Obverse: Portrait of Helios Reverse: A Rose The island nation of Rhodes was an immensely successful commercial power of the Aegean. They strategically sided with Athens but,  More »

Obverse: Portrait of Helios Reverse: A Rose The island nation of Rhodes was an immensely successful commercial power of the Aegean. They strategically sided with Athens but, when in jeopardy, negotiated favorable surrenders to Sparta, Alexander the Great, and Demetrios Poliorketes, allowing them to sustain at least some degree of independence based on neutrality. Rhodes was named for the rose, depicted on the reverse of this coin. A portrait of Helios, the sun god, wearing a crown of rays graces the obverse. This image was based upon the head of the great statue of Helios, better known as the Colossus of Rhodes, one of the Seven Wonders of the Ancient World. The Colossus memorialized the war with Demetrios Poliorketes. He unsuccessfully attacked the city for over a year, around 305-304 B.C. Eventually, a settlement was negotiated and Poliorketes abandoned his siege towers constructed from valuable timbers that the Rhodeans in turn sold off for shipbuilding. The proceeds from this sale were invested in the huge (105 ft.) bronze statue of Helios standing at the entrance of the harbor. While the famous statue served as a reminder of the city's fortitude during the siege and became a tourist attraction, it only stood until 227 B.C. when it was toppled by an earthquake. Origin: Minted on Rhodes Circa: 4 th Century BC to 3 rd Century BC Collection: Numismatics Style: Rhodian Medium: Silver   « Less

Silver Denarius of Emperor Hadrian - C.5959 Origin: Mediterranean Circa: 117 AD to 138 AD Collection: Numismatics Style: Roman Medium: Silver Hadrian spent much of his reign  More »

Silver Denarius of Emperor Hadrian - C.5959 Origin: Mediterranean Circa: 117 AD to 138 AD Collection: Numismatics Style: Roman Medium: Silver Hadrian spent much of his reign traveling about the Roman Empire and checking into the well - being of the cities, towns, provinces, and ordinary citizens over whom he ruled. He was always interested in civic improvements, and would often have a new bridge, road, aqueduct, or temple built when he thought that the local citizens would benefit by such new construction. The reign of Hadrian at the height of the PAX ROMANA period was a time of great peace and prosperity in the Roman Empire. He continued the public works building projects that his adoptive father Trajan began and strengthened the defenses on the borders of the empire. Because of attacks on Roman citizens living in southern Britain, he built Hadrian's Wall across a narrow part of the island. Hadrian was an educated emperor and a patron of the arts. He spent most of his reign visiting the different provinces of the empire and personally overseeing the improvements and public works carried out under his orders. Like Trajan and Nerva before him, he adopted a grown man in order to make him heir to the throne. When his first adopted son Aelius Caesar died of illness, Hadrian adopted another, Antoninus Pius, who would succeed him when Hadrian died in his bed after a long illness.   « Less

Roman Samaritan highly decorated pottery oil lamp. Mould-made, soot marks with a nice design around the shoulders and a knob handle with lines.Dated from; 3rd Century  More »

Roman Samaritan highly decorated pottery oil lamp. Mould-made, soot marks with a nice design around the shoulders and a knob handle with lines.Dated from; 3rd Century AD.Measurements: Length: 9 cm – Width: 6 cm.Condition: Intact, not repaired and not restored. Found in Samaria north of Jerusalem, Israel.ALL ITEMS THAT WE OFFER FOR SALE COME WITH A CERTIFICATE OF AUTHENTICITY. Please don’t hesitate to contact us for any further information.   « Less

Obverse: M AVR ANTONINVS CAES; Draped Bust of Caracalla Facing Right. Reverse: SECVRITAS PERPETVA; Minerva Standing to the Left, Wearing Aegis, Resting Right Hand on Sheild  More »

Obverse: M AVR ANTONINVS CAES; Draped Bust of Caracalla Facing Right. Reverse: SECVRITAS PERPETVA; Minerva Standing to the Left, Wearing Aegis, Resting Right Hand on Sheild and Holding Spear in Left. Caracalla was born April 4,188 in Lyon, where his father, Septimius Severus, was serving as governor of the province of Gallia Lugdunensis under Emperor Commodus. His name was changed from Lucius Septimius Bassianus to Marcus Aurelius Antoninus at the age of seven. The name change was a way of connecting the family of Severus to that of the Antonines. The nickname Caracalla was taken from the name of a type of cloak popularized by the emperor, but this nickname, originally derisive, was never used officially. From the time of his name change to Antoninus, Caracalla was the designated heir of Severus. Less than three years later he was proclaimed emperor, officially joining his father as co-rulers of the empire. At the age of 14, he was married to the daughter of the praetorian prefect Plautianus, but the teenager despised his wife. The marriage ended less than three years later and there were no children. Upon his father’s death in 211, Caracalla ruled the empire jointly with his brother, Geta, until he was murdered later the same year, leaving Caracalla in sole control at the age of 23. The year 212 saw a flurry of administrative reforms under the young emperor's leadership. Soldiers received increases in pay and in legal rights, but the most noteworthy change was the bestowal of Roman citizenship upon all free residents of the empire. Construction was also well underway on the magnificent baths in Rome that would bear the emperor's name. In 217, Caracalla was assassinated on the road back from his military campaigns against the Partians in the east. Although Caracalla remains a rather dubious figure, historians often overlook the energetic, reformist and even intellectual character of Caracalla's reign. The changes brought about in the little more than five years of Caracalla's sole rule would have long-lasting implications throughout the empire for generations to come. How many hands have touched a coin in your pocket or purse? What eras and lands have the coin traversed on its journey into our possession? As we reach into our pockets to pull out some change, we rarely hesitate to think of who might have touched the coin before us, or where the coin will venture to after it leaves our hands. More than money, coins are a symbol of the state that struck them, of a specific time and location, whether contemporary currencies or artifacts of a long forgotten empire. This stunning hand-struck coin reveals an expertise of craftsmanship and intricate sculptural detail that is often lacking in contemporary machine-made currencies. This ancient coin is a memorial to an emperor’s reign passed from the hands of civilization to civilization, from generation to generation that still appears as vibrant today as the day it was struck. - (C.6256)   « Less

Victorian, circa 1880 Pair Staffordshire spill vases modeled as a russet and white cow and calf standing on a naturalistic green base, with a stream running past. Tree molded  More »

Victorian, circa 1880 Pair Staffordshire spill vases modeled as a russet and white cow and calf standing on a naturalistic green base, with a stream running past. Tree molded behind forms the spill. Both cow and calf with all four legs molded free. Shredded clay decoration to the ground and tree. Bright gilt base line and decoration to horns and spill rim. Similar pair illustrated figure 2893/2894, page 240, Schiffer''s ''Victorian Staffordshire Figures 1835-1875'' Book 2, by A. & N. Harding. Good. Rubbing to gilt. Right facing: Kiln effects: stray spots of green enamel to cow and reverse of spill; touch mark to base front. Repaired hairline to upper base edge. Retouching to spill and ground. Left facing: Paint loss to cow''s nose. Kiln effects: stray spots of black enamel to cow''s tail; shrinkage line to top of front right leg; shrinkage crack to reverse of udder and behind right ear; piece of kiln detritus caught in glaze to reverse of base. Repaired hairlines to base at reverse. Retouching to spill, ground and cow''s eyes. 11.25ins high   « Less

GREAT REFERENCE BOOK ON DOLLS. Over 150 pages; 107 full-colour plates, over 80 black & white photos, and jacket. While concentrating on dolls since WWII, this treasure trove  More »

GREAT REFERENCE BOOK ON DOLLS. Over 150 pages; 107 full-colour plates, over 80 black & white photos, and jacket. While concentrating on dolls since WWII, this treasure trove of doll lore also covers dolls of earlier period This illustrated book tells the story of dolls in the twentieth century, charting their gradual evolution in the first half of the century but focusing on their post-World War II history, when more children than ever had access to dolls of every possible type and material Condition: Very Good; Circa: 1994; Heigth: 12''; Width: 9''   « Less

Late 19th Century/Early 20th Century George II Style Mahogany and Giltwood Mirror. The Rectangular Mirror Plate within a Carved Giltwood Surround, the Shaped Cornice  More »

Late 19th Century/Early 20th Century George II Style Mahogany and Giltwood Mirror. The Rectangular Mirror Plate within a Carved Giltwood Surround, the Shaped Cornice Centering an Urn Issuing Flowers above a Shaped Base Dimensions: 49" h x 25.5" w   « Less

Martin Hardie, American, 1875-1952, etching, "Bathers", image size: 8X10 3/4 inches,1922,pencil signed

Martin Hardie, American, 1875-1952, etching, "Bathers", image size: 8X10 3/4 inches,1922,pencil signed   « Less

A fabulous bronze sculpture of an elephant beside a pool. This piece is signed on the back at the bottom but not easily decipherable. The patina and detail is superb as seen  More »

A fabulous bronze sculpture of an elephant beside a pool. This piece is signed on the back at the bottom but not easily decipherable. The patina and detail is superb as seen in the photograph. A great piece to add to any collection. Status: For Sale Reference#: PFA_52_m Condition: VERY GOOD Year: CA 1880 Country: FRENCH ? Height: 5 inches Depth: 11 inches Width: 12 inches Title: FABULOUS SIGNED BRONZE ELEPHANT BESIDE A POOL   « Less

Ancient Middle Bronze Age painted pottery jar “Chocolate on white ware” 'Chocolate-on-White' Ware is a ceramic type known from the region during the Middle  More »

Ancient Middle Bronze Age painted pottery jar “Chocolate on white ware” 'Chocolate-on-White' Ware is a ceramic type known from the region during the Middle Bronze Age II to the early Late Bronze Age I (ca 1600-1400 BC) The Ware features elegant storage jars, platters and kraters painted with brown geometric motifs on a cream-coloured base. Dated from, 1550 BC Time of the patriarchs" Measurements: Height: 15 cm - Width: 19 cm- Height on stand: 17.5 cm Condition: Complete, good condition . Found in Samaria north of Jerusalem, Israel ALL ITEMS THAT WE OFFER FOR SALE COME WITH A CERTIFICATE OF AUTHENTICITY REF. ANCIENT POTTERY OF THE HOLY LAND - RUTH AMIRAN - MASADA PRESS #745559   « Less