"The peculiarly splendid portrait coinages of the Hellenistic monarchs are deservedly becoming more and more popular with collectors of ancient coins. These issues possess one outstanding characteristic which no autonomous coinage can hope to rival, and which renders the former of the utmost interest and importance to collectors, archaeologists and historians. They present us with an extraordinary series of living portraits--portraits of a quality such as only a Greek artist could produce. These men and women, be they famous or obscure, or even quite unknown to history, live again before our very eyes. Their several characters, their greatness and their foibles, grow tangible and real to us once more...This little book has not been produced with the advanced student or collector in mind; nor does it make any pretense at completeness. It is primarily intended to call the attention of collectors in general to the fascinating portrait coinages of the ancience kings"--

"Delightful and learned, and written in a crisp and vigorous style, this book will be read with great interest and profit by both scholars and general readers." —Stanley Burstein, author of The Reign of Cleopatra

This book begins with a specific problem: the date, style, and iconography of a marble portrait head identified as Pyrrhos, King of Epeiros. Largely by collating with portraits on coins, the head is defined stylistically - dated c.305/304 - c.280 B.C., when the Successors ruled as kings - and confirmed as Pyrrhos. Further study of both coins and sculptures yields a fuller, more complex account of the portraiture of that period, in historic context as well as style, and also of the periods directly before c.305/304 B.C. and after c.280 B.C. In the course of making comparisons, later Hellenistic portraits are discussed as well.

The sheer wealth and dizzying diversity of Indian sculpture are celebrated in this second volume of the catalogue raisonne of the Los Angeles County Museum's collection. Nearly two hundred sculptures produced during eleven centuries are described. Of these, one-quarter of the pieces are part of the Nasli and Alice Heeramaneck Collection, while the remaining three-quarters have been acquired since 1970. This splendid collection, while not representing all the major styles of sculpture that flourished on the Indian subcontinent from 700-1900, is certainly one of the most comprehensive among American and European museums. Included are stone, metal, ivory, and wood sculptures from fourteen states and territories of India and from Pakistan and Afghanistan. Organized by regions--Central and Western, Eastern, and Southern India, and the Northwest--the catalogue contains detailed descriptions and illustrations of the 188 sculptures, many with details or multiple views, for a total of 259 illustrations--251 in duotone and halftone and 8 in color.

This book, first published in 1991, is a full study of early Hellenistic coinage. It provides a history of the coinage of Alexander the Great and his successors in the Near and Middle East, and of the cities of Greece and Asia Minor. It is fully illustrated and provides a detailed and authoritative guide to the coinage of the period.

Alexander conquered most parts of the Western World, but there is a great deal of controversy over his invasion of India, the least known of his campaigns. In BC 327 Alexander came to India, and tried to cross the Jhelum river for the invasion, but was then confronted by King Porus who ruled an area in what is now the Punjab. According to Indian history he was stopped by Porus at his entry into the country, but most of the world still believes that Alexander won the battle. Fearing the prospect of facing other large armies and exhausted by years of campaigning, Alexander's army mutinied at the Hyphasis River, refusing to march farther east. This river thus marks the easternmost extent of Alexander's conquests. Twelve papers in this volume examine aspects of Alexander’s Indian campaign, the relationship between him and his generals, the potential to use Indian sources, and evidence for the influence of policies of Alexander in neighboring areas such as Iran and Russia.

Julia Augusta examines the socio-political impact of coin images of Augustus’s wife, Livia, within the broader context of her image in other visual media and reveals the detailed visual language that was developed for the promotion of Livia as the predominant female in the Roman imperial family. The book provides the most comprehensive examination of all extant coins of Livia to date, and provides one of the first studies on the images on Roman coins as gender-infused designs, which created a visual dialogue regarding Livia’s power and gender-roles in relation to those of male members of the imperial family. While the appearance of Roman women on coins was not entirely revolutionary, having roughly coincided with the introduction of images of powerful Roman statesmen to coins in the late 40s BCE, the degree to which Livia came to be commemorated on coins in the provinces and in Rome was unprecedented. This volume provides unique insights into the impact of these representations of Livia, both on coins and in other visual media. Julia Augusta: Images of Rome’s First Empress on the Coins of the Roman Empire will be of great interest to students of women and imperial imagery in the Roman Empire, as well as the importance of visual representation and Roman imperial ideology.