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Bag of ancient Roman coinage including coins from the Gallienus reign 260-268

Bag containing miscellaneous ancient Roman coinage, various dates

Total of 15 Ancient Roman coins, mixed timelines, dates vary from 98 Trajon to 367 Gratian

A folder of ancient Roman coins and later coins including 20th Century pre-decimal

FULCRUM: TÊTE DE MULE, BRONZE, ART ROMAIN, CIRCA IER-IIE S. AP. J.-C. A ROMAN BRONZE MULE HEAD FULCRUM, CIRCA 1ST-2ND CENTURY A.D., the head turned to its left with short mane, 6.5cm high, 14.5cm wide, 8cm deepFootnotes:Provenance:Anonymous sale; Collin du Bocage, Paris, 11 June 2014, lot 29.This attachment was once the end of a fulcra, or head-board, of a Roman reclining couch (klinai). Often depicting a horse or a hound, the two most important domesticated animals in ancient Rome, these ornaments were naturalistically and sensitively modelled. Cf. an example from the George Ortiz collection reproduced in D.G. Mitten & S.F. Doeringer, Master Bronzes from the Classical World, Mainz, 1968, no. 147.For further information on this lot please visit Bonhams.com

LIEBIG, complete (23), S.855- 929, inc. in the wild west, ancient roman buildings, famous merchants, famous tragedies, life of Shakespeare, old Holland, samson and Delilah, birds of prey etc., in ring-binder, VG to EX, 138

[Local Interest] Illustrations of the Remains of Roman Art in Cirencester The Site of Ancient Corinium by Professor Buckman & C.H. Newmarch 1850 with coloured plates in gilt cloth (re-backed), Old Cottages Farm-Houses and Other Stone Buildings in The Cotswold District illustrated with 100 collotype plates by Galsworthy Davie and Introduction by Guy Dawber Architect 1905 in decorated cloth, Domestic Architecture of Gloucestershire by Broadbent & Minoprio 1931, Picturesque Gloucestershire 1928 in half leather, Excavations of Roman Baths at Bath illustrated, History & Antiquities of Bath Abbey Church by Britton 1887 in gilt cloth and others (17)   

A group of eight ancient Roman coins Hadrian 117-138 A.D to include 1 x denarius: Fides Publica, 1 x drachm of Alexandria: er god Nilus seated on rocks, 1 x AS, 5 x sestertius (2 x + Felicitas, 1 x rev providentia aug, 1 x Jupiter holding victory, 1 x Fortun AE).

A group of ten ancient Roman coins Septimius Severus 193-211 A.D denarius to include 1 x Moneta with scales, 1 x Annona foot on prow, 1 x Sol naked with whip, 1 x Salus feeding snake: Rome 209 A.D, 1 x Trophy + 2 arab captives, 1 x Victory over the Parthians struck 204 Rome, 1 x naked Genius at altar, 1 x Providence globe at feet, 1 x Part Max: 2 captives seated below Trophy Rome 202 A.D, 1 x other.

A group of eight ancient Roman coins to include 7 x Commodus 177-192 A.D (4 x sesterius (1 x Apollo with Lyre, 1 x Liberalitas struck 191 A.D, 1 x Leptis Magna hoard c.2012, 1 x Annona between Modus + prow holding statue + cornucopiae: Rome 183 A.D), 3 x denarius (1 x naked Mars, 1 x Roma, 1 x naked Hercules with patera + club)), 1 x Crispina wife of Commodus: murdered denarius: Concordia clasped hands.

A group of fourteen ancient Roman coins to include 1 x Claudius 41-54 A.D sestertius: rev: spes Augusta, 3 x Cladius 41-54 A.D AS (1 x Constantia with spear), 1 x Nero 54-68 A.D AS: victory with shield, 1 x Nero 54-68 A.D Dupondius of Lyon: victory: great portrait on worn revers, 8 x Vespasian 69-79 A.D denarius (2 x Annona, 1 x Saus, 1 x sacrificial implements: Rome 72-73 A.D, 2 x victory on prow of ship, 1 x sow with piglets: imp XIX, etc.).

A group of twelve ancient Roman coins Antoninus Pius 138-161 A.D denarius to include 1 x Pax, 1 x Moneta, 1 x Fortuna, 1 x Felicitas, 1 x Concordia, 1 x Liberalitas, 1 x genius of the people, 1 x Tranquillitas with rudder + cornears, 1 x winged thunderbolt on table Rome 146 A.D, 1 x Consecratio: funeral pyre, 1 x Laetitia feeding snake hand on anchor etc.

A group of eight ancient Roman coins Septimius Severus 193-211 A.D denarius to include 1 x Mars, 1 x Victory, 1 x Fortuna with rudder, 1 x Carthage riding lion, 1 x Victor holds open wreath over shield: Rome 200 A.D, 1 x Victory with wreath + palm struck Rome 193 A.D, 1 x Vota Suscepta: Severus at altar, 1 x trophy of Parthian arms with two captives.

A group of nine ancient Roman coins Hadrian 117-138 A.D denarius to include 2 x Concordia seated, 1 x Victory holding palm: Rome 127 A.D, 1 x Pietas Rome 132 A.D, 1 x Pax with olive branch, 1 x Fides Publica holding cornears + dish of fruit: struck Rome 137 A.D, 1 x Felicitas holding caduceus + cornucopiae: struck Rome 124 A.D, 1 x Hercules on cuirass holds club and victory: struck Rome 126 A.D, etc.

A group of thirteen ancient Roman coins to include 1 x Titus 79-81 A.D denarius struck 76 A.D as Caesar: eagle on base, 1 x Titus 79-81 A.D AS: ictoria Augustii, 3 x Domitian 81-96 A.D denarius (1 x Minerva on prow, 1 x Minerva, 1 x Mars), 1 x Trajan 98-117 A.D AS: victory advancing with S.P.Q.R on shield, 7 x Trajan 98-117 A.D denarius (1 x trophy of arms, 1 x Mars with spear + trophy, 1 x Arabia with camel at feet, 1 x AE Ternitas Aug, 1 x Providentia, 1 x Liberalitas with cornucopiae and mirror: not in new spink etc.).

A group of twelve ancient Roman coins to include Trajan Decius 249-251 A.D 1 x sestertius, 10 x antoninianus (2 x Adventus Aug, 1 x Uberitas Aug, 1 x Victoria Aug, 1 x Genius exerc illurician, 1 x Dacia with horse head standard, 1 x Dacia with standard, 1 x the 2 pannoniae + standard, 2 x other), 1 x Trebonianus Gallus 251-253 A.D sestertius: Spes Publica.

A group of nine ancient Roman coins Severus Alexander 222-235 A.D to include 8 x sestertius (2 x spes Republica, 1 x Leptis Magna, 1 x Mars, 1 x Salus, 1 x Curity flaming altar at feet, 1 x Sol advancing, 1 x other), 1 x AS.

A group of ten ancient coins to include 1 x Pontus Amisos 300-250 B.C hemidrachm: head of Tyche & owl on shield, 1 x Sicily Syracuse Heiron II 275-215 B.C AE 26: head of Hieron: horseman with spear, 1 x Lydia AR siglos c 450-330 B.C, 1 x C Maianius c. 153 B.C denarius: head of Roma: victory in Biga: e.maiani below (Maiania), 1 x L Sempronius Pitio 148 B.C denarius: two Horsemen: first year mark of value before head, 1 x Indo-Greek 160-145 B.C drachm of Menander: Athena, 1 x Indo-Greek Menander 160-145 B.C drachm: Rev. Pallas Athena, 1 x Indo-Greek Bactria Menander 160-145 B.C drachm: Athena with thunderbolt and shield B.M.C.6, 1 x Roman Republic Issue of 157-155 B.C denarius: head of Roma victory in Biga, 1 x L.Sempronius Pitio 148 B.C denarius: the Dioscuri galloping.

A group of eight ancient Roman coins to include Antoninus Pius 138-161 A.D 1 x dupondius: Felicitas Aug, 3 x sestertius (1 x Indulgentia, 1 x Salus feeding serpent, 1 x other), 4 x Faustina Snr. wife of Antoninus Pius: died 141 A.D denarius (2 x Aeternitas, 1 x Aeternitas: Juno? with spear, 1 x Pietas sacrificing at altar).

A group of seven ancient Roman coins Marcus Aurelius 161-180 A.D sestertius to include 1 x Slus, 1 x Salus feeding serpent, 1 x Jupiter holding Victory, 1 x struck as Caesar 139-161 A.D Leptis Magna hoard, 1 x Victory with shield is inscribed 'vic-ger', 1 x M.Aurelius + Lucius Verus clasping hands, 1 x TR P XVIII IMPII COS III/SC Rome 164 A.D.

A group of fifty ancient Roman coins to include 8 x Constans 337-350 A.D various coins, 26 x Constantius II 337-361 A.D various coins (1 x centenionalis of Arelate:soldier spearing horseman, 1 x centenionalis of Nicomedia: soldier spearing rider, 1 x AE 3 of Siscia: peacoco on Pyre, etc.), 2 x Magnentius 350-353 A.D (1 x centenionlis of Trier: Emp holding Victory and banner with christogram, 1 x other), 2 x Julian II 360-363 A.D coins, 2 x Jovian 363-364 A.D AE 3 (1 x of Sirmium: captain of Julian's guard, 1 x of Siscia: vows in wreath), 4 x Valens 364-378 A.D various coins, 7 x Valentinian I 364-375 A.D various coins.

A group of thirty seven ancient Roman coins to include 1 x Constantius I 305-306 A.D follis of Lugdunum: Genius at altar as Caesar 293-305 A.D, 1 x Theodora 2nd wife of Constantius I AE 4: Pietas holding child, Constantine I 307-337 A.D 16 x AE 3 (1 x of Lugdunum: Sarmatia Devicta: Victory over the Sarmatians, 1 x of London: 2 Victories: PLN in exetrgue, 1 x of London: Sarmatia Devicta, 1 x of London: Sol with globe, 1 x of Treveri: Sarmatia Devicta: Victory with captive, 12 x other), 7 x follis (2 x of London: Sol with globe, 2 x of Treviri (1 x Soli Invicto Comiti, 1 x Marti Conservatori), 1 x of Cyzicus: Jove struck 317-320 A.D, 1 x of Lugdunum: Sol with globe, 1 x other), 4 x Constantinople commemorative, 8 x other.

A group of seven ancient coins to include 1 x L Marcius Censorinus c.82 B.C denarius: head of Venus: Venus in Biga: P.Crepusi below, 1 x Titus 79-81 A.D denarius: winged thunderbolt on seat: struck in Rome A.D 80, 1 x Parthia silver drachm unknown king 80-70 B.C, 1 x M. Volteius M.F. 78 B.C denarius: head of Bacchus or Liber, Ceres holding two torches in Biga of snakes, 1 x C. Naevius Balbus 79 B.C denarius: Venus victory in Triga: one of only two coins in the republican series to have a 3 horse chariot, 1 x Roman Republic anonymous issue c.86 B.C denarius: Appollo: Jupiter in Quadriga, 1 x Gallo-Belgic c.75-50 B.C armorican stater: Anchor shaped Nose: Class III

A group of fifteen ancient Roman coins Gordian III 238-244 A.D to include 1 x AE 22 of Edessa, 2 x denarius (1 x Gordian on horse, 1 x Apollo), 3 x sestertius (1 x Fortuna Redux, 1 x Laetita, 1 x Apollo arm restling on lyre struck 242 A.D), 8 x antoninianus (1 x iovi statori, 1 x Pax Augusta, 1 x Fortuna with rudder, 1 x Laetitia Aug, 1 x Oriens Aug, 1 x Secuzitas, 3 x other).

A group of seventeen ancient Roman coins to include 1 x Tacitus 275-276 A.D antoninianus of Lugdunum: Felicitas, Probus 276-282 A.D 11 x antoninianus (1 x of Siscia: Fides with standards, 1 x of Antioch Romae Aeter: Roman temple of six columns, 1 x of Tripolis: Probus takes globe from Jupiter, 1 x Sol in chariot, 1 x Tempor Felicit: 'B' in field, 1 x Sol with globe, 1 x Sol in galloping quadriga, 1 x Restitutor Orbis, 1 x Sol in facing quadriga: Cyzicus mint, 1 x Felicitas, 1 x Sol invicta galloping forward in chariot), 1 x billion tetradrachm of Alexandria: eagle with snake, Diocletian 284-305 A.D 1 x antoninianus Heraclea mint: Diocletian and Maximianus holding Victory RIC 279, 3 x follis (1 x of Rome: Genio Populi Romani, 1 x of Treviri: Genio Populi Romani, 1 x other).

A group of thirty six ancient Roman coins to include 3 x commemorative of 330-346 A.D (1 x AE 4 of Constantinople: laureate + draped bust + cornucopiae: bridge with 2 towers + water below, 2 x others), 6 x Crispus 317-326 A.D AE 3 (1 x of London: 2 captives under votive standard, 5 x others), 2 x Delmatius 335-337 A.D AE 3 (1 x of Siscia: 2 soldiers + standards, 1 x of Thessalonica: 2 soldiers + standards), 1 x Alexander III 336-323 A.D drachm: Zeus, Constantine II 317-337 A.D 10 x AE 3 (3 x of London (1 x altar inscribed Votis.XX, 1 x Votis .XX on altar: radiate head, 1 x Vot.X in laurel wreath), 1 x of Trier, 6 x other), 10 x other, 4 x Constantius II 337-361 A.D (1 x AE3 of Arelate struck as Caesar: two soldier and standards, 3 x other)

A group of eight ancient Roman coins to include 3 x Julia Mamae mother of Severus Alexander sestertius (1 x Felicitas Publica, 1 x Venus Victrix, 1 x Felicitas), 2 x Faustina Junior wife of Marcus Aurelius sestertius (1 x Saluti Augustae, 1 x Fecunditas with four children), 1 x Otacilia Severa wife of Philip I sestertius: pietas Augusta, 1 x Lucilla wife of L Verus sestertius: providentia, 1 x Marcia Octacilia Severa sestertius.

A group of ten ancient Roman coins Caracalla 198-217 A.D to include 1 x Tetradrachm of Syria: Antioch mint, 1 x AE 24 of Edessa in Macedon: Roma holding Nike is crowded by city-goddes, 8 x denarius (1 x Aug brit legend: Providence globe at feet, 1 x Aug brit legend struck 211 A.D, 1 x Caracalla sacrificing, 1 x Mars Rome 208 A.D, 1 x Concordia seated struck 210 A.D, 1 x Concordia seated, 1 x Fides Militum, 1 x Providence globe at feet struck 213 A.D.

A group of twenty nine ancient Roman coins to include 6 x Victorinus 268-270 A.D antoninianus (1 x Pax Aug, 1 x Pax, 1 x Piety standing, 2 x Oriens Aug + Hilaritas, 1 x other), 5 x Claudius Gothicus 268-270 A.D antoninianus (1 x struck after his death: Consecratio: eagle, 1 x Spec Republica, 1 x Providentia, 1 x Felicitas, 1 x other), 2 x Quintillus 270 A.D antoninianus (1 x Providence, 1 x Pax: Rome mint), 9 x Aurelian 270-275 A.D antoninianus (2 x of Ticinum (1 x Fortuna Redux, 1 x Sol with two captives), 1 x Oriens Aug sun god, 1 x mint stated as comitatensian later Byzantium Gobl 281 A.d:Restitut orbis: female presents wreath to Emp, 1 x Sol with two captives, 1 x Oriens Aug, 1 x Aurelian + Concordia clasping hands, 1 x Oriens Aug Sol treading on captive, 1 x Sol with captive: Cyzicus mint), 4 x Tetricus I 270-273 A.D antoninianus (2 x Pax Aug, 2 x other), 2 x Tetricus II 270-273 A.D antoninianus (1 x Spes Aug, 1 x other), 1 x Vaballathus 271-272 A.D antoninianus: Aurelian joint ruler.

A collection of ancient coins to include 1 x Justinian I 527-565 A.D follis, various Roman silver, various Roman copper, various Byzantine copper, etc.

A group of twenty ancient Roman coins to include 2 x Valerian I 253-260 A.D antoninianus (1 x of Cologne: Sol with whip, 1 x Victory with wreath), 1 x Valerian II Caesar 256-258 A.D antoninianus: iovi cresenti, 7 x Gallienus 253-268 A.D antoninianus (1 x Virtus, 1 x Pax, 1 x Fortuna: found in Colchester 1968: Rome mint, 1 x Sol with globe, 1 x Jupiter with thunderbolt, 1 x AE Quitas holding scales, 1 x Fortuna Redux), 1 x Salonina wife of Gallienus: period of joint reign 253-260 A.D antoninianus Venus Felix, 9 x Postumas 259-268 A.D antoninianus (2 x Laetitia Aug: Galley, 1 x of Cologne Jupiter, 1 x Pax Aug, 1 x Felicitas: Cologne mint, 1 x Oriens Aug, 1 x Pax, 1 x Victory with palm: Cos V 268 A.D, 1 x other).

A group of nineteen ancient Roman coins to include Maximianus 286-310 A.D 3 x Follis (1 x of Treviri struck after first abdication: Providence + Quies facing each other, 1 x of Siscia: Genio August, 1 x of London: Genio Pop Rom: second reign 306-308 A.D), 3 x antoninianus (1 x first reign: Pax Augg 'S' below, 1 x Pax Aug first reign 286-305, 1 x Jupiter gives Victory to Maximianus), 1 x billion tetradrachm of Egypt: Pax with olive branch: regnal year L-H 292/293, Allectus 293-296 A.D 1 x antoninianus of Colchester Laetitia Aug: Galley, 1 x quinarius of London: Galley Q.L below London, 3 x Galerius 305-311 A.D follis (1 x of Antioch: Genio Populi Romani, 1 x of Heraclea: Genius with cornucopiae, 1 x other), 1 x Maxentius 306-312 A.D follis: Roma in temple of columns, Licinius I 308-324 A.D 2 x follis of London: Genio Pop Rom, 1 x follis, 2 x other, 1 x Maximinus II 309-313 A.D follis of Siscia: Jove wreath at feet.

A group of nine ancient Roman coins to include 4 x Septimius Severus 193-211 A.D denarius (1 x Jupiter, 1 x Annona, 1x eternal peace, 1 x Moneta), 3 x Septimius Severus 193-211 A.D sesterius (1 x Fides holding Victory: born at Leptis Magna, 1 x rev: Mars with spear and Trophy 195 A.D, 1 x other), 2 x Julia Domna wife of Septimius Severus: suicide 217 A.D denarius (1 x Laetita, 1 x Juno with peacock struck 209 A.D Rome).

A group of six ancient Roman coins Hadrian 117-138 A.D denarius to include 1 x Fides Publica, 1 x Salus Aug, 1 x Moneta with scales, 1 x Roma? seated, 1 x Aeternitas holding heads of Sol and Luna: Rome 118 A.D, 1 x Adventus Aug: Hadrian + Roma: struck Rome 134 A.D.

A collection of ancient coins to include 18 x small Roman bronzes, 30 x Byzantine copper, 12 x Byzantine copper, 3 x Indo-Greek tetr, 27 x small Roman copper, 1 x Commodus 177-192 A.D copper medal, etc.

A group of fourteen ancient Roman coins to include Philip I 244-249 A.D 1 x AE 30 of Zeugma in Syria: capricorn beneath temple peribolos above, 1 x AE 28 of Dacia: eagle legion V + lion legion VIII flank Dacia: AVIII 248/9 A.D, 1 x sestertius: Felicitas struck 247 A.D, 8 x antoninianus (2 x Annona Augg, 1 x Virtus seated, 1 x Philip on curule chair, 1 x Fides Militum, 1 x Felicitas, 1 x eternal Rome, 1 x Aequitas Augg, Philip II 247-249 A.D 3 x antoninianus (1 x Pax Aeterna, 1 x Principi Juventus, 1 x other).

A collection of ancient coins to include 84 x various Byzantine copper, 22 x large follis, 20 x small Roman copper, etc.

A group of nine ancient Roman coins Gorian III 238-244 A.D to include 1 x AE 25 of Hadrianopolis: naked Heracles? holding arrow and branch, 1 x AE 30 Moesiasuperior Viminacium: bull legion VII + lion legion IV flank Moesia: ANIIII 242/3 A.D, 7 x sestertius (1 x Victory, 1 x Laetitia, 1 x Gordian with spear + globe, 1 x Apollo, 1 x Victoria Aeter, 2 x Felicit Tempor).

A group of thirteen ancient Roman coins to include 9 x Domitian 81-96 A.D denarious (3 x minerva on prow holding spear + shield: owl at feet, 2 x minerva, 1 x minerva with thunderbolts: struck Rome 87 A.D, 1 x prince of youth: Salus leaning on column feeding a serpent: Cos VI 79 A.D), 3 x Domitian 81-96 A.D AS (1 x reverse imoneta, 1 x struck as Caesar: 80 A.D: minerva shield at feet), 1 x Indo-Scythians Aspavarma c.35 A.D billion tetradrachm of Taxila Sirsukh: King on horseback: Zeus standing.

A group of nine ancient Roman coins to include 3 x Elagabalus 218-222 A.D denarius (1 x Libertas, 1 x Fides with eagle + standards, 1 x Victory between 2 shields holding wreath), Maximinus I 235-238 A.D 1 x denarius: Salus feeding serpent, 5 x sestertius (1 x Pax, 1 x Fides Militum, 1 x Marti Pacifero, 1 x Alus feeding serpent, 1 x other).

A group of thirteen ancient Roman coins Severus Alexander 222-235 A.D to include 1 x AE 28 of Nicopolis Seleucids: Tyche over river god: Victory in counter mark, 8 x denarius (1 x Fortuna, 1 x Salus, 1 x Spes Publica, 1 x struck 223 A.D, 1 x Severus sacrificing R.I.C 325, 1 x Annona Aug, 1 x Virtus Aug, 1 x Fortuna holding rudder on globe + cornucopiae: mis-spelt legend reads 'R.M' instead of P'.M': minted in Antioch 222 A.D), 4 x sestertius (1 x Sol with whip, 3 x Mars Ultor).

A group of nine ancient Roman coins to include 6 x Marcus Aurelius 161-180 A.D Denarius (2 x Providence, 1 x struck by Commodus: Consecratio: eagle: struck after his death, 1 x struck as Caeser 139-161 A.D: struck 152/3 A.D, 1 x Concordia, 1 x Honos with branch: struck as Caeser 139-161 A.D), 1 x Marcus Aurelius 161-180 A.D duponius: M.Aurelius + Lucius Verus clasping hands, 1 x Faustina junior wife of Marcus Aurelius 175 A.D denarius: Fecunditas holding child: daughter of Antoninus Pius, 1 x Lucius Verus 161-169 A.D denarius: Rovidentia holds globe + cornucopiae: struck Rome 163 A.D (the first joint rule with Marcus Aurelius).

A group of eight ancient coins to include 1 x Roman republic M.Fannius c.f 123 B.C denarius: victory in Quadriga: fan c.f below, 1 x Cn. Lucretius trio 136 B.C denarius: head of Roma: dioscuri galloping, 2 x C. Renius 138 B.C denarius: head of Roma: Juno inbiga of goats, 2 x C. Plutius 121 B.C denarius: head of Roma: the dioscuri: believed to be the son of C. Plautius Praetor 146 B.C, 2 x M. Porcius Laeca 125 B.C denarius: head of Roma laeca behind: libertas in quadriga (1 x holding Pileus + rod) crowned by flying victory.

Collection of Ancient coins including Roman and Indian examples. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

* A collection of five Ancient Roman and Luristan (Iran) items to include three animal figures and a spear tip etc. (5)

* A hand blown green glass ewer, having a pinched rim and slender neck to a bulbous lower body with further impressed decoration, with signs of soil burial, Ancient Roman style, h.10cm.200

A collection of Britains and Elasyolin soldiers. Includes Elastolin Roman soldiers, horsemen, legionaries - made in Germany. Britains Ancient Trojan soldiers, made in Hong Kong for Britains, Britians Royal Marines band, made in England, and World war soldiers, 11 soldiers and 3 stretchers.

Giorgio Domenico Duprà (1689-1770)Prince Francisco of Braganza, Infante of Portugal, 7th Duke of Beja and Great-Prior of the Order of Malta in PortugalOil on canvas Ca. 1730125x93 cm Special Notes:GIORGIO DOMENICO DUPRÀComing from the circle of artists that surrounded the Duke of Savoy Vítor Amadeo II (1666-1730), Domenico Duprà was born in 1689 in the city of Turin, as the son of Giuseppe Duprà and Spirita Crossatti and the older brother of the painter Giuseppe Duprà (1703-1784). In 1709, when he reached the age of twenty, he moved to the city of Rome, with a certificate authenticated by Archbishop Miguel António Vibo, which testifies to his early relationship with the Portuguese circle. In that city he was a disciple of the Italian painter Francesco Trevisani (1656-1746) – author of the large canvas on the main altar of the Basilica of the Convent of Mafra – and it was in this workshop that he met Francisco Vieira Lusitano (1699-1783) who was in Rome as a boarder of King D. João V (1689-1750). In 1719, he was awarded the title of Academic of St. Lucas, which ensured the notoriety he enjoyed in the artistic society of that city. In that same year he arrived in Lisbon, following the invitation made by the 1st Marquis of Fonte, D. Rodrigo de Sá Almeida e Meneses (1676-1733) on behalf of the King D. João V. He arrived accompanied by the architect Filippo Juvarra (1688-1736) and the painter Vieira Lusitano, joining the Brotherhood of S. Lucas on October 22nd. From the records at the Brotherhood, we learn that he lived on the balconies of Terreiro do Paço, which means that he was nominated by D. João V as a Royal painter. Duprà's career in Portugal was almost exclusively dedicated to court painting. In 1719, he painted the portraits of the King's four sons and the portrait of the Monarch with the background of the Cape of Battle of Matapão (today in the collection of the National Museum of Ancient Art). In 1720, he began the cycle of celebration of the Dukes of Bragança, on the ceiling of the Tudescos room of the Paço Ducal in Vila Viçosa. These paintings, whose format adapts to the ceiling partitions, were made from pre-existing models, with three natural portraits (that of D. João V, Infanta D. Maria Bárbara, and the Prince D. José). This was followed, five years later, by the portrait of D. João V for the library of the University of Coimbra and those of the King's children, Infanta D. Maria Bárbara (1711-1758) and D. José Príncipe do Brasil (1714-1777), today in the Prado Museum and in the Palacio do Oriente, due to negotiations with the King of Spain for marriages with Spanish infants. In 1727, he painted the portrait of the 1st Duke of Cadaval. In Duprà's work we find the influence of painter Trevisani combined with French taste in the manner of painters such as Hyacinthe Rignaud (1659- 1743) and Jean-Marc Nattier (1685-1766), which opens a new phase in the portuguese court official portrait. In addition to portraiture, he dedicated himself to the elaboration of engravings and religious paintings. On this last theme there is a Blessed Christ, signed and dated (Dos. Dupra Pintor de Retratos de S. M. Portº o fez em Roma 1733) that was in the King D. Luís Painting Gallery in Ajuda Palace and that was lost in the fire of September 1974. In 1731, diplomatic relations with the Holy See is restored, and after eleven years working in Portugal, the painter returned to Rome and created the portrait of the new cardinal Vicenzo Bichi (known for the engraving by Rocco Pozzi) and another portrait of King D. João V. It was in this period (when it was cast in the context of Roman painting) that he began his relations with the house of the exiled Stuarts. It was in this period (when it was cast in the context of Roman painting) that he began his relations with the house of the exiled Stuarts. From then on, his orders to Portugal became part of a panorama of international orders and, in addition to the already mentioned, Christ lost in 1974, he made a portrait of Father Évora and a self-portrait, also acquired by D. João V. In the following years, there were no new Portuguese commissions, but it should be noted that his extensive production, not always datable with certainty, and sometimes attributed to his brother, is often identified by recorded reproductions. In 1750, he left Rome for Turin, where he was appointed painter at the court of King Charles Emanuel III of Sardinia (1701-1773) and ended up making a series of paintings of the royal house of Savoy, including the portraits of the Dukes of Savoy, Vítor Amadeu III (1726-1796) and his wife D. Maria Antonieta of Spain (1729-1785). The painter died in the city of Turin in the year 1770.The iconography of the Infante D. Francisco, Duke of Beja (1691-1742) The brother of King D. João V requires an in-depth study of his iconography. There are few portraits of him that are known. only one engraved and another identified by Professor Ayres de Carvalho, who is in the Palácio do Oriente, by Jean Ranc (1674-1735), made in 1739 on the occasion of the preparations for the episode of the exchange of princesses on the river Caia. It was through the comparative analysis of this painting, now brought to auction, with that one by Jean Ranc, that at the exhibition “JOANNI V MAGNIFICO: A pintura em Portugal ao tempo de D. João V” it was noticed the physiognomic characteristics of the infant are the same in the two paintings (the oval shape of the face, the same mouth, and the eyes). The good-natured look of the infant, as characterized in the respective catalogue, which appears in these portraits of D. Francisco hides the true personality of the ambitious Duke of Beja. And it is with a portrait painted by Duprà, when he was no longer in our country, that links are established with what is now up for auction. In 1745, when the painter was in Rome working for the exiled House of the Stuarts, he portrayed the pretender to the crown of England in full length. Unfortunately, the location of this painting is unknown, but the engraving opened by N.S.B. of Polly. The similarities in terms of composition and pose of the subjects stand out. The way the characters' left-hand rests on the waist, closing and leaving only the index finger to stand out, as well as the volumetry of the draperies and even the entire placement of the body facing the spectator, are strictly the same in the two portraits. If these common points do not exist, we could continue to attribute this portrait to Domenico Duprà due to the strong lighting effects that open his color palette and underline the vivid realism that seems to want to overcome the simple visuality in the detail of some physiognomic aspects which often led him to represent the dark shadow of clean-shaven male faces. A characteristic that in the 18th century was not much appreciated, but which the painter did not abdicate because he felt strongly linked to a commitment to fidelity to reality.TIAGO FRANCO RODRIGUESExhibitions: “JOANNI V MAGNIFICO - A Pintura em Portugal ao tempo de D. João V”, Lisboa, Portugal, 1994. Proveniência/Provenance: Etiqueta no verso com a inscrição: "Quadro que veio da quinta do Calhariz. Escolhido pª ficár no palácio de Lisbôa" Etiqueta de inventário nº 325 da colecção do Duque de Palmela Literature: A. de Carvalho – A galeria de Pintura da Ajuda e as Galerias do Século XIX, Lisboa, 1982. AA. VV – “JOANNI V MAGNIFICO - A Pintura em Portugal ao tempo de D. João V”, Lisboa, 1994. M. Calado – “Domenico Duprà” in Dictionário do Barroco em Portugal, Lisboa, 1989.

An ancient Roman pottery head, 4¾” x 2¾” of a female, mounted on a square marble base; also a Roman oil bottle, 3¾” high, GC (2) £150-200.

19 a. pab. Louis XVI style silver, 950 fineness candy with lid decorated with embossed rocks, flowers and carvings of children playing. There is a manufacturer\'s label.The style of Louis XVI flourished in France during the 19-year reign of Louis XVI (1774–1793). It was the last stage of the Baroque style, inspired by ancient Roman paintings it became a rebellious reaction to the luxurious crowded ornamentation of the previous Baroque period. Louis XVI\'s style is characterized by rationality, symmetry, straight lines, classical proportions. Antique ornaments and idyllic pastoral motifs spread in the decoration.DETAILS:* Dimensions: diameter - 17 cm, height H-20 cm.* Country of origin: France* Weight: 1188 g.* Period: 19 a. pab.* Style: Louis XVI* Materials and performance techniques: silver, fineness 950, marking Minerva,* Product type: candy19 a. pab. Louis XVI style silver, 950 fineness candy with lid decorated with embossed rocks, flowers and carvings of children playing. There is a manufacturer\'s label.The style of Louis XVI flourished in France during the 19-year reign of Louis XVI (1774–1793). It was the last stage of the Baroque style, inspired by ancient Roman paintings it became a rebellious reaction to the luxurious crowded ornamentation of the previous Baroque period. Louis XVI\'s style is characterized by rationality, symmetry, straight lines, classical proportions. Antique ornaments and idyllic pastoral motifs spread in the decoration.DETAILS:* Dimensions: diameter - 17 cm, height H-20 cm.* Country of origin: France* Weight: 1188 g.* Period: 19 a. pab.* Style: Louis XVI* Materials and performance techniques: silver, fineness 950, marking Minerva,

Y†  AN ENGLISH SQUARE PIANO CIRCA 1795 Possibly by Clementi, the satinwood and Kingwood crossbanded case inlaid with marquetry banding and brass beading and inset with Wedgwood blue jasperware plaques depicting classical figures, on fluted tapered legs with ormolu mounts, the 4 ½ octaves action with two hand levers controlling dampers and buff stops, with original green silk dust cover110cm wide, 50cm deep, 80cm highCatalogue Note:This beautiful little piano, only 42 ¾ " by 19 ½" was most likely a special commission or exhibition instrument. The 7 inset Wedgwood plaques are of the highest quality and are set-off the fine case. The Wedgwood pale-blue Jasper plaques sprigged with white ornament: The nation's greatest potter, Josiah Wedgwood's (1730-95) working life coincided with the 18th century's great love of all things 'Antique'. The splendours of Pompeii and Herculaneum were discovered in this century and the great 18th century Scottish architect Robert Adam had the ruins of the Emperor Diocletian's Palace in Split surveyed in the 1760s. In the ancient world, much extravagant ornament, embellishments for furniture and elaborate vessels were made from polished stones or glass so Wedgwood developed a variety of dry stoneware bodies that could be worked and polished in the lapidary manner to resemble jaspers, basalts, marbles etc. of the type that was being excavated all over the Greaco-Roman world. Wedgwood commissioned work from many of the best designers and artists of the day and collaborated with other manufacturers such as Matthew Boulton and architects like Robert Adam. 'Domestic Employment', seen here on the central medallion of the piano, was realized by his modeller William Hackwood after designs by Elizabeth, Lady Templetown from her cut paper patterns. The Potteries Museum and Art Gallery in Stoke on Trent has confirmed such attribution. In addition to Lady Templetown, Wedgwood used the designs of two other talented amateur female artists for designs for the new Jasper body perfected in 1776, namely Lady Diana Beauclerk and Miss Emma Crewe. It may seem unusual for the period for Wedgwood to commission female artists, but for the potter and his business partner Bentley, patronage of fashionable people, be they male or female, made perfect commercial sense. 英式方形鋼琴 約1795可能是通過克萊門蒂，緞木和黃檀樹交叉頻帶的琴箱，鑲嵌著細工鑲嵌條帶和黃銅卷邊，嵌入插圖韋奇伍德藍色浮雕玉石匾牌描繪著古典人物，加上鍍金支架槽錐形腿，4½八度擊弦機帶有兩個手杠杆控制減緩器和緩衝停止，加上原來的綠色絲綢防塵罩寬110cm, 深50cm, 高80cm目錄注解: 這架漂亮的小鋼琴，只有42又3 / 4英寸長，19½英寸寬，很可能是一個特別委託或展覽樂器。7個鑲嵌的韋奇伍德牌匾擁有最高品質，突出的精細琴箱。 韋奇伍德淡藍色的碧玉牌匾上點綴著白色裝飾: 英國最偉大的陶工喬賽亞·韋奇伍德(1730-1995年)的職業生涯與18世紀對 "古董"的熱愛不期而遇。龐貝和赫庫蘭尼姆的輝煌在本世紀被發現，18世紀偉大的蘇格蘭建築師羅伯特·亞當在18世紀60年代對位於斯普利特的戴克裡先皇帝宮殿的廢墟進行了勘察。在古代，很多奢侈的裝飾品，傢俱和精緻的器皿都是由拋光的石頭或玻璃製成的，所以韋奇伍德開發了各種乾燥的炻器，可以用寶石的方式加工和拋光，類似碧玉，玄武岩，古希臘羅馬世界各地都在挖掘的大理石等。 韋奇伍德委託當時許多最優秀的設計師和藝術家進行設計，並與其他製造商合作，如馬修博爾頓和羅伯特亞當等建築師。這架鋼琴的中央大獎章上的"Domestic Employment"是由他的模特威廉·哈克伍德根據伊莉莎白·坦普爾頓夫人的剪紙圖案設計出來的。除了鄧普頓夫人之外，韋奇伍德還使用了另外兩位才華橫溢的業餘女性藝術家的設計，他們是戴安娜·博克拉克夫人和艾瑪·克魯小姐，在1776年為賈斯珀設計了完美的新身體。在那個時期，韋奇伍德委託女性藝術家似乎是不尋常的，但對陶工和他的商業夥伴賓利來說，贊助時尚人士，無論是男性還是女性，都具有完美的商業意義 Y indicates that this lot may be subject to CITES regulations when exported. Relevant CITES Regulations may be found at www.gov.uk/guidance/cites-imports-and-exports. The import of ivory is banned in certain countries. Please check your country's import regulations before bidding.† indicates that VAT is payable by the purchaser at the standard rate of 20% on the hammer price as well as being charged on the buyers' premium.Condition Report: Case has been repolished at some time in the past. Wedgwood plaques restored. Instrument requires minimal musical restoration. Condition Report Disclaimer

Rolling Stones Brian Jones, Bill Wyman and Charlie Watts signed back of 1965 Concert Ticket, some signs of age. Scarce and highly collectable piece of music memorabilia.Lewis Brian Hopkin Jones (28 February 1942 – 3 July 1969) was an English musician and composer, best known as the founder and original leader of the Rolling Stones.Initially a slide guitarist, Jones went on to play a wide variety of instruments on Rolling Stones recordings and in concerts, from lead and rhythm guitar and sitar to various keyboard and wind instruments. After he founded the Rolling Stones as a British blues outfit in 1962, and gave the band its name, Jones's fellow band members Keith Richards and Mick Jagger began to take over the band's musical direction, especially after they became a successful songwriting team. Jones and fellow guitarist Richards also developed a unique style of guitar play that Richards refers to as the "ancient art of weaving" in which both players would play rhythm and lead parts together. Richards continued the style with later guitarists, and the sound became a Rolling Stones trademark. Jones, however, did not get along with the band's manager, Andrew Loog Oldham, who pushed the band into a musical direction at odds with Jones's blues background. When Jones developed alcohol and drug problems, his performance in the studio became increasingly unreliable, leading to a diminished role within the band he had founded. In June 1969, the Rolling Stones dismissed Jones; guitarist Mick Taylor took his place in the group. At 27 years of age, Jones died less than a month later, drowning in the swimming pool at his home. Jones’s death was referenced in songs by many other pop-bands, and was the subject of poems by Pete Townshend and Jim Morrison. Referring to Jones, the Rolling Stones' Bill Wyman lamented the waste of a great innovator. In 1989, the Rolling Stones, including Jones, were inducted into the Rock and Roll Hall of Fame.William George Wyman (né Perks; born 24 October 1936) is an English musician, record producer, songwriter and singer. He was the bassist for the English rock and roll band the Rolling Stones from 1962 until 1993. Since 1997 he has recorded and toured with his own band, Bill Wyman's Rhythm Kings. He has worked producing records and films, and has scored music for films and television. Wyman has kept a journal since he was a child during World War II. He has published seven books. Wyman is also a photographer, and his works have been displayed in galleries around the world. He became an amateur archaeologist and enjoys metal detecting. He designed and marketed a patented "Bill Wyman signature metal detector", which he has used to find relics in the English countryside dating back to the era of the Roman Empire.Charles Robert Watts (2 June 1941 – 24 August 2021) was an English musician who achieved international fame as the drummer of the Rolling Stones from 1963 until his death in 2021. Originally trained as a graphic artist, Watts developed an interest in jazz at a young age and joined the band Blues Incorporated. He also started playing drums in London's rhythm and blues clubs, where he met future bandmates Mick Jagger, Keith Richards and Brian Jones. In January 1963, he left Blues Incorporated and joined the Rolling Stones as drummer, while doubling as designer of their record sleeves and tour stages. Watts's first public appearance as a permanent member was in February 1963, and he remained with the group for 58 years. Nicknamed "The Wembley Whammer" by Jagger, Watts cited jazz as a major influence on his drumming style. At the time of Watts's death, Watts, Jagger and Richards were the only members of the band to have performed on every one of the band's studio albums. Aside from his career with the Rolling Stones, Watts toured with his own group, the Charlie Watts Quintet, and appeared in London at Ronnie Scott's Jazz Club with the Charlie Watts Tentet. In 1989, Watts was inducted into the Rock and Roll Hall of Fame. In 2004, he was inducted into the UK Music Hall of Fame with the Rolling Stones. He is often regarded as one of the greatest drummers of all time.All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

The Correspondence of Thomas GaisfordDean of Christ Church, Oxford(approx. 384 items)Gaisford (Dean Thomas)  An extensive collection of letters and other material associated with the V. Rev. Thomas Gaisford (1779-1855), Regius Professor of Greek at Oxford University and Dean of Christ Church.Gaisford was born at the family home, Iford Manor near Bradford in Wiltshire, and was educated at Winchester and Oxford. He became successively student and tutor at Christ Church; was appointed Regius Professor of Greek in 1811; and was Dean of Christ Church from 1831 until his death.  He was a noted classical scholar and published numerous works of Greek literature.  As curator of the Bodleian Library and principal delegate of the University Press, he was instrumental in securing the co-operation of some distinguished European scholars who were anxious to have their works published in Oxford.Some of the larger files are letters from these scholars and concern the progress of their work and negotiations for its publication.  There is also correspondence with other members of the university, particularly relating to Gaisford’s own college.  Christ Church, founded by Cardinal Wolsey and refounded after his fall by Henry VIII, is the largest of the constituent colleges of the university, and one of the most prestigious; it is also unique in that it is part of Oxford’s cathedral establishment, and the dean and chapter are its governing body.The collection includes correspondence from a number of individuals associated with Christ Church: Cyril Jackson, a previous dean; Charles Lloyd, Professor of Divinity and briefly Bishop of Oxford; and Robert Peel, a precocious student who had been tutored by Lloyd and proved a useful patron.  To these must be added William Van Mildert, Professor of Divinity and Bishop successively of Llandaff and Durham, under whom Gaisford had served as a cleric and to whom he was related by marriage (their wives were respectively aunt and niece).While most of these letters are concerned with academic and administrative issues, some also deal with personal matters.  The letters of Charles Lloyd in particular are outspoken in their comments about colleagues and contemporary affairs.Gaisford married in 1815 Helen Margaret Douglas; they had five sons and two daughters.  The two elder sons, Thomas and John William, were destined for army careers and there is a file of letters from the Military Secretary, Lord FitzRoy Somerset, dealing with their father’s efforts to secure commissions for them.  After his wife’s death (1830), Gaisford married (1832) Jane Catharine Jenkyns, sister of the Master of Balliol College.There is a much smaller collection of letters to Gaisford’s eldest son, Thomas Gaisford of Offington, Sussex (1816-1898), a convert to the Roman Catholic Church.  Thomas married in 1859 as his second (of three) wives Lady Emily St Lawrence (d 1868), eldest daughter of the 3rd Earl of Howth.  Their eldest surviving son, Julian Charles Gaisford-St Lawrence (1862-1932), succeeded in 1909 his uncle the 4th and last Earl of Howth and came to reside at Howth Castle in Co. Dublin.  The following is a Resume of the Archive:LARGER FILESK.W. DindorfKarl Wilhelm Dindorf (1802-1883) was an assiduous and prolific scholar of Leipzig with a lifelong interest in classical Greek literature and an impressive record of publishing modern annotated editions of the ancient texts.  His correspondence with Gaisford reflects the latter’s important role as principal delegate of the Oxford University Press in presenting Dindorf’s works to the delegates and negotiating their publication.            Letters from Dindorf to Gaisford, 1833-1851, numbered 1 to 45 (nos 1-33 in Latin, the rest in English); with another 15 for 1851-52, ten being in their original envelopes.  In all, 60 letters.  (The first letter is simply addressed from Leipzig to “Thomae Gaisfordiae, viro illustri, Oxoniam” – but it reached its destination!)With associated papers, including some draft replies from Gaisford; a printed “Advertisement” from Dindorf expressing indignation at the unauthorised reprinting of the 1830 edition of his Poetae scenici Graeci, of which he is about to produce a revised edition (1846); a memorandum from Dindorf to the delegates of the University Press (1848); and a letter of condolence to Gaisford’s widow (1856).Jan Bake and other continental academicsA large file of approx. 80 letters etc.  to Dean Gaisford in Latin, with some notes and drafts by him in English, re the projected publication of classical works by the Oxford University Press.  Mostly from Jan Bake (1787-1864), Professor of Greek and Roman Literature at Leiden University; also some from: ·       Friedrich Wilhelm Ritschl (1806-1876), joint director, philological seminary, Bonn; ·       Carel Gabriel Cobet (1813-1889), Professor of Greek at Leiden; ·       Friedrich August Nobbe (1791-1878), Professor of Philology at Leipzig; ·       Jean Théodore Bergman, Leiden·       Jan Hendrik Holwerda ·       Franz Dorotheus Gerlach (1793-1876), teacher of Latin and librarian at Basel·       G.A. Hirschig, LeidenAcademic material from Leipzig·       Pamphlet: Upsala Academies Catalog 1842·       Pamphlet: Invitation to the 25th anniversary of the founding of the Historisch-Theologisches Gesellschaft zu Leipzig 22-23 Sept 1839·       Pamphlet: invitation to the 30th anniversary of founding of the Historisch-Theologisches Gesellschaft zu Leipzig, from Christian Friedrich Illgen, 11-12 sept 1844.·       Statutes of the Gesellschaft·       25 Sept 1844: Letter naming Gaisford an honorary member of the Gesellschaft, with English translationCyril JacksonCyril Jackson (1746-1819) was appointed Dean of Christ Church in 1783.  He declined offers to be made Bishop of Oxford (1799) and Archbishop of Armagh (1800) and remained at his post until he resigned in 1809.  He then settled at Felpham in Sussex, where he remained until his death ten years later.            40 letters from Jackson to Gaisford, from his retirement in 1809 until shortly before his death.  Also one letter to him from Thomas D’Oyly, 4 Jan. 1818, and a printed circular dated 7 July seeking subscriptions towards a monument in his memory.

A small group of Antiquities, comprising an Ancient Roman bronze seal box, length 3.5cm, an Ancient Roman bronze stylus, length 12cm, and ash from Mount Vesuvius, Certificates of Authenticity

An exceptional first quarter 16th Century mythological and allegorical TapestrySouth Netherlandish, probably woven between 1510-1520 Woven in rich wools and silks, the figures in typical Medieval dress, some labelled with a curious mix of Roman and Ancient Greek letters, the recurring figure of Aeneas wearing a blue draped cloak and red hat, the Sybil Diephobe (also recurring) wearing a beautiful medieval dress and girdle - an elaborate golden wimple on her head, the whole surrounded by a thin delicate flower-filled border, the main field depicting an intricate and complex rendition of ancient mythological episodes from the story of Aeneas, founder of Rome, first landing at Cumae in the top left corner of the main field and meeting the Sybil of Cumae, Diephobe, daughter of Glaucus, who shows him the temple of Apollo while his attendants search for water and firewood in the surrounding countryside. In the central field Diephobe shows Aeneas the doors of the temple which were crafted by the ancient craftsman Daedalus. The doors themselves show the story of Daedalus' winged escape from Crete on the right hand side and the conception of the infamous minotaur on the left hand side, the sculpture of Apollo, resplendent in golden armour, bears the wings which Daedalus used in his escape from Crete and which he then dedicated in thanks to Apollo when he arrived safely in Cumae. Aeneas is then shown all of the greatness of Rome to come and watches as, in the top right of the main field, a grief-stricken Augustus watches as his hoped-for successor Marcellus Marcus Claudius is buried, his wife Octavia standing by his side. Augustus was known to have wept when Virgil recited Book VI of the Aeneid to him, thus the viewer and Aeneas are one and the same - watching the great Emperor of Rome weep as an old man. Restorations, 340cm high x 490cm wideFootnotes:Provenance:Collection of Baron Gustave de Rothschild (1829-1911).Thence by descent, until soldEtude Couturier Nicolay, Hôtel Drouot, Paris, 4 December 1987, lot 187.'Provenant des Anciennes Collections du Baron Gustave Rothschild de Chateau Beychevelle et appurtenant a divers amateurs,'Precedents/comparatives:Patrons of Trojan Tapestry sets from the 15th and 16th century include: Federico da Montefeltro, Duke of Urbino, Henry VII and VIII of England, King Matthias Corvinus of Hungary, Charles VIII of France, Ferdinand I of Naples and Ludovico il Moro Duke of Milan. So while we do not know exactly who commissioned this tapestry (presumably part of a set) there is sufficient stylistic and iconographic evidence to suggest it was a noble or even Royal patron.Pasquier Grenier in Tournai: The 11 piece tapestry set depicting the story of Troy was given to Charles Bold by the City of Bruges when he married Margaret of York. The Trojan War Tapestries were supplied by Pasquier Grenier of Tournai to Charles the Bold of Burgandy in 1472 and another set to Henry VII of England in 1488. It is possible that a re-surge in enthusiasm for Troy as a subject became popular after the fall of Constantinople in 1453.The designs for these Trojan War tapestries were based more on literary references like Benoit de Sainte Maure's 'Roman de Troie (c.1180) rather than the better known Homer's Iliad or Virgil's Aeneid. Some Northern European Courts who had a set of tapestries showing the story of Troy claimed these had come directly from Aeneas. Some European Royal families even claimed Aeneas as a direct ancestor. This is understandable since Aeneas arguably exemplified not just a link between Troy and Rome but the leap from ancient paganism to imperial civilisation.Trojan War Series (La Guerra de Troya): This series comprised eleven tapestries -today there are four permanently at the Zamora Cathedral. These four were donated by Count Alba de Aliste and they arrived at the Cathedral in 1608. Count Alba was probably given these by the Count of Tendilla (their coat of arms are visible) This does not, however mean that they were the commissioners -their coat of arms were later added to the tapestry. Los Honores: Woven by Pieter van Aelst -they were completed in 1523. Pieter van Aelst however, had to mortgage the set to the Antwerp agents of the Fuggers -a family of merchant princes in Germany. Van Aelst in fact said to his creditors that they should offer the expensive tapestries for sale to Charles V -the person who they had been woven for in the first place. The Fuggers took up this suggestion and the central panel of the set was sent to Charles V as a sample. The Emperor only came to posses all of the tapestries in 1526 when he was in Seville. Sadly, no cartoons for this set survives but over the years a number of designers have been suggested -including Bernaert van Orley. The iconography of this set, much like the present lot present not just full of rich literary allusions but also the iconography of Royal ethics, namely Honour, Nobility and Fame. The tapestry of fame in terms of composition is not dissimilar to the composition of the present lot, with the central 'enshrined' figures surround by an active narrative to the top and bottom left and right (see illustration).Don Carlos tapestry sets: The eldest son of King Philip II of Spain, whose short life has fascinated historians for centuries, is less often remembered for being an avid art collector. His collection of tapestries is well documented and we know that in the mid 16th century he owned six figurative sets of tapestries including ten of the History of Aeneas, six of the History of Hercules, 12 of the Twelve Months, 11 of the History of the gods and nine of Creation and seen of the Battle of Pavia. We know that his father, Philip had bought a large amount of tapestries between 1549 and 1550 when he visited the Netherlands. The most well-known of these, still in the Royal Collection are the Moralides (again see illustration here for similarities with the intricate Brussels border and character labels previously mentioned). It is possible that other mythological pieces may have gone to Don Carlos. His series on the story of Aeneas was purchased at Medina del Campo -which was an important centre for the sale of Flemish tapestries. In England: Interestingly, we know that, like his father, Henry VIII was an enthusiastic art collector. Aeneas seems to have been a popular subject here too and 'Aeneas Relating his Adventures to Dido' woven in Brussels c.1530 formed part of his collection as well as 'Aeneas meeting his Mother Venus'. Five pieces of the Story of Aeneas remained at Whitehall until the late 17th century. The designer for this set is thought to be someone from the circle of Van Orley. Interestingly Mary Queen of Scots had 'one tapestrie of the sailing of Eneas contening aucht peces' at Holyrood House.Hapsburg Patronage:The patronage of the Hapsburgs and the influence of the Spanish Monarchy on artistic production in Northern Europe.After the Netherlands became part of the Spanish Kingdom, places like Oudenaarde and Brussels filled the Spanish court with pieces from their workshops.The Hapsburg/ Spanish monarchy were highly influential when it came to artistic production in the Low countries. The idea of the 'vida noble,' the noble life -was filled with jewels, carpets, relics and manuscripts etc. The two main artistic centres -Flanders and Italy were under Hapsburg control during this period. When it came to selecting subject ... This lot is subject to the following lot symbols: TPTP 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

Ancient bronze bangle, probably Roman, with animal head terminals, 7.5cm wide

An ancient coin set ring, inset with a Billon Centenionalis of the Roman Emperor Constans Augustus (337-350), struck at Nicomedia, the mount with two cabochon ruby highlights, between stepped vertical shoulders and broad shank, unmarked, ring size approximately I½. £200-£300

Coins. Ancient Greece. Mycia, Hemidrachm, 480-450BC, o. forepart of running boar, r. head of rearing lion; Byzantion, hemidrachm 357-340BC, o. forepart of cow on dolphin, r. ornamental trident head; Parthia, Mithrades drachm, o. bust left, r. enthroned archer; Roman Vespasian, 69-79AD, Dupondis. (4)

ATTRIBUTED TO BENEDETTO BOSCHETTI (ITALIAN, 1820-1870), AN MODEL OF A ROMAN FLUTED SARCOPHAGUS MID 19TH CENTURY Depicted with a pair of lions, in Rosso Antico marble 12cm high, 24cm wide Provenance: The Simon Neal Collection Ancient Roman sarcophagi were popular objects among Grand Tourists and so small-scale models of them, carved in coloured marbles, were made by artisans in Rome to cater for such a demand. This exquisite model of an ancient Roman sarcophagus is decorated with fluted carving and flanked by a pair of pacing lions with their paws resting on spheres - no doubt inspired by the ancient sculpture known as 'The Medici Lion', which resided at the Villa Medici in Rome in the 16th century, before being moved to the Loggia dei Lanzi in Florence in the 18th century. Since the 2nd century A.D., marble sarcophagi were widely used throughout the Roman empire for burials of distinguished people. The iconography depicted on such sarcophagi were generally the same as those chosen to decorate homes and public spaces, but they acquired different meanings when viewed in a funerary context. Scholars are divided on whether sarcophagi images are highly symbolic of Roman religious beliefs and conceptions about death and the afterlife or reflect a love of classical culture that was intended to elevate the status of the deceased or were simply conventional decorative motifs. Condition Report: Some old chips and 'nibbles' to edges. Some glue residue visible between the feet and the underside. Some filler applied in two places to the underside - see image.Chips of loss to one of the paw feet and base beneath - see images. Another paw foot with an old glued repair to toes and base beneath - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A PLASTER BUST OF THE ROMAN EMPEROR HADRIAN (76 AD-138 AD) CONTEMPORARY Cast by the Museé Du Louvre, on a circular socle, marked 'MUSÉE DU LOUVRE REPRODUCTION INTERDITE ATELIERS DE MOULAGE' 90cm high Provenance: The Simon Neal Collection This monumental plaster is taken from an imperial Roman marble bust of the Emperor Hadrian, now in the collections of the Musée du Louvre, Paris (marbre 1189). The bust was originally discovered near Rome's Esquiline Hill and dates from circa 125 - 150 AD. The ancient marble then entered the collection of Giampietro Campana, the Marchese di Cavelli (1808 - 1880), who amassed one of the most significant private collections during the 19th century. In 2019, an exhibition of 400 items originally from the Campana collection was jointly organised by the State Hermitage and the Musée du Louvre.Condition Report: The bust bears wear, marks, scratches, abrasions and scuffs throughout. The majority of these are in the manufacture of the item in order to simulate greater age. Some later chips of loss and abrasions - see images for details. Some of these losses have been disguised with cream paint. Larger chip of loss to top of one ear - see image. To the lower edge of the truncation there are some areas of adhesive/filler applied - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer