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Click here to subscribeOriginal vintage travel advertising poster for Grasse - Capitale Mondiale des Parfums (world perfume capital) - Cote d'Azur France. Stylish image featuring a smiling lady with flowers in her flowing hair, as well as trees, people working in a field, a town by the mountains leading to the coast in the distance with a moon above. Published for the Tourist Authority of Grasse. Excellent condition. France,1970s. Designer: Steve Carpenter. Size (cm):94x58.5
Original vintage travel advertising poster for Aggies Hotel Apia - Extends to you the Typical Samoan Welcome featuring a fantastic image of a Samoan lady dressed in traditional clothing and wearing an ornamental headdress offering a drink from a bowl to visitors (a ceremonial 'ava / kava root drink served from a tanoa / laulau bowl in a tauau / ipu tau cava coconut cup) against a tribal design on the background, the text below in stylised black letters. Aggie Grey (Agnes Genevieve Swann; 1897-1988) was a popular and well known hotelier who founded her first hotel in 1933 in Apia (the capital of Samoa), hosting many famous actors and authors; the hotel resorts are now part of the Sheraton hotel chain. Printed by Payne Suva. Good condition, creases on top and bottom margins, light staining in left margin. Samoa,1960s. Designer: Unknown. Size (cm):63.5x51
An Edwardian brass Corinthian column table lamp, on square base, 37cm to top of capital, with a cast brass wall mirror decorated with masks and scrolls, 50cm x 29cm (2) Lighting lots are sold as decorative items only. Prospective buyers must consult with a qualified electrician before use / installation of these items.
SHEFFIELD UNITED Believed to be match worn items all with the Sheffield United badge:- White short sleeve with black trimmings away shirt with Coca Cola arms flashes and 3 Flitcroft - HFS Loans on the back and front, black short s with orange line on the side, size 40 with HFS loans on the back and 4 on the front and a pair of white shorts with a black line, HFS loans on the back and 4 on the front. Plus a replica shirt, black & white stripes with Capital One shirt sponsor on the front and signed b y 16 players in black marker on the front white stripes. Good
COLLECTION OF EPs - Another stunning job lot collectin of 82 x EPs, featuring mainly Jazz with some Blues. Again, the vast majority are in picture sleeves. Overall condition ranges form VG to Ex+, with the majority in the VG+/Ex range. Reading like a comprehensive who's who of hte genre, htis lot contains works from Mose Allison, Miles Davis, Milt Jackson, Gerry Mulligan, Alix Combelle, Jonah Jones, Johnny Hodges, Charles Mingus, Sidney Bechet and Dave Brubeck. A wide range of labels are also featured including Phillips, Vogue, Capital, Esquire, Columbia, RCA and many more.
1978 and 1991 Collection of Wales rugby tour to Australia programmes - 4x 1978 to incl 1st test match played at Ballymore, vs Victoria, vs Queensland, vs Australian Capital Territories (VG) and 4x '91 incl Test match, vs Western Australia, v New South Wales, and v Queensland Country Origin XV (G) (8)
λ A Spanish colonial tortoiseshell casket, with silver and bronze mounts with rosettes and studs, the hinged domed lid engraved with three arches with urns of flowers, the front with a band of scrolling foliage, the sides with panels of a bird and a dog, the back with a pair of trees and birds flanking an inscription ' Se Hizo En La Mui Noble Y Leal Ciudad de Guadalaxara Nuevo Reyno dela Galicia', with a paper lined interior, late 17th century, Mexico, Guadalajara, 9.4cm high, 16.7cm wide, 7.2cm deep. Provenance: The collection of Lady Ottoline Morrell and thence by descent. The inscription translates to "Made in the very noble and loyal city of Guadalajara, (capital of) the New Kingdom of Galicia." Nueva Galicia was named by Queen Joanna and it was an autonomous kingdom of the colonial territory of the Spanish Empire. The Spanish exploration of the area started in 1531 with Nuno Beltran de Guzman, who chose the name Guadalajara for the capital after his place of birth in Spain.
λ A Dutch rosewood and ebony Baroque cabinet on stand or luiermanskastje, with ripple mouldings, the detachable cornice with a central panel carved with swags of flowers, above a pair of panelled doors, flanked by three Corinthian capital pilasters, the central one sliding to reveal a key escutcheon, enclosing a shelf, above a frieze drawer with carved lion's head masks with brass ring handles, the stand fitted with a drawer and with blind fret strapwork decoration, on cup and cover turned supports united by a stretcher and on ebonised ball feet, 17th century, 201.7cm high, 142cm wide, 59.8cm deep.
A pair of Old Sheffield Plate candlesticks, circa 1820, tapering columns applied with acanthus leaves, circular bases with leaf and scroll borders, detachable nozzles, 29 cm. high.Some copper showing through, some wear to lead-filled borders, clearly seamed columns, one capital a little loose.
21 12 bore paper cased cartridges, to include Trent, Jefferies Champion of Guilford, Eley Grand Prix Marked "T. Newton, Manchester", The Capital by J. Dixon & Son, Edinburgh, Bagnell & Kirkwood late with W.R. Pape The Pointer, The Gem, H. Atkin Ltd., London, Edwin Thompson & Co., Keswick, various shot sizes.
AUCHENTOSHAN AGED 12 YEARS - THE LORD PROVOST'S SPECIAL RESERVEActive. Dalmuir, Dunbartonshire. 700ml, 40% volume, in presentation box. THE WHISKY OF 1990Blended Scotch Whisky. Produced by Whyte & Mackay to celebrate Glasgow being named Cultural Capital of Europe in 1990. 2 bottles. CONDITION REPORT: Both very good.
IN RELATION OF ALBERT, PRINCE CONSORT OF SAXE-COBURG AND GOTHA, 1819 - 1861, A VICTORIAN 18CT GOLD CRUCIFIX Engraved in capital letters 'ALBERT R', suspended by a 9ct gold box link chain and contained in a red leather and gilt box from Edward Tessier, 26 New Bond Street, London. N.B. the cross was possibly made to commemorate the death of Prince Albert in 1861,and later given as a wedding present to Helen Evans Gordon(ne Helen Francis Garth) on her wedding day to Major Alexander Evans Gordon on 5th may 1881, however,the cross could have been presented earlier to a family member,perhaps Major General Charles Spalding Evans Gordon ,or William Eden Evans Gordon for their military or parliament 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.
Floriani (Pietro Paolo) Difesa et Offesa delle Piazze, engraved architectural title, 44 engraved plates (1 large folding), a few engraved illustrations within text, title little frayed at corner (not affecting printed area), lacking portrait, some water-staining, mostly at start, occasional spotting, 20th century sheep-backed marbled boards, spine gilt and with double black leather labels, head of spine chipped, foot of spline split, rubbed, [Cockle 825], folio, Venice, Francesco Baba, 1654. ⁂ Floriana Lines are a series of fortifications outside Valletta, the capital city of Malta. They were built in the 17th Century during the reign of Grand Master Antoine de Paule, who had engaged the Italian military engineer for advice on the improvement of the defences of Malta.
A small collection of coins and other numismia, including: George III, copper twopence, Birmingham mint, 1797 (S 3776), near very fine; Bristol and Bath Copper Company, penny token, 1811, near very fine; a worn 1797 penny countermarked with a capital E; 1897 Jubilee commemorative medal, silver 26 mm (E 1817), fine; National Rifle Association, Astor County Cup prize medal, copper 38 mm, good very fine or better; a bronze coin, ' Ceasar Vesp Aug', 26mm; and various other coins, medals, coin weights and a jeton modelled on a guinea. [25]
An interesting capital reused as a labrumByzantine era, 11th - 12th century; alt. cm 25; diam. cm 45; A font (labrum) carved from a capital and characterized by wide curved grooves. The decoration is executed in high relief and consists of twelve male figures, the twelve apostles, in prayer and with a sacred text in hand.PROVENANCE:Property of a gentleman.
A carved ivory figure of Christ as the good shepherd - Indo-Portuguese, Goa, 18th Century; ; Goa was the capital of the Portuguese State of India (Estado Português da Índia, EPI), the Portuguese Overseas Empire. This popular compositional type of carved ivory statuette depicting the Good Shepherd was apparently invented in Goa (west coast of India), a Jesuit training center for missionaries. At the bottom, Christ's follower Mary Magdalene reads scriptures in a mountain cave, where, according to legend, she retired in later life. Above is a fountain of life (suggestive of baptism) with doves and lambs, and at the top is the meditative figure of the Christ Child sitting with a lamb. 19 cm, 7 31/64 in high overall, weight 280 gr. Item condition grading: **** good. Ce.S.Ar. Certificate of AntiquityScultura in avorio raffigurante Cristo Buon Pastore - Indo-Portoghese, Goa, XVIII secolo; ; Goa fu la capitale della colonia dell'India Portoghese (in portoghese: INDIA Portuguesa), noto anche come lo Stato portoghese dell'India. Questa popolare tipologia di composizione in avorio scolpito, raffigurante il Buon Pastore, fu concepita a Goa (costa occidentale dell'India) in un centro di formazione per missionari gesuiti. Nella parte inferiore viene rappresentata la Maria Maddalena, colta nell'atto di leggere alcune scritture, posta nella grotta di montagna dove secondo la leggenda si ritirò in età avanzata. Sopra è collocata la fonte della vita (fonte battesimale) con colombe e agnelli, mentre nella parte superiore vi è la figura meditativa del Cristo Bambino seduto con un agnello. Altezza totale 19 cm, peso 280 gr. Stato di conservazione: **** buono. Certificato Ce.S.Ar.
Campania, Suessa Aurunca AR Didrachm. Circa 265-240 BC. Head of Apollo right, wearing laurel wreath, hair long and flowing; bow behind / Dioskouros, wearing a pilos and holding a palm-branch tied with a fillet, riding to left with a second horse beside him; SVESANO in exergue. SNG ANS 594-7 var.; Sambon -; SNG France -; HN Italy 447. 7.12g, 23mm, 7h. Extremely Fine. One of the finest known coins of Suessa, and struck from an obverse die that is superior in both style and technical accomplishment to any other produced at this city. Very Rare. From the Ambrose Collection; Ex Roma Numismatics IV, 30 September 2012, lot 5; Ex Prospero Collection, New York Sale XXVII, 4 January 2012, lot 11. Aurunca, the ancient capital of the Aurunci, was originally located on the edge of the extinct crater of Roccamonfina, and dated back to at least the 8th century BC. On that site today there remain ruined walls of cyclopean masonry, which may have formed the fortified core of the city, or a defensive fort for the protection of the population. The Aurunci came into conflict with Rome as early as 503 BC, but following their defeat in the Latin War, were subject to Roman dominion. An apparently unmotivated attack by the Sidinici in 337 caused the Aurunci to abandon their towns in Campania in favour of the new site of Suessa, which they renamed Aurunca. In 313 the Romans made a colony of the city, renaming it to Suessa Aurunca. On account of its favourable position between the Via Appia and the Via Latina, it became a centre of industry and commerce, retaining the right of coinage.
Kingdom of Pontos, Mithradates VI Eupator AV Stater. Bithyno-Pontic year 223, intercalary month 13 = October 74 BC. Diademed head right / Stag grazing left; BAΣIΛEΩΣ above, MIΘPAΔATOY / EYΠATOPOΣ in two lines below; to left, star-in-crescent above ΓKΣ (year); two monograms to right, IΓ (month 13) in exergue; all within Dionysiac wreath of ivy and fruit. Unpublished in the standard references; Roma VII, 758 (this coin); CNG 96, 372 (same dies); cf. for date: Callataÿ 1997, tetradrachms D56-59. 8.41g, 21mm, 12h. Extremely Fine. Unpublished; one of only two known a coin of great numismatic importance. Ex Roma Numismatics VII, 22 March 2014, lot 758. A beautifully idealized portrait of the ageing king, the obverse die of this coin was also used to strike a previously unrecorded stater dated with the intercalary month IB (i.e., September 74 BC; see CNG 93, 22 May 2013, lot 339). This places this unique coin circa October 74 BC, making it one of the very latest gold staters of Mithradates of which we are currently aware. The facts that the obverse die was reused and the paucity of surviving specimens both suggest that the issue was a small one. Additionally, this coin stands out for having been issued more than ten years after the main series of staters had ended in 85 BC. This revival of gold issues by Mithradates can only be explained by the events unfolding at the time: the death of Nikomedes IV of Bithynia in 75 left no heirs to the kingdom, and instead bequeathed the state to Rome. Faced with the prospect of losing a coveted territory to his old enemy who would not share a border with his own lands, Mithradates began renewed preparations for war. This coin was struck on the very eve of Mithradates’ invasion of the new Roman province of Bithynia and the start of the Third Mithradatic War (73-63 BC). This conflict would result in great devastation being wrought on Pontos, betrayal on the part of Mithradates’ son Machares who allied himself with Rome, and rebellion by another son Pharnakes (see lot 765) who assumed control of the army and forced his father to commit suicide. Armenia, which under Tigranes ‘the Great’ had supported Mithradates in his war on Rome, suffered several heavy defeats and the loss of its capital; it ended the war as a client state of Rome. Pontos would cease to exist as a kingdom, and would be declared to be a Roman province by a victorious Pompey. Intercalation - the inserting of months, days, even hours and seconds - into the calendar is a practice which aligns the calendar in use with the observable seasons or phases of the moon. There are many recorded instances of intercalation from classical antiquity, and the Romans used it extensively until Julius Caesar reformed the Roman Calendar of 355 days replacing it with his own Julian Calendar of 365.25 days, which took effect in 45 BC.
Carinus, as Caesar, AV Aureus. Siscia, AD 282. M AVR CARINVS NOB CAES, laureate and cuirassed bust right / VICTORIA AVG, Victory standing left on banded globe, holding laurel wreath in outstretched right hand and palm frond over left shoulder. RIC -, cf. 190E (Victory carrying trophy); cf. Cohen 139 (same); Sear 12287 (this coin); Calicó 4372 (this coin). 4.84 gm, 20mm, 6h. Good Extremely Fine. Rare. From the Ambrose Collection; Ex Andre Constantine Dimitriadis Collection; Ex McLendon Collection, Christie’s New York, 12 June 1993, lot 191. Raised to the rank of Caesar in the West in AD 282 under his father Carus, who had been proclaimed emperor after the assassination of the emperor Probus, Carinus immediately set out on campaign against the Germanic Quadi tribes whom he met with some success. Returning to Rome in early 283, he celebrated a triumph and was proclaimed Augustus, and thus began his joint rule with his father. Meanwhile his brother Numerian, also Caesar, was on campaign with their father against the Sassanid Persians in the East. It was here that Carus died in July or August 283, but not before having made significant gains against the Sassanids under Bahram II: he had taken the capital Ctesiphon, crossed the River Tigris and was marching his troops further into Mesopotamia. Carus’ death is most likely attributable to natural causes (an unknown illness, though some sources claim it was a lightning strike), and Numerian succeeded him as Augustus unchallenged. The army however wished to return to the West, and Numerian was unable to do more than acquiesce. As the column proceeded slowly back toward Roman territory Numerian himself was taken ill and died under suspicious circumstances - the general Diocletian was proclaimed emperor by the troops and accepted the purple on a hill outside Nicomedia. Upon hearing the news, Carinus marched his army eastwards and the two met in Moesia at the Battle of the Margus River. Again, accounts differ as to the progress of the battle: some say that Carinus had the upper hand until he was assassinated by a tribune whose wife he had seduced, while others suggest that the battle was a complete victory for Diocletian and that Carinus’ army deserted him. Following the victory, both the eastern and western armies recognised Diocletian as sole emperor, and he marched unopposed on Rome. Struck in late 282 when Carinus still held the rank of Caesar, this aureus depicts him in military gear on the obverse, while the reverse type depicts the Victoriola, the cult statue of Victory standing on a globe. It symbolises the power and majesty conferred on an emperor by victory in battle, and is often shown on later reverse types being conferred on the emperor by Jupiter or another deity. Used in this context, it appears to attest to a recent military victory, perhaps Carinus’ own successes against the Germanic tribes. That this coin was struck shortly before Carinus was raised to the rank of Augustus might partly explain its relative rarity, however the Damnatio Memoriae which Diocletian wrought on Carinus after his death would also bear on the scarcity of gold coins in his name.
Gallienus AV Aureus. Rome, AD 260-268. GALLIENVS AVG, head left, crowned with reeds / FIDES MILITVM, Fides standing facing, head left, holding two standards. RIC 38 var. (rev. legend); Calicó 3494-5 var. (same). 3.66g, 20mm, 1h. Mint State. A handsome portrait of Gallienus in fine style. Extremely Rare. Gallienus was named Caesar at the same time his father Valerian became emperor in AD 253. Within a month, he was promoted to the rank of Augustus and joint ruler. The responsibility for the western provinces was handed to him the following year as Valerian marched east to campaign against the Persian army. Gallienus proceeded to take military action to secure the Rhine and Danube frontiers from German attacks. His efforts were successful and he earned the title ‘Germanicus Maximus’ five times between 255 and 258, though he lost his eldest son during a campaign in the Danube early in 258. This loss was the beginning of a series of unfortunate events to befall the western emperor. Valerian was captured by the Persian king Shapur I in 260, significantly weakening Gallienus’ position and leaving a power vacuum in the east. The first to take advantage was Ingenuus, governor of Pannonia and Moesia, who was proclaimed emperor at Sirmium by the troops under his command but defeated soon after by Gallienus’ general Aureolus. Rebellion also broke out on the Danube frontier when Regalianus proclaimed himself emperor, requiring prompt and successful action from Gallienus. A further uprising occurred in 260, when Macrianus and Quietus were proclaimed joint emperors, making Antioch their capital with widespread support in the Eastern provinces. Macrianus marched against Gallienus but was killed by Aureolus in 261, while Quietus was murdered in Emesa where he was taking refuge. The following year saw Aureolus revolt, although he was swiftly convinced to make peace. Whilst the uprisings in the east had been successfully quelled, it had cost Gallienus dearly in the West. By the end of 261, Postumus had taken control of Gaul, Britain and Spain and assumed the title of Augustus, establishing an independent empire which would survive for almost 15 years. Unable to successfully challenge the Gallic Empire led by Postumus, Gallienus spent the following years dealing with minor invasions and rebellions until the Goths and the Heruli launched a large scale invasion of the Balkans in 268. Leaving Aureolus in charge at Milan, Gallienus advanced to counter the invasion, although he was unable to prevent the sacking of Athens before defeating the invaders at Naissus. Taking advantage of the Gothic War, Aureolus defected to Postumus, prompting Gallienus to return to Italy in September 268, where he defeated Aureolus at Pontirolo and laid siege to him at Milan. Gallienus was unable to bring matters to a decisive conclusion for he was murdered in his camp by the commander of his Dalmatian cavalry. The reverse legend of this beautiful aureus ironically bears the legend ‘loyalty of the soldiers’ and depicts Fides, the Roman goddess of trust and loyalty. Many reverse types depicting Fides were minted after 260 and Mark Hebblewhite (The Emperor and the Army in the Later Roman Empire, AD 235–395, 2016) has suggested this was in response to the uprisings of 260, reflecting Gallienus’ desire to show the army that he trusted in their continued support. Indeed, Gallienus had barred senators from taking military office after some had shown disloyalty in their support of the usurpers, and increasingly relied on the support of his existing officers.
Cleopatra and Marc Antony AR Denarius. Uncertain Eastern mint, autumn 34 BC. CLEOPATRAE•[REGINAE•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; Antonia 95; Sydenham 1210; CRI 345. 3.91g, 18mm, 12h. Good Extremely Fine. Two bold, well-struck portraits. 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.
Kingdom of Lydia, Kroisos AV Stater. Heavy series. Sardes, circa 564/53-550/39 BC. Confronted foreparts of lion and bull / Two incuse squares of unequal size. Berk 2; Le Rider, Naissance, pl. V, 2; Traité I 396; BMC 30; Boston MFA 2068–9; Gulbenkian 756. 10.79g, 19mm. Extremely Fine. Rare. Kroisos is credited with issuing the first true gold coins with a standardised purity for general circulation. The series began on a ‘heavy’ standard, with gold and silver staters of equal weight, around 10.6-10.7 grams, which was later reduced to about 8.17 grams for the gold. Studies have shown that coins of both standards circulated together, but that the heavy standard was only used for a relatively short time compared to the light standard, which continued to be used into the Persian period. All of the coins of Kroisos feature without variation his heraldic badge, the confronted heads of a lion and a bull, both ancient symbols of power. The badge itself doubtless stems from the ubiquitous and persistent theme of the lion-bull combat scene, which may be interpreted as a metaphor for divinely inspired heroic triumph. Indeed, divinely inspired heroic triumph was exactly what Kroisos expected when, encouraged by a prediction by the Delphic Oracle that if he attacked Persia he would destroy a great empire, Kroisos made his preparations for war with Cyrus the Great. The war resulted in defeat for Kroisos; his numerically superior army was smashed, and the capital Sardes was captured along with Kroisos and his family, who were immolated on the orders of Cyrus. Lydia became a satrapy of the Persian Empire, though it continued to mint coins in the traditional types, and indeed the legendary wealth of Kroisos was used by Cyrus to form the basis of a new Persian gold standard currency.
Carthaginian Spain, Barcid Dominion AV Stater. Uncertain mint, circa 229-221 BC. Laureate bust of Nike left, wearing earring and necklace / Horse prancing to right. Villaronga, Las monedas hispano-cartaginese, Barcelona 1973, 64 = Jenkins-Lewis 454 = CNH 20 = ACIP 560 = Hunter collection III, p. 608, 1 ‘Micipsa’ (same dies). 7.53g, 17mm, 11h. Very Fine. Extremely Rare, apparently only the second specimen known and the only one in private hands. Ex Numismatica Ars Classica 84, 20 May 2015, lot 540. In 237 Hamilcar Barca, after losing the First Punic War against Rome but having won the Mercenary Revolt against the Libyans, turned his attention to Spain and disembarked at Gadir with a Carthaginian army which according to Polybios was to "re-establish Carthaginian authority in Iberia" (Histories, 2.1.6). He proceeded to conquer southern and south-eastern Spain and the mining production of Baetica and the Sierra Morena before dying in battle in 229 at Heliké (Elche?). 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 (Alicante) and Qart Hadasht (‘New Carthage’, the Latin: Carthago Nova), originally named Mastia, as his capital by 228. After his untimely death at Heliké in 221 he was succeeded by Hannibal, the oldest son of Hamilcar Barca, and his second son Hasdrubal.
Constantine I AV Medallion of 1.5 Solidi. Nicomedia, AD 325-326. D N CONSTANTINVS MAX AVG, laureate, draped and cuirassed bust right / EQVIS ROMANVS, Constantine on horseback to right, raising right hand; SMN in exergue. RIC 100; C. 139; Gnecchi 9; Depeyrot p. 154; Bastien, Donativa, p. 79 note 1 and pl. 4, 16; Biaggi 1966. 6.76g, 24mm, 6h. Extremely Fine. Very Rare. After the naval defeat inflicted on Licinius by Constantine at the Battle of the Hellespont, Licinius withdrew his forces from Byzantium across the Bosphorus to Chalcedon in Bithynia. Pursued by Constantine, it was here that the decisive Battle of Chrysopolis was fought, in which Licinius was routed and fled with his remaining troops to the eastern capital of Nicomedia. Here he threw himself on the mercy of Constantine, capitulating in order to save his own life. Struck shortly after the mint at Nicomedia had begun striking gold for Constantine as sole emperor, and issued for Constantine's vicennial celebrations in 326, this unusual type honours the traditional concept of the Roman state by hailing the equestrian rank; a similar issue was struck at the same time with the reverse legend SENATVS. Alföldi proposed that these particular reverse types might also commemorate the emperor's experiment with reorganisation of the equites, which began in 326.
Constantine I AV Solidus. Treveri, AD 313-314. CONSTANTINVS P F AVG, laureate head right / VICTOR OMNIVM GENTIVM, Constantine standing left, holding signum and shield, with two suppliants before him and a captive behind; PTR in exergue. RIC 27; Schulten Em. 16; Depeyrot 19/1. 4.41g, 19mm, 5h. About Extremely Fine. Rare. In 312 Constantine I defeated Maxentius’ army at Turin and Verona, securing northern Italy before marching southward to Rome. Just beyond the Milvian Bridge to the west of Rome, Constantine decisively defeated Maxentius to become sole western emperor. Soon after in 313, Constantine successfully conducted another military campaign against the Franks and the Alemanni in Gaul to secure the Rhine frontier. This solidus was struck in Constantine’s capital of Treveri, where he celebrated his victories in the winter of 314, and the reverse legend proclaims Constantine the ‘victor over all people’. The same phrase was used by Eusebius (Life of Constantine, 1.3-5) when describing Constantine’s victories as a manifestation of God’s power and support for the emperor. Indeed, it was Licinius’ dismissal of Christians from both the army and government, and his order of the execution of Christian bishops, which prompted Constantine to invade Licinius’ territories. In 324, Constantine defeated Licinius at Chrysopolis and later had him hanged, thus becoming the first sole ruler since Diocletian.
Kings of Parthia, Mithradates I AR Tetradrachm. Seleukeia on the Tigris, circa 141/0 BC. Diademed and draped bust right of Mithradates right / BAΣIΛEΩΣ MEΓAΛOY APΣAKOY ΦIΛEΛΛHNOΣ, diademed and beardless young Herakles standing left, holding skyphos in extended right hand and cradling club in lion skin-draped left arm; monogram in exergue. Sellwood 13.2; Shore 35; BMC 50; Sunrise 260 (this coin). 15.02g, 26mm, 1h. Extremely Fine. Ex Sunrise Collection; Ex Gorny & Mosch 129, 8 March 2004, lot 195; Ex Santa Barbara Museum Collection, Numismatic Fine Arts I, 20 March 1975, lot 195. This type represents the first issue of tetradrachms by the Parthians. They were coined shortly after the Parthians had conquered Mesopotamia from the waning Seleukid Empire. As was to be expected, the die engravers of the mint at the Seleukid capital produced coinage that stylistically differed very little from the issues of the previous century under the Seleukid kings. While this could be viewed as both expedient and pragmatic – the Parthians had not struck coins since the reign of Arsakes and probably lacked experienced die cutters – Mithradates in fact actively promoted Hellenism in his territories and indeed styled himself 'Philhellenos' as seen on this coin. He also assumed the traditional Greek symbol of kingship, the diadem. Yet by the end of his reign, the Greek qualities that were so apparent on his early coinage were in decline, and by the reign of Orodes I in around 90 BC, the coins had become thoroughly eastern in style.
Anglo-Gallic. Edward the Black Prince, Lord of Aquitaine (1362-1372) AV Léopard d'or. Aquitaine, c.1362-1369. + ED : PmO : GnIS : AnGLIE : P'nCPS : AQVITNIE, crowned leopard passant left, raising right forepaw, within tressure of 10 arches, quatrefoils on points and within spandrels; double quatrefoil stops / + XPC : VInCIT : XPC REGnAT : XPC : IMPERAT, floriate cross within quatrefoil, leopards passant in angles. Withers-Ford 150.3c; Elias 140; Schneider III, 31; S 8121; Friedberg p. 220, 4 (Aquitaine). 3.47g, 28mm, 7h. Extremely Fine. Rare. An exceptional military commander, Edward ‘the Black Prince’ was the eldest son of King Edward III, on whose behalf he campaigned in France from the age of 15. Scoring decisive military victories over the French at Crécy in 1346 and Poitiers in 1356, the Black Prince twice crippled the French army for a decade each time. Struck at the height of the Black Prince’s popularity, the leopard d’or is an example of his use of iconography to bolster the English position in Aquitaine, as it appears to deliberately supersede the French mouton d’or – the Paschal Lamb on the obverse and the fleur de lys on the reverse are all replaced by English leopards. This coin was one of the last issues of leopards struck in the period 1357-1361, and the entire series was probably recalled in 1361, when Edward III renounced his title of king of France in exchange for ratification of his possession of Aquitaine in the Treaty of Brétigny. The captured French king John II had to pay three million gold crowns for his ransom, and would be released after he paid one million; he was also required to provide numerous hostages, including two of his sons. While the hostages were held, John returned to France to try and raise funds to pay the ransom. In 1362 John’s son Louis of Anjou escaped captivity. John thus felt honour-bound to return to captivity in England, where he died in 1364. In 1362, the Black Prince was invested as Prince of Aquitaine. He and his wife Joan of Kent moved to Bordeaux, the capital of the principality, where they spent the next nine years, and had two sons. The elder son, named Edward after his father and grandfather, died at the age of six. Around the time of the birth of their younger son, Richard (who would become King Richard II), the Black Prince was lured into a war on behalf of King Peter of Castile. The ensuing Battle of Nájera in 1367 was one of the Black Prince’s greatest victories. While the English longbow again demonstrated its devastating power, driving off the opposing cavalry, unlike in other battles of the Hundred Years’ War however, at Nájera it was the English who assaulted the French lines, with the English vanguard pinning the French formation while their mounted knights flanked and routed the enemy lines. Yet it was this campaign that shattered the Prince’s health, and he died some nine years later after a long-lasting illness contracted in Spain, becoming the first Prince of Wales not to become king, and thus robbing England of a capable and greatly respected heir.
Heraclius AV Solidus. Uncertain eastern mint (Jerusalem or a mint in Syria?), late AD 610-611. DN hERACLIVS P P AVI, crowned and cuirassed bust facing (which resembles Phocas), holding globus cruciger / VICTORIA AVGV IΠ, angel standing facing, holding long staff surmounted by staurogram and globus cruciger; CONOB in exergue. DOC 186 (Alexandria); MIB 76 (Cyprus?); Bendall, Jerusalem 3 (Jerusalem?); Sear 850 (Jerusalem). 4.39g, 22mm, 6h. Good Extremely Fine. Minor die break at 2h on rev., slight bend in outer edge of flan in same area. Struck on a broad flan and with lustrous, mirror-like surfaces. Extremely Rare. After two years of fuelling discontent at the tyranny of Phocas, at last the younger Heraclius felt confident to challenge the emperor in his capital and was successful in deposing him. Struck at an uncertain eastern mint that still has yet to be definitively located, this extremely rare solidus represents one of the first issues for Heraclius as sole emperor and clearly depicts the new emperor with the likeness of Phocas, as a new imperial image had not yet been received at the mint. Originally attributed to Jerusalem, more recent scholarship has cast doubt on this without giving a definite alternative, though a date of late 610-611 is certain. Issues with the IΠ, I and IX mintmark were likely struck to pay soldiers who had been loyal to the Heraclii rather than being regular issues and, disappearing shortly after the Sasanian invasion of the eastern provinces in 614, may even have been the product of a military mint.
Elis, Olympia AR Stater. 'Zeus' mint, 107th Olympiad, 352 BC. Laureate head of Zeus to left; behind, vertical thunderbolt with wings above and volutes below / Eagle, with closed wings, standing to right on Ionic column capital; F-A across fields. Käppeli F84 (this coin) = BCD Olympia (Leu 90) 133; Seltman - (cf. obverse CE). 11.73g, 24mm, 6h. Near Extremely Fine. Unique. Ex Hess-Divo 311, 22 October 2008, lot 379; Ex BCD Collection, Leu 90, 10 May 2004, lot 133; Ex R. Käpelli Collection, Lucerne 1963, F84; Ex R. Jameson collection (not in catalogue); Ex Jacob Hirsch stock, Naville - Ars Classica XVI, 3 July 1933, lot 1292. The obverse of this coin displays the subtly placed letters F-A before and behind the neck of Hera, an abbreviation of FAΛΕΙΩΝ, i.e. [coin] of the Eleans. Yet Olympia had not always belonged to Elis; though it had been theirs since the beginning of the eighth century BC and they had organized the first of the Olympic festivals, their power diminished and it fell into the dominion of the nearby city of Pisa. It was during this time that the first temple of Zeus was constructed at Olympia by the Sikoudians, allies of the Pisatans, which was built of limestone, brick and wooden columns. With Spartan assistance, the Eleans reconquered Pisatis in 580 BC and destroyed the city of Pisa, thus also bringing the sanctuary of Olympia back under their control. Yet The Eleans, much as they might have wished it, could not destroy all traces of the former inhabitants. The sacred temple of Zeus at Olympia could not be pulled down and so remained as a reminder of the occupation of Olympia which had lasted for nearly a whole century. In 476 the Greeks convened an arbitration court in Olympia to act as a mediator between the cities of the Greeks in cases of disputes to try to end the inter-city warfare that kept the Greeks divided and fractious. In commemoration of this newly found place at the heart of Greek politics the Eleans erected a massive new temple to Zeus built of marble (which would later house the gold and ivory statue by Phideas), which became the primary ‘Zeus’ mint of Olympia. The humble old temple of the Pisatans was rededicated to Hera, who had no important cult at Olympia until then. It was in this rededicated temple that the 'Hera mint' coins were supposedly struck. The impressive obverse head of Zeus shares many stylistic similarities with that found on the famous coins of the Arkadian League; some of the dies from that issue are nearly identical to the present one (see BMC 48, Boston MFA 1260 and Käppeli 85). It is also reminiscent of some of the early tetradrachms of Philip II of Macedon, though it surpasses all of these in elegance.
A Roman lead ingot c. AD 164 - 169 with relief inscription IMP DVOR AVG ANTONINI ET VERI ARMENIACORVM in two lines.The inscription names both Marcus Aurelius and Lucius Verus who ruled as co-emperors from AD 161 until the death of Verus in AD 169. The term "Armeniaci" refers to their receiving a triumphal title for capture of the Armenian capital and expulsion of a Persian client king. The title Armeniacus appears on Verus' coins of AD 163, together with the representation of conquered Armenia. Aurelius, however, at first refused the title, and it does not appear on his coins until AD 164.Four ingots bearing the same inscription have been previously recorded, all of which are reported to have been found in Somerset, within 18 miles of Charterhouse on Mendip, indicating that this was their point of manufacture. The first was noted by the antiquarian John Leland in about 1530 (RIB II, 2404, 20) and described as being from near Wells. A second example was recorded by the antiquarian William Stukely in Intererarium Curiosaum (1753, P. 143) as having been found whilst digging a post hole near Bruton in Somerset. Both of these ingots are now lost. Two fragments, probably from two separate ingots, were found in Town Field, Charterhouse around 1874 and are currently on display in the Museum of Somerset. Both fragments bear traces of the same moulded lettering as this example, however, both fragments are notably thinner.Recorded with Portable Antiquities Scheme: SOM-23F798.521mm x 96mm x 42mm, 19.3kg.
Four Japanese Woodblock Triptychs, Edo and later, Comprising a scene from Natsu Matsuri depicting Bando Hikosaburo and Kawarazaki Gonjuro as the arguing samurai Issun and Danshichi Kurobei, with Sawamura Tanosuke as Danshichi's wife Okaji looking on, by Kunisada II; prints 2,3 and 4 from a pentaptych Toto Azuma-bashi Gyoretsu (Procession on the Azuma Bridge in the Eastern Capital) by Kikugawa Eizan; and Fukiage Garden Fishing Bridge and the Boys festival by Chikanobu (12)
A pair of Victorian majolica planters, each on three architectural capital feet, the bowls with upright yellow ears of corn and undulating bound laurel leaf rim, rectangular panels above the feet, oval plaques with mauve ribboning between, the inside mauve. CR. Very small chip to one rim, hairline crack about 6cm. long on the other. 21cm. across x 17cm. high.
A COLLECTION OF STOLITSA I USADBA MAGAZINE, 1913-1917 STOLITSA I USADBA. ZHURNAL KRASIVOY ZHIZNI [The Capital and Mansion. Journal of the Beautiful Life]. Editor - Vladimir Krymov. Petrograd: R. Golike and A. Vilborg, December 15, 1913- September 30, 1917. 4to (352 x 260 mm). Comprising 89 issues (of the edition 1 - 90). Lacking issue 75. Missing some unnumbered illustrations (issues 1, 2, 4, 71). Original wrappers with tipped-in color plates.Profusely illustrated throughout with depictions and photographs of the beau-monde life led by the pre-Revolutionary Russian upper classes. Each bi-weekly issue was limited to an edition of 1500 copies. Founded in 1913 in Saint Petersburg, this magazine covered a range of subjects, such as various highlights of country real estate market of the time; events in the arts, theater, balls and sport; Imperial Court nominations, engagements and weddings; and the like. With contributions by Stolpyanskiy, Lukomskiy, and Lerner.
ATTRIBUTED TO VLADIMIR LUKICH BOROVIKOVSKY (RUSSIAN 1757-1825)Diana, based on the same composition of the goddess by Borovikovsky`s teacher, Johann Baptist Lampi, oil on canvas47.5 x 38 cm. (18 5/8 x 15 in.)LITERATUREThe nearly identical version of the work by Johann Baptist Lampi is illustrated in "Un ritrattista nell`Europa dell corti" by Fernando Mazzocca, Roberto Pancheri and Alessandro Casagrande, Giovanni Battista Lampi 1751 – 1830, (Trento 2001), p. 232, n. 31Please see Lot Notes below LOT NOTESVladimir Borovikovsky received his earliest art instruction from his father, a limner icon painter, before catching the eye of Empress Catherine II and being engaged by the Empress as a court painter and student under Johann Baptist Lampi. It appears that while Borovikovsky was still Lampi`s student that he painted the figure of Diana forming the present lot. Borovikovsky met the Empress while she was visiting the newly conquered Crimea and staying with Borovikovsky`s friend, Vasyl Kapnist, the Marshal of Nobility of the Kiev Gubernia. To please the Empress, Kapnist commissioned Borovikovsky to paint pair of allegorical works featuring the monarch for her chamber. The paintings had left a great impression on Catherine, and she requested that the artist move to St. Petersburg. Borovikovsky accepted the offer and after establishing himself in the capital in 1787, made the city his permanent residence. Although still a young man by modern standards, at thirty years old Borovikovsky was beyond the acceptable age range for formal academy training, and was set up to study privately under Johann Baptist Lampi in 1792, one of the most fashionable portrait painters of the day. Lampi had exerted an unquestionable influence over the development of Borovikovsky`s style, particularly noticeable in the young artist`s soft palette and compositional devices. It was common practice of the day for students to copy the works of their masters, and given the existence of a strikingly similar work to the present lot by Lampi (now in the Museo Castello del Buonconsiglio in Trento, Italy) it appears likely that the work by Lampi served as a basis for this painting of Diana. The authors of the monograph Giovanni Battista Lampi 1751 - 1830 believe Lampi completed his painting of the goddess (pictured here in the ``additional images``) somewhere between 1789 and 1791, shortly before he took on Borovikovsky as a pupil, making this work a prime candidate for study and copying by the aspiring artist. Although the pose and subject of the two paintings is nearly identical, one cannot help but notice where Borovikovsky deviated from his master`s approach and imbued the subject with his own vision. Stronger, cleaner lines replace his master`s sfumato and cooler mother-of-pearl shade pastels replace the warmer hues. The beauty of the face and figure remain paramount, however, with the folds of the robes, the position of the hands, and other scenic devices primarily used to enhance the allure of the subject, as would become a hallmark of Borovikovsky`s oeuvre. Although unsigned, given the work`s close connection to the painting of Diana by Johann Baptist Lampi, created shortly before Borovikovsky was taken on as a student, and given the slight but notable variations between the two works clearly done by different masters, it is quite likely that the present lot is an early work by Vladimir Borovikovsky, while the artists was still on the cusp of greatness.
Russia, ca. 19th century CE. Beautifully painted in egg tempera and gold leaf, this wood Russian icon presents the Virgin Hodegetria ("She who shows the way"), the composition depicting the Mother of God holding the Christ child in one arm, as he makes a blessing gesture. On her shoulders and head, Mary wears a triple, star-shaped cross, which is an ancient Syrian symbol of her virginity - before, during, and following the birth. Size: 14.75" W x 18.75" H (37.5 cm x 47.6 cm)Since the artist only depicted her head and shoulders, the viewer is invited to gaze upon Christ with the subtle inclination of her visage, particularly given those expressive eyes. The Christ Child is characteristically depicted in a rigid, vertical pose - wearing regal vestments. Adoring diminutive angels peak at the pair from behind the Virgin's halo. The pair is 'framed' by a decorative border with scrolled and floral motifs. Gold leaf highlights accentuate various areas of the composition. This use of golden hues, the serene and regal countenance of Mary's face, as well as the pantomime-like gestures reference classic Byzantine splendor. According to the text accompanying this icon in the brochure for "Windows into Heaven" exhibition, "The example on the left, with its flattened features and stylized drapery, shows adherence to Byzantine painting norms." (p. 16)The pamphlet also discusses this icon as a fine example of the Mother of God of Kazan version of the Russian Theotokos. "Per tradition, the prototype of this icon came to Russia from Constantinople in the 1200s. It disappeared after the Tatars besieged the city of Kazan in 1438, and then was dug up in Kazan in 1579 by a girl named Matrona and her mother after the Virgin appeared repeatedly in the girl's dreams, telling her of the buried icon. The Kazan Mothr of God later became Russia's symbol of national unity. The icon accompanied soldiers freeing Moscow from the Poles in 1612, and traveled with the troops fighting Napoleon in 1812." (p. 15)Icons were some of the first religious artworks brought to Russia from Byzantium. These sacred pictures of the Greek Orthodox church reached a high point in the Byzantine era, however, the Russians brought their own style to the art of the icon. Icons were initially created for use in churches and processions. In time they became smaller and were used increasingly within households. To this day they remain an important form of visual culture in Russia's orthodox religious community.The existence of back slats demonstrate that this icon predates 1880/1890. A lovely example inspired by the icon of the Hodegetria that arrived in Constantinople from Jerusalem, where it was found in the 5th century by the sister-in-law of Emperor Theodosius II. According to Alfredo Tradigo's "Icons and Saints of the Eastern Orthodox Church" (2004), "Hidden from the Iconoclasts in a wall at the Hodegon Monastery, it was later carried to the city walls when Constantinople lay under siege and became, under the Palaiologan dynasty (1261-1453), a major palladium protecting the capital. Copies made their way to Rome, the Near East, the Balkans, and Russia." (Tradigo, p. 169)Exhibited in "Windows Into Heaven: Russian Icons from the Lilly and Francis Robicsek Collection of Religious Art" at the Mint Museum of Art, Charlotte, North Carolina (December 20, 2003 through February 22, 2004) which presented highlights of one of the world's great artistic traditions through an extraordinary group of sixty-five 18th and 19th century Russian icons on loan from the private collection of Lilly and Francis Robicsek. Also featured in an exhibition of the same name at the North Carolina Museum of History in Raleigh, North Carolina October 4, 2013 through March 5, 2014. Published in the catalogue accompanying the North Carolina Museum of History written and compiled by curator Jeanne Marie Warzeski.Icons (icon means "image" in Greek) are sacred objects within the Eastern Orthodox Christian tradition. Found in homes as well as churches, these painted images depict holy persons and saints as well as illustrate scenes from the Scriptures. Some icons are encased in precious metal covers (oklads) adorned with pearls and semi-precious stones or glass-fronted wooden cases (kiots). Icons are not worshiped, but are instead venerated for their ability to focus the power of an individual's prayer to God. As such they are truly "windows into heaven."The “Windows Into Heaven” exhibition profiled a magnificent chapter of Russian artistry, the embrace of the Russian Orthodox faith of religious icons during the Romanov centuries. The Russian religious faith was an offshoot of Byzantine Christianity, which in 1054 parted ways from Roman Catholicism. Icons were and continue to be religious images created for veneration. As a focus for prayers and meditation for believers, icons serve as “windows into heaven.” Provenance: Ex-Lilly and Francis Robicsek Collection of Religious Art, Charlotte, NC; exhibited at Mint Museum of Art "Windows Into Heaven", Charlotte, North Carolina (December 20, 2003 through February 22, 2004) and North Carolina Museum of History in Raleigh, North Carolina October 4, 2013 through March 5, 2014 Condition: Nice age to surface with craquelure, age cracks, and losses as shown. Back slats are intact. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119594
Greek Colonies, Campania, Neapolis, ca. 265 to 250 BCE. AR didrachma (6.99 g). On obverse, diademed head of nymph facing left. On reverse, man headed bull to right, Nike flying r. above. Sambon 496. Size: 0.75" W (1.9 cm)Neapolis remains the capital of the Italian region of Campania today - as the city of Naples. Naples is one of the oldest continuously inhabited cities in the world and this coin comes from a time when it was a colony of Greece, established by sailors from Rhodes as a small commercial port. Provenance: Ex-Matrisciano Collection, California Condition: Choice VF, with attractive dark toning. All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #120794
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![Cleopatra and Marc Antony AR Denarius. Uncertain Eastern mint, autumn 34 BC. CLEOPATRAE•[REGINAE•REGVM]•FILIORVM•REGVM, diade](https://cdn.globalauctionplatform.com/511c8e38-fc68-4f60-a09e-a72200fe76ff/df5ddfbe-d0e5-4e1f-c787-5561a736dc77/468x382.jpg)
