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Lot 40
* AETA J. JARDINE (BRITISH fl.1917 - 1940), PORTRAIT OF A WOMAN IN A GREEN DRESS watercolour on paper, signed 30.5cm x 25cm Mounted, framed and under glass and SCOTTISH SCHOOL (19TH CENTURY), PORTRAIT OF A YOUNG GIRL watercolour on paper, signed indistinctly 36cm x 30.5cm Framed and under glass
Lot 401
Cilicia, Tarsos AR Stater. Tarkumuwa (Datames), Satrap of Cilicia and Cappadocia. Circa 375 BC. Baaltars seated right, torso facing, cradling eagle-tipped sceptre in right arm, holding grain ear and grape bunch in extended left hand; B’LTRZ in Aramaic to left, thymiaterion to right; below throne, forepart of sphinx right; all within crenelated wall / Satrap, wearing Persian dress, seated right, inspecting arrow held in both hands; TRDMW in Aramaic to left, winged solar disk to upper right, bow to lower right. Casabonne Type 2; Moysey Issue 6, 17a corr. (same dies; sphinx not dog); SNG France –; SNG Levante –; SNG von Aulock –; Pozzi 2849. 10.51g, 24mm, 11h. Near Extremely Fine. Very Rare, and better than the published examples.
Lot 523
C. Mamilius Limetanus AR Serrate Denarius. Rome, 82 BC. Bust of Mercury right, draped and wearing winged petasos; caduceus and M behind / C•MAMIL LIMETAN, Ulysses walking right, holding staff in left hand and extending right hand to Argus. Crawford 362/1; Sydenham 471 ; Mamilia 6. 3.77g, 19mm, 3h. Near Extremely Fine. The Mamilia gens pretended to derive its origin from Mamilia, the daughter of Telegonus, the reputed son of Ulysses and Circe, and thus C. Mamilius, as monetal triumvir, caused this subject to be adopted on his coins. The reverse shows Ulysses, after a long absence, returning in beggar's dress to Ithaca, where he was recognised at once by his old dog, Argus, who died of joy at seeing his former master.
Lot 601
Nero Æ Sestertius. Rome, AD 65. NERO CLAVDIVS CAESAR AVG GER P M TR P IMP P P, laureate head right / Roma, helmeted and in military dress, seated left on cuirass, holding Victory in right hand and with left hand resting on parazonium, various shields around and behind, S-C across fields, ROMA in exergue. RIC 275. 26.21g, 34mm, 6h. Good Very Fine. Ex Roma Numismatics V, 23 March 2013, lot 694.
Lot 727
Marcus Aurelius AV Aureus. Rome, AD 172. M ANTONINVS AVG TR P XXVI, laureate, draped and cuirassed bust of Marcus Aurelius to right / IMP VI COS III, Marcus Aurelius in military dress standing to left, holding thunderbolt in his right hand and reversed spear in his left; behind him stands Victory, who crowns him with a wreath held in her right hand, and holds a palm with her left; between them, pellet. Biaggi 856; BMC 566; C. 308; Foss 46; RIC 264; Sear II 4860; Calicó 1873. 6.95g, 20mm, 6h. Near Mint State. Very Rare. The image of the emperor on the reverse of this coin is not only unusual, but also historically very interesting. Aurelius has here assumed the symbols of Jupiter, holding a thunderbolt and spear while Victory crowns him with laurels; we should interpret this image as representing the close connection between the supreme god Jupiter and the person of the emperor who was not only the head of state but also the pontifex maximus. Yet the dating of this issue seems to precede two important events that occurred across the Danube in the campaign of 172-4: namely, the 'lightning miracle' and the 'rain miracle', which two incidents are recorded on the column of Marcus Aurelius in Rome. The Historia Augusta (Marcus 24.2) tells us that in the case of the 'lightning miracle' the emperor 'summoned a thunderbolt from heaven against a siege-engine of the enemy by means of his prayers' - the column clearly shows a stone enclosure filled with Romans, and outside a siege tower struck by a bolt of lightning that has burst into flames. The second and more important of the two events, the 'rain miracle' as related by Cassius Dio, describes how the legio XII Fulminata was surrounded and entangled in a defile, suffering from thirst, and almost forced to surrender. A sudden storm then gave abundance of rain which refreshed the Romans, while hail and thunder confounded their enemies who were struck down by bolts of lightning. Thus the Romans were able to achieve a near bloodless victory. This was considered for a long time afterwards to have been a miracle and nothing less than divine intervention by Jupiter on behalf of the Romans. That the issue pre-dates the rain miracle seems relatively certain, since it is well attested that Aurelius' seventh acclamation as Imperator occurred in the immediate aftermath of the rain miracle. The depiction then of Aurelius on the reverse of this coin, wielding the power of Jupiter, seems curiously prophetic.
Lot 728
Marcus Aurelius AV Aureus. Rome, AD 173-174. M ANTONINVS AVG TR P XXVIII, laureate, draped and cuirassed bust right, seen from behind / IMP VI COS III, Marcus Aurelius on horseback right, raising right hand, parazonium at his side. Calicó 1869; RIC 294; C. 303. 7.09g, 19mm, 6h. Fleur De Coin. Extremely Rare, no examples have been offered at auction for more than 15 years. Perhaps struck to coincide with a triumph relating to his campaigns against the Marcomanni, Quadi and Iazyges which was delayed until after a revolt in the east led by Avidius Cassius could be put down, the reverse of this coin depicts the famous equestrian statue of Marcus Aurelius. Cast in bronze and clad in gold, it is today the only fully surviving bronze statue of a pre-Christian emperor. Although there had been many imperial equestrian statues, most were melted down for their metal to be used either for coin or new sculptures. Many were also destroyed for no better reason than because medieval Christians thought that they were pagan idols. It is only because this statue was erroneously believed to be of Constantine, the first Christian emperor, that it was not also destroyed. The original position of the statue is debated, though the Forum Romanum and the Piazza Colonna (where Aurelian’s column stands) are likely suggestions. In the 8th century it stood in the Lateran Palace in Rome, from where it was relocated in 1538 to the Piazza del Campidoglio (Capitoline Hill) during Michelangelo’s redesign of the Hill. Though he disagreed with its central positioning, he designed a special pedestal for it. The original statue is now on display in the Capitoline Museum in Rome, and a replica now overlooks Rome in its stead. Standing at over 4 metres tall, the statue shows Marcus Aurelius holding his right hand out and slightly open in the traditional gesture of peace and clemency; some historians assert that a fallen enemy may have been sculpted begging for mercy under the horse’s raised hoof (based on accounts from medieval times which suggest that a small figure of a bound barbarian chieftain once crouched underneath the horse’s front right leg). It is a fitting representation of an emperor who has been universally admired as a philosopher-emperor, and who saw himself not as a conqueror but as a bringer of peace - an attitude evidenced by the emperor being garbed in a toga rather than military dress.
Lot 737
Lucilla Æ Sestertius. AD 169-183. LVCILLA AVGVSTA, draped bust right, hair in bunch at back of the head / IVNO REGINA, Juno standing facing in long dress, veiled head turned left, holding sceptre and patera; at her feet, peacock left, S-C across fields. RIC 1751; C. 43; BMC 1207. 25.98g, 34mm, 12h. Good Very Fine. Lightly tooled and smoothed.
Lot 828
Constantine I AV Solidus. Nicomedia, AD 335. Rosette diademed head right, with uplifted gaze / VICTORIA CONSTANTINI AVGVSTI, Victory, wearing long dress, seated to right on cuirass inscribing VOT XXX on shield held by Genius; SMNC in exergue. RIC 175; Depeyrot 44/1. 4.48g, 21mm, 6h. Good Extremely Fine; slightly wavy flan. Rare.
Lot 848
Valentinian I AV Solidus. Constantinople, AD 364-367. D N VALENTINIANVS PF AVG, peal-diademed, draped and cuirassed bust right / VIRTVS ROMANORVM, Valentinian and Valens standing facing in military dress, heads turned towards each other, each holding spear in outer hand and together supporting globe on which stands Victory, who reaches out with wreathes held in both hands to crown them; CONSP in exergue. RIC 5a1; C. 60. 4.48g, 21mm, 5h. Minor scrape on rev., otherwise Good Extremely Fine. Extremely Rare.
Lot 635
Follower of Peter Paul Rubens (1577-1640) Portrait of a lady, half length, wearing a black dress trimmed with a lace collar, a bodice embroidered with a gold floral design and a huke Oil on panel, 92.5cm by 72cm Both The Courtauld Gallery, London, and the British Museum hold drawings of Hélène Fourment, Rubens' second wife, wearing a huke. The Louvre Gallery also has an oil example c.1639 ''Hélène Fourment with Carriage'' which shows the sitter in similar attire.
Lot 2527
Collection of approx 57 compete sets & 6 part sets contained in 4 modern albums, all Will's issues, including Allied Army Leaders (including variety), Aviation, Fish & Bait, Military Motors (mixed), Musical Celebrities (A series), Naval Dress & Badges, Railway Locomotives, Recruiting Posters, Speed, Time & Money, The World's Dreadnaughts, etc. mixed condition with majority G - VG cat value £2700+
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228098 item(s)/page