We found 45695 price guide item(s) matching your search

A modern Devine table globe, scale 1:30,000,000, height 75cm.

JOHN SANDERSON WELLS (BRITISH, 1872-1955)Outside The Globe Room at The Reindeer Inn, Banburysigned 'J. S. Sanderson. Wells' (lower right) and bears old label (to backboard)watercolour48 x 64.5cmARRCondition reportUnder glass.Appears in generally good condition.

DRINKS GLOBE

A collection of coloured and clear glass dressing table and scent bottles, with silver lids and collars, some with guilloché enamel decoration, to include a globe-shaped dressing table bottle with engraved monogram to the lid, Birmingham 1908, and sterling silver compact with blue guilloché enamel and mirrored lid tallest 19.5cm high (13)Condition report: Surface marks/scratches/tarnish to silver.Chips to the edges of some of the stoppers, some stoppers deficient.Some of the lids are badly dented.Chips to all the enamel bar the enamel to the silver compact. Cranberry glass bottle has cracked and been glued together. The hinge to this bottle has been repinned.Chips to some of the glass bottles.Two of the bottles have silver lids that do not fit - later marriages, loose.

Oak Globe Wernicke four height stacking bookcase (lacking bottom door), two door oak bookcase, prayer book table cabinet and vintage duplicator (4).

Collection of Staffordshire Shorter & Son Ltd pottery, globe on stand, Sylvac, piano stool, carriage clock, records, screen etc.

AN EARLY 20TH CENTURY GEOGRAPHIA 8 INCH TERRESTRIAL GLOBE, the paper covered globe supported on a bronzed spelter figure of Atlas, shaped circular plinth base, height 44cm (Condition report: paper is discoloured, with some areas of loss and splits, the metal mount holding the globe in position is loose and the bronzed finish has worn away in a number of patches throughout the base)

AN 18-INCH W & A K JOHNSTON LIMITED (EDINBURGH & LONDON) CELESTIAL GLOBE, the sphere applied with twelve gores of blue printed in gilt with stars and zodiac signs, bears circular inset makers name, mounted in brass meridian, resting in walnut stand with coloured paper horizon ring printed with days-of-the-month, houses and signs of the Zodiac and also displaying compass directions, raised on four baluster turned legs with turned stretchers to carry the meridian ring at the base, height 66cm overall x diameter 62cm (Condition report: globe varnish has yellowed and the blue faded to varying degrees, some surface scuffs but no major tears, there is a circular patch above 'Horologium' that has been touched in with blue paint where it has cracked, there is a dent just after the words 'Canes Venatici' which also appears to have some repainting)

A globe on stand together with a battery operated clock in the form of a vintage fan

A George F Cram Company globe on stand

A Dutch modern silver bowlby Rob & Jaap Thalen, Netherlands, Gouda 2016The sculptural form, hammered to form a naturalistic undulating surface, with a matted surface contrasting with the polished textured edge, the underside also with a faint polished scribble effect over the whole of the underside contrasting to the slightly matted ground, diameter 24cm, weight 20oz.Footnotes:Born in 1954, Rob Thalen studied as a silversmith and began his career as a sculptor in The Netherlands in 1982. He relocated to Belgium in 2001, where he currently lives in the Ardennes Mountains near the city of Spa. In 2005 he was joined by his son Jaap, and since then the duo has specialized in monumental contemporary works in silver. Jaap studied architecture in Belgium and now works alongside his father as a designer and silversmith.Thalen & Thalen is unusual in that the silversmiths work predominantly in fine silver (99.9% purity). In fact, the duo cites purity as a guiding concept in their work, incorporating purity of both material and expression into every piece. All their creations are hallmarked in the Netherlands.The Thalens have garnered attention worldwide and have exhibited worldwide, including recent exhibitions at TEFAF 2015 and at the Gemeentemuseum den Haag in 2016. Their works have been exhibited at a number of museums including Schoonhoven Zilvermuseum (The Netherlands), Sterckshof Zilvermuseum Antwerpen (Belgium), Deutsches Goldschmiedehaus Hanau (Germany), Neue Pinakothek Munchen (Germany), Design Museum Gent (Belgium), the International Design Museum Munich (Germany), and Museum Kunstgewerbesammlung Huelsmann (Germany), among others. Their works can be found in public and private collections across the globe.For further information on this lot please visit Bonhams.com

A small late 18th Century French gilt bronze figural mantel clockthe dial signed Noel Fils, A Paristhe drum case surmounted by an armillary sphere and flanked by a putto, a globe and other attributes of astronomy, the marble plinth base with beaded toupie feet, the 3' enamel Roman dial with Arabic outer track and with gilt fancy hands, the signed circular movement with silk suspension with outside countwheel striking the hour and half hours on a bell, with pendulum, hand setting key and associated winding key, 28.5cms high Footnotes:For a similar astronomy themed case see Kjellberg, 'Encyclopedie de La Pendule Francaise', 1997, p.238, fig.A.For further information on this lot please visit Bonhams.com

Postcards loose in two shoe boxes including Real Photographic 1917 King George V and Queen Mary outside the Liverpool & London Globe Insurnce Co. HRH Duke of York unveiling War Memoraial, Cambridge 1922 (three cards), Military groups, Street scenes. Other cards include greetings, artist drawn, topography, Silks, early cards, comic etc.

Vintage Shell Economy fuel station glass globe / light

Air France chromium aeroplane, with perspex propellers, on painted globe-form base with raised lettering, the plane measuring 20cm long

Geographic 10 Inch Terrestrial Globe on turned wooden stand

Philips 10 Inch Challenge Globe on square base

Vintage mid 20th century "Cartes Taride" Philips Challenge 13.5" world globe raised on a polished aluminium base.

MIXED LOT - MODERN MINIATURE GLOBE, WOODEN MODEL OF A TRAIN AND TWO BOXES OF PLACE MATS

Two late Georgian samplers one worked by Maria Robson of Doncaster in 1815, depicting the Western and Eastern hemispheres of the globe and set within a painted antique frame, the frame 71cm x 41cm together with a further sampler decorated with a peacock on a stump and further animals set within a topiary garden with alphabet and numbers worked by Harriet Munn 'Who finished this work upon the 11th year of her age 1831', set within a burr maple frame with gilt slips, the frame 40.5cm x 50.5cmQty: 2Condition report: Both samplers with staining and discolouration to the ground, further discolouration as seen, the frame of the globe sampler with chips, marks and minor damages, the frame of the other sampler with slight loss to the veneer lower left corner and some marks and minor losses to the gilt slips

Original Globe Wernicke bookcase with original white London label, also reads office and library furnishers of London, single cupboard and one glazed leaded section, approx 87cm x 31cm x 98cm tall

Toy drums, pond yacht, tin globe, etc.

Three coloured glass pendant fluted globe shaped lamps - two blue, one green,30 cms high.

An interesting and impressive Globe Wernicke stacking bookcase having six drawer base in the retail/industrial style and three graduated bookcase sections, width approx. 105cm

A SWISS MAP OF ASIA (1780) Donated Anonymously Publisher: J L Pellet, Geneva From "Atlas de toutes le parties connues de Globe" prepared by Rigobert Bonne Monsoon winds, essential for trade and explorations, are marked with arrows 22.5cm x 32.5cm Condition: Fold as issued Additional Information: Monsieur Bonne was a French cartographer, Ingénieur-Hydrographe de la Marine, appointed in 1773 by the King Louis XV to succeed J.N.Bellin. He prepared a large collection of maps for several publishers, Raynal and Desmarest among them. His maps do not show decorative cartouches so common in the 18th century however they were appreciated for the details and reports of the newly discovered regions of the world.

Konvolut außergewöhnlicher, handkolorierter Kupferstiche, 18./19.Jh. - 1 x Windkarte,"Tabula Anemographica seu Pyxis Nautica, vulgo Compass. Charte", Matthäus Seutter. 1 x Altkolorierte Himmelskörperkarte "Phaenomena in planetis primariis", Johann Gabriel Doppelmayr. 1 x "Sphaerae Artificiales" mit Erdglobus, Himmelsglobus und einer ptolemäischen Armillarsphäre, M. Seutter. 1 x "Tabula Poliometrica Germaniae ac Praecipuroum Quorundam Locorum Europae" mit aufwendiger Titelkartusche "Neu vermehrter curioser Meilen-Zeiger der vornehmsten Städte in Europa besonders in Teutschland", Homann Nürnberg. Stets Folioformat mit Mittelfalz. Mit deutlich erkennbaren Alters-und Gebrauchsspuren, Tönung, Flecke, Knicke, Einrisse, restauriert/geklebt. Am besten besichtigen !| Mixed lot of extraordinary, hand-coloured copper engravings, 18th/19th cent. - 1 x Wind Chart, "Tabula Anemographica seu Pyxis Nautica, vulgo Compass. Charte", Matthäus Seutter. 1 x Old coloured map of the heavenly bodies "Phaenomena in planetis primariis", Johann Gabriel Doppelmayr. 1 x "Sphaerae Artificiales" with terrestrial globe, celestial globe and a Ptolemaic armillary sphere, M. Seutter. 1 x "Tabula Poliometrica Germaniae ac Praecipuroum Quorundam Locorum Europae" with elaborate title cartouche "Newly Increased Curious Mileage Pointer of the Most Noble Cities in Europe Especially in Germany", Homann Nuremberg. Always folio format with centrefold. With clearly visible signs of age and use, toning, stains, creases, tears, restored/glued. Best to visit !

Drinks globe

Table top gemstone world globe with 3 legged gold tone stand and compass height 20" tall

Hand painted Beijing glass globe on a rotating wooden base height

A mid-20th Century tin world globe

Antiker Miniatur-Erdglobus aus Bein, um 1800 Ø 45 mm, mit Längen- und Breitengraden, gravierte und kolorierte Kontinente, 4 Bohrungen für das Stativ (nicht enthalten). - Ein sehr selten zu findender Globus. Start Price: EUR 400 Miniature Bone Terrestrial Globe, c. 1800 Ø 1 ¾ in., with longitudes and latitudes, engraved and colored continents, four holes for the base (missing). - A very rare globe. Start Price: EUR 400

Trichtergrammophon Pathéphone No. 18, um 1910 Pathé, Paris. Für Seitenschrift-Platten, Nußbaumgehäuse mit Pathé-Aufkleber (Diskuswerfer vor Erdglobus), Pathé-Concert-Glimmerschalldose, großer Metalltrichter, Ø 61 cm, funktioniert. Start Price: EUR 550 Pathéphone No. 18 Horn Gramophone, c. 1910 Pathé, Paris. For horizontally-cut records, walnut case with Pathé transfer (discus thrower in front of earth globe), Pathé Concert mica reproducer, large tin horn, Ø 24 in., working. Start Price: EUR 550

2 Tischgrammophone 1) Pathéphone No. 30, Paris, um 1914, für Tiefenschrift-Platten, Nußbaumgehäuse mit geschnitztem Sockel, Original-Pathé-Schalldose mit Saphir-Nadel, innenliegender Trichter, mit Pathé-Aufkleber (Diskuswerfer vor Erdglobus), sehr guter und funktionierender Zustand. - Und: 2) Amphion, Tischgerät ohne Deckel, Trichter hinter 2 Türen, mahagonifarbenes Holzgehäuse, Glimmerschalldose bezeichnet "Diaphragme Amphion-Paris - Importé d'Angleterre", sehr gut funktionierender Zustand. Start Price: EUR 280 Two Table-Top Gramophones 1) Pathéphone No. 30, Paris, c. 1914, for vertically-cut discs, walnut case with carved base, original Pathé reproducer with sapphire needle, horn inside case, with Pathé transfer (discus thrower in front of earth globe), very good working condition. - And: 2) Amphion, table-top unit without lid, horn behind double doors, mahogany-stained wood case, mica soundbox marked "Diaphragme Amphion-Paris - Importé d'Angleterre", very good working condition. Start Price: EUR 280

Boxed Coalport Characters - The Snowman - How Do You Do?, and Coalport Characters - The Snowman - The Hug Snow Globe. Good condition, no damage.

A pair of frosted glass globe lightshades, with Etruscan frieze, height 30cm (2)

Hand etched glass paperweight globe features Earth's land features etched onto the crystal clear glass sphere, in addition to latitude and longitude lines

After Wilhelm Wagenfeld - Bauhaus - A contemporary designer table / desk lamp light having a white glass domed globe shade raised on a chrome and clear acrylic cylindrical stem. All raised on a clear glass circular base. Measures approx; 40cm x 19cm diameter.   

A matching set of four contemporary Art Deco style hanging lights with each having a milk glass globe shade supported by a single stemmed light fitting. Each measures approx; 49cm x 25cm diameter. 

A matching set of four vintage 20th Century Art Deco style hand and globe wall lamp lights with each having open hands of plaster construction having bronze effect finish. Each holding a white / milk glass globe shade. Each measures approx; 26cm x 20cm. Sadly one globe has been damaged. 

Urban Hemisphere - A contemporary brutalist 3D art sculpture of globe shape form with a birds eye view of a dystopian futuristic city with a mix of building tops, shop fronts and signs. The city lighting up via a small switch to the side. Created by student Louis Standard that attended the Arts University of Bournemouth. Hanging bracket to the verso. Materials acrylic, MDF, Styrene And Styrene foam with 3D Printing details and pray finishing. Measures approx; 65cm x 25cm deep. 

Rath Political Globe - A retro vintage 20th Century 1980's terrestrial political desk top globe published Veb Räthgloben-Verlag Leipzig VLN 1003, made in GDR. Raised on circular teak wood base. Measures approx; 48cm x 33cm diameter. Scale 1:38 600 000. 

An illuminating globe

A stone globe on brass effect stand. 14cm diameter.

ANTONY GORMLEY (B. 1950)BREATHE 2016 signed, titled and dated 2016 on the reversecrude oil, linseed oil and petroleum jelly on paper256 by 134 cm.100 13/16 by 52 3/4 in. This work is from a series of 12 unique monoprints taken directly from the artist's body. Footnotes:ProvenanceAlan Cristea Gallery, LondonAcquired directly from the above by the present owner in 2016ExhibitedLondon, Alan Cristea Gallery, Antony Gormley: CAST, 2016, p. 33, no. 10, illustrated in colour LiteratureMartin Caiger-Smith, Antony Gormley, New York 2017, p. 407, illustrated in colourLe Gallerie degli Uffizi, Antony Gormley ESSERE, Florence 2019, p. 71, no. 3, illustrated in colour Born in London in 1950, Antony Gormley is not only widely acclaimed for his sculptures, installations, and public artworks, but also for a truly remarkable body of drawings. Not unlike a modern-day Leonardo Da Vinci, his drawings are tinged with washes, varnishes, dyes, oil, earth and even blood amongst more traditional media and they serve as much more than just a way to record his surroundings. Always with a workbook at hand, Gormley's drawings form an artistic corpus in its own right and whilst there are visual parallels with his larger three-dimensional work, they go far beyond mere preparatory studies. He is 'going places in the drawing that are not possible in life or sculpture: outer space or deep water' ('BODY AND LIGHT, 1990 – 1996', www.antonygormley.com, 22.02.2022), the process of drawing itself becoming a meditative as well as creative exercise. Gormley draws the viewer in, makes them both spectator and participant in his work by questioning and exploring where human beings as a whole and the human body in particular stand in relation to the space in which they exist; be it a small room, nature, or the cosmos. This was perhaps nowhere more palpable than in his recent critically acclaimed solo show at the Royal Academy where he filled the institution's thirteen vast main galleries with astonishing larger-than-life sculptures and installations. An entire room there was dedicated to drawing, showing the sheer diversity, range, and importance of this part of his oeuvre.Perhaps best known for Angel of the North near Gateshead, Gormley is a monumental figure, both in eminence and stature. His own 6ft 4in tall frame functions as a mould for his sculptural work and as a brush in his drawings which often involve the physical activity of the entire body. Works like the Clearing drawings convey considerable speed and velocity used in their creation, and in life-sized, ethereal Body Prints such as the present work, Gormley himself becomes the painting apparatus. The series of unique works was developed for the exhibition CAST at Alan Cristea Gallery in London in 2016, which explored how our own physical freedom and imaginative potential is progressively more conditioned by the environment we have built and the dependencies we have constructed around us. A number of large woodblock prints based on seven distinct body poses that reinterpreted anatomy in the language of architecture were interspersed with a series of crude oil and petroleum jelly Body Prints. Titles ranged from OPEN to FEEL, SEE, SHOW and the present work, BREATHE. Whilst the woodblock prints relate to Expansion Field (2014) a work which 'applies the principles of an expanding universe to the subjective space of the body' ('CAST, ALAN CRISTEA GALLERY, LONDON, ENGLAND, 2016', www.antonygormley.com, 22.02.2022), the use of crude oil in the artist's body prints has an avowedly political context. To create the transfer, Gormley covered himself in crude oil, linseed oil and petroleum jelly and, with the help of two assistants and two long poles, he would fall onto the handmade paper, the weight of his body creating a corresponding, ghost like imprint. As the 'blood of the earth' slowly seeps into the fabric of the sheet, a kind of halo forms around the figure, imbuing the work with a sacral feel. Having grown up in a devoutly Catholic home, Gormley turned away from the church at the age of eighteen towards Buddhism and became interested in vipassana meditation which he often uses in his artistic practice. The use of 350-million-year-old carboniferous Texan crude mixed with North Dakota oil to perfect the colour shade and effect is meant to highlight our dependency on petrochemicals. The oil represents the planet's DNA, its solar memory, a result of age-old photosynthesis in a time where we have our own capacity to harness the power of the sun and perform a sort of industrialised photosynthesis. The Body Prints act as a memorial to a time in which our dependency on fossil fuels was on the ebb though still pronounced. Antony Gormley was awarded the Turner Prize in 1994, the Praemium Imperiale in 2013 and has been a Royal Academician since 2003. In 1997 he was made an Officer of the British Empire (OBE) and was made a knight in the New Year's Honours list in 2014. Gormley's work has been widely exhibited throughout the UK and internationally with recent exhibitions at National Gallery Singapore, Singapore (2021); the Royal Academy of Arts, London (2019): Delos, Greece (2019); Uffizi Gallery, Florence (2019) and the Philadelphia Museum of Art, Philadelphia (2019). Permanent public works around the globe include the Angel of the North (Gateshead, England), Another Place (Crosby Beach, England), Inside Australia (Lake Ballard, Western Australia), Exposure (Lelystad, The Netherlands) and Chord (MIT - Massachusetts Institute of Technology, Cambridge, MA, USA). Highly political in much of his oeuvre, he uses the strength of his market and public popularity to highlight injustice and confront us with our own needs, our relationship to the planet, other lifeforms and the cosmos.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

YAYOI KUSAMA (B. 1929)Fruits 1996 signed, titled in Japanese and dated 1996 on the reverseacrylic on canvas14.4 by 18.2 cm.5 11/16 by 7 3/16 in. Footnotes:This work is accompanied by a registration card issued by Yayoi Kusama Inc., Tokyo.ProvenancePrivate Collection, Japan Acquired from the above by the present ownerThroughout the course of her distinguished career, Japanese artist Yayoi Kusama has developed a practice which, whilst sharing affiliations with Surrealism, Minimalism, Pop Art, ZERO and Nul, fights to resist any singular categorisation. Fruit baskets have served as a recurring subject in Kusama's works and Fruits, executed in 1996, follows her fundamental concept of Infinity Nets with the multiplex addition of her iconic dots and organic symbols. The intricate geometric arrangement of the background, fruit basket, and tabletop in the present painting illustrates her logic behind the spatial relationship. Fruits attests to her own artistic enhancement, while epitomising her creative practice since its earliest days.The basket is set against a turquoise background covered with an infinite net of black-outlined triangles. The delicate fine lines stretch and connect in a seemingly unconscious manner, leaving the viewer in a trance between figurative and abstract representations. The fruits in the basket are painted in bold colours using visually directional dots arranged in a concentric pattern, reminiscent of her widely identifiable Pumpkins. Kusama's motif of the pumpkin form has achieved an almost mythical status in her art since the late 1940s. Coming from a family that made its living cultivating plant seeds, Kusama was familiar with the kabocha squash growing in the fields that surrounded her childhood home, and the pumpkin continues to occupy a special place in her body of work. Born in Matsumoto City, Japan in 1929, Kusama studied painting in Kyoto before moving to New York in the late 1950s. By the mid-1960s, she had become well known for her avant-garde activities and exhibitions with her diverse artistic endeavours spanning categories such as painting, drawing, collage, sculpture, performance, film, printmaking, installation, and environmental art as well as literature and fashion. Her use of an innovative perspective and her navigation of the cultural contexts of both the East and the West has enabled her to become an internationally renowned artist. Today, Yayoi Kusama who lives, somewhat famously, in a psychiatric institution in Tokyo, continues to produce paintings and installations at an incredible speed, exhibiting internationally in nearly every corner of the globe and maintaining a commanding presence and demand on the primary art market and at auction. From a young age, Yayoi Kusama experienced visual and auditory hallucinations and consequently began creating net and polka dot pattern pictures. Those hallucinations and the theme of dots would continue to influence her art throughout her career. From 1951 to 1957, Kusama created thousands of paintings and drawings on paper, further establishing these two significant motifs of dots and nets. In 1957, she went to the United States and began making net paintings and soft sculptures, as well developing installations that made use of mirrors and lights. It was in 1959 that Yayoi Kusama held her first solo exhibition in New York showcasing a series of white Infinity Net paintings that achieved critical acclaim. Her debut stirred heated discussions among artists in the United States, at a time where Abstract Expressionismwas prevalent. The organic shapes in her work created during the 1950s could be identified as evocative of surrealist artworks by the likes of Joan Miró and Paul Klee, yet they appear in a more obscure, colourful, playful, and neurotic form. By breaking the world up into nets and dots, Kusama eliminates physical boundaries and constructs a well-developed concept of repetition and multiplication. Named previously as 'the world's most popular artist', it's not hard to see why Yayoi Kusama continues to impress art audiences of all ages around the globe. In 1993, she represented her country in the 45th Venice Biennale and 2017 saw the inauguration of Kusama's museum in Tokyo. Recent exhibitions include the debut of 'Yayoi Kusama: Infinity Mirrors' at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., 'Yayoi Kusama: Life is the Heart of Rainbow' at the National Gallery Singapore, and the concurrent exhibitions 'Yayoi Kusama: Festival of Life' and 'Yayoi Kusama Infinity Nets' at David Zwirner in New York. Today, Kusama's works can be found in the collections of The Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Mattress Factory in Pittsburgh, and the National Museum of Modern Art in Tokyo, among many others.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A mid 20thC Globe Wernicke mahogany bookcase, comprising five graduated tiers with lead glazed panelled doors, the uppermost incorporating an open compartment and two small flank cupboards, on a box plinth  74"h  34"w

A 'GLOBE METAL POLISH' ENAMEL SIGN measuring 18cm by 13cm

Miscellaneous items to include a globe, gas mask, maracas and barge ware style pepper mill

A modern Art Deco style globe with aeroplane finial

A vintage Agostini light-up globe of the world dated 1966

A Victorian oil lamp with cut sided glass reservoir, brass pedestal stem and opaque ceramic foot - with chimney and etched glass globe shade

A LARGE GLOBE ON SILVERED STAND.

A mid-20th century 10" terrestrial globe, the Phillips' Challenge Globe, chrome plated stand, 33cm high, c.1966

Collection of Torquay motoware, globe on stand, Denby mugs etc

Carausius antoninianus, Colchester. Obverse: IMP CARAVSIVS P F AVG; Jugate radiate busts of Carausius and Sol left. Reverse: PROVIDEN AVG; Providentia standing left holding baton and cornucopiae; globe to left on ground. Mintmark: S C // C. 26mm, 3.3g.Extremely rare, one of only 5 known examples. Cf. PAS FASAM-F6656D https://finds.org.uk/database/artefacts/record/id/883891

Carausius Antoninianus. London, AD 290-91. Billon, 3.7 grams. 25 mm. Radiate bust right, IMP CARAVSIVS P F AVG. Reverse: PROVIDENT AVG, Providentia standing left holding globe and transverse sceptre. B E in field, M L XXI in ex. Ref: RCV 13694.

Gordian Denarius.  Rome, AD 241. Silver, 3.31 grams. 20.53 mm.Laureate bust right, IMP GORDIANVS PIVS FEL AVG. Reverse: AETERNITATI AVG, Sol standing left, raising right hand and holding globe in left. Ref: RIC 111, RSC 39.

Eugenius Siliqua.  Trier, AD 392-4. Silver, 1.39 grams. 16.17 mm. Diademed bust right, D N EVGENIVS PF AVG. Reverse: VIRTVS ROMANORVM, Roma seated left holding Victory on globe and resting on spear. TR PS in ex. Ref: RSC 14a, RCV 20688.

Honorius Siliqua.  Milan, AD 397-402. Silver, 1.35 grams. 17.11 mm. Diademed bust right, DN HONORIVS P F AVG. Reverse: VIRTVS ROMANORVM, Roma seated left holding Victory on globe and resting on spear. MD PS in ex. Ref: RSC 59b. RCV 20968.

Faustina Denarius.  Rome, after AD 147. Silver, 2.95 grams. 18.63 mm. Draped bust right, DIVA FAVSTINA. Reverse: AETERNITAS, Providentia standing left holding globe and grasping veil which billows out behind head. Ref: RIC 351.