Great Britain, a collection of coins Victoria - Elizabeth II to include threepences x36 and farthings x55, housed in a ring binder album. (1)

Lot 2182 - Great Britain, a collection of coins

Great Britain, 1968 Maundy money four coin set, 4d to 1d, obv: Elizabeth II, rev: crowned denomination dividing date within wreath, in Spink & Son, Ltd. paper envelope. (1)

Lot 2171 - Great Britain, 1968 Maundy money four coin

Great Britain, 1959 Maundy money four coin set, 4d to 1d, obv: Elizabeth II, rev: crowned denomination dividing date within wreath, in fitted red leather case of issue. (1)

Lot 2170 - Great Britain, 1959 Maundy money four coin

Great Britain, 1997 Britannia four coin silver proof set, to include two pound, one pound, 50 pence and twenty pence, in green leather case with certificate. (1)

Lot 2167 - Great Britain, 1997 Britannia four coin

A collection of BUNC coins to include The Official Uefa Euro 2024 3-Coin Set x2, The European Football Championships Silver-Plated Coin Cover x2 and Uefa Euro 2020 50 Cents x3. (7)

Lot 2121 - A collection of BUNC coins to include The

Jubilee Mint, a collection of four coin sets to include The Queen Elizabeth II Memorial £5 Coin Collection, The 80th Anniversary Of D--Day £5 Coin Collection, The 400th Anniversary £5 Laurel Coin Collection and The St George & The Dragon £5 Coin Collection, each cased with certificates. (4)

Lot 2120 - Jubilee Mint, a collection of four coin

United Kingdom, 2024 Britannia Silver Coins, three .999 fine silver coins to include 1oz, 1/4oz and 1/10oz, each in plastic capsule and presentation case. (1)

Lot 2115 - United Kingdom, 2024 Britannia Silver Coins

World, a collection of coins to include South African Republic 1894 2 1/2 shillings, 1894 2 shillings, 1895 1 shilling, Prussia 1836 4 pfenning,1846 30 einen thaler,1872 60 einen thaler, Belgium 1866 2 francs, 1861 10 centimes, Italy 1886 1 lira,1893 10 centesimi, Germany 1916 10 pfennings and British India 1804 1 keping and St Helena 1821 halfpenny etc. (approx. 120)

Lot 2030 - World, a collection of coins to include

World, a collection of miscellaneous coins to include France 1978 50 francs, British India 1887 one rupee, Brazil 1871 200 reis, Belgium 1951 20 francs, U.S.A. 1946 quarter dollar and UK 1972 wedding crown etc.

Lot 2028 - World, a collection of miscellaneous coins

World, a collection of coins to include Ireland 1808 30 pence bank token, Switzerland 1886 2 francs, Spain 1882 2 pesetas, India 1918 1/2 rupee, Hong Kong 1904 10 cents, Portugal 1886 100 reis and Sweden 1875 50 ore etc. (40)

Lot 2018 - World, a collection of coins to include

Celebrated MCMVII Ultra High Relief Saint-Gaudens Double Eagle 1906 Style Sans Serif or Gothic Lettered Edge Only Three Struck; Just Two Known One of the First Ultra High Reliefs Struck MCMVII (1907) Saint-Gaudens Double Eagle. Ultra High Relief. JD-2, Judd-1907 (formerly Judd-1778), Pollock-2001. Rarity-8. Sans Serif or Gothic Lettered Edge of 1906. Proof-58 (PCGS). Stack's Bowers Galleries is pleased to once again offer this celebrated rarity among Ultra High Relief double eagles - one of only two examples with the Sans Serif or Gothic Lettered Edge of 1906 that survives from a mintage of three pieces. Discovered in the early 1990s, this extraordinary Ultra High Relief double eagle was struck inside the three-segment collar created by Charles E. Barber for his unique 1906 pattern Helmeted Head double eagle (Judd-1773/Pollock-1992). This collar bore the nation's Latin motto in small sans-serif letters separated by 13 stars: E*P*L*U*R*I*B*U*S*U*N*U*M*. The normal edge device used on all succeeding Ultra High Relief double eagles was the Roman-style, serif-lettered motto: *E*PLURIBUS*UNUM. Comparison with Ultra High Relief specimens in the National Numismatic Collection in the Smithsonian Institution, expedited by the late Elvira Clain-Stefanelli, revealed that 1906-style lettering was also used on the experimental extra-thick piéfort double eagles with the diameter of a $10 gold eagle (Judd-1779), also housed in the National Numismatic Collection. Any Ultra High Relief double eagle is a numismatist's dream, but this breathtaking coin is in a class by itself. The Saint-Gaudens' coinage was the result of an unprecedented partnership of the youthful and energetic President Theodore Roosevelt and America's greatest sculptor, Dublin-born Augustus Saint-Gaudens. Roosevelt admired the artist profoundly and invited him to the White House to plan what the President later called ''My pet crime,'' the drastic overhaul of the nation's coin designs. A glance at the artist's earlier interaction with the Philadelphia Mint shows that Saint-Gaudens must have felt profound reservations at tangling once again with the Mint and its irascible chief engraver, Charles E. Barber. The sculptor and engraver had crossed swords twice before, to Saint-Gaudens' great loss and lingering displeasure. During 1891, he and nine other artists were invited by Congress to participate in a contest to redesign the nation's silver coinage, whose Liberty Seated design went back to 1837. The artists rejected the call, citing inadequate time and compensation for what would have been a significant investment of their productive time. A second attempt at competition saw Saint-Gaudens, Barber, and Boston engraver Henry N. Mitchell appointed judges for an open contest that never got off the ground. Barber took advantage of these false starts to buttress his fanatically held position that only U.S. Mint engravers had the knowledge and skill to even attempt coin design. With the artists out of the running, he swiftly filled the vacuum with his own banal dime, quarter and half dollar designs, forever known as the Barber types, struck from 1892 to 1916. The two next joined in combat over the U.S. Mint's award medal for the 1892-1893 World's Columbian Exposition. Saint-Gaudens created a bold obverse showing Columbus stepping ashore on San Salvador, arms outstretched in ecstasy at finding land after his seemingly endless transatlantic voyage. The reverse was more artistic than pictorial, showing a nude youth holding a torch and victor's crowns. The artist's son Homer recalled that this design was derailed by an artful early ''leak'' of confidential government information. The Page Belting Company was able to get hold of the design and distributed copies of a grossly bowdlerized pornographic parody. Mint Director John Griffin Carlisle cancelled Saint-Gaudens' reverse design and Barber gleefully substituted his own, showing Columbus' ship squashed under an enormous tablet inscribed with the exposition name and dates. The furious Saint-Gaudens denounced this ''act of rare shamelessness,'' but no one in authority cared to listen. It took all of Roosevelt's boundless energy and persuasiveness to overcome Saint-Gaudens' deep seated reluctance to ever involve himself again with the Mint. On November 6, 1905, Roosevelt wrote to the sculptor after a dinner discussion in which both agreed that U.S. coinage was sorrowfully deficient in artistic quality. Roosevelt reported that, ''I was looking at some gold coins of Alexander the Great today, and I was struck by their high relief. Would not it be well to have our coins in high relief, and also to have the rims raised?'' Their target would be the gold coinage that had seen only minor change since Christian Gobrecht's designs were adopted in 1838. The artist warned the President up front that while his desired high relief would be certainly aesthetically worthy, ''The authorities on modern monetary requirements would, I fear, 'throw fits' to speak emphatically, if the thing were done now...'' Somewhat later, Saint-Gaudens spoke humorously of Barber's long term in the engravership, suggesting that he had been there before the establishment of the Republic and would survive long after, sitting in its ruins. Borrowing a quote from Chicago's comic figure "Mister Dooley," the artist predicted that Barber would be stricken with ''nervous prostitution'' (sic) if the President persisted in his high relief quest. However, persist he did and a greatly encouraged artist went to work despite suffering from a terminal illness. His stated goal was to make his new double eagle with its striding full-form Liberty and majestic flying eagle ''a living thing and typical of progress.'' President and artist were braced for Barber's opposition, and the chief engraver obliged, employing procrastination, prevarication, and outright sabotage in his determination to frustrate the projects of the dying Saint-Gaudens. The artist wrote on May 29, 1906, ''If you succeed in getting the best of the polite Mr. Barber down there, or the others in charge, you will have done a greater work than putting through the Panama Canal. Nevertheless, I shall stick at it, even unto death.'' Fortunately the sculptor's assistant Henry Hering was on hand to contend with Barber on a day-to-day basis. Hering agreed that the proposed Ultra High Relief could not realistically be struck for circulation but demanded that the experiment be made to fulfill Saint-Gaudens' wishes. Hering recalled the actual striking in the Hartford Courant in June 1933: So a circular gold disk was placed on the die and by hydraulic pressure of (I think it was) 172 tons we had our first stamping and the impression showed about one half the modeling. I had them make a cast of this for my guidance. The coin was again placed on the die and again showed a little more of the modeling and so this went on and on until the ninth stamping when the design showed up in every detail. A ''progression set'' struck in lead in the collection of the New York-based American Numismatic Society shows the several stages of obtaining the full Ultra High Relief. Hering's relentless prodding assured that the dies were actually finished and approximately two dozen Ultra High Relief coins were struck, two of which soon returned to the smelter. Hering repeated to the American Numismatic Association's journal, The Numismatist, in August 1949 that he knew the Ultra High Relief was impractical for general circulation, but that he was determined to see the project completed. In the event, one Ultra High Relief coin was sent on loan to Saint-Gaudens and the sculptor was able to savor his completed work before cancer claimed his life in August 1907. It is remarkable that Saint-Gaudens never owned one of his most famous coins, having sent back the loaned example to the Mint on March 13. After his death, his redoubtable widow Augusta lost no time in demanding one of the coins. Roosevelt instructed the Mint to either strike another specimen during 1908 or else send her one of the two examples from the Mint Collection. A coin from that collection was sent to her, for which she directed her lawyer Charles Brewster to send payment of $20.12 to the Philadelphia Mint. Roosevelt had seen the plaster models at the end of 1906, and wrote to the artist on December 20: My Dear Saint-Gaudens: Those models are simply immense - if such a slang way of talking is permissible in reference to giving a modern coinage one coin at least that shall be as good as that of the ancient Greeks. I have instructed the Director of the Mint that these dies are to be reproduced just as quickly as possible and just as they are. It is simply splendid. I suppose I shall be impeached for it in Congress; but I shall regard that as a very cheap payment! The dies were completed and the first four Ultra High Relief coins were struck between February 7 and 14, 1907, but no new segmented collar had been prepared in time for this initial production run. However, Barber had prepared his own pattern double eagle in 1906 (Judd-1773, Pollock-1992), presenting a large Liberty bust wearing a Phrygian cap on the obverse, nicknamed the Helmeted Head. His reverse offered a standing Liberty holding a liberty cap on pole and a sword with a large eagle behind, originally prepared for an 1891 pattern half dollar (Judd-1766, Pollock-1980). As noted above, he had prepared his own collar to impress the raised letter motto with a star between each letter, E*P*L*U*R*I*B*U*S*U*N*U*M*. This collar was pressed into service for the February 7 to 14 striking period, and was used to produce three of the four coins struck during that time; the fourth was left with a plain edge. The Mint then prepared another collar with the Roman-style, serif-lettered motto *E*PLURIBUS*UNUM, which was used to strike two additional groups of Ultra High Relief double eagles, the first between March and July 1907, the second on December 31, 1907. As above, the coin offered here was the first of the Sans Serif (also called Gothic) Lettered Edge coins confirmed in the modern numismatic market. The second Ultra High Relief with this distinctive edge was discovered in 1995. The third specimen, per John W. Dannreuther in the 2018 volume in his United Stated Proof Coins reference series, is the coin loaned to Saint-Gaudens, which the artist returned to the Mint on March 13, 1907. As Dannreuther relates: "This coin may have ended up in Barber's extensive collection, along with the Plain Edge piece, as a 1916 inventory of his holdings included eight specimens of the Ultra High Relief." This third example remains untraced as of this writing, leaving just two Ultra High Relief Saint-Gaudens double eagles with the Sans Serif or Gothic Lettered Edge of 1906 positively confirmed: 1 - PCGS Proof-58. Ex Sotheby's New York Sale of December 1992, lot 837; our (Stack's) Collections from The Morrison Family and Lawrence C. Licht sale, March 2005, lot 1538; Southern Collection; our (Stack's) Collection of Samuel J. Berngard & Treasure Coins of the S.S. New York sale, July 2008, lot 4242; our (Stack's) 74th Anniversary Sale, November 2009, lot 1983; Heritage's Philadelphia Signature Auction of August 2012, lot 5434. The present example. 2 - Proof, Impaired. Ex Sotheby's sale of June 1995, lot 485. The edge lettering on both of these coins is inverted, meaning that it reads with the obverse of the coin facing up. Interestingly, both examples are also lightly impaired, which the uspatterns.com website attributes to them having been carried as pocket pieces. Dannreuther further states that then-current Mint Director George E. Roberts gave one of these two coins to former Mint Director Robert E. Preston (in office November 1893 to February 1898). The uspatterns.com website accounts for only 19 or 20 Ultra High Relief Saint-Gaudens double eagles, which includes examples in four formats: 1 - Sans Serif or Gothic Lettered Edge of 1906. Judd-1907, Pollock-2001. Two known. 2 - Plain Edge. Judd-1908, Pollock-2000. Unique. 3 - Lettered Edge (E*PLURIBUS*UNUM). Read with the reverse of the coin facing up. Judd-1909, Pollock-2002. Approximately 12 known. 4 - Lettered Edge (E*PLURIBUS*UNUM). Read with the obverse of the coin facing up. Judd-1909, Pollock-2003. Five known. The uspatterns.com website states that these were the first examples struck using this collar, production of which would therefore date to the March to July 1907 striking period. The MCMVII Ultra High Relief Saint-Gaudens double eagle is ranked No. 7 in the fifth (2019) edition of the popular reference 100 Greatest U.S. Coins by Jeff Garrett and Ron Guth, confirming the high regard in which this issue is held by advanced numismatists. Indeed, few U.S. coins are a match for its extraordinary combination of historical significance, artistic beauty, and awesome rarity. One of the rarest varieties of the issue, and one of the very first examples struck, this Sans Serif or Gothic Lettered Edge specimen is of overwhelming significance. Its appearance in this auction offers a historic opportunity for any collector determined to possess the greatest American numismatic rarities. Provenance: Property of a Texas Gentleman. Earlier ex Sotheby's New York Sale of December 1992, lot 837; our (Stack's) Collections from The Morrison Family and Lawrence C. Licht sale, March 2005, lot 1538; Southern Collection; our (Stack's) Collection of Samuel J. Berngard & Treasure Coins of the S.S. New York sale, July 2008, lot 4242; our (Stack's) 74th Anniversary Sale, November 2009, lot 1983; Heritage's Philadelphia Signature Auction of August 2012, lot 5434; Bonham's sale of December 16, 2014, lot 1508. The discovery coin for the MCMVII Ultra High Relief Saint-Gaudens double eagle with the Sans Serif or Gothic Lettered Edge of 1906. PCGS# 81954. NGC ID: 28HL. Click here for certification details from PCGS. Click here to see Coins in Motion.

MCMVII (1907) Saint-Gaudens Double Eagle. Ultra High Relief. JD-2

Desirable Mid-Grade 1794 Silver Dollar An Early American Classic The Bushnell-Parmelee-Reed-Freedom-Dean Oakes Family Specimen 1794 Flowing Hair Silver Dollar. BB-1, B-1. Rarity-4. VF-35 (PCGS). BB Die State III. The 1794 silver dollar is an American classic and one of the bluest of the blue chip coins known today. The present example has been held in well known collections since it was first sold in the Bushnell Collection in 1882, and has a solid provenance since that time. The color is deep silver-gray and generally even save for a few mottled areas at the peripheries. Although a later die state, the strike is sharper than usually seen, especially on the left hand stars, with each well outlined by the obverse die. On the area opposite in the reverse legend, there is minor softness at the tops of some of the letters, but again most of these show. Free of any heavy rim marks or similar issues. Close examination will find traces of adjustment at the reverse border, but these marks are as made and lighter than usually seen. There is a short scratch on Liberty's forehead which identifies this coin nicely and confirms its numismatic provenance. The most important silver dollar ever struck - and also one of the rarest - is the 1794 Flowing Hair. The first of its kind and a famous numismatic rarity in all grades with a mintage of just 1,758 pieces, the 1794 Flowing Hair silver dollar is a coin of which legends are made. Eager anticipation greets survivors when they are offered for sale either through auction or via private treaty. Such is the importance and popularity of the 1794 Flowing Hair dollar that it has been honored with the No. 3 ranking in the fifth edition (2019) of the popular and influential reference 100 Greatest U.S. Coins by Jeff Garrett and Ron Guth. The design of the nation's first silver dollar was entrusted to Chief Engraver Robert Scot, whose obverse features the most mature evolution of the Flowing Hair Liberty portrait that had been featured first on Augustin Dupre's Libertas Americana medal of 1783. By the time Dupre's Liberty found her way onto the silver dollar, however, she had been turned to the right and no longer displayed the liberty pole and cap. The basic design is superficially similar to its earliest inception, nonetheless, with Liberty's hair free flowing along the back of her head and neck, thus explaining the widely used name. Scot's dollar obverse also exhibits 15 stars around the border arranged eight left, seven right, in honor of the number of states that made up the Union in 1794. The word LIBERTY is at the upper border, and the date 1794 is at the lower. The reverse of the Flowing Hair silver dollar mirrors Scot's work for the Flowing Hair half dime and half dollar. A spread-wing eagle is surrounded by two branches bound at their base by a thin ribbon with the legend UNITED STATES OF AMERICA around the border. Curiously, the denomination is not featured on either the obverse or reverse of the Flowing Hair silver dollar - something that might appear as a sign of ineptitude on the part of early Mint employees to someone familiar with United States coinage of the 21st century. The omission was intentional, however, as United States coinage was new to the world market of the 18th century. In order to facilitate the coins' acceptance in as many quarters as possible, the Mint omitted the denomination from the design and opted to let the silver dollar's weight and precious metal content establish its value. For those willing to look closer, they would find the denomination on the edge, which is lettered HUNDRED CENTS ONE DOLLAR OR UNIT with decorations between the words. By the time Mint employees had posted the necessary bonds to begin working with precious metals - which was not until 1794 even though the silver dollar had been authorized by Congress in 1792 - Mint Director David Rittenhouse wanted to begin production of these coins as soon as possible. His decision was a bold one, for the press he had on hand was better suited for striking smaller coins such as dimes, quarters and half dollars. In recognition of the silver dollar's status as the basic unit of our national currency and the largest silver coin authorized by the Act of April 2, 1792, however, Rittenhouse insisted that it be the first precious metal coin struck in the United States Mint. Difficulties in achieving Rittenhouse's goal arose immediately because bullion was lacking. The early United States Mint did not strike silver and gold coins on its own account but, rather, was dependent upon private deposits of these precious metals. The first deposit of silver to arrive at the United States Mint came from the Bank of Maryland on July 18, 1794. Composed of French coins, Assayer Albion Cox's tests of the metal's fineness averaged just .737 fine, meaning the deposit would have to be heavily refined to bring it up to the congressionally mandated .8924 standard for silver coinage. With the refining department understaffed, Rittenhouse made a bold choice: rather than follow the letter of the law, whereby depositors received finished coins based upon the order of their initial deposits, Rittenhouse himself jumped the line. On August 29, 1794, he made two deposits, composed of silver ingots of relatively fine purity (.900 and .8665 fine) that added up to $2001.33 worth of silver, or enough to strike almost exactly 2,000 silver dollars. On October 15, 1794, Chief Coiner Henry Voigt delivered 1,758 silver dollars to David Rittenhouse, representing the entire mintage for the year. The Mint's workmen could have struck all of these coins in a single afternoon, using a press ill-suited for the rigors of striking the large diameter dies. Rittenhouse later received $242.50 in half dollars, plus six half dimes, to complete the total initial deposit, but according to traditional numismatic wisdom the original mintage of 1794 dollars amounted to 2,000 coins. Proponents of this theory believe that the remaining 242 examples were judged to be underweight and/or too poorly struck to be released, the coins either remelted or used as planchets for 1795-dated silver dollars. At least one poorly struck 1794 dollar was used as a planchet for a 1795 dollar, but since that coin's discovery in the 1960s, no other examples have come to light. If the original mintage of the 1794 dollar was 2,000 pieces, the remaining 242 or so coins were almost certainly melted. Alternatively, the total mintage might be just 1,758 pieces, the failure of the press under the rigors of striking these large coins ending the day's work prematurely and prompting the chief coiner to make up the balance of Rittenhouse's bullion deposits in half dollars and half dimes, as related above. We will never know for sure because no details were recorded and no ceremony was held, despite the historical significance of the event. Indeed, even those 1794 dollars that were deemed acceptable for distribution exhibit many of the coining difficulties suffered by the early United States Mint. Virtually all of the known examples are softly struck to one degree or another at the left obverse and reverse borders. This is due not only to the Mint's use of a press that was intended for smaller-size coins, but also because the dies eventually "slipped" and became misaligned in the press. On some 1794 dollars the misalignment is so pronounced that the date can be difficult to discern. Additionally, many examples display adjustment marks that represent the Mint's filing down of overweight planchets to make them conform to the legally specified weight range for this issue. While these adjustment marks are often innocuous, they are sometimes so numerous as to severely compromise one or more elements of a coin's design. Regardless of striking quality or level of preservation, any 1794 Flowing Hair silver dollar is an extremely important numismatic find, and the ownership of even a low grade or impaired example is the mark of an important collection. Writing in the 2010 edition of the reference The Flowing Hair Silver Dollars of 1794: An Historical and Population Census Study, Martin Logies accounts for a surviving population of only 134 distinct examples. A more liberal estimate would be between 135 and 150 coins extant, which range actually represents a rather high percentage of the mintage based upon most statistical survivorship models of early American coins. This high percentage reflects the early date at which collectors placed a premium on 1794 dollars, thus saving low grade specimens that would have been consigned to the melting pot if they were of any other date. Indeed, many of the known examples are significantly impaired due to cleaning, repairs, edge damage, or other problems. Even most problem free 1794 Flowing Hair dollars that have survived did so only after acquiring some degree of wear. The offered coin presents nicely for a mid grade example and is eagerly awaiting inclusion in another world-class numismatic cabinet. Provenance: From the Dean Oakes Family Collection. Earlier from S.H. and H. Chapman's sale of the Charles Ira Bushnell Collection, June 1882, lot 2434; Lorin G. Parmelee; Byron Reed; Spink America's sale of the Byron Reed Collection for the City of Omaha to Benefit the Western Heritage Museum, October 1996, lot 312; our sale of the Freedom Collection, August 2013 Chicago ANA Auction, lot 4305. PCGS# 6851. NGC ID: 24WY. Click here for certification details from PCGS. Click here to see Coins in Motion.