GREAT BRITAIN. Silver "Petition" Crown Pattern, 1663. Charles II. PCGS SPECIMEN-45. S-3354A; KM-PnC33; ESC-429 (R4); Linecar & Stone-6; Brooke pg. 237 (Plate LX #4); <em>The Medals, Coins, Great Seals and other Works of Thomas Simon</em> (1780), pg. 56 (Plate XXXV). By Thomas Simon. Edge struck with the following inscription: THOMAS SIMON - MOST - HVMBLY - PRAYS - YOUR - MAJESTY TO - COMPARE - THIS - HIS - TRYALL - WITH - THE - DVTCH - AND - IF - MORE | TRVLY - DRAWN & - EMBOSSD - MORE - GRACE: FVLLY - ORDERD - AND - MORE - ACCVRATELY - ENGRAVEN - TO - RELIEVE - HIM -; in two lines oriented one on top of the other. Perhaps the most desired and important of English Crowns ever produced, or the British Milled series more generally, the Petition Crown presented by this lot is amongst the loftiest of numismatic treasures anyone could ever hope to own. Thomas Simon was born in Yorkshire circa 1623 in relative obscurity, and little is known about his early life. Simon is known to have studied engraving under the Royal Mint Chief Engraver Nicholas Briot during the reign of Charles I. Briot is noted for providing one of the earliest attempts at a British Milled coinage in his now famed coinage that bears his name. Simon developed his reputation as a master engraver and became the chief engraver for Tower Mint by the 1640s. During the Commonwealth period, Simon was responsible for engraving the famous and popular milled coinage of Oliver Cromwell. <p>After the restoration of the Monarchy in 1660 upon the death of Cromwell, Republican Milled coinage was again replaced with hammered coinage for a period of 2 Years between 1660 and 1662. This arrangement proved unsatisfactory, as the old problems that had dogged hammered coinage resurfaced, as hammered coinage was of relatively inferior production quality and suffered from frequent clipping. Likely due to his association with the Commonwealth and Oliver Cromwell, Simon was replaced by the Dutch John Roettiers as chief engraver of the Royal Mint. Production of a new milled Crown commenced in 1662 on machines supplied by the Frenchman Peter Blondeau, who had earlier supplied the equipment to produce milled coinage during the Commonwealth period. Likely seeking to get into the Kings good graces, and perhaps return to his old role as chief engraver, Simon produced this Pattern Crown as a petition to Charles II to show the skill of his craftsmanship. <p>Considered the crowning achievement of the career of Thomas Simon, the Petition Crown shows a level of engraving skill that could be matched by only a select few of the most skilled medallic artisans. The bust of Charles II, allegedly inspired by Simon Coopers portrait, is executed in perhaps the finest style possible for the time. The engraving gives both a lifelike portraiture, and a tremendous artistic rendition that is instantly recognizable as that of Charles II. Simon signed his work directly below the bust, to give no doubt about the progenitor of the presented engraving. <p>While it is lost to history the precise number of Crowns in this style produced by Simon, it is evident that they do not survive in any appreciable numbers. A survey undertaken a few years ago suggests that there are 19 specimens reputedly extant, of which 8 are permanently impounded in institutions. The pedigree of this specimen ties it to the Augustus Thelluson Collection, which was sold in 1931, and has not reappeared at public auction since that time. What is entirely clear is that demand for the type far and away outstrips the paltry supply, with the time between examples trading being measured in years or decades, rather than weeks or months as is the case with most coins. Such exquisite <strong>RARITY </strong>makes this lot an example that should garner all eyes, even those whose numismatic interests lay in other specializations removed from the British Isles. <p>The present example, while displaying some evidence of handling as would be expected, offers beauty that is unimpacted by this relatively minor fault. An alternate deep tone flows across the surfaces in varied levels of strength, and this coin gives the look of old cabinet allure that is so often seen of British <strong>RARITIES</strong>. Underlying brilliance occasionally flashes through, giving a soft, waxy glimmer to the surfaces. A piece that can lay its claim as a crown jewel that can instantly upgrade any collection of coins, and one for which we are thrilled to have the pleasure of offering. From the Lucius S. Ruder Collection. <p>Ex: Baldwin and Son (ca. 1930s-1940s) @ $1125 (via private purchase).<p>Ex: Augustus Thelluson Collection (Sothebys - 10/1931) Lot # 276 @ £128 to Baldwin. <p>Ex: Henry Clark Collection (Sothebys - 5/1898) Lot # 376 @ £65.<p>Ex: Arthur Briggs Collection (Sothebys - 3/1893) Lot # 137.
