St. James's Auctions
Auction 39 30 September 2016
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† George III, pattern crown, undated (1820), by Webb and Mills for Mudie, plain edge, laur. head r., rev. crowned, cruciform shields, with rose, thistle, shamrock and prancing horse in angles (Bull 2055; L&S.214), certified and graded by NGC as Proof 65 Cameo, one of the highest-graded specimens we are aware of, and quite a beautiful example of this classic pattern
While this artistically innovative piece is often referred to as 'medallic' because it lacks a date, it is classified in English Silver Coinage as a pattern, and Linecar and Stone reached the same conclusion in their 1968 reference. The design is unusually elegant in conception for a coin and the engraving style is more typical of the quality devoted to a medal, with its intricate details and its portrait in relatively high relief, moreover it was made for Mudie, a specialist in medals. Such a portrait, in its depth of strike and its frosted texture, however, strongly resembles the William Wyon bust of George III on the famous Incorrupta pattern crown of 1817. The higher relief portrait style traditionally may have been used on medals but, clearly, during the early 19th century it was coming into its own on coin patterns. On the reverse of the Webb & Mills pattern we see beautifully rendered regal crowned shields forming a disconnected large cross and, between the shields, the emblems of England, Ireland, Hanover and Scotland, all surrounding the central image of St. George within the Order of the Garter. Thematically heralding back to the 'dividers' between the cruciform shields seen on 17th-century gold coins, instead of sceptres we see a crossed floriated staff quartering the central motif, variously topped by a thistle, a rose, a shamrock and (unique to this pattern) a large prancing Hanover stallion giving homage to the king's Germanic family origins. The reverse is prominently signed in raised italics 'Mills Fecit' in the field by the left upper rim, an unusual feature among pattern crowns. The portrait also features a signature, beneath its base in the field, again in raised italic script, the initials standing for 'James Mudie issued it' and 'Thomas Webb made it'. Thus the obverse is by Webb and the reverse is by Mills. Mudie is famous for his series of medals celebrating British victories over the French, ending the Napoleonic War late in this reign; he commissioned these artists to produce this pattern privately. Thus, unusually, three distinct artisans worked on this distinctive and famous piece, not particularly rare per se but decidedly historic, finely conceived and executed, and in the case of the presently offered specimen wonderfully preserved and a joy to study. Here is true artistic innovation! (£10000-12000)
While this artistically innovative piece is often referred to as 'medallic' because it lacks a date, it is classified in English Silver Coinage as a pattern, and Linecar and Stone reached the same conclusion in their 1968 reference. The design is unusually elegant in conception for a coin and the engraving style is more typical of the quality devoted to a medal, with its intricate details and its portrait in relatively high relief, moreover it was made for Mudie, a specialist in medals. Such a portrait, in its depth of strike and its frosted texture, however, strongly resembles the William Wyon bust of George III on the famous Incorrupta pattern crown of 1817. The higher relief portrait style traditionally may have been used on medals but, clearly, during the early 19th century it was coming into its own on coin patterns. On the reverse of the Webb & Mills pattern we see beautifully rendered regal crowned shields forming a disconnected large cross and, between the shields, the emblems of England, Ireland, Hanover and Scotland, all surrounding the central image of St. George within the Order of the Garter. Thematically heralding back to the 'dividers' between the cruciform shields seen on 17th-century gold coins, instead of sceptres we see a crossed floriated staff quartering the central motif, variously topped by a thistle, a rose, a shamrock and (unique to this pattern) a large prancing Hanover stallion giving homage to the king's Germanic family origins. The reverse is prominently signed in raised italics 'Mills Fecit' in the field by the left upper rim, an unusual feature among pattern crowns. The portrait also features a signature, beneath its base in the field, again in raised italic script, the initials standing for 'James Mudie issued it' and 'Thomas Webb made it'. Thus the obverse is by Webb and the reverse is by Mills. Mudie is famous for his series of medals celebrating British victories over the French, ending the Napoleonic War late in this reign; he commissioned these artists to produce this pattern privately. Thus, unusually, three distinct artisans worked on this distinctive and famous piece, not particularly rare per se but decidedly historic, finely conceived and executed, and in the case of the presently offered specimen wonderfully preserved and a joy to study. Here is true artistic innovation! (£10000-12000)