Sir John Lavery RA RSA RHA (1856-1941) PORTRAIT OF LADY BARRON TOTTIE, 1905 oil on canvas signed upper right; bearing Art Museum of the America's exhibition label on reverse Private collection in England until 1977; Christie's London, 17 November 1978, lot 147;with The Belgrave Gallery, Ltd., London; Kate Moffatt, London, 1983; Private Collection (location not specified), 1984; Christie's South Kensington, 30 April 1984, lot 11;With St. Luke's Gallery Washington, D.C.;Nizar and Ellen Jaudat;Private collection ‘Masters of Modern British Painting 1890-1945’, 1977, London, Belgrave Gallery, no. 20 (illustrated in catalogue);‘Off the Mall: Inside Washington’s Foremost Art Galleries’, 15 September to16 October 1993, Washington DC, TheArt Museum of the Americas (lent courtesy of St. Luke's Gallery, Washington D.C.);‘A Celebration of Faces, Portraits as Reflections of European Society’, 1600-1900, October 1995, Washington DC, StLuke’s Gallery, Washington D.C Walter Shaw-Sparrow, John Lavery and his Work, 1912, Kegan Paul, Trench, Trübner & Co., p.186;Ferdin and Proztman, ‘Portraits as Windows to the Psyche’, Washington Post, 14 October 1995 Orchestrating blacks – symphoniser les noirs – was, according to Selwyn Brinton, one of the chief ‘notes’ of John Lavery’s art.Writing in 1908, he was aware of the fact that the national galleries of Germany and Belgium already possessed classic Lavery depictions of ‘ladies in black’, and as he studied the portrait of Mrs Trevor (Ulster Museum, Belfast), he realised that this subtlest of aesthetic games, ‘derived perhaps in its inception from Whistler’, remained a formidable challenge.1 From his earliest encounters with the American artist, Lavery had seen suave studies in black. He was in the French capital as a student when The Artist’sMother (Musée d’Orsay, Paris) was shown at the Salon, and subsequent visits to Whistler’s studio would have introduced him to a cavalcade of ‘arrangements’ and ‘harmonies’ in which black inevitably played a part. But this fascination did not derive exclusively from the American: it was there in the wonderful Prado portraits by Velazquez that Lavery copied in 1892. There was thus a powerful aesthetic impetus driving the Irish artist’s orchestration of blacks in Mrs Tottie’s portrait in 1905 (lot 41).Mary Barron Tottie (née Blake) was the daughter of Captain Francis Barron Blake of the US Navy and grand-daughter of Commodore George S Blake, Superintendent of the US Naval Academy at the time of the American Civil War. She grew up in Boston. Her husband, William Harald Tottie, son of a Swedish Consul had, after studying at Cambridge University, become a merchant banker in Shanghai. It is not known how they met. Their sons, Oscar William and Eric Harald Tottie were killed in the Great War on the same day in 1914, and thereafter Mary and her husband threw themselves into supporting the war effort. The Winkfield District Magazine tells of her organising local women in the production of bandages and mosquito nets.Ten years earlier, when Lavery’s portrait practice was booming and he was painting European aristocrats and American actresses, he was occasionally criticised for not seeing beyond the surface, the ‘exquisite screen’ of a ‘sweet face’. Mrs Tottie’s portraitcontradicts this assumption. She addresses the spectator directly. She is not coy, nor is there a false allure in the way she returns our gaze. She is every inch a character from Henry James – serious, forceful, honest, determined, and while not devoid of charm,a woman who is not play-acting.Prof. Kenneth McConkeyAugust 20171 Selwyn Brinton, ‘Recent Paintings by John Lavery RSA, RHA’, The Studio, vol XLV, December 1908, p. 178. 44 by 34in. (111.8 by 86.4cm)
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McLAREN, Moray. The Capital of Scotland. A Twentieth-Century Contemplation on Edinburgh, published for The Right Honourable Sir Andrew Murray, Lord Provost of the City, Edinburgh, Douglas & Foulis, 1950, LIMITED EDITION, limited to five hundred signed copies, one hundred of which are for sale, 8vo., original calf, gilt, edges lightly soiled, in original slip-case box.
Alcock, Sir Rutherford: The Capital of the Tycoon. A Narrative of a Three Years' Residence in Japan. Longman, Green,.. 1863, 1st. edn. PP: xxxi, (i)Errata, 469; x, 539. With 2 coloured folding maps and 16 colour plates. Original green gilt and embossed buckram; occasional foxing; otherwise a very good set. (2)
Pair contemporary silver Corinthian column candlesticks with fluted stems and stepped bases, separate sconces (London 1962), maker - D. J. S., 24.5cm overall height CONDITION REPORT Both sticks have surface scratching and some denting, particularly around the square bases. No holes although high spots are worn. One stick, the Corinthian capital is bent and top surface is damaged. Sconces are good, one slightly destorted, marks clear
Frederick Benjamin Francis (1884-1959). A pair of 1930's coloured marble models of falcons, 12in.Note: Frederick Francis was a sculptor and carver who undertook many important commissions in London and further afield. His works in the capital include the gates of Buckingham Palace, the final phase of the Victoria and Albert Museum, the Guards Memorial, the Stockwell War Memorial and the massive pediment of Africa House. The latter was carved over a period of 18 months and was regarded by Francis as his finest work.
A collection of wood working tools in a wooden boxNote: Formerly the property of Frederick Benjamin Francis (1884-1959), a sculptor and carver who undertook many important commissions in London and further afield. His works in the capital include the gates of Buckingham Palace, the final phase of the Victoria and Albert Museum, the Guards Memorial, the Stockwell War Memorial and the massive pediment of Africa House. The latter was carved over a period of 18 months and was regarded by Francis as his finest work.
19th-early 20th century AD. A group of twelve manuscripts consisting of: one with Hebrew text, ten Coptic in Greek and Coptic text, some with Arabic to the side; one in Latin with red sentence headers and panel with decorative capital in form of a dragon. 39 grams total, 9-27cm (3 1/2 - 10 1/2"). Property of an Canadian lady; acquired 1970s-1990s. [12, No Reserve] Fine condition.
Caracalla Æ Sestertius. Rome, AD 215. M AVREL ANTONINVS PIVS AVG GERM, laureate, draped and cuirassed bust right / P M TR P XVIII [IMP III] COS IIII P P, Isis standing right, holding sistrum and presenting grain ears to Caracalla standing left, holding reversed spear, foot on crocodile between. BMCRE 287; C. 334; RIC 544. 18.25g, 31mm, 7h. Near Mint State. Ex E. P. Nicolas Collection, Maison Platt, 9-10 March 1982, lot 597. This type records the infamous visit of Caracalla to Alexandria, the capital of the province of Egypt. Since the conclusion of his campaign against the Alamanni in 213-4, it had become apparent that the emperor was unhealthily obsessed with the great Macedonian conqueror Alexander the Great. At this point he appears to have begun openly emulating Alexander in his personal style. Indeed, Cassius Dio (78.7-78.23) relates that “he was so enthusiastic about Alexander that he used certain weapons and cups which he believed had once been his, and he also set up many likenesses of him both in the camps and in Rome itself. He organised a phalanx, composed entirely of Macedonians, sixteen thousand strong, named it ‘Alexander's phalanx’, and equipped it with the arms that warriors had used in his day.” Caracalla’s visit in 215 to Alexandria while on his way east should then have been a happy occasion. However the emperor, “hearing that he was ill-spoken of and ridiculed by them for various reasons, not the least of which was the murder of his brother... concealing his wrath and pretending that he longed to see them... first greeted [the leading citizens] cordially... and then put them to death. Then, having arrayed his whole army, he marched into the city, after first notifying all the inhabitants to remain at home and after occupying all the streets and all the roofs as well. And, to pass over the details of the calamities that then befell the wretched city, he slaughtered so many persons that he did not even venture to say anything about their number, but wrote to the senate that it was of no interest how many of them or who had died, since all had deserved to suffer this fate.”
Epeiros, Epirote Republic AR Didrachm. Circa 234-168 BC. Jugate heads right of Zeus Dodonaeus, wearing a wreath of oak leaves, and Dione, diademed and draped; monogram ΑΥΤΚ to left, monogram of ΑΥΡΚ below / Bull charging to right, ΑΠΕΙ above, ΡΩΤΑΝ below; all within oak wreath. Franke 21; SNG Copenhagen 107; Weber 3024. 9.64g, 27mm, 9h. Good Very Fine. Very Rare. From a private German collection. While the coinage of the Epirote Republic is quite frequently encountered, the issues of didrachms are very rare. The obverse type of the jugate heads of Zeus and Dione is a civic emblem representative of the great shrine at Dodona in Epeiros, that was regarded as the oldest Hellenic oracle and second only in prestige to the great oracle of Delphi. In 233 BC the murder of Deidamia, last surviving member of the Aeacid royal house that claimed its descent from Achilles, brought the Epirote monarchy to an abrupt extinction and a federal republic was set up, though with diminished territory. Western Akarnania had asserted its independence, and the Aitolians had seized Ambrakia, Amphilochia, and the remaining land north of the Ambrakian Gulf. The new Epirote capital was therefore established at Phoenike, the political centre of the Chaonians. Epeiros did however remain a powerful entity, unified under the auspices of the Epirote League as a federal state with its own synedrion, or parliament. In the following years, Epeiros faced the growing threat of the expansionist Roman Republic, which fought a series of wars with Macedon. The League remained neutral in the first two Macedonian Wars but split in the Third Macedonian War (171–168 BC), with the Molossians siding with the Macedonians and the Chaonians and Thesprotians siding with Rome. The outcome was disastrous for Epeiros; Molossia fell to Rome in 167 BC and 150,000 of its inhabitants were enslaved.
Parthia, Andragoras AR Tetradrachm. Ekbatana, circa 246/5-239/8 BC. Turreted head of Tyche right, wearing pendant earring and necklace; monogram of Andragoras behind / Athena standing left, wearing helmet, long chiton and himation, holding owl on extended right hand and resting left hand on grounded shield, transverse spear in background; ANΔPAΓOPOY to right. Mitchiner 20; BMC 3-4, pl. xxviii, 2-3. 17.08g, 25mm, 6h. Good Extremely Fine. One of exceedingly few known examples, in outstanding condition for the type which is otherwise almost uniformly well worn, and very possibly the finest surviving specimen. The following 43 lots (325-367) represent a highly important group of coins which apparently came to light in the Oxus region in the 1960s, taken to Germany in 1975 when the owners emigrated there, and subsequently exported to the USA. Principally consisting of ‘Athenian Series’ tetradrachms, didrachms and drachms, also included are some highly important issues bearing the names of Andragoras and Sophytes. Additionally, the group includes (but not presented here) a 4th century drachm of Thebes, two well-worn mid-4th century Tyre owl-type shekels, two official Athens tetradrachms, five regional Athenian imitations, an Amphipolis mint Alexander-type tetradrachm minted circa 316-311 (Price 133), another attributed to the Susa mint, circa 322-320 (Price 3850), and another from the Ekbatana mint, struck under Seleukos circa 311-295 (Price 3899). Lastly (and significantly), the group also contained one elephant-quadriga type tetradrachm of Seleukos (SC 177.5) from the Susa mint, dated 296/5-281 BC. Though the possibility that they were stray finds from the same area cannot be excluded, their condition suggests otherwise and is indicative of having been within a contained and stable environment. Consigned now after half a century of having remained in the possession of the same family, these coins have significant implications for the chronology and sequence of the coinage of Baktria and the surrounding satrapies. Moreover, they may require the reassessment of some attributions, and potentially, amendments to our understanding of regional history. It has been suggested that the Andragoras of Parthia whom Alexander the Great supposedly conferred local authority upon (Justin, xii. 4), never existed at all and is only mentioned by Justin by mistake. Andragoras was in fact not included in the partition of power at the Treaty of Triparadisus in 321 BC, when instead Philip was named as the ruler of Parthia, and in other classical sources Phrataphernes is usually mentioned as the satrap of Parthia until Philip replaced him. Philip in turn was satrap until 318 BC, when Peithon, who was then seeking to establish his power over all the Eastern provinces, made himself master of Parthia, and put Philip to death. Andragoras therefore has no secure place in the immediate chronology of post-Alexandrine Parthia. It is of course possible that Justin was mistaken about his satrapy (numerous other small satrapies existed in the area), or had his dating confused - the existence of an Andragoras who was Satrap of Parthia under Seleukos I, is uncontested. This Andragoras appears to have taken advantage of what appeared to be the imminent collapse of the Seleukid Empire in the Third Syrian War, when - following the death of Antiochus II - Ptolemy III seized control of the Seleucid capital at Antioch, to secede from the empire and make his satrapy into an independent kingdom. Following the secession of Parthia from the Empire and the resultant loss of military support, Andragoras had difficulty in maintaining his borders, and in about 238 BC the Parni invaded under the command of Arsaces and his brother Tiridates and seized control of the northern region of the Parthian territory. Andragoras appears to have been killed either attempting to retake this territory, or while resisting the Parni conquest of the remainder of Parthia. Given the evidence we are presented with, the silver coinage of Andragoras and Sophytes should be considered roughly contemporary, but it seems apparent that Andragoras’ Tyche-Athena tetradrachms slightly pre-dated the helmeted head series of Sophytes. Earlier scholarship has often tended to date the coinage of both Andragoras and Sophytes much too early, occasionally to the period immediately following the death of Alexander. The presence in this group of a somewhat worn Seleukos elephant-quadriga type tetradrachm (SC 177.5) from the Susa mint, suggests a terminus post quem of 295 BC. Further considerations on the identical monograms found on the gold and silver coinage of Andragoras (see lot 329), and a thorough review of the political history of the eastern satrapies of the Seleukid empire from 321-250 BC lead us to conclude that there can have been only one Andragoras, and that both the silver and gold coinage must date to the time of his rebellion and secession from the Empire. We therefore propose redating this series to c.246/5-239/8 BC.
Mysia, Kyzikos EL Stater. Circa 500-450 BC. Double-bodied winged sphinx standing with head facing atop tunny fish to right, wearing ouraios, hair falling in plaited locks behind / Quadripartite incuse square. Von Fritze -, cf. 128 (hekte); Greenwell -, cf. 101 (hekte); SNG France -, cf. 280 (hekte); CNG inventory 925160. 15.88g, 22mm. Extremely Fine. Extremely Rare; not more than a half-dozen examples known, and of these it is one of the best preserved and most complete. The sphinx as a type recurs frequently on the coinage of Kyzikos and new types are still being discovered today (see lot 617), yet the double-bodied sphinx is certainly the most curious depiction of this mythological monster, and the reason for it being so is not easy to divine. Greenwell (p. 102), who was citing Cousinéry, proposed that it was simply an artistic device for showing the sphinx as seated facing, 'arising from the difficulty of depicting a figure in that position'. This proposition appears plausible, until one considers that double-bodied owls are also engraved on coins at various cities including Athens, where they certainly had no problem with engraving a front-facing owl. More damning still for this simplistic view, the double-bodied sphinx appears also in statuary where again there is no logical reason to sculpt it so unless it possesses some significance - see in particular the limestone Tarentine column capital of the Corinthian order at the Metropolitan Museum, New York, and also the marble gravestone decorated with a loutrophoros supported by a double-bodied sphinx at the British Museum (both 4th century). The concept of double-bodied monsters was an ancient one, and probably originated in ancient Sumeria, as they are seen on cylinder seals from this culture, and are repeated later on ancient Iranian goldwork. Here, the double-bodied monsters probably signified a dualistic nature that is easily adaptable and can be one thing or another, or a span between two distinct yet connected elements such as sunrise and sunset. Tom Rasmussen (Corinth and the Orientalising Phenomenon) proposes that the artistic portrayal of the sphinx as a double-bodied monster was first devised at Corinth, where it can be found on a Protocorinthian olpe vase, circa 640 BC, known as the Chigi olpe which is now in the Villa Giulia in Rome. This was likely the product of a blending of Greek and Eastern imagery, yet the result is wholly original; indeed Rasmussen points out that 'Greek Orientalising is rarely straight copying of Oriental'. It has often been suggested that the electrum staters of Kyzikos take their types from a wide range of artistic sources across a broad geographical range, as might be expected for a city-state that relied almost entirely for its prosperity on being a commerce hub where east and west would meet and exchange wares and ideas. Whether or not Corinth was the origin of the double-bodied Sphinx, it is not surprising that such an intriguing motif should be adopted at Kyzikos.
Seleukid Empire, Antiochos I Soter AV Stater. Aï Khanoum, circa 280-271 BC. Diademed head right / Horned and bridled horse head to right, with braided, horn-like forelock; ΒΑΣΙΛΕΩΣ to left, ΑΝΤΙΟΧΟΥ below, pellet-in-Δ within circle at upper right. SC 426-7 (same reverse symbol position as 426, same obverse die as pl. 20, 427b); cf. ESM 676, 683-4. 8.43g, 16mm, 7h. Good Extremely Fine. An apparently unique variety of an exceedingly rare issue. Newell (The Coinage of the Eastern Seleucid Mints from Seleucus I to Antiochus III) attributed the important series of gold, silver and bronze coins, of which the present specimen is an exceptionally rare and beautiful example, to Baktra, the capital city of Baktria. Subsequent excavations at Aï Khanoum, which was perhaps the Alexandria Oxiana mentioned by Ptolemy (6.12.6), revealed many coins there of the type assigned to Baktra. A more thorough study by Kritt (Seleucid Coins of Bactria, pp. 27-30), utilising the newly discovered information, reassigned the entire Baktra series to Aï Khanoum. The existence of an active mint there was confirmed by the excavation of a large palace complex complete with administrative offices, treasury and unstruck bronze flans. This reattribution was further supported by the discovery of a bronze coin depicting the river Oxus – a type appropriate to Aï Khanoum, but not Baktra. Antiochos I himself was possibly in residence at Aï Khanoum when he received word of his father’s assassination. Houghton and Lorber (Seleucid Coins, p. 151) note that this city’s monetary output grew in importance during Antiochos’ sole reign, probably rendering other local coinages obsolete. The horned horse head type has often been mistakenly thought to represent Alexander’s beloved warhorse Bukephalas, which apart from the mythical Pegasos was certainly the most celebrated horse of antiquity. The type was instituted by Seleukos, who used it at Pergamon for a brief issue of commemorative silver, at Apameia and Carrhae for small bronze, and at Ekbatana for an extremely rare issue depicting both horned horse and rider. Used more extensively by Antiochos I, the horned horse head seems, according to Miller and Walters (Seleucid coinage and the legend of the horned Bucephalas, SNR 83, 2004) “to have been a personal symbol of Seleukos I, and not an oblique claim to legitimisation via reference to Alexander’s favourite steed”. Several scholars including Hoover (1996) cite a statue mentioned by John Malalas (Chronographia, c. AD 491-578) which he says bore the inscription: “On this Seleukos fled Antigonos and was saved; returning and conquering him, he destroyed him.” It is clear that the use of bulls’ horns comes to represent royalty and divinity, a custom perhaps derived from ancient near-eastern religious motifs, and the usage of such horns was perpetuated on the portraits of Seluekos II, Antiochos III, and several later Baktrian kings. If Malalas may be believed then, the present horned horse type could easily represent this honoured steed that saved Seleukos - it is certainly the only horse we have any mention of in connection with him.
Carthaginian Spain, Barcid Dominion AR Shekel. Time of Hasdrubal the Fair. Akra Leuka, circa 229/8 BC. Diademed head of Eshmun-Adonis left / Horse standing right. L. Villaronga, Las monedas hispano-cartaginesas, Barcelona 1973, Class IV, 60 (same dies); ACIP 557 (same dies); AB 490 (Cartagonova). 7.19g, 22mm, 12h. Good Very Fine; Punic(?) graffito on obv. Extremely Rare, only three specimens recorded by Villaronga, one other in CoinArchives. In 237 BC Hamilcar Barca, after having lost the First Punic War against Rome, but having won the Mercenary War against the Libyans, disembarked at Gadir with a Carthaginian expedition with the purpose of "re-establishing Carthaginian authority in Iberia" (Polybios, Histories, 2.1.6), and within 9 years he had expanded the territory of Carthage well into the Iberian peninsula, securing control of the southern mining district of Baetica and Sierra Morena, before dying in battle in 228. Hamilcar was succeeded by his son-in-law Hasdrubal the Fair who expanded the new province by skilful diplomacy and consolidated it with the foundation of Akra Leuka (Greek: White Mountain or White Point, modern Alicante), Mahon and finally in 227, Qart Hadasht (= New Carthage = Latin: Carthago Nova, modern Cartagena), originally named Mastia, as his capital.
![Cleopatra and Marc Antony AR Denarius. Uncertain Eastern mint, autumn 34 BC. CLEOPA[TRAE•R]EGINAE•REGVM•FILIORVM•REGVM, diade](https://cdn.globalauctionplatform.com/6ed11be1-d96e-48f0-9b95-a7de01046e04/4bc0a717-5e4c-4f9d-c0c6-4394f1e8e97a/468x382.jpg)
Cleopatra and Marc Antony AR Denarius. Uncertain Eastern mint, autumn 34 BC. CLEOPA[TRAE•R]EGINAE•REGVM•FILIORVM•REGVM, diademed and draped bust of Cleopatra right; [at point of bust, prow right] / ANTONI•ARMENIA•DEVICTA, bare head of Marc Antony right; Armenian tiara to left. Crawford 543/1; CRI 345; RSC 1. 3.65g, 20mm, 12h. Good Extremely Fine. Two bold, well-preserved portraits of fine style. Very Rare. Issued in the wake of the successful campaign against Armenia in early-mid 34 BC, this type proudly commemorates the victory with the legend 'Armenia Devicta' (Armenia vanquished). In the execution of his war on Parthia in early 36 BC, Antony had followed the advice of the Armenian king Artavasdes to invade Parthia not from the West (which would have been the shortest route) but from the North, subduing the Parthian allied kingdom of Media Atropatene along the way, whose king was (conveniently) an enemy of Artavasdes. At the fortified town of Phraaspa however, the attack foundered and Artavasdes abandoned Antony in the face of the enemy, allowing his logistics train and two legions to be massacred in an ambush. Following a failed two-month siege of Phraaspa, Antony was forced to call off the campaign and effect a fighting retreat back to friendly territory, in the course of which no fewer than eighteen battles were fought. Antony arrived back in Syria by late 36 BC, having lost about 40% (some 80,000 men) of his original force. In early 34 BC, after variously attempting to lure Artavasdes out to meet with him to discuss marriage proposals and renewed war on Parthia, pleasant inducements and entreaties through the king's companions, and then a forced march to the capital Artaxata and what Cassius Dio describes as 'aggressive use of his soldiers', eventually Antony convinced Artavasdes to come to his camp, where the king was promptly arrested. Antony proceeded to plunder the country as best he could, and returned to Alexandria with his captives: King Artavasdes, his wife, and his family. There he celebrated a mock Roman triumph – an eastern pastiche of Rome's most important military ceremony – wherein Antony paraded through the streets in a chariot with his captives walking behind him. Cleopatra watched, seated high above with Caesarion at her side. As a grand finale, the whole city was summoned to the gymnasium to bear witness to a political statement which became known as the Donations of Alexandria. Antony and Cleopatra, dressed as Dionysus-Osiris and Isis-Aphrodite, sat on golden thrones while Antony distributed kingdoms among his children by Cleopatra: Alexander Helios was named king of Armenia, Media and Parthia, his twin Selene was awarded Cyrenaica and Libya, and the young Ptolemy Philadelphus was given Syria and Cilicia. Cleopatra was proclaimed Queen of Kings, a title evidenced on the obverse of this coin type, which also names 'her Children, who are kings'. Most damaging of all to his relations with Octavian was the naming of Caesarion as a legitimate son and heir of Julius Caesar. This caused a fatal rupture of Antony's relations with Octavian, and Rome. When the triumvirate officially expired on the last day of 33 BC it was not renewed, and the Roman world again found itself at war.
Byzantine Empire Æ Three Unciae Commercial Weight. Circa 5th-7th Century AD. Γ° Γ; menorah above, all within wreath divided by four annulets; circular border containing annulets / Blank. Cf. Bendall 116. 74.62g, 38mm, 9mm thick. An attractive circular commercial weight with a pleasing patina. Recessed top, two grooves around the edge. Engraved on this remarkable Jewish-Byzantine three-unciae official imperial weight, in the typical ‘angular chisel’ technique often favoured in this period, is with what Christians at the time would have considered a blasphemous image replacing the usual Christian Holy Cross. It was conceivably engraved at the time of the Byzantine-Sasanian War of 602-628 CE, when many disgruntled Jews sided against the Byzantines in the Jewish revolt against Heraclius, which successfully assisted the invading Persians led by Khosru II in conquering the Byzantine Empire’s richest provinces in the Diocese of the East: Antioch in 611, Jerusalem in 614, Alexandria in 619 and the rest of Egypt by 621. Most of the Byzantine mints closed at this time, with the exception of that of the second city of the empire, Alexandria, which continued to produce imperial standard bronze coin denominations in the form of 12, 6, 3 and 1 nummi, without imperial titles, but with the characteristic Persian symbols of the sun and moon (cf. MIB 202, 211, 214 and 215). Another possible period for this Jewish-Byzantine weight might be after the death of Muhammad in 632 and the rise of the first Caliph Abu Bakr, who set in motion a military expansion that in a few short decades overwhelmed the whole the Levant, starting with the province of Syria in 634, the Exarchate of Africa in 686 and Visigothic Spain by 712-716. The new Islamic authorities in Syria, North Africa and Spain continued the Byzantine monetary system by issuing what we call Arab-Byzantine coins, until they were gradually replaced by the Umayyad Post-Reform coinage starting in 696/7 (77H) with its own well recorded weights and measures (cf. G. Bernardi, ‘Umayyad Caliphate Globular Coins’ in Arabic Gold Coins I, Trieste 2010, pp. 101-104 and S. Album, Checklist of Islamic Coins, Santa Rosa 2011, 115-124). These Muslim invaders were seen as a liberating force by the long suffering Jewish population within the Christian empire. Eager to aid the Arab invaders in administering the newly conquered territories many towns and garrisons were left in the hands of the Jews while the invaders proceeded further west and north. The destruction of the Second Temple by Titus in 70 CE and the subsequent triumphal procession in Rome was a momentous event celebrated by many coin issues over several years and the erection of a triumphal arch in the Forum. The renowned Arch of Titus depicts Roman soldiers carrying away the spoils of the Second Temple, in particular, the seven-branched menorah, or candelabrum. The menorah was then deposited in the temple of Pax, where it remained until it was looted by the Vandals in 455 and taken to their capital, Carthage. After the fall of Carthage in 533 to the Byzantine general Belisarius the menorah was removed to Constantinople and later sent to Jerusalem (Prociopius, Vandal Wars IV.9.5). There exists no record of it after this and it was probably destroyed when Jerusalem was sacked by the Sasanian Persians in 614, when the Holy Cross was carried off to Ctesiphon. After the destruction of Jerusalem at the end of the Bar Kokhba War in 135, the menorah had become the iconic symbol of the Jewish Diaspora and the festival of Sukkot. In a religiously tolerant pagan Roman Empire the menorah image was placed prominently on signet rings, lamps, and amulets and even appears in the roundels of prestigious Roman gold glass cups, along with other Jewish symbols. With Constantine I the empire became Christian, and under the Theodosian Code of 404 Jews were excluded from certain governmental posts and by 425 all public offices, both civilian and military - a prohibition that was repeated under the Justinian Code of 545. Although the Justinian Code remained in force in the Eastern Empire until the ninth century, the period following Justinian's reign was generally characterised by tolerance of non-Christians, particularly the Jews. However, the Jewish revolt against Heraclius provoked severe anti-Jewish measures to be enacted throughout the empire and applied as far away as Byzantine North Africa, Merovingian France and Visigothic Spain, the alleged provenance of this weight. The first Visigothic rulers of Spain were not much interested in the religious affairs of the kingdom until 506, when Alaric II (484–507) published his Breviarium Alaricianum or Lex Romana Visigothorum, which adopted the laws Byzantium. Following the conversion of the Visigothic royal family under Recared from Arianism to Catholicism in 587, the situation became far worse for Jews, now subject to forced conversion, resulting in the utter embitterment and alienation of Spanish Catholic rule by the time of the Muslim invasion in 711. Under Muslim rule Jews experienced tolerance and integration and given the status of dhimmi, by which they remained second class citizens, but were accorded many rights and protections as a “people of the book’.
George II walnut bureau bookcase, circa 1720-40, having a broken cavetto moulded arch centred with an Ionic capital, over two shaped bevelled glass mirrored panels, opening to a fitted interior with a central cupboard door flanked by eight short drawers and with two further drawers beneath, pull out candle slides, the base with well figured veneers and broad crossbanding and feather banding, opening to an interior with drawers, the front having four long graduated drawers, each with brass handles, and raised on bracket feet, width 105cm, height 230cm, depth 66cm
Islamic Coins, Ottoman, Mahmud II, silver buju (Tugrali-rial), Qustantina 1246h, wt. 8.40gms (KM.83 for type but date unlisted), softly struck, good very fine and extremely rare Qustantina, modern day Constantine, is the capital of Constantine Province in North East Algeria. Coins from this mint are rare.
Statuary: Pasquale Romanelli: A carved white marble figure of Rebecca at the wellcirca 1870signed P. Romanelli, Florence 105cm high Pasquale Romanelli 1812-1887 was a pupil of Luigi Pampaloni and Lorenzo Bartolini in Florence. He took over Bartolini's studio after he died. He became a very prominent sculptor creating many public monuments in Italy and exhibited his work in both Paris and London. He was well known for his sensuous sculptures of allegorical, biblical and mythological figures of women. His son, Raffaello Romanelli and grandson, Romano Romanelli were also renowned Italian sculptors.Provenance: Sotheby's Sussex Garden Statuary and Architectural Items, 25th September 1990, lot 337. Now being sold by a direct descendant of the sculptor.Pasquale Romanelli was born in Florence on May 28, 1812. As was still often the custom then, he entered an apprenticeship in a studio producing sculptures in alabaster, studying in his free time and reading every book he could procure. Alabaster, Or Castellina marble, being much softer to carve than other marbles, makes a very good material with which to begin. Pasquale made such progress that soon he joined the apprentices in the studio of Luigi Pampolini, who trained him in the skills of working statuary marble. He was rapidly promoted to assisting the master in the carving of the statues of 'Arnolfo di Cambio' and of 'Filippo Brunelleschi', now placed in the Cathedral Square in Florence.Pasquales' skill was such that the already then famous Lorenzo Bartolini, professor of sculpture at the Academy of Fine Art, invited him to enter his studio in Borgo San Frediano, and to attend his courses at the Academy too. He became Bartolinis' most gifted pupil, and certain commissions were passed to him to do. Pasquale worked on the statue of Francesco Ferruci, placed then in a niche of the Loggiato of the Uffizi Gallery. He soon opened a studio of his own.In 1840 Pasquale exhibited his work entitled 'The son of William Tell'. The sculpture alluded to the desire of the people for independence. It met with such success that it was subsequently given a prize at the New York Exhibition of 1854 and also at the 1861 first Great Italian Exhibition, which followed the Unification of Italy in 1860. The statue was bought by King Vittorio Emanuele II.Alongside his love of art, Pasquale Romanelli had a passionate love for his country. He became a member of the revolutionary groups that urged the war of independence from the Austrians. He had enrolled in the volunteers to fight following their defeat in 1848 and 1849 he was forced, with the rest of them, to go into hiding in the wild country of Maremma.It was not until calm reigned again in 1850 that he had been able to return to Florence to continue with his sculpture. In the same year Lorenzo Bartolini died. Pasquale acquired the studio in Borgo San Frediano, and it was to him that was entrusted the task of completing the several great monuments that were unfinished at the time of Bartolinis' death. These included the immense monument to Prince Nicola Demidoff, a complex work with many figures besides that of the Prince. Pasquale went on to create works of this own such as ' The Genius of Italy', 'Italy Deluded', exhibited at the Exhibition in Paris, but for the moment too politically sensitive in 1859, and thus before unification, for exhibiting in Italy. Infact 'The Genuis of Italy' arrived in Paris with its legs broken. It had been vandalized by Pasquales' enemies and Pasquale subsequently refused to sell it at any price so it has remained in the possession of his heirs to this day.After Unification, Florence became the capital of the new Italy for a few years, and commissions flowed. Pasquale received numerous commissions from America and form England. He opened a Gallery on the Lungarno Acciaioli where completed works could be sold direct to the public, including all those travelling on the Grand Tour.Pasquale won various prizes. In 1863 he made the monument to Fossombroni at Arezzo, in 1864 the monument to Count Alessandro Masi for the Certosa of Ferrara. In 1868 he too, was appointed Professor of Sculpture of the Academy of Fine Art of Florence.Amongst his works were 'The boy Washington', bought by Principe Amadeo, portraits of Vittorio Emanuele II, of Prince Albert consort of Queen Victoria. He also made a portrait of Bartolini as part of the monument erected on Bartolinis' tomb in the church of Santa Croce. Pasquale died in 1887.
GIRL POWERby David Graham1450 mm long x 920 mm high x 700 mm deep, 36 kgThis design depicts a selection of leading ladies from Jane Austen's many novels and acknowledges them as individual heroines, each with their individual traits and style. Austen's intriguing female characters have specific characteristics. Together her female form is a formidable force to be reckoned with, similar to comic book super heroes and their fantastic super powers. The bright colours of the design are in contrast to some of the more sombre hues associated with scenes from Austen's book in order to deliberately emphasise the vitality and relevance of her work in today's society. Austen empowers women.David GrahamDavid is Head of Creative Arts at an all girl's school in Liverpool, where he specialises in Graphic Design and experiments with a wide range of other 2D, 3D and digital media including costume, film and yarn-bombing.David first came across the Wild in Art public sculpture trails when the Superlambananas appeared in the streets of his hometown to celebrate Liverpool becoming the 2008 European Capital of Culture. Since then, he has designed and created a baron for the Baron's Charter in Salisbury, an owl for The Big Hoot in Birmingham, a pig for The Pigs Gone Wild trail in Ipswich and more, and this summer has a number of sculptures appearing for the first time across the country.The Sitting with Jane BookBenches particularly appealed to David as he was keen to celebrate the English heritage associated with Austen as well as the characters of her female characters. His bench designs are in stark contrast to each other.
SHALL WE DANCE?by David Graham1450 mm long x 920 mm high x 700 mm deep, 36 kg This design celebrates Jane's love of dance - the faded images are reminiscent of musical scores, and shows the floorplan and facade of The Vyne, where Jane was known to dance.David GrahamDavid is Head of Creative Arts at an all girl's school in Liverpool, where he specialises in Graphic Design and experiments with a wide range of other 2D, 3D and digital media including costume, film and yarn-bombing.David first came across the Wild in Art public sculpture trails when the Superlambananas appeared in the streets of his hometown to celebrate Liverpool becoming the 2008 European Capital of Culture. Since then, he has designed and created a baron for the Baron's Charter in Salisbury, an owl for The Big Hoot in Birmingham, a pig for The Pigs Gone Wild trail in Ipswich and more, and this summer has a number of sculptures appearing for the first time across the country.The Sitting with Jane BookBenches particularly appealed to David as he was keen to celebrate the English heritage associated with Austen as well as the characters of her female characters. His bench designs are in stark contrast to each other and 'Shall We Dance' reflects on the history of architecture, music and dance with a limited palette of sombre colours.
PUNK/HARDCORE - Manic selection of 9 x LPs/12". Artists/titles are Insted - Bonds Of Friendship (US original GRI6019-1 - Ex+/Ex with insert and merch inner), ??? - Virus Compilation Jap (JH 108 - Ex/Ex w/insert), Kraut - An Adjustment To Society (K-003 - VG+/VG), Discharge -Warning: Her Majesty's Government Can Seriously Damage Your Health (PLATE 5 - Ex/Ex), Capitol Punishment - Slum With A View (UR-011 - Ex+/Ex+ w/insert), Capital Scum - Tsjerno Kills (HH 005 - Ex copy), Heresy - Face Up To It! (FACE 01), Black Flag - Wasted Again and Annihilate This Week. Condition is generally Ex to Ex+.
A decorative green onxy Column, the top with gilt metal Ionic style capital and brass fitting marked, '2 3 5', decorated with classical floral swags, upon a gilt metal circular base in the form of a classical floral garland, upon a square stone plinth, onyx cracked at base, 37in (94cm) high.
A large oval lacquered plaque with mother of pearl inlay depicting Chua Thien Mu, the Heavenly Lady Pagoda, situated on the banks of the Perfumed River in the Imperial capital of Hue, height 88cm and a smaller oval lacquered plaque with mother of pearl decoration with central decoration of Mary and Joseph with the infant Jesus within a floral and bead border, height 47cm (2).
AN EDWARDIAN SILVER PLATED ELECTRIC TABLE LAMP BASE, makers Walker & Hall, the foliate capital issuing from a tapering fluted stem and supported upon the backs of three recumbent camels, on a straight gadrooned angular trefoil base raised upon three paw feet, 16" to capital (Est. plus 18% premium inc. VAT)
Blackwell (John, Merchant, ex-Governor of Pennsylvania). An Essay Towards Carrying on the Present War against France and other Publick Occasions. As also, for Paying off all Debts Contracted in the same, or otherwise. And New-Coyning of all Our Moneys, without Charge, to the great Encrease of the Honour, Strength, and Wealth of the Nation..., 1st edition, Printed for the Author, 1695, [2],30pp., some cropping to running titles and catchwords, 20th century marbled wrappers, slim 8vo (Wing B3093, Kress 1866), together with Ireland, The Report of the Commissioners appointed by Parliament to Enquire into the Irish Forfeitures, Deliver'd to the Honble. House of Commons the 15th of December, 1699. With their Resolutions and Addresses to His Majesty Relating to those Forfeitures..., 1st edition, Edw. Jones & Tim. Goodwin, 1700, 32pp., light toning and scattered spotting, edges untrimmed, disbound folio (Wing E2704AD), with [Rymer, Thomas, attributed author], To the Two Universities, an Epistle. Together with a Prediction concerning the French; Translated out of Callimachus..., 1st edition, Richard Baldwin, 1691, [4],8,4pp., fore-edge of advertisement leaf torn to lower outer blank corner, light dampstaining, modern marbled wrappers, small folio (Wing T1751), with Clavell (Robert, publisher), An Historical Description of the Glorious Conquest of the City of Buda, the Capital City of the Kingdom of Hungary..., 1st edition, 1686, [4],68pp., two small strengthening repairs at foot of title, some dampstaining, 20th century wrappers, slim 4to (Wing H2102), plus seven other late 17th & 18th century pamphlets including five disbound, slim 4to & folio (11)
Lysons (Daniel). The Environs of London: Being An Historical Account of the Towns, Villages and Hamlets, Within Twelve Miles of that Capital..., volumes 1-4, 1796, 68 black and white plates, volume 1 title page repaired, some light wear and spotting, An Historical Account of Those Parishes in the County of Middlesex, which are not described in the Environs of London, 17 black and white plates, some spotting, all with new endpapers, and rebound in uniform modern brown half morocco to marbled boards, 4to, together with J.P. Segg & Co, publisher, London And Fashionable Resorts (Illustrated): A Complete Guide to the Places of Amusement..., A Directory, 1890, colour title page, numerous monochrome illustrations, and advertisements, some light toning, original gilt decorated red cloth, covers toned and marked, spine rubbed with some loss, 8vo, and Clode (Charles M.), The Early History of the Guild of Merchant Taylors of the Fraternity of St. John the Baptist..., volumes 1 & 2, 1888, some light spotting, uniform original green cloth, 8vo, plus other 19th century and modern London reference, and related, some leather bindings, mostly original cloth, G/VG, 8vo/4to (6 shelves)
DUKE OF WELLINGTON - 4pp. ALS., 51 lines, dated from Walmer Castle (Kent) Sept 27, 1839. * to a Mr. Willis, Musical Library, Lower Princes Street, London; requesting 'a capital male & female singer' to perform at a 'loud musick' event the Duke was to host at the Castle in October; 'I have a Piano Forte in the House'.
88-95 AD. Group comprising denarii with reverse of: Minerva standing right on capital of rostral column, holding spear and shield, owl at foot, consular year 16; bust left with Salus standing right, resting on column; Minerva standing right on capital of rostral column, holding spear and shield, owl at foot, consular year 16; Minerva standing left, holding thunderbolt and spear, consular year 14; Minerva standing left, holding spear, consular year 17. RIC 730; RSC 274/RIC 1085; RSC 385/RIC 740; RSC 281/RIC 669; Sear 2732/RIC 773; RSC 286. 16.19 grams total. . [5] Good fine to near extremely fine. Second rare with bust left.
88-95 AD .. Group comprising denarii with reverses of: Minerva standing right on capital of rostral column, holding spear and shield, owl at foot, consular year 14; Minerva standing right on capital of rostral column, holding spear and shield, owl at foot right, consular year 17; Salus standing right, leaning on column and feeding serpent in arms; Minerva advancing right, holding spear and shield, consular year 7; Minerva standing right on capital of rostral column, holding spear and shield, owl at foot right, consular year 17. RIC 668; RSC 253/RIC 788; BMCRE 231; RSC 293/RIC 1084 [Vesp]; RSC 384; Sear 2642/RIC 28/RIC 788; BMCRE 231; RSC 293. 16.27 grams total. . [5] Fine to good very fine.
15th century AD. A gold finger ring comprising a facetted D-section hoop, expanding shoulders, octagonal bezel with beaded border, capital 'I' with crown above, flowers to the sides, 'Λ' below. [A video of this lot is available on the TimeLine Auctions website] Cf. Chadour, A.B. Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994 item 609. 12 grams, 25mm overall, 20.98mm internal diameter (approximate size British W 1/2 USA 11 1/4 Europe 25.66 Japan 24) (1"). Property of a central London collector; acquired from a large private collection formed in the 1980s. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. Very fine condition. A very large wearable size.
76-95 AD. Group comprising denarii with reverses of: Minerva standing left, holding thunderbolt and spear, consular year 17; Minerva standing left, holding thunderbolt and spear, consular year 15; Pegasus standing right; Minerva standing right on capital of rostral column, holding spear and shield, owl at foot, consular year 16; wreath on a curule chair, consular year 8. RIC 789; RSC 291/RIC 726; RSC 268/RIC 921 [Vesp]; Sear 2637/RIC 740; RSC 281/RIC 95; RSC 595; Sear -. 16.58 grams total. . [5] Fine to Good very fine.
Later 1st millennium BC. A bronze bowl with broad discoid foot, balustered stem, conical fluted bowl with broad everted rim. 2.1 kg, 35cm (13 3/4"). From an important private London collection; formed in the 1970s and 1980s. In the wars of the successors, after the death of Alexander the Great, Seleukos I Nikator, the founder of the Seleucid dynasty, seized the largest part of Alexander's empire. In 281 BC, his kingdom stretched from western Asia Minor to northwest India. It was centred on northern Syria with the capital at Antioch on the River Orontes and secondary capitals at Sardis in the west and Seleucia on the Tigris in the east. In the second century BC the kingdom began to fragment with separatist kingdoms being established in Asia Minor, such as Pergamon and Bithynia, and in the east with the kingdom of Bactria, and some territories falling to Parthia. After a period of dynastic chaos the kingdom eventually fell to the Romans in 64 BC. The position of the Seleucid kingdom at the crossroads between east and west meant that a unique fusion of art styles can be seen, such as in this bronze bowl which displays clear eastern tastes in the flaring rim and naturalistic, flower-like form. Fine condition, usage wear.
Late 16th century AD. A substantial Tudor D-section gold hoop with reserved foliage on black enamel field, scrolled capital to each shoulder and initials 'A' and 'N', the plaque a fluted hexagon with disc, legend to the perimeter '+DYE TO LYVE' and disc with '+BEHOLD.THE.END' surrounding a white enamel skull in three-quarter view. [A video of this lot is available on the TimeLine Auctions website] Cf. Oman, C.C. British Rings 800-1914 London, 1974 item 85(B"). 17 grams, 26mm overall, 22.07mm internal diameter (approximate size British Z, USA 12 1/2 Europe 29.12 Japan 28) (1"). From an important private London, SW1 jewellery collection collection; acquired in the 1990s. Accompanied by a positive X-Ray Fluorescence metal analysis certificate. Very fine condition. A large wearable size.
80-93 AD. Group comprising denarii with reverses of: Minerva standing left, holding thunderbolt and spear, consular year 13; Minerva standing right on capital of rostral column, holding spear and shield, owl at foot, consular year 17; Minerva standing right, holding spear and shield, consular year 7; Pegasus standing right; Minerva standing right on capital of rostral column, holding spear and shield, owl at foot, consular year 16. RIC 509; RSC 215a/RIC 771/RIC 268 (struck under Titus)/RIC 921 [Vesp]; Sear 2637/RIC 740; RSC 281. 16.83 grams total. . [5] Fine to near extremely fine.
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