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Lot 247
A Japanese sword / katana, the tsuka having gilt bronze fruit-form menuki, gilt steel kashiri depicting in shallow relief a dragon, and simple iron tsuba decorated with punched flower heads, the blade having an even hamon, in flecked lacquered scabbard with field service leather cover, bade approx 65 cm to habaki, (blade tip chipped and distorted)
Lot 747
Hadrian AV Aureus. Rome, AD 125-128. HADRIANVS AVGVSTVS, laureate head right / Hadrian on horseback right, raising right hand; COS III across field. RIC 186c; Calicó 1218a. 7.13g, 20mm, 5h. Near Mint State. Well struck from dies of very fine style, perfectly centred and displaying brilliant lustre. Certainly among the finest surviving aurei of Hadrian. This very attractive equestrian aureus was struck to mark the triumphant return to Rome of the emperor, and shows him riding into the city accepting the honours and praise of the people. Mattingly and Sydenham argue that during his four year absence from Rome there had been little change in the coinage, no development of style, and the mint had been virtually inactive. However, upon his return there was a great new output of coinage, of which this is a stunning example. For his new coinage, Hadrian drops the long legends favoured by his predecessor Trajan, preferring to simplify them to HADRIANVS AVGVSTVS on the obverse and COS III on the reverse. This new obverse legend very distinctly calls into mind the coinage of the first emperor Augustus, while the new, larger and more gracious style of imperial portrait that fills the fields of the flan is a complete change from the small, careful and cramped types of Trajan. Reverse types such as this one complement the new style and the result is a very attractive and artistic coin. Hadrian’s reign was dominated by his extensive travels across the provinces, and indeed he spent more than half of his reign outside of Italy. A known Hellenophile, shortly before the return to Rome that prompted the issue of coinage to which this aureus belongs the emperor had toured Greece and this, coupled with his studies in Greek academia, art and sculpture led the change to the very Hellenistic design we see here, a piece which can be seen as the product of the highest flourishing of Roman art and sculpture. Although no sculpture or written record of such survives, it is quite probable that this reverse type was modelled on an equestrian statue of Hadrian that stood in Rome and that is lost to us today. We know that numerous equestrian statues of emperors once graced Rome, and we know that equestrian statues of Hadrian in particular existed – sources corroborate one at Aelia Capitolina on the Temple Mount directly above the Holy of Holies, and another is known to have adorned the Milion built by Constantine I at Constantinople, which along with an equestrian statue of Trajan, must have been removed from its original location and placed there. Indeed, if it were the case that this coin depicts a now lost sculpture, this missing statue would easily fit into a series of imperial equestrian statues that are both well-attested and displayed on the Roman coinage, beginning with the sculpture of Augustus that can be seen on denarii of 16 BC struck under the moneyer L. Vinicius (RIC 362), through Domitian's addition to the Forum Romanum in AD 91 and Trajan's own statue in the Forum Traiani. All of these followed a traditional mode, of which the gilt bronze statue of Marcus Aurelius, which was also featured on that emperor’s coinage and which is preserved in the Capitoline Museum, is the sole surviving example.
Lot 26
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. From the 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 archeological 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 696
Titus, as Caesar, Æ Dupondius. Rome, 1 July AD 72-30 June AD 73. T CAESAR VESPASIAN IMP IIII PON TR POT III COS II, radiate head right / FELICITAS PVBLICA, Felicitas standing left, holding caduceus and cornucopiae; S-C across fields. RIC 504, citing two known specimens (in Paris and Vienna); BMC -; C. -. 13.63g, 28mm, 6h. Good Extremely Fine. An imperial bronze of truly exceptional quality. Ex Numismatik Lanz 150, 13 December 2010, lot 150. Having been hailed emperor by the legions under his command while in the field, Titus’ father Vespasian departed Judaea to return to Rome and claim the throne from the usurper Vitellius, who had meanwhile already deposed Otho, second of the four emperors to rule Rome in the year AD 69. Vespasian had led a successful campaign to restore order in the province after the disastrous attempts by the legate of Syria, Cestius Gallus, who had suffered a defeat considered to be the worst the Roman military had been subjected to by a rebel province throughout its history. Titus was thus charged with concluding the war, having been left in a strong position by his father, with the remaining rebel factions largely cut off within the city of Jerusalem. Against his father’s designs, Titus resolved to besiege the city and over seven months in AD 70 he completely circumvallated it with a permanent army camp. Eventually breaching the walls, the city was ransacked, burnt and the treasures from the Temple were carried off. Depicted on the Arch of Titus on the Via Sacra in Rome, built by Domitian after his brother’s death, these same treasures were carried into Rome as part of the Triumph that Titus celebrated on his successful return in AD 71. Struck shortly after the suppression of the uprising in Judaea and his triumphant return to Rome to take his place as Caesar beside his father, the depiction of the goddess Felicitas on the reverse of this magnificent coin is highly appropriate for Titus at this time. Reinforced by the wonderfully detailed attributes she carries, with peace symbolised by the caduceus and plenty brought by the cornucopiae, Felicitas personified the luck, blessedness and happiness of the successful general, while the use of the epithet Publica more specifically highlighted the prosperity of the Roman people that he had helped to enhance. Looking very much his father’s son, the obverse portrait gives us a vigorous impression of Titus and shows him to be strong, robust and in the prime of life, qualities very important to highlight as held by the men of the fledgling Flavian Dynasty.
Lot 155
Attica, Athens AR Tetradrachm. Circa 500-490 BC. Archaic head of Athena right, wearing crested helmet decorated with chevron and dot pattern / Owl standing right, head facing, olive sprig behind, ΑΘΕ before. Cf. Svoronos Pl. 4, 15. 17.41g, 24mm, 4h. Near Extremely Fine. Very Rare with a full crest. 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 289
Mysia, Kyzikos EL Stater. Circa 500-450 BC. Cerberus standing to left on tunny fish / Quadripartite incuse square. Von Fritze 10; Boston 1538. 15.90g, 19mm. Etremely Fine. Extremely Rare. Ex David Walsh Collection, privately purchased in 2001. Early Greek descriptions of Cerberus (Kerberos) vary greatly. The earliest literary appearance of Cerberus in Hesiod’s Theogeny (c. 8th – 7th centuries BC) portrays the monster with fifty heads, while Pindar (c.522-443 BC) gives him one hundred heads. Later writers however almost all describe Cerberus as having three heads. For practical reasons, representations of Cerberus in Greek art often depict him with two visible heads (the third being assumed to be hidden), but occasionally three heads, and rarely only one, are also seen. The earliest securely datable artefact depicting a three-headed Cerberus is a mid-sixth century BC Laconian cup by the Hunt painter, which clearly shows the beast with three canine heads, covered by a coat of snakes, and a tail ending in a snake’s head, held on a chain leash by Herakles. A slightly later amphora fount at Vulci c.525-510 (Louvre F204) shows a two-headed Cerberus in similar pose to that on our present coin, also with a snake-headed tail. Though representations of Cerberus in Greek art are fairly common, with the familiar story of Herakles’ twelfth labour being a popular motif, depictions of Cerberus on Greek coins are seemingly limited to only this issue of Kyzikos, an extremely rare bronze issue of Epeiros (see Roma Numismatics 4, lot 114), and an exceedingly rare stater of Cumae in Campania (Rutter 76). Barclay Head proposed that the appearance of the monster here was in reference to or in honour of the city of Kimmerikon, sited on the southern shore of the Cimmerian Bosphorus which had previously been known as Cerberion (Pliny 6, 6, 6, 18), based on the assumption that the city would have been a familiar destination for Kyzikene traders. However it is probably incorrect to assign any specific significance to the type, since it is well known that Kyzikos frequently took inspiration for its coin types from the art of other Greek city-states’ coins and wares. The designs of Kyzikos’ coinage appear to have been decided upon apparently without necessarily requiring said types to have any deep meaning to either Kyzikene citizens or indeed anyone else in particular, often being admired it seems purely for their compositional beauty. Since the design of this coin does not copy any known type (the Epeirote bronze not being issued until the mid-fourth century), and Cerberos on Rutter 76 being of markedly different style (and only part of the design), it is probable that it copies the design of a vase or other vessel, such as the aforementioned Louvre F204 - an Attic red figure amphora - which found its way to Kyzikos. Regardless of the origin of the design, the present coin is a magnificent example of this important mythological theme, and is one of very few known staters of the type, the hektes being relatively more plentiful, but still rare.
Lot 634
Augustus AR Denarius. Pergamum, 27 BC. CAESAR, bare head right / AVGVSTVS, heifer standing to right. RIC 475; RSC 28; BMCRR East 284-5 = BMCRE 662-3; BN 941-3. 3.64g, 21mm, 1h. Good Extremely Fine; hairline flan crack. Among the first coins to be struck bearing the new title Augustus, this denarius is of exceptional style and engraved with beautiful craftsmanship. Struck in Pergamum, the reverse type of the charging bull or heifer may be a reference to the famous type of Thurium, a city to which Octavian's family had a connection: Suetonius relates that Gaius Octavius, Augustus' father, defeated a Spartacist army near the town. Due to the high regard in which the family was held in the town Augustus was granted the surname Thurinus, and thus the type has a primarily personal illusion to him. An alternative theory is that it is based on Myron's famous bronze heifer, much admired in antiquity. Augustus was personally aware of the sculptor's work as he is known to have restored Myron's Apollo to Ephesos, which Marc Antony had taken.
Lot 1102
Municipal coinage of Rome Æ 20 Nummi. Municipal coinage of Rome, AD 526-534. INVICTA ROMA, draped bust of Roma to right, wearing crested helmet, pendant earring and necklace / She-wolf standing to left, head turned back to watch the two infants Romulus and Remus suckling; two stars flanking Chi-Rho above, mark of value XX below. Hahn, MIB 71c (Theoderic); Kraus 29; Metlich 84b. 4.40g, 20mm, 6h. Near Extremely Fine. Rare, and very well preserved for the type. Although the most noticeable of the bronze coins used in Italy under the Ostrogoths are the countermarked asses and other earlier types, in fact these did not make up the bulk of the copper coinage in circulation at that time. Under Odovacar and the Ostrogoths the Roman Senate enjoyed a brief Indian summer of power; amongst its activities was a revival of the ancient Senatorial privilege of minting in bronze, which after a very brief issue in the name of Zeno, then consisted of types purely Roman in character, making no reference to either imperial or royal authority. This revived Senatorial coinage features the helmeted bust of Roma along with the ironic obverse inscription INVICTA ROMA, and recalls the ancient silver coins of the Republic. This Senatorial coinage came to an end in 535/6 when it was briefly replaced by the portrait coins of Theodahad. In 537, after the occupation of Rome by the forces of Belisarius, this was in turn replaced by a regular 'Byzantine' imperial coinage in the name of Justinian. When Rome again fell under Ostrogothic control and the mint was reopened in 549, the coinage issued there was purely royal and Ostrogothic in character. This series may therefore be rightfully described as the final issue of coinage struck by the ancient Romans in their own name.
Lot 479
Anonymous AR Didrachm. Rome, 234-231 BC. Laureate head of Apollo right / Horse prancing left, ROMA above. Crawford 26/1. 6.51g, 19mm, 11h. Extremely Fine. Pleasant old tone. Privately purchased from Tradart. 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 184
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 prefectly centred on a very large flan. Ex Roma Numismatics VI, 29 September 2013, lot 544. 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, follwed 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.
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