkins's Ear was ignited with widespread public support. Admiral Edward Vernon, an experienced naval commander, scored a major military and public relations victory when he took the heavily fortified Portobelo in a single day on December 2nd 1739 with just six ships. This bold action, combined with the tide of positive public opinion, led to the hasty issue of Admiral Vernon pinchbeck medals commemorating the event to capitalize on the moment.

    A thorough and high quality analysis of the history and of the issues can be had in John Adams & Dr. Fernando Chao's 2010 Medallic Portraits of Admiral Vernon, from which this summary is drawn.

  11. Winning Losing Won Lost Watching Available in aftersale  
    The War of Jenkins Ear
    A43, Lot 354:

    GREAT BRITAIN. George II. 1727-1760. Copper/copper alloy medal. 11.08 gm. 37.2 mm. Duke of Argyll and Sir Robert Walpole contrasted. The Duke of Argyll, standing with his elbow on a pedestal that holds a crown; implements of war and the flag of St. George behind; THE GENEROUS DUKE OF ARGYLL around above; NO •• PENTIONER below / The Devil, pitchfork in his right hand, leading Walpole with a halter into the mouth of Hell; MAKE ROOM FOR SIR ROBERT around above; NO EXGISE below. Adams & Chao NLa 1-A (page 43). Betts 247. Good Extremely Fine; small bit of edge missing at 4 obverse.

    A similar (but not exact) piece sold in a 2022 Sedwick sale for $2400 plus commission. The metal in that piece was 43.31% copper, 49.31% zinc, 5.31% lead.

     

    The War of Jenkins Ear

    Admiral Vernon medals were created to commemorate the victories of the eponymous British naval commander in battles that took place between November 1739 and April 1741. The long and complex history of tension between England and Spain eventually came to a head when Spanish privateer coast guards, or guardacostas, boarded a Glasgow ship off Havana in 1731 and allegedly cut off her master's ear, to drive home the point of their anti-smuggling mission. When her captain Robert Jenkins produced his severed ear before Hampton Court in 1739, combined with many other merchant's complaints of lost cargoes and humiliation, the War of Jenkins's Ear was ignited with widespread public support. Admiral Edward Vernon, an experienced naval commander, scored a major military and public relations victory when he took the heavily fortified Portobelo in a single day on December 2nd 1739 with just six ships. This bold action, combined with the tide of positive public opinion, led to the hasty issue of Admiral Vernon pinchbeck medals commemorating the event to capitalize on the moment.

    A thorough and high quality analysis of the history and of the issues can be had in John Adams & Dr. Fernando Chao's 2010 Medallic Portraits of Admiral Vernon, from which this summary is drawn.

 

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