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A mixed lot to include a leather, an iron and brass clad sword, with a straight blade in leather scabbard, possibly Indo Persian, an Indian gouache of a soldier with a sword, bow and spear and a WWII BWM medal, buttons and other items

A group of jewellery items to include a 9ct gold stock pin fashioned as a riding crop, cased, a 15ct yellow gold and pearl set bow brooch, one split seed pearl deficient, a 9ct gold enamel locket and an Edwardian split seed pearl Edwardian floral brooch

Musical Instruments - a Stentor student's practice violin, with bow, cased

A violin bow, the ebonised frog inscribed P & H, London, 63cm long; another similar, 56.5cm long; other violin bows, various sizes and timbers, (13)

British Medals, George IV, Accession 1820, by Rundell, Bridge and Rundell, gilt-silver medal, laureate and draped bust turned to l., with classical armoured breast-plate, GEORGIVS IV DEI GRATIA BRITANNIARVM REX, rev. legend within an open oak wreath fastened with the national flowers – rose, thistle and shamrock, Hanoverian horse below, ACCESSIT XXIX IAN MDCCCXX, the whole within an applied and raised oak wreath border, tied with a ribbon in a bow, an Imperial Crown a top, with suspension ring attached, the whole 112 x 93.5mm. (BHM.1010, R4, this piece described in footnote and full page illustration, page 245; Eimer 1123, see footnote), London hallmark (on ribbon ties) 1820, maker’s mark PR for Philip Rundell, in a maroon leather fitted case, lined with maroon silk and velvet, the medal surface matt with polished letters to the legends, truly magnificent *bt. A. H. Baldwin, 1979 The medal is the first to incorporate the ‘patriotic device’ of a bouquet of England’s rose, Scotland’s thistle and Ireland’s shamrock, a device it is believed, of the King’s creation. Whilst not accepted in the true heraldic sense, the idea was indeed patriotic and was to be incorporated in many of his medallions as well as those of later monarchs. The device was used more noticeably in the State Diadem that bears the King’s name and which he wore for his Coronation. This was also made by Rundell, Bridge & Rundell and likely designed by Philip Liebart Laurence Brown (BHM) is able to quote from the accounts of Messrs. Rundell, Bridge and Rundell, and we repeat: ‘1820 31st July. A large silver gilt medal on the King’s Accession His Majesty’s Profile on one side & device reverse with wreath of oak & acorn chased and crown over all for Her Royal Highness The Princess Augusta £15.15.0’. It was paid by the Privy Purse on 12th August, 1822. Philip Rundell (1746-1827), gold- and silversmith, founder, with the jeweller John Bridge, of Rundell and Bridge. In 1804 his nephew joined the firm and the name became Rundell, Bridge and Rundell. The firm was appointed as one of the goldsmiths and jewellers to the king in 1797 and Principal Royal Goldsmiths & Jewellers in 1804, holding the Royal Warrant until 1843. When Philip Rundell died in 1827 the value of his estate was in excess of the then ceiling figure of £1,000,000.

Victorian stuffed brown trout or sewin, mounted within a bow fronted case, width 60cm, height 37cm

Stuffed and mounted Common Carp, caught in the River Thames August 5th 1926, weighing 3lbs 14ozs, mounted within a bow fronted case, width 66cm, height 35cm

Edwardian mahogany mirror back sideboard, the arched back with a central circular mirror flanked by columns and recessed panels, over a base fitted with two bow fronted drawers with brass tear shaped handles, flanked by moulded oval panel doors opening to shelves and a cellarette, all raised on short cabriole legs with pad feet, width 197cm, height 174cm, depth 64cm

Bow blue and white tea bowl, in the golfer and caddy pattern, circa 1765, 7.5cm diameter

A Victorian style mahogany bow front chest of seven assorted sized drawers with bun handles 4'6 wide

Reproduction Victorian style bow front bedside chest fitted three drawers with brushing slide

A Victorian mahogany bow front chest of three long and two short drawers with bun handles, standing on turned legs, 41" wide

A Georgian mahogany bow front chest of two long and two short drawers with brass handles standing on splayed feet, 3' wide

A late Georgian mahogany bow front chest of three long and two short drawers with brass drop handles standing on bracket type feet, 3'6 wide

A late 19th century bow fronted mahogany chest of drawers with three long and two short drawers, standing on bracket style feet, 36" wide X 42" high

A Georgian mahogany bow front chest of three long and two short drawers with brass ring handles standing on splayed feet, 3'6 wide

A Georgian style mahogany bow fronted small sideboard fitted cupboards and one centre drawer, 3' wide

1930's oak bow fronted china display cabinet fitted one glazed door

A pair of contemporary bow fronted pine tall boy chests of six drawers

A reproduction burr walnut bow front chest of drawers with vanity lift top.

A shaped (arrow) bow, unmarked metal, heavily textured, decorated with a repeat geometric floral pattern, flowerheads, scrolls, etc., of curved outline, 55cm wide.

An early 20thC violin, with a part stencilled two piece back, ebonised tuning knops and scroll end, 62cm wide, with bow, in fitted case.

A 20thC pine violin, with two piece polished back, ebonised articulated tuning knops and a scroll end, 61cm wide, with nickel ended bow, in fitted case.

A George III mahogany bow front sideboard, the overhanging top with a wide crossbanding, raised above a frieze drawer, flanked by shaped cupboards, on square tapering supports, terminating in spade feet, 92cm H, 183cm W, 64cm D..

An early 19thC mahogany free standing bow front chest, the crossbanded top raised above two short and three long cock beaded drawers with ring back handles and shaped escutcheons, on ogee bracket feet, 110cm H, 123cm W, 55cm D. (AF)

Five items of jewellery, comprising a large shell cameo brooch, of a lady looking right, with bow and arrow, pearl necklace, in an unmarked yellow metal frame, 12cm high, boxed, together with a faux two strand pearl necklace, and two necklaces. (5)

Photograph Album with Excellent Original Images of the Aircraft Carrier HMS Glorious, sunk by the German Cruiser Hipper in June 1940. These images appear to be from the period of the early 1930's including a refit she received. As well as some first class images of her in dry dock and from the air, the Captain and other crew members are pictured as are the aircraft she carried, namely Fairey Seals, Blackburn Baffins and Nimrods etc. Inevitably there are many crashes illustrated and an unpleasant gash to Glorious's bow when she collided with the SS Florida in 1931. The images are well captioned and included a tipped-in short history of HMS Glorious and commemorative envelope dated 1988 signed by Admiral Sir Ian Easton who was at one time a Pilot on board HMS Glorious. An important collection c.55 images in half leather bound contemporary Photograph Album.

AN ANTIQUE CASED VIOLIN WITH ONE PIECE BACK AND BOW

AN EARLY 20TH CENTURY BURR WALNUT BOW FRONTED DISPLAY BOOKCASE, the upper section with twin astragel glazed doors, the lower section with two frieze drawers and two door cupboard below, raised on shaped bracket feet, H 208 cm, W 106 cm, D 55 cm

A 19TH CENTURY FLAME MAHOGANY BOW FRONTED HANGING CORNER CUPBOARD - KEY

Cilicia, Tarsos AR Stater. Circa 455-400 BC. Horseman (Syennesis?) riding to left, holding lotus flower in right hand and reins in left, bow in bowcase on saddle; Key symbol below horse / Persian soldier advancing to right, bow and quiver over shoulder, extending both hands with uncertain object in right, towards Greek soldier seated to left on quiver, wearing crested Attic helmet, supporting himself with his left hand, bow on the ground at his side; all within incuse square. Unpublished in the standard references including: BMC -; Traité -; Casabonne -; MIMAA -; SNG France -; SNG Levante -. 10.70g, 20mm, 6h. Good Very Fine. Apparently unique and unpublished, and of very great numismatic and historical interest. From the collection of P.R., United Kingdom. This remarkable coin defies explanation at the present state of knowledge. That it depicts an interaction between two soldiers, one a Persian and the other of Greek style, seems reasonable enough. The Persian, on the left, carries a slung bow and quiver denoting a military aspect; he is not crowned, thus we may assume he is not a king, nor does he seem to wear the kyrbasia that would indicate satrapal rank. The figure on the right wears a crested helmet apparently of Attic style; his attire is otherwise uncertain. He may wear a fitted cuirass and a tunic that reaches down over his upper legs, he could be bare to the waist and wearing a loincloth, or he may be simply dressed in a long, light, belted tunic only - the detail is too uncertain to make a definitive judgement. Beneath him are clearly visible a quiver with arrows within, and both ends of his bow, strung for action. The great question which prevents us from determining with any more precision what kind of interaction this scene could depict centres on what the Persian soldier is doing with his hands. He holds an object in his right hand; his fingers are oriented downwards in the manner that one would wield a sword or dagger; a line beyond the end of his hand could be the hilt of such a weapon. In this case we might suppose that with his left hand he is grasping the crest of the Greek's helmet, while with his left foot he prepares to tread on his opponent. Yet if we are to see in this the act of stabbing a fallen enemy, the design could have been rendered in a more conspicuous manner - no blade is visible, and a blow to the upper arm as it appears would seem misplaced. What is the alternative? It is conceivable that the Persian proffers some object to the Greek - a message perhaps - but the positioning of his foot and placing his hand over the recipient's head seems bizarre and more than a little unwelcome. Other explanations may present themselves to the imaginative observer (the defeat by Megabyzos of the Egyptian revolt led by Inaros II and supported by an Athenian task force in 455 BC?) or one with specialist knowledge perhaps. In the meantime we can only safely say that it is a numismatic scene with no existing parallel we are aware of, and is a highly important addition to the corpus of the early coinage of Tarsos.

C. Poblicius Q. f. AR Serrate Denarius. Rome, 80 BC. Helmeted and draped bust of Roma right; T above, ROMA downwards behind / Hercules standing left, strangling the Nemean lion; club at his feet, bow and arrows in bowcase to lower left, T to upper left, C•POBLICI•Q•F upwards to right. Crawford 380/1; RSC Poblicia 9. 3.90g, 19mm, 8h. Near Mint State; lightly toned with bright lustre and subtle iridescence. Previously slabbed by NGC and graded MS* Strike 5/5, Surface 5/5.

Crete, Phaistos AR Stater. Mid 4th century BC. Herakles standing in fighting attitude to right, wearing Nemean lion skin, seizing with his left hand one of the heads of the Lernean Hydra, and with his right hand preparing to strike with club; bow and bowcase in left field / Bull standing to left. Svoronos 66, pl. XXIV, 23 (these dies); Le Rider pl. XXIII, 11 (same dies); BMFA Suppl. 125 (same dies). 11.60g, 26mm, 1h. Extremely Fine. Extremely Rare, only two examples recorded by Le Rider. Ex private American Collection, Roma Numismatics X, 27 September 2015, lot 380. The obverse of this coin depicts the second of Herakles' Twelve Labours set by Eurystheos, the agent of Hera. He was tasked with slaying the ancient serpent-like monster that resided in the lake of Lerna in the Argolid, which guarded an underwater entrance to the underworld. Upon cutting off each of the Hydra's heads however, Herakles found that two more would grow back in its place, an expression of the hopelessness of such a struggle for any but the hero. Realizing that he could not defeat the Hydra in this way, Herakles called on his nephew Iolaos for help. Iolaos then came upon the idea (possibly inspired by Athena) of using a firebrand to cauterize the stumps after each decapitation. When Hera saw that Herakles was gaining the upper hand she sent a large crab to distract the hero, but Herakles crushed it underfoot. He cut off the last and strongest of the Hydra's heads with a golden sword given to him by Athena, and so completed his task. Hera, upset that Herakles had slain the beast she raised to kill him, placed it in the vault of the heavens as the constellation Hydra, and she turned the crab into the constellation Cancer. The encounter with the Lernean Hydra is not only well attested in epic, but is also the subject of some of the earliest securely identifiable Herakles scenes in Greek art. On two Boiotian fibulae of c. 750-700 BC (BM 3025, Philadelphia 75-35-1), the hydra is attacked by Herakles, at whose feet is the crab sent by Hera. This particular form of the scene would later be replicated on the coins of Phaistos (cf. Svoronos 60, pl. XXIV, 20), even including the crab. The present example is the earliest in the Herakles-Hydra series at Phaistos, and consequently is more archaistic in style. It has been extensively argued that the later designs of Phaistos copy a now lost masterpiece of sculpture or painting, perhaps even a statue group by the great sculptor Lysippos (see Lehmann, 'Statues on Coins', New York 1946; see also Lacroix, 'Les Reproductions de Statues sur les Monnaies Grecques', Liege 1949; see also Lattimore, 'Lysippian Sculpture on Greek Coins', California Studies in Classical Antiquity Vol. 5 1972). The present type however most likely draws its inspiration from a locally significant vase or wall painting, given that the composition is pictorial in nature, showing Herakles' bow and quiver behind him in the field. Though the particular source of inspiration for this type is not known, clear parallels can be seen in surviving Greek art of the late Archaic and early Classical periods, notably on an Attic black figure Lekythos now in the Louvre (CA598) which depicts Herakles and the Hydra in a similar combat pose.

Cilicia, Tarsos AR Stater. Circa 440-400 BC. Horseman (Syennesis?) riding to left, wearing kyrbasia, holding lotus flower in right hand and reins in left, bow in bowcase on saddle; Key symbol below horse / Archer in kneeling-running stance to right, quiver over shoulder, drawing bow; Key symbol and Aramaic 'TRZ' behind, all within dotted border within incuse square. BMC -; SNG von Aulock -; SNG Copenhagen -; SNG Levante -; SNG France -, cf. 213 for types = Casabonne Type D2, pl. 2, 10 = MIMAA pl. V, 6 = Traité II, 523. 10.98g, 21mm, 12h. Extremely Fine. Apparently unique and unpublished. From the collection of P.R., United Kingdom.

C. Claudius A. P. f. Pulcher AR Cistophoric Tetradrachm. Ploutichos, magistrate. Ephesus, 55-53 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; C•PVLCHRI PRO COS in two lines above, ?E and E?E to left, race-torch to right, ??OYTIXO? below. Stumpf -. 12.63g, 26mm, 12h. Good Extremely Fine. Unique and unpublished. From the A.F. Collection, Germany.

C. Fabius M. f. AR Cistophoric Tetradrachm. Demeas, magistrate. Pergamum, 57-56 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; C•FABI•M•F PRO•COS in two lines above, monogram of Pergamum to left, staff of Asclepius to right, ?????C below. Stumpf 28. 12.57g, 28mm, 12h. Good Extremely Fine. Very Rare. From the A.F. Collection, Germany.

Marcus Aurelius AR Denarius. Rome, AD 164. M ANTONINVS AVG ARMENIACVS, bare-headed and cuirassed bust right / P M TR P XVIII IMP II COS III, Armenia seated left, in mournful attitude, vexillum and shield before, hand on bow behind; ARMEN in exergue. RIC -, cf. 85-85a var. (different obv. legend and bust type); BMCRE -; RSC 6 var. (same). 3.27g, 18mm, 6h. Fleur De Coin. An apparently unpublished variety of this popular issue. From a central European collection.

C. Fabius M. f. AR Cistophoric Tetradrachm. Menophilos, magistrate. Pergamum, 57-56 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; C•FABI•M•F PRO•COS in two lines above, monogram of Pergamum to left, staff of Asclepius to right, M?NO?I?OC below. Stumpf 30; SNG von Aulock 7485. 12.54g, 29mm, 12h. Good Extremely Fine. Extremely Rare - four examples recorded by Stumpf, one other on CoinArchives. From the A.F. Collection, Germany.

P. Cornelius P. f. Lentulus Spinther AR Cistophoric Tetradrachm. Attalos, son of Bianoros, magistrate. Apamea, 56-54 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; LENTVLVS IMPERATOR in two lines above, [A]?A to left, two flutes to right, A?????? ???????? in two lines below. Stumpf 71. 12.15g, 27mm, 12h. Good Extremely Fine. Extremely Rare - only one example recorded by Stumpf. From the A.F. Collection, Germany.

P. Cornelius P. f. Lentulus Spinther AR Cistophoric Tetradrachm. Attalos and Mantitheos, magistrates. Apamea, 57-56 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; P LENTVLVS P F IMPERATOR in two lines above, A?A to left, two flutes to right, ?TTA??? MANTI?EOY below. Stumpf 72. 11.82g, 28mm, 12h. Good Extremely Fine. Extremely Rare - only one example recorded by Stumpf. From the A.F. Collection, Germany.

Achaemenid Empire AR Tetradrachm. Uncertain mint in Karia, circa 341-334 BC. Persian king or hero in kneeling-running stance right, drawing bow; control letter behind, B-A(?) in exergue / Satrap on horseback right, thrusting spear; to left, bearded male head right. Cf. Meadows, Administration 327 (BA in l. field); Konuk, Influences, Group 5 var. (head of Herakles); SNG Copenhagen (Persian Empire) 290-291 var. (same); Traité II 121 var. (same). 15.43g, 24mm, 1h. Extremely Fine; minor areas of flat strike. An apparently unpublished and unique variety. From the collection of an antiquarian, Bavaria c. 1960s-90s.

C. Fabius M. f. AR Cistophoric Tetradrachm. Andronikos, son of Xenios, magistrate. Apamea, 57-56 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; C•FABI•M•F PRO COS in two lines above, A?A to left, two flutes to right, ?????????? ?????? below. Stumpf 22; Waddington 7016. 12.97g, 30mm, 12h. Good Extremely Fine. Extremely Rare - two examples recorded by Stumpf. From the A.F. Collection, Germany.

C. Hosidius C. f. Geta AR Denarius. Rome, 68 BC. Draped bust of Diana right, wearing stephane, earring and double necklace of pendants, with bow and quiver over shoulder; III VIR downwards to left, GETA downwards to right / Caledonian Boar standing right, pierced by spear and harried by hound right below; C HOSIDI C F in exergue. Crawford 407/2; RSC Hosidia 1. 3.84g, 18mm, 4h. Good Extremely Fine. Beautifully detailed reverse. Ex Freeman and Sear MBS 1, 10 March 1995, lot 300.

C. Fabius M. f. AR Cistophoric Tetradrachm. Attalos, son of Bianoros, magistrate. Apamea, 57-56 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; C•FABI•M•F PRO COS in two lines above, A?A to left, two flutes to right, ?TTA??? BIANOPO? below. Stumpf 21. 12.21g, 28mm, 11h. Extremely Fine. Extremely Rare - two examples recorded by Stumpf. From the A.F. Collection, Germany.

P. Cornelius P. f. Lentulus Spinther AR Cistophoric Tetradrachm. Kastoros, son of Apollodoros, magistrate. Apamea, 57-56 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; P LENTVLVS [P F] IMPERATOR in two lines above, A?A to left, two flutes to right, KA?TOPO? A?O??O??POY below. Stumpf 73; BMC 26 = Bunbury, CN 1883, 45; Waddington 7011. 12.11g, 26mm, 12h. Extremely Fine. Extremely Rare - two examples recorded by Stumpf. From the A.F. Collection, Germany.

Cyprus, Kition AR Stater. Azbaal, circa 449-425 BC. Herakles in fighting stance to right, wearing lion skin upon his back and tied around neck, holding club overhead in right hand and bow extended before him in left hand; monogram or ankh to right / Lion attacking stag crouching right; L'Z'B'L (in Aramaic) above; all inside dotted border within incuse square. Zapiti & Michaelidou 5-6; Tziambazis 17; BMC 16-8. 11.04g, 22mm, 12h. Good Very Fine. From the collection of an antiquarian, Bavaria c. 1960s-1990s.

Cilicia, Tarsos AR Stater. Circa 440-400 BC. Horseman (Syennesis?) riding to left, wearing kyrbasia, holding lotus flower in right hand and reins in left, bow in bowcase on saddle; Key symbol below horse / Nergal of Tarsos standing to left, holding lotus flower in right hand and spear in left, bow in bowcase and lion skin over shoulder; Tree of Life behind, Aramaic legend 'LNRGL' (to/for Nergal) to left. BMC -; SNG von Aulock -; SNG Copenhagen -; SNG France -; SNG Levante -; Traité -; Casabonne -; MIMAA -; for obv. type cf. SNG France 213 = Casabonne pl. 2, 10; for rev. type cf. MIMAA type D4, pl. V, 7. 10.66g, 20mm, 10h. Extremely Fine. Unique and unpublished; of great numismatic interest. From a private North American collection. 'Syennesis' was the title held by the local Tarsiote dynasts of Cilicia, at least three of whom figured prominently in Near-Eastern history. The first, an independent monarch in his own right, joined with Nebuchadnezzar in mediating between Cyaxares of Media and Alyattes of Lydia in circa 610 BC. The second appears as a vassal of the Achaemenid king Darius I, and whose daughter was married to Pixodaros, son of Maussolos. He was perhaps the same man whom Herodotos mentioned as one of the most distinguished of the subordinate commanders in the fleet of Xerxes I. The last recorded Syennesis participated in the rebellion of Cyrus the Younger against Artaxerxes II as described in detail in Xenophon's Anabasis. The lack of any further mention of this dynasty following the events of Cyrus' rebellion has long been taken as meaning that the syennesis was forcibly retired and a satrapy established in his place; the general and long-held acceptance by numismatists such as J. P. Six, E. Babelon and C. M Kraay of the obverse horseman portraying the Tarsiote syennesis has therefore complicated the dating of such issues (for an in-depth discussion see Casabonne, Le syennésis cilicien et Cyrus : l'apport des sources numismatiques, 1995). Casabonne does not refute the identification of the obverse figure as the syennesis, but he cautions against attempting to identify particular individuals within the series, rather suggesting the type should be considered in a less literal manner, and, viewed as evidence that the "Tarsiote monetary iconography attests to a certain continuity of relations between the central and local powers", he accepts the type as being certainly "charged with political significance". This being the case, and despite the fact that numismatists and historians alike have long seen the Tarsiote coinage as probably struck (at least in part) for the payment of such tribute to the Achaemenid king as is attested in several sources (see, for example Strabo XV.3.21), it should nonetheless be viewed primarily as a civic and not military coinage, regardless of what it may eventually have been used to finance. This is amply demonstrated by the reverse of this remarkable coin, which employs a highly intriguing design. The standing figure wearing a Persian kandys and carrying both bow and spear is named by the inscription as Nergal, the Babylonian-Assyrian god of the hunt, of war, pestilence and death. Cults at Hatra in Mesopotamia and much later, at Palmyra, have shown that Nergal was equated with the Hellenic Herakles, an assimilation probably begun by the Assyrians who seem to have equated Nergal to Melqart (see Jenkins, Two New Tarsos Coins 1973). Mary Boyce (A History of Zoroastrianism: Volume II: Under the Achaemenians pp. 272) notes that the cult of Nergal "appears to have been well established in Tarsus... there would appear to be a deliberate attempt here at religious syncretism of a sort, in the interests of secular power"; the unique addition of what appears to be a lion-skin hanging from behind Nergal would seem to support this notion. However, Seyrig (Cylinder Seals, 1939) in tracing the existence of the cult of Nergal also to Palestine, Syria and Cyprus, renders his appearance at Tarsos less surprising, and his depiction, while helping to bridge the gap between older periods and the Greco-Roman times, may not simply be a casual attempt at religious conflation but may reflect some deeper metaphor. Nergal, apart from being a god of war and death, was also a god of vegetation and rebirth, attributes that the Greeks associated with Kore-Persephone. The manner of Nergal's depiction here - specifically, holding a lotus flower - together with the placement of a sacred tree or 'tree of life' (which had ancient, but now poorly understood significance in Assyrian religion) behind him, may be indicative of the reason for his appearance. While the tree may also potentially have roots in the Epic of Gilgamesh, wherein Etana searches for a 'plant of birth' to provide him with a son, its meaning is less clear than that of the the lotus flower. The lotus appears only sporadically in Greek and near-Eastern mythology, though it has a well attested use in Egyptian art and legend, where it was taken as a symbolic representation of the sun on account of its physical behaviour: it closes at night time and descends into the water, rising and flowering again at dawn, thus also becoming by extension a symbol of the eternal cycle of death and rebirth. A potential interpretation of Nergal in this context could therefore indicate his favour being sought for a transition of some sort, to preside over a death and a rebirth, an ending and a beginning, past and future.

Ionia, Ephesos AV Stater. Circa 155-140 BC. Draped bust of Artemis right, wearing stephane, and with bow and quiver over shoulder / Cult statue of the Artemis of Ephesos facing, a fillet hanging from each hand; thymiaterion in inner right field, ?-? across fields. G. K. Jenkins, Hellenistic Gold Coins of Ephesos, in Festschrift Akurgal, Ankara, 1987, p. 134, pl. B, 6 (BM) = R Fleuscher I, Artemis von Ephesos und der erwandte Kultstatue von Anatolien und Syrien, EPRO 35, 1973, pl. 53b; LIMC II, pl. 565, 23. 8.43g, 21mm, 12h. Good Extremely Fine. Very Rare. From the A.F. Collection, Germany. The Hellenistic era gold coinage struck at Ephesos is extremely rare and rarely well preserved. Previously thought to have all been struck during the Mithradatic wars, this is now known not to be the case. Some seem to be dated by the era of the Province of Asia and the dates they bear are too early for them to be Mithradatic War issues. Certain other issues such as the present example appear to be part of an extraordinary issue of gold struck in conjunction with an extremely rare gold stater type of Magnesia in the mid-second century. The style and fabric of both issues seem consistent with an emergency issue struck to meet an immediate expense. The reverse of this coin depicts the famous cult statue of Ephesian Artemis, housed in the great temple of Artemis that is considered one of the Seven Wonders of the Ancient World. The original image of the goddess was a wooden xoanon that had represented a pre-Hellenic goddess who the Greeks later equated with Artemis. This first image, which was kept decorated with jewellery, was possibly lost in a flood in the 8th or 7th century which destroyed the temple; excavations have discovered the tear-shaped amber drops of elliptical cross-section which must have dressed it. In circa 550 BC, when reconstruction of the temple was begun (partly financed by Kroisos), it was undertaken in grand style and was supposedly the first Greek temple to be built of marble. The wooden xoanon was replaced by a new ebony or grapewood statue sculpted by Enoidos, which presumably survived until the temple was again destroyed, this time by an act of arson on the part of one Herostratos. The second destruction of the temple coincided with the birth of Alexander the Great; Plutarch later noted that Artemis was too preoccupied with Alexander's delivery to save her burning temple. The form of the goddess is distinctly near-eastern in appearance; characteristics such as her legs being enclosed in a tapering pillar-like term are closely related to Egyptian and Hittite images, and the curious feature of the many protuberances on her chest (usually described as breasts or eggs) are decidedly non-Greek in origin, and indeed have defied explanation or identification for centuries, though an association with fertility seems implicit.

C. Poblicius Q. f. AR Serrate Denarius. Rome, 80 BC. Helmeted and draped bust of Roma right; T above, ROMA downwards behind / Hercules standing left, strangling the Nemean lion; club at his feet, bow and arrows in bowcase to lower left, T to upper left, C•POBLICI•Q•F upwards to right. Crawford 380/1; RSC Poblicia 9. 3.95g, 19mm, 4h. Fleur De Coin. Purchased from Numismatics Varesi, May 1994.

Seleukid Empire, Seleukos II Kallinikos AV Stater. Uncertain western mint, circa 246-225 BC. Diademed head right / Apollo, nude, standing to left and examining arrow held in right hand, left hand resting on grounded bow; BA?I?E?? to right, ?E?EYKOY to left. SC 720; HGC 9, 299f; CSE 1158; Arthur Houghton, The Tarik Derreh (Kangavar) Hoard in ANSMN 25, 1980, 25-27 and plate 5, 26 (same obv. die). 8.52g, 19mm, 2h. Extremely Fine. Extremely Rare; one of only four known examples. Originally attributed to Ekbatana by Houghton (ANSMN 25, 1980, pp. 43), this issue has recently been reassessed by Houghton and Lorber in Seleukid Coins and assigned to an unknown western mint. The difficulty in attribution, besides the obvious lack of mintmarks, seems to concern both the style of the portrait and the reliance upon the location of the hoard that contained most of the known examples as a reflection of whence the coins originated. The closest parallel to the portrait of this coin is SC 719, attributed to Laodikeia by the Sea, being particularly similar in the breaks and modelling of the hair. However, Houghton and Lorber separate these two issues by arguing that it cannot be securely attributed to the same mint, given differences of style. Why then can it not be attributed to Ekbatana as Houghton originally suggested? Within the hoard there were three coins of the type, struck from identical obverse dies, all in mint condition. Houghton argued that the proximity of their find-spot to the ancient city of Ekbatana, coupled with a stater identified by Newell as from Ekbatana which similarly lacks identifying marks, is evidence enough to assign this type to Ekbatana. However, it is noted that this is problematic, especially considering the vertical die axes of the coins, and instead decides an unknown mint to be the best option. Seleukos II was born in circa 265 BC, the first son of Antiochos II and his first wife Laodike. In 252 BC Antiochos II repudiated Laodike and sent her to Ephesos in order to marry the daughter of his enemy Ptolemy II and seal a peace treaty that ended the Second Syrian War. In 246 BC, Ptolemy II died, shortly followed by Antiochos II, leaving the dynastic succession in a state of confusion. Antiochos II had begot a son with Ptolemy's daughter, Berenike, and named him Antiochos, however there were rumours that before his death he had returned to Laodike and declared Seleukos II his rightful heir. With his father’s death, Seleukos II became king with his younger brother Antiochos Hierax named joint-ruler in Sardis. Their mother Laodike had Berenike and her son murdered to avoid any competition for the throne, thus sparking the Third Syrian War, also known as the Laodikean War, which saw Berenike’s brother Ptolemy III invade the Seleukid Empire to avenge his sister. This was not the end of Seleukos’ troubles, as his younger brother Antiochos Hierax soon launched a rebellion against him aided by their mother. However, after a victory for Antiochos Hierax at the Battle of Ankyra in circa 239 BC, his usurpation was ultimately unsuccessful and Seleukos II would eventually be succeeded by his eldest son, Seleukos III Soter.

C. Septimius T. f. AR Cistophoric Tetradrachm. Poseidonios, magistrate. Pergamum, 57-55 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; C•SEPTVMI•T•F PRO•COS in two lines above, monogram of Pergamum to left, staff of Asclepius to right, ?OC?I??NIOC below. Stumpf 41. 12.52g, 28mm, 12h. Extremely Fine. Extremely Rare - two examples recorded by Stumpf, a further two on CoinArchives. From the A.F. Collection, Germany.

Cilicia, Tarsos AR Stater. Circa 440-400 BC. Horseman (Syennesis?) riding to left, holding lotus flower in right hand and reins in left, bow in bowcase on saddle; Key symbol below horse / Two Persian soldiers, standing vis-a-vis, each holding spear, with bow in bowcase over shoulder; Aramaic legend 'TRZ' between, letters 'L R' before right hand figure. BMC -; SNG von Aulock -; SNG Copenhagen -; SNG France -; SNG Levante -; Traité II, 526, pl. CVI, 6 = Casabonne Type D1, pl. 2, 9 = Hunterian p. 546, 3 and pl. LX, 6; MIMAA -. 10.72g, 22mm, 9h. Extremely Fine. Of the greatest rarity, apparently only the second known example, and the only one in private hands. From the collection of P.R., United Kingdom. Babelon considered the two figures on the reverse of this coin to be "deux rois de Perse", noting that J. P. Six (NumChron 1884, p. 155) identified them as soldiers, but countering this description with the observation that they both wear 'le costume royal'. In fact, as shown on the 'Relief of the Immortals' at the Apadana Palace, Persepolis, their attire may be considered to be generic, and not necessarily indicative of any special status. While probably not simply representing the frontier guards of Syria and Cilicia as suggested by Six, the type likely does hold some military significance. Certainly, the Syrian Gates (the Belen pass) were of great strategic importance, as attested first-hand by both Xenophon and Alexander the Great, however garrison of this natural choke-point would logically fall not to Cilicia whose territory one would have to pass through before reaching the gates, but to the forces of the satrapy beyond. Indeed Xenophon informs us that they were guarded by a garrison of the King's troops. The Cilician Gates (a pass through the Taurus Mountains connecting the low plains of Cilicia to the Anatolian Plateau) which were of no less importance were guarded by the Cilician troops of the Syennesis, local ruler of Cilicia, and could well be represented here, but in this case it is quite an oblique reference. The paucity of surviving specimens suggests that this issue, along with the other related types of the period, was perhaps either a payment for the services of a small group of mercenary Greek soldiers (for the native Cilician troops would not themselves be paid by their overlords) or part of a tribute which was then melted down into bullion again almost in its entirety, leaving only a couple of surviving specimens.

P. Cornelius P. f. Lentulus Spinther AR Cistophoric Tetradrachm. Erophantos, son of Erophantos, magistrate. Laodicea, 56-54 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; P LENTVLVS P F IMP in two lines above, ?AO to left, winged caduceus to right, KPATI??O? below. Stumpf 78; BMC 16. 12.73g, 27mm, 12h. Good Extremely Fine. Extremely Rare - only one example recorded by Stumpf; apparently the second known example. From the A.F. Collection, Germany.

C. Fabius M. f. AR Cistophoric Tetradrachm. Demetrios, magistrate. Pergamum, 57-56 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; C•FABI•M•F PRO•COS in two lines above, monogram of Pergamum to left, staff of Asclepius to right, ????TPIOC below. Stumpf 29. 12.62g, 30mm, 12h. Near Mint State. Extremely Rare - only one example recorded by Stumpf; apparently the second known example. From the A.F. Collection, Germany.

Lucania, Herakleia AR Stater. Circa 330-280 BC. Head of Athena right, wearing crested Corinthian helmet decorated with Skylla hurling a stone; [|-HRAKLHIWN] above, small K behind / Herakles standing facing, holding club, bow, and arrow, lion's skin draped over arm; AQA to left of club, |-HRAKLHIWN to right; aryballos above. HN Italy 1384; van Keuren 84f; Work 66 (this coin). 7.92g, 20mm, 2h. Near Extremely Fine; pleasant old cabinet tone. This coin published in E. Work, The Earlier Staters of Heraclea Lucaniae (ANSNNM 91, 1940); Ex Fritz Rudolf Künker 262, 13 March 2015, lot 7032; Ex Ars Classica XII, 18 October 1926, lot 369.

C. Septimius T. f. AR Cistophoric Tetradrachm. Menogenes, magistrate. Pergamum, 57-55 BC. Serpent emerging from cista mystica; the whole within wreath / Two serpents standing by decorated bow case; C•SEPTVMI•T•F PRO•COS in two lines above, monogram of Pergamum to left, staff of Asclepius to right, MHNO??NHC below. Stumpf 38. 12.46g, 28mm, 1h. Good Extremely Fine. Extremely Rare - two examples recorded by Stumpf. From the A.F. Collection, Germany.

Cilicia, Tarsos AR Stater. Circa 440-400 BC. Horseman (Syennesis?) riding to left, wearing kyrbasia, holding lotus flower in right hand and reins in left, bow in bowcase on saddle; Key symbol below horse, [Aramaic 'TRZ'] in exergue / Archer in kneeling-running stance to right, quiver over shoulder, drawing bow; Key symbol behind, all within dotted border within incuse square. BMC -; SNG von Aulock -; SNG Copenhagen -; SNG Levante -; SNG France -; Casabonne -; MIMAA -; Traité II, 521, and pl. CVI, 1 = Hunterian, p. 546, 4 and pl. LX, 7. 10.64g, 24mm, 12h. Extremely Fine. Extremely Rare. From the collection of P.R., United Kingdom.

Augustus AV Aureus. Spanish mint (Colonia Patricia?), 18-17 BC. S•P•Q•R•IMP•CAESARI•AVG•COS•X•TR•POT•VI, bare head of Augustus right / CIVIB•ET•SIGN•MILIT•A•PART•RECVPER, triple triumphal arch, central arch surmounted by statue of Augustus driving a facing quadriga; figure on left arch holding a standard, figure on right arch holding an aquila and bow. RIC 133; C. -; BMCRE -; Calicó 194 (same dies); Thesaurus nummorum romanorum et byzantinorum iii (Vienna, 1980), 682; Banti & Simonetti IV, 58. 7.91g, 20mm, 7h. Near Extremely Fine. Of the greatest rarity - a very rare variety of an extremely rare type; only one example identified by Banti, and the only example present on CoinArchives. This coin depicts the now ruined arch of Augustus which originally stood in the Forum Romanum, spanning the road between the Temple of Castor and Pollux and the Temple of Caesar. According to the literary evidence, two arches were erected in honour of Augustus in the Forum: one in 29 BC to commemorate his victory at Actium (see Cassius Dio 49.15), the other in 19 BC to celebrate the return of the legionary standards lost by Crassus to the Parthians in 53 BC (see Cassius Dio 51.19). This latter coup was of great importance to Augustus and was also commemorated on the famed Prima Porta statue found at the villa of Livia. It seems that Augustus belatedly understood that commemoration of his victory over fellow Romans at the battle at Actium was not well received by the people, but a victory over a foreign enemy which restored soldiers and standards lost in a disastrous stain upon the Roman military record would be a perfect opportunity for cementing his position as saviour of the nation. Indeed, in 1546/7 an inscription dated to 29 BC and dedicated to Augustus was found at the site of the ruins and has been linked to this triumphal arch; inscribed upon it is a clear message that Augustus through this victory was able to save the Republic - perhaps a highly exaggerated statement since the sources seem to suggest that the Parthians reacted meekly to Augustus’ show of force and chose to return the standards and captives rather than risk open war. The appearance of this arch is preserved solely through the numismatic record, as seen on this coin, without which the identification of the archaeological ruins found in the Forum would be uncertain. The remains indicate the presence of a triple arch at the spot where the ancient sources say there was an arch to Augustus, therefore this could not be the Actian Arch which was similarly preserved through numismatic representations (see RIC 267, CRI 422) as a single span arch. Since no remains of a second arch of Augustus have been found in the Forum, this has led many to conclude that this 'Parthian Arch' was an expansion or replacement of the old Actian Arch. This theory is problematic to some scholars since Augustus does not mention either arch in his Res Gestae, a list of his achievements which certainly did not withhold from self-aggrandizement, however the archaeological evidence seems clear. The present type is thus an important archaeological document, allowing for the reconstruction of an early Imperial monument which is otherwise survived only by partial travertine foundations and some marble fragments which have been set atop them in modern brick beds. The choice of imagery on the coin itself highlights the political position of Augustus at this time. He does not appear as a ruler, but bare-headed and without drapery or military attire, whereas the reverse depicts the monument dedicated to his glory with the statues atop the arch of equal height to the structure itself, allowing the recovered standards to be seen clearly and in detail as the pretext for this laudatory monument. The standards were later placed in the Temple of Mars Ultor in the Forum of Augustus which was inaugurated in 2 BC.

Kingdom of Mauretania, Juba II AR Denarius. Caesarea, dated year 42 = 17/18 AD. REX IVBA, head of Juba II in the guise of Hercules, wearing lion skin headdress; club behind / Club draped with lion's skin, bow to right; arrow and RXXXXII to left. SNG Copenhagen 585 var. (Year 41); Mazard 182 var. (same). 2.96g, 18mm, 1h. Extremely Fine. Very Rare. From a private British collection.

Kingdom of Pergamon, Philetairos I AR Tetradrachm. Circa 270-265 BC. Diademed head of the deified Seleukos I to right / Athena, helmeted and wearing long robes, seated to left on low throne with lion’s feet, resting her left elbow on support in the form of a sphinx, holding a transverse downward pointing spear in her left hand and resting her right on the edge of a round shield adorned with a gorgoneion standing before her; above, ivy leaf; to right, bow. BMC 28; De Hirsch 1459; Kraay/Hirmer 736; Newell 14, XVI-36a (same dies); SNG Lockett 2718 (same dies); SNG von Aulock 7451 (same dies). 17.03g, 28mm, 12h. Near Extremely Fine. Very Rare. Ex Roma Numismatics XI, 7 April 2016, lot 426. Philetairos began his career serving under Antigonos Monophthalmos, but after the Battle of Ipsos in 301 BC where Antigonos was killed, he shifted his allegiance to Lysimachos, who entrusted him with command of the fortress of Pergamon, and a treasury of nine thousand talents of silver (234 metric tonnes). Philetairos served Lysimachos until 282 BC, when perhaps because of conflicts involving the court intrigues of Arsinoe, Lysimachos' third wife, Philetairos deserted Lysimachos, offering himself and the important fortress of Pergamon, along with its treasury to Seleukos, who subsequently defeated and killed Lysimachos at the Battle of Korupedion in 281 BC. Seleukos himself was murdered by Ptolemy Keraunos, a brother of Arsinoe, a few months later at Lysimacheia. After the death of Seleukos, though he and Pergamon remained nominally under Seleukid dominion, Philetairos had considerable autonomy and with the help of his considerable wealth was able to increase his power and influence beyond Pergamon. His first coinage was struck under the reign of Antiochos I, the son of Seleukos, and though it proclaims his loyalty to Seleukos, the presence of his name upon the reverse must have inevitably raised suspicions about his ambitions. Nevertheless, Philetairos never went so far as to proclaim himself king, and remained loyal to the Seleukids until his death in 263. Having no children of his own, Philetairos passed the rule of Pergamon to his nephew Eumenes, who almost immediately revolted against Antiochos, defeating the Seleukid king near Sardes in 261. Eumenes was thus able to free Pergamon, and greatly increased the territory under his control. In his new possessions, he established garrison posts in the north at the foot of Mount Ida called Philetaireia after his adoptive father, and in the east, north-east of Thyatira near the sources of the river Lykos, called Attaleia after his grandfather, and he extended his control south of the river Caïcus to the Gulf of Kyme as well. Demonstrating his independence, he began to strike coins as his predecessor had done, only now the obverse portrait was that of his uncle and adoptive father Philetairos.