A 19TH CENTURY FRENCH GILT METAL MANTLE CLOCK, the case with floral swag mounted urn finial over a drum movement with further swags and scroll supports on a shaped platform base, inset with an oval porcelain panel depicting a head and shoulders portrait of a young woman and on a velvet topped gilt wood platform stand, the enamelled dial with Roman numerals signed 'Miroy Fres, Paris', the movement with count wheel hour strike on a bell, the lower stand approximately 33cm wide and all standing 35cm high
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A long case clock with 18th Century face and movement by Joseph Windmills, London, the brass face having ornate design spandrels with brass chapter ring having black Roman numeral hourly markers with minute track border plus 12 -hour subsidiary dial to centre, dial marked J Windmills, London, fitted with 30 hour movement striking on a bell, house in a later mahogany and rosewood case. Height 190cm.
A late 18thC light oak longcase clock, the hood having a fretworked, swan neck pediment, over an arched, glazed panelled door and turned flank pillars, on a straight trunk with a pendulum door, the box base on a plinth; the 8 day bell strike movement faced by a decoratively engraved brass Roman dial with subsidiary seconds, inscribed Thos. Morgan, Edinburgh 82''h
A late 18th/early 19thC crossbanded, marquetry and string inlaid oak and mahogany longcase clock, the hood having a swan neck pediment and brass sphere finials, over a glazed, round arched door and fluted flank pillars, on a straight trunk with chamfered sides and a pendulum door, on a box base; the 8 day bell strike movement faced by a painted Roman dial, the crest and spandrels featuring scenes from the Stations of the Cross 88''h
Italy. The Roman Republic (1798-1799), Siege of Ancona AV ‘Scudo Romano’. Ancona, 1799. PIVS SEXTVS PONT M A VI, oval coat of arms of the Braschi in a rich cornice decorated with cornucopiae and shell, surmounted by a radiant papal tiara and crossed keys / AVXILIVM DE SANCTO 1780, veiled personification of Holy Church, with radiant head, seated to front on clouds, holding keys of St Peter in right hand and extending left to a small domed temple; in left inner field, mint mark A; below, small coat of arms of Mons. Giuseppe Vai. Plain edge. M. Dubbini & G. Mancinelli, Storia delle monete di Ancona, Ancona 2009, 7.4 and p. 206, first paragraph (this coin); M. Traina, Gli assedi e le loro monete (491-1861), Bologna 1976, ‘Ancona, asseddio austro-russo-turco del 1799’, pp. 55-75, 3. For related obsidional silver issues of Ancona cf. Muntoni IV, p. 212, 20 pl. 218; Serafini III, 855; Pagani p. 262 note; Berman 3001 (Pius VI); Gigante 2005, p. 373, 1; KM 10. 37.20g, 41mm, 6h. Fleur De Coin. Unique and of great numismatic interest. The allied siege and naval blockade of Ancona from 18 March - 13 November 1799 was effected by a squadron of 8 Russian and Turkish ships, and on land, by an army of troops from Austria, Russia and Turkey. This was the occasion for the remarkable obsidional issue by Ancona of silver coins utilising dies previously used for silver scudi and half scudi from the Rome mint in the name of Pius VI, as well as local copper 2 and 1 Baiocchi pieces. According to the Abbot Antonio Leoni, in Ancona Ilustrata opera dell’Abbate Antonio Leoni anconitano colle risposte ai sigg. Peruzzi, Pignetti etc, e il compendio delle memorie storiche d’Ancona, Ancona 1832 (Archivio comunale di Ancona fasc. 2920, p. 100), the new mint was housed in a confiscated collegiate church and entrusted on 3 Fiorile (11 April) to the chief mint master of the new Roman Republic, Luigi Severi. The emergency mint was operational by the end of Germile (about 19 April), and with the seizure of church property and forced contributions from wealthy private citizens, including the Jewish community, it began to strike coins in bronze, silver and gold. Leoni op. cit., p. 376, expressly states that gold was struck: (‘Zecca: ove fu battuta la moneta d rame, e di bronzo, da’ argento, e d’ oro: esendo zecchiere il signor Luigi romano. Le monete d’oro, e d’ argento (piasre e doppie) furono coniate simile alle pontifice, e di eguale purezza.’). The bronze coinage was struck from the bell metal recovered from the local churches, the ‘voluntary’ silver was debased and struck from modified Pius VI dies with a small mint mark ‘A’ added to the field of the reverse die. However, none of the gold coinage has survived except for the above specimen which according to Dubbini and Mancinelli, p. 206: ‘probabilmente si tratta di un omaggio fatto durante l’assedio a qualche personaggio di rilievo’ (‘it is probably a donative made during the siege for a very important person’). The ancient Doric city of Ancona was founded by Syracusan exiles (Strabo v.4.3.2 [241]) in the early fourth century BC on an elbow-shaped promontory (Ἀγκών), which gave the town its name, situated on an excellent natural harbour. Under the Roman Empire the city became a municipium and base for the fleet; Trajan improved the port, where he built nearby a splendid triumphal arch celebrating the Dacian victory. Under Byzantium, Ancona became the first city of the Maritime Pentapolis, governed by Ravenna, but with considerable autonomy. The seat of a Carolingian march, it eventually became a semi-independent maritime republic under papal patronage, rich in commerce with Constantinople. After the fall of Constantinople in 1453, Ancona’s fortunes waned. The Medici pope Clement VII seized the city in 1532, bringing it under direct papal rule. In February 1797 Ancona was occupied by the French and on 19 November became the revolutionary Anconine Republic (Repubblica Anconitana) and part of Napoleon’s newly proclaimed First Roman Republic (Repubblica Romana). Ancona soon became target for the anti-French alliance and became the subject of a well documented siege. The long and obstinate defence of the besieged obtained for the defenders, as it always should do, the most honourable of terms; and General Monnier and his troops were highly complimented for their bravery by the Austrian General Frœlich. Ancona became once again a papal state (1799-1808), part of the Italian Kingdom of Napoleon (1808-1814), yet again a papal state (1814-1848), a part of the second revolutionary Roman Republic (1848-1849), and finally again a papal state (1849-1860), before its entry in the Kingdom of Italy in 29 September 1860.
Italy, Firenze. AV Fiorino d’oro. c.1252-1303. +FLOR ENTIA, ornate lily of Florence / S IOИA NNES B, St. John the Baptist standing facing, wearing cloak, holding cross sceptre and raising right hand; in upper left, mm; bell. MIR 4/22 pl.2, 16; Bernocchi II, 167/9; Friedberg 275. 3.52g, 20mm, 5h. Good Very Fine. From the Dr. Murray Gell-Mann Collection.
A mixed quantity of ceramics including a Victorian jug with 'Bridgwater Exhibition 1854' applied label, a Roman style oil lamp, a Royal Crown Derby posy vase and plate, two meat plates, a Victorian cheese bell and cover (af), a Goss Durham door knocker bracket, a tureen and cover and miscellaneous other items
L. Caecilius Metellus Diadematus AR Denarius. Rome, 128 BC. Helmeted head of Roma right; mark of value behind / Pax driving galloping biga right, holding olive branch, sceptre, and reins; below, elephant's head right, wearing bell, ROMA in exergue. Crawford 262/1; RSC Caecilia 38. 3.86g, 18mm, 2h. Extremely Fine. From the Eucharius Collection.
Q. Caecilius Metellus Pius Scipio AR Denarius. Utica, 47/46 BC. P. Licinius Crassus Junianus, legatus pro praetore. Q•METEL•PIVS on right, SCIPIO•IMP on left, lion-headed figure of Genius of Africa (Sekhmet or leontocephalic Tanit?) standing facing, holding symbol of Tanit; above, G•T•A / Victory standing left, holding winged caduceus and small round shield; P•CRASSVS•IVN on right, LEG•PRO•P•R on left. Crawford 460/4; RSC Caecilia 51. 3.88g, 20mm, 8h. Good Extremely Fine. Extremely Rare - the rarest of Scipio's denarii, and exceptionally complete and well preserved for the issue. Arguably the best example on CoinArchives. From the Eucharius Collection. This coin is traditionally described as depicting the Genius Terrae Africae, or Sekhmet holding an ankh, however this remarkable statue is not Egyptian - the coin is struck in Africa and therefore an ankh symbol makes no sense in a Punic Carthaginian context. Actually, the symbol is quite obviously that of Tanit who was commonly represented by a simple linear female abstract. The identity of the figure must therefore also be called into question in light of statues recovered from Carthage and Tunis which some academics take to represent the Carthaginian deity herself in leontocephalic form. Either way, the coinage of Scipio shows a dramatic break with Republican tradition. No local or city goddess had previously been portrayed on the obverse of Roman coinage other than Roma herself, and certainly never a foreign one! In this case it was made all the more objectionable by either being or holding the symbol of Tanit - a god whose people had slain hundreds of thousands of Roman soldiers and nearly vanquished Rome entirely. Nor indeed was there any precedent for the depiction of a Genius other than the Genius Populi Romani. In no way does Scipio use his coinage to champion the cause of the Republic; though it might have been designed to curry favour with the populace of their last remaining territory, the effect is that it nonetheless appears utterly in the style of an Eastern ruler. Caesar must not have been able to believe his luck, as nothing could better demonstrate to the rank and file the justness of their cause than the thoroughly un-Roman depths to which Scipio had lowered himself. Needless to say then, Scipio’s coinage stands in stark contrast to the traditional republican types of his colleague Cato, whose types replicated those of his ancestor, another M. Porcius Cato, moneyer of 89 BC. Perhaps we should not be surprised. Classical scholar John H. Collins summed up the character and reputation of Metellus Scipio thusly: “From all that can be learned of this Scipio, he was as personally despicable and as politically reactionary as they come: a defender of C. Verres (In Ver. II. 4. 79–81), a debauchee of singular repulsiveness (Valerius Maximus, 9.1.8), an incompetent and bull-headed commander (Plutarch, Cato Min. 58), an undisciplined tyrant in the possession of authority (Bell. Afr. 44–46), an extortioner of the provinces (BC 3.31–33), a proscription-thirsty bankrupt (Att. 9.11), a worthy great grandson des hochmütigen, plebejerfeindlichen Junkers (Münzer, RE 4.1502) who had led the lynching of Tiberius Gracchus, and a most unworthy father of the gentle Cornelia. Only in the ‘Imperator se bene habet’ with which he met death is there any trace of the nobler character of his great forebears (Seneca Rhet., Suas. 7.8).
Five 19th/20th century bronzes, the Buddhist lion, 17cm (6.75 in) high, the Buddha with naga mandala, 20cm (8 in) high, the Xuande marked two handled cylindrical vase, 13cm (5.25 in) high, the temple bell on stand, 21cm (8.25 in) high and the crane and tortoise group, 29cm (11.5 in) high (5)
Sadahide (1807-73), a wood block triptych, figures in obeisance before a screened figure coming from a pavilion, oban, Toyohide, a two sheet book print of three figures, Sadayoshi, a print of a man standing with a bell topped cabinet on his back, another of a samurai seated by an incense burner, together with two prints by Yoshiume (1817-79) of actors in the tale of the Soga brothers, 24 x 16.5cm (9.5 x 6.5 in) (9)
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