We found 350105 price guide item(s) matching your search
There are 350105 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
350105 item(s)/page
Lot 107
Kingdom of Macedon, Philip II AV Hemistater. Lifetime issue. Amphipolis, circa 340-328 BC. Head of Herakles right, wearing lion skin headdress / Forepart of lion to right; crescent below, ΦΙΛΙΠΠΟΥ above. Le Rider 2 (D1/R2); SNG ANS 280 var. (same obverse die; scallop shell on reverse). 4.30g, 14mm, 5h. Extremely Fine. Very Rare, and exceptional condition for the issue, being both well preserved and perfectly centred on a very large flan. Ex Roma Numismatics VI, 29 September 2013, lot 544 (£16,000); Ex Gorny & Mosch 211, 4 March 2013, lot 179. Philip II inherited a poor kingdom on the verge of collapse. His brother Perdikkas III had died in battle against the Illyrians along with a great part of the Macedonian army. As A. B. Bosworth (1988, 6) puts it, “Philip came to power... when Macedon was threatened by dissolution, debilitated by a decade of dynastic feuding and crippled by military defeat at the hands of the Illyrians”, and he is joined by J. R. Ellis (1976, 44, cf. 1980, 36f) who writes “seldom can any state have so nearly approached total dismemberment without utterly disintegrating”. Philip’s predecessors had paid large tribute to the Illyrians since the 390s, and it was really only through bribery and a complex and changing system of alliances that Macedon was able to stave off invasion and conquest. Despite his precarious position, within two years and with little money to do it, Philip had reformed the shattered Macedonian peasant-army, introducing the innovative, professional and highly effective Phalanx corps armed with 18 foot long sarissas. Putting to good use all he had learned from Epaminondas, from whom he had received a military and diplomatic education, Philip pushed back the Thracians and Paeonians with promise of tribute and crushed the Athenian force that had come against him in 359. He conquered Amphipolis in 357, followed by Krenides in 356, and thus gained command of the Mount Pangeion region and the 1000 talents a year in gold that its mines provided. Following hot on the heels of his military reforms, Philip revolutionised the coinage of the kingdom of Macedon, which would eventually also supersede that of all Greece. Philip’s brother Perdikkas, though he had initially struck a silver coinage, was later like his elder brother Alexander II before him, only able to coin in bronze. Philip now had prodigious quantities of not only silver, but gold too in measure beyond what his brothers could have dreamed. Before Philip, gold coins issued by the Greeks had been extremely infrequent, and struck usually only in times of great emergency. Philip’s control of the Pangeion mines now enabled him to make Macedon the first state in the Greek world to issue gold uninterruptedly year on year, which he did with a new standardised Macedonian gold currency denominated in staters, hemistaters (such as the present example) and quarter staters, as well as 1/8 and 1/12 fractions. This wealth would provide the driving force behind his successive conquests, expansion and diplomatic manoeuvres that enabled him to unify all Greece under Macedonian hegemony, and set the stage for his planned invasion of Persia.
Lot 14
Lucania, Poseidonia AR Stater. Circa 530-500 BC. Poseidon, diademed and wearing chlamys over shoulders, advancing right, wielding trident in upraised right hand and extending left hand before him; ΠOΣ behind / Incuse of obverse, but with ΠOΣ in relief. HN Italy 1107; SNG ANS 609 (same obv. die). 7.59g, 32mm, 12h. Good Extremely Fine; usual striking weakness on obv. Very Rare. In outstanding state of preservation, displaying incredible metal quality and a superb level of detail. One of the very finest specimens known. Ex Roma Numismatics XII, 29 September 2016, lot 26; Ex B.R.H. Collection, privately purchased c.1980s in Munich. Little is known of Poseidonia from its foundation at around the end of the seventh century BC by colonists from Sybaris other than that information which can be gleaned from archaeological study of the city and its remaining artefacts. The literary tradition offers only a terminus ante quem for the foundation, circa 530, provided by Herodotos who refers to the city as in existence when Hyele was founded c.540-535. The archaeological evidence suggests a foundation date of c.600 (E. Greco; Poseidonia ii. 73 n. 7). Evidence from votive figurines and the city’s architecture suggest close trade relations with Metapontion during the sixth and fifth centuries, but the relationship with its mother city appears not to be have been particularly strong, since its coins are struck on the Campanian-Phokaian standard rather than the Italic-Achaian standard in use at Sybaris. Nonetheless, Poseidonia accepted refugees from Sybaris after their city was destroyed by Kroton in 510, evidenced by the fact that in the early fifth century Poseidonia’s coins adopted the Achaian weight standard and the bull seen on Sybarite coins. A. J. Graham (Colony and Mother City in Ancient Greece, 1999) thinks it was plausible that the number of refugees was large enough for some kind of synoecism to have occurred between the Poseidonians and the Sybarites, possibly in the form of a sympolity. Poseidonia's relationship to the Sybarites then remained strong enough that in 453 Sybaris was refounded with the apparent blessing and sponsorship of Poseidonia. The city does not make further appearance in the classical sources until the late fifth century, when according to Strabo it was conquered by the Lucani. Although Aristoxenos would have us believe that the Greek identity of the city was effaced and that the Poseidoniatai were completely barbarianised, a sizeable Greek population must have remained despite the conquest, as the archaeological record shows both Greek and Oscan culture continuing to thrive alongside one another. Despite no single temple having been definitively identified as pertaining to Poseidon, the cult of this god must have played an important role in the city, as evidenced both by its name and by the principle type of its coinage, of which the present piece is a magnificent example. The outstanding quality of the engraving is noteworthy; we are presented with two well-proportioned and finely detailed images of what must surely have been a statue, which many scholars have with good reason assumed that this figure was inspired by, such is the consistency with which it is depicted (though minor variations of detail, including the beard, do occur) and the monumental quality it possesses. Indeed, the figure bears much similarity to the Artemision Bronze in compositional style; proponents of the argument that the Artemision Bronze is Poseidon (rather than Zeus) cite the coinage of Poseidonia in their favour.
Lot 225
Mysia, Kyzikos EL Stater. Circa 500-450 BC. Roaring griffin standing to left on tunny fish, right foreleg raised and tongue protruding / Quadripartite incuse square. Von Fritze 101; Greenwell 144; Boston MFA 1437 = Warren 1573; SNG France -; BMC -; Gillet -; Gulbenkian -; Jameson -; Weber -. 16.10g, 21mm. Near Mint State. Very Rare. From the A.F. Collection, Germany. A mythical creature of great antiquity, griffins are represented in Egyptian and Persian art from as early as the fourth millennium BC; from the middle bronze age (c.1950-1550 BC) they begin appearing in Syria, the Levant and Anatolia, and they can be found in 15th century BC frescoes in the throne room of the bronze age palace at Knossos. Closely associated with guarding precious possessions and treasure, and so frequently utilised as a motif in such capacities, the griffin came also to be a symbol of divine power and so a guardian of the divine. Half lion and half eagle, and so possessing the power and dignity of both of these majestic animals, these fearsome creatures in time came to be associated with the vast quantities of gold that flowed south out of the vast northern wildernesses into Greek and Persian lands. This seemingly endless source of gold caused a great deal of speculation among the Greeks as to its origin; the myths and fables eventually found form in the idea of a land they called Hyperborea ('beyond the north wind'). Homer, Pindar, Hesiod and Strabo all make reference to this legendary place, and Herodotus writes of it: "But in the north of Europe there is by far the most gold. In this matter again I cannot say with assurance how the gold is produced, but it is said that one-eyed men called Arimaspians steal it from griffins. But I do not believe this, that there are one-eyed men who have a nature otherwise the same as other men. The most outlying lands, though, as they enclose and wholly surround all the rest of the world, are likely to have those things which we think the finest and the rarest." (The Histories, 3.116) Though it is generally agreed that Hyperborea never actually existed as any single place, but was rather an amalgam of various fragments of truth and flights of fancy, one possible source for the northern gold may be found in the Altai Mountains of Skythia (straddling modern day Kazakhstan, Mongolia, China and Russia), whose name 'Altai' in Mongolian literally means 'Gold Mountain'. It has been further suggested (Mayor, 1991) that this region, rich in gold run-off from the mountains, and which is also holds a great many Protoceratops fossils, may have been the ultimate source of the Greek myth of griffin-guarded gold. The sandstone rock formations skirting the gold deposits continually reveal through erosion bleached white, fully articulated skeletons of these prominently beaked quadruped dinosaurs, and being conspicuous against the red sediment would have been noticed by early inhabitants and travellers. Indeed, 5th century BC human remains in the Altai Mountains have been found bearing griffin tattoos, occasionally accompanied by gold griffin artefacts. That this symbol of power should be adopted by Kyzikos for its coinage again and again is hardly surprising then, given that the city possessed a virtual monopoly on gold coinage in the area from Troy to Ionia, in the Propontis, in Bithynia and in the Black Sea regions, and the animal's fabled reputation as a guardian of the precious metal.
Lot 355
Anonymous AR Didrachm. Rome, or 'Mint D', 234-231 BC. Laureate head of Apollo right / Horse prancing left; ROMA above. Crawford 26/1; RSC 37; HN Italy 306. 6.53g, 20mm, 4h. Extremely Fine. From the collection of P.G., Germany, outside of Italy prior to December 1992. After the victory over the Samnites, the Senate instated a new, standardised monetary system. For the first two decades, bronze bars were the predominant issues, after which point silver coinage began to appear. This type is from what H. Mattingly describes as ‘Mint D’ which he locates either at Apulia or Beneventum. The legend on the older design (struck from 269 BC onwards) was ROMANO which had been shortened to ROMA by the time this type was struck, however the significance of this is unclear. Showing distinct Greek influence, this is a fine example of early Roman silver coinage. Cf. Mattingly, H, The First Age of Roman Coinage, The Journal of Roman Studies 35, Parts 1 and 2 (1945), pp. 65-77.
Lot 450
Augustus Ӕ Sestertius. Uncertain Asian mint, circa 25 BC. AVGVSTVS, bare head right / CA within rostral wreath. C.J. Howgego, Coinage and Military Finance: the Imperial Bronze Coinage of the Augustan East, in NC 1983, p. 7, 2a, pl. 1, 9; RIC 501 (Pergamum); BMCRE 713 (Pergamum); CBN 956 (Pergamum); RPC 2233 (Asia). 25.80g, 39mm, 1h. Very Fine; obv. field gently smoothed. The mint identity and reverse legend of the Augustan CA issues has long been discussed (for a survey of theories see RPC I, pp. 380-381), but the reverse 'CA' may refer to the stabilised Communitas Asiae. Following the defeat of Antony and Cleopatra, Augustus returned to Italy via Asia, most likely personally sanctioning at Pergamum the temple dedicated to himself and Rome. At the end of the civil war, Augustus sought to restore peace to the empire and to reinforce her frontiers. This was achieved by establishing diplomatic relations with the surrounding rulers, and the placement of Agrippa as proconsul of Asia Minor once Augustus had returned to Rome in 19 BC.
Lot 546
Trajan AV Aureus. Rome, AD 112-113. IMP TRAIANVS AVG GER DAC P M TR P COS VI P P, laureate, draped and cuirassed bust right / Frontal view of the hexastyle façade of Trajan's Forum, with central entrance and two alcoves containing statues to either side, an elaborate statue group comprised of facing quadriga between three statues on each side atop the roof; FORVM TRAIAN in exergue. RIC 257; C 168 var. (not cuirassed); Calicó 1031; BMCRE 509; Biaggi 494; Woytek 409f. 7.30g, 19mm, 6h. Good Extremely Fine. The finest example of this desirable type to have been offered in many years. Trajan became consul for the sixth and final time on January 1, AD 112; on the same day he dedicated his new Forum complex. It is thought to have been designed by the architect Apollodorus who accompanied Trajan on his campaigns in Dacia and is famous for building a bridge across the Danube river recorded by ancient authors and artists. When complete, the vast complex consisted of the area fori (main square), the Basilica Ulpia, the column of Trajan, and two libraries, all situated adjacent to the Markets of Trajan on one side and the Forum Augustum on another. The project sought to exceed previous imperial fora in plan, scale and ornamentation while focusing directly on Trajan’s military achievements in Dacia. Each imperial forum had specific architectural and decorative schemes which created specific ambiences; thus, Trajan’s military theme is vastly different from the Forum of Vespasian (also known as the Temple of Peace and not officially called a forum since there is no evidence of it serving a political function) which instead contains gardens, fountains and promenades. One ancient account tells us that “all along the roof of the colonnades of Trajan’s forum there are placed gilded statues of horses and representations of military standards, and underneath is written Ex manubiis [from money obtained through spoils]” (Aulus Gellius, Attic Nights 13.25.1). Perhaps the message the emperor wished to send was that his rule saw such great military achievement that his successes alone were capable of creating the greatest public architectural space in Rome. Following Trajan’s death, Hadrian is reported to have added a colossal temple to the deified Trajan and his wife Plotina (of which very little survives) so that the completed Forum focused not only on Trajan’s military victories, but also on his apotheosis. The magnificence of this complex in comparison to previous imperial fora is emphasised by ancient witnesses, one of whom, when describing the emperor Constantius II’s reaction when he first visited Rome in AD 357, says it was “a construction unique under the heavens, as we believe, and admirable even in the unanimous opinion of the gods…” (Ammianus Marcellinus 16.10.15). It was later a space where various important events occurred; Hadrian and Aurelian ordered the burning of notes of debt to the state here (Historia Augusta, Hadrian 7.6, Aurelian 39.3), Marcus Aurelius held a sale of imperial treasures here following a period of war as an alternative to taxing the provinces (Historia Augusta, Marcus Aurelius 17.4) and here laws were frequently fastened up on bronze tablets to be read by the public. This coin was produced following the dedication of the forum and depicts the magnificent arch commemorating Trajan’s victories in Dacia which acted as its entrance. Martin Beckmann (see The Early Gold Coinage of Trajan’s Sixth Consulship in The American Journal of Numismatics Vol. 12 (2000), pp. 119-156) argues that it was part of the first production of AD 112 which contained a group of types focusing on commemorating the forum such as depictions of the Basilica Ulpia, and Equus Traiana (the following year saw the production of coins showing the newly built Trajan’s Column). His study reveals that there were ten dies for this reverse type and that “from the die links it appears that the forum type carried on strongly, perhaps to the end of the entire series…” implying that significant importance was attached to the promulgation of this great architectural work, the grandest of all imperial fora to date, made possible by the emperor’s military victories.
Lot 591
Caracalla AV Aureus. Rome, AD 198. IMP CAE M AVR ANT AVG P TR P •, laureate, draped and cuirassed bust right / MINER VICTRIX, Minerva standing left, holding Victory and inverted spear; shield at her side, trophy to right. RIC 25b; Calicó 2696 = Biaggi 1183 (same rev. die). 7.36g, 20mm, 12h. Near Mint State; superbly lustrous and undoubtedly one of the finest known examples of the type. Very Rare. From the property of B.R.S., United Kingdom. The reverse type of this coin had ancient roots; the evolution of the type can be traced back as far as the denarii of C. Vibius C. f. Pansa in 90 BC, which featured the figure of Minerva, holding a trophy over her shoulder, in a galloping quadriga (Crawford 342/5). Julius Caesar further popularised the Minerva Victrix type with his use of a standing design upon his bronze issue of 45 BC (Crawford 476/1), and in this standing form the type would be popularised under Domitian, who adopted Minerva as his patron deity; Domitian’s provincial coinage also features the first appearance of Minerva standing with a trophy behind her (RPC II 2304). Yet the type in its present form was instituted comparatively late on, in the reign of Commodus c. AD 188/9, when it was used on very rare aurei (Calicό 2290a) and bimetallic medallions (Gnecchi II, p. 57, 48), sestertii and denarii. It may seem strange that the Severans should wish to prominently re-use a type commisioned for Commodus, particularly given how fresh the excesses and outrages committed by that former emperor would still have been in the minds of Roman citizens everywhere. However, Caracalla’s father Septimius Severus was himself a usurper, albeit to an emperor who had shamefully bought the imperial throne at auction. Thus Septimius, in order to shore up his ambitions to forge an imperial dynasty, was required for appearances’ sake to legitimise his rule in the eyes of mob. This inevitably manifested itself, as with the Flavians a century before, in the form of piety towards the earlier ‘good’ emperors. In Septimius’ case, he owed his rank and position to advances gained under Marcus Aurelius and Commodus, the latter of whom had himself appointed Septimius as governor of Pannonia Superior in AD 191. He therefore sought to apply a veneer of validity to his assumption of the helm of empire by force, which he did by styling himself the ‘son of Marcus’, and renaming his eldest son (who would be known to history by his nickname Caracalla) Marcus Aurelius Antoninus. In so doing, Septimius effectively adopted himself and his heir into the Antonine family. He furthermore made efforts to rehabilitate the memory of Commodus, and forced an unwilling Senate to deify the late emperor in 195. In 197, the year before this aureus was struck, Septimius was faced with a large-scale Parthian incursion into Roman Mesopotamia, only recently pacified after a campaign in 195 against rebellious local vassal states. Septimius’ military response began with the rapid subjugation of the Parthian-allied kingdom of Armenia, from where he marched to the relief of the strategically important city of Nisibis. Septimius then divided his army into three; the main force he led along the Euphrates to attack the dual metropolis of Seleucia-on-the-Tigris and Ctesiphon, while the second force would ravage eastern Mesopotamia, and the third would recross the Tigris into Adiabene. Babylon and Seleucia-on-the-Tigris were taken without resistance, and in January 198 the Parthian king Vologases chose to meet the Roman army in the field before the walls of the capital Ctesiphon. The battle resulted in a resounding defeat for the Parthians; the city itself was breached and thoroughly sacked - the male population was exterminated and ancient sources attest to 100,000 being enslaved. On January 28, the exact centenary of Trajan’s accession, Septimius proclaimed that he had conquered Parthia, and took the title that Trajan had first held, ‘Parthicus Maximus’. On the same day he conferred the rank of Augustus and status of co-emperor on his nine year old son Caracalla. This aureus, like many Severan issues struck in 198, makes reference to this victory over Rome’s old nemesis.
Lot 99
Attica, Athens AR Drachm. Circa 500-490 BC. Head of Athena right, wearing earring and crested Attic helmet ornamented with beaded decorations on crest holder and spiral on bowl / Owl standing to right with head facing, olive branch behind, ΑΘΕ before; all within incuse square. Svoronos pl. 7, 23; cf. Seltman pl. XXII, υ; Gorny & Mosch 232, 207 (same dies). 4.27g, 16mm, 10h. Good Extremely Fine; attractive old cabinet tone. Very Rare; a marvellous example of this extremely desirable type. Privately purchased from Gorny & Mosch. Athens was one of the few Greek cities with significant silver deposits in their immediate territory, a remarkable stroke of fortune upon which Xenophon reflected: 'The Divine Bounty has bestowed upon us inexhaustible mines of silver, and advantages which we enjoy above all our neighbouring cities, who never yet could discover one vein of silver ore in all their dominions.' The mines at Laurion had been worked since the bronze age, but it would be only later in 483 that a massive new vein of ore would be discovered that enabled Athens to finance grand new schemes such as the construction of a fleet of 200 triremes, a fleet that would later prove decisive in defending Greece at the Battle of Salamis. This coin was produced in the period before the discovery of the new deposits at Laurion, around the time of the Ionian Revolt and the subsequent first Persian invasion of Greece. Athens aided the Ionian Greeks in their rebellion against Persian tyranny with both coin and soldiers, participating in the 498 BC march on Sardes which resulted in the capture and sack of that city – the only significant offensive action taken by the Ionians, who were pushed back onto the defensive and eventually subjugated once more. Vowing to punish Athens for their support of the doomed rebellion, the Persian king Darius launched an invasion of Greece, landing at Marathon in 490 BC. Just twenty five miles from Athens, a vastly outnumbered Athenian hoplite army inflicted a crushing defeat on the Persians, who after suffering horrendous casualties turned to their ships and fled.
Lot 2
KON-NED AUTOMOBIEL CLUB; a rare car mascot in the form of a spoked wheel surmounting the wings, and with an integral blue enamel motif displaying to both sides, and surmounted by the official bronze crown. Chromium plated bronze. Associated with the Royal Dutch Automobile Club, formed back in 1898. This mascot has an internal threaded mounting facility under the base, it could be used as a very special twin sided radiator mascot, or as a radiator mounted badge, height 15cm. The KNAC Royal Dutch Automobile Club is an association of motorists founded on 2nd July 1898 under the name 'Dutch Automobile Club' (NAC).
Lot 423A
A small group of mixed medals to include Jutland 1916 (Spink & Son issue), India 'Army Temperance Association', Juste Lipse 1547-1606 (bronze), WWII France and Germany star and Third Reich 'Für Kriegsver Dienst 1939', Silver War Badge etc, also a small number of military cap badges and buttons and two Metropolitan-Vickers Elec. Co. Ltd factory entry passes.
Lot 507
EDOUARD MARCEL SANDOZ (1881-1971); a bronze figure of rabbit on rectangular base signed to one side and bearing Susse Bros Foundry mark to the other, 6 x 3.5cm (D). CONDITION REPORT: Areas of rubbing to the patina mainly to the edges, the majority of the underneath of the base is covered verd de gris, a few casting imperfections and traces of wear to the base, there are no obvious traces of damage or restoration, this item could be posted within the UK at a cost of £18 including VAT.Two small dents to left ear, see additional photos, this came from a private collection.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 509
FRANZ BERGMAN; an early 20th century Austrian cold painted bronze Eastern figure group of three boys seated on carpet playing with dice, marked and inscribed 'Austria' to base, 20 x 13.5cm. CONDITION REPORT: Generally in good condition apart from areas of rubbing to the paint particularly to the edges of boys hats, some tarnish and surface dirt commensurate with age, wear to base with areas of scratches, areas of flaking to the paint, mainly on the boy with blue gown, shape appears to be intact apart from some areas of manufacturing imperfections to the base, the boy in blue gown is slightly loose, no obvious traces of damage or restoration, this item is marked with a B in the urn (please see further images for details).
Lot 101
Emmanuel Villanis, French (1858 - 1914) "La Sybille" Patinated Miniature Bronze Sculpture on Marble Base, Signed "Tiffany & Co.", Artist Signed, and Titled Lower. "Societe des Bronzes de Paris" foundry mark on obverse side. Wear to Marble, Typical rubbing otherwise good condition. Measures 8-5/8" H x 5" W. Shipping $48.00 (estimate $1000-$2000)
Lot 102
Emmanuel Villanis, French (1858 - 1914) "Retour du Bal" Patinated Miniature Bronze Sculpture on Marble Base, Signed "Tiffany & Co.", Artist Signed, and Titled Lower. "Societe des Bronzes de Paris" foundry mark on obverse side. Typical nicks to marble base, rubbing to surface. Measures 8-1/2" H x 5" W. Shipping $48.00 (estimate $1000-$2000)
Lot 184
A silver Apollo 13 Rescue From Space medallion, OBV, depicting an angel holding the space capsule surrounded 'ASTRONAUTS LOVELL HAISEAND SWIGERT 1970 REV, 'MIRACULOUS RETURN FROM ILL FATED MISSION BY THE GRACE OF GOD' depicting three horses holding the capsule surmounted by the outline of the devil impressed outer rim 1055, hallmarked, original presentation box;An early 20th century French Jeanna D'Arc bronze slide mirror pendant c.1915; a white coloured metal oval pendant depicting Mary praying with rosemary beads surrounded by JE SUIS L'IMMACULEE CONCEPTION; a reproduction Rhodes AR Tetradrachm.obv., radiate head of Helios facing slightly right; a George III bank token of one shilling sixpence dated 1811; George III imitation spade 1/2 Guinea issued by Birmingham mint 1788; a Victorian trident penny, oung head bust facing to the left dated 1855, etca large gilded bronze Baring Brothers & Co. Ltd struck to commemorate the bank's return to 8 Bishopsgate 12th October 1981, presentation case; a Victorian Brighton & Hove Exhibition 1889 medal rev,. THE GENERAL EXHIBITION SYNDICATE LIMO; another Hansom & Welch architects Birmingham Town Hall medallion
Lot 97
Two sandstone circular grinders, one with wrought and cast iron handle, with makers name Hornsby & Sons, 95 cm, the other 43 cm together with a 20th Century garden water pump, with bronze column and steel spout and iron handle, 120 cm together with a garden wrought iron candelabra 108 cm high
Loading...-
350105 item(s)/page