LOT: 176 various unsorted world coins, mainly from the period 1900-1980.
Mainly in base metal, but also a few silver.
Various qualities. Sold as is. No returns.
SURPRISE LOT. NO PHOTOS AVAILABLE !

weight 10,40gr. ; silver Ø 22mm.

obv. Athena standing left, holding Nikè with wreath in right hand
and resting left hand on grounded shield, vertical spear in background,
pomegranate in left field
rev. Apollo standing left, altar with raven right in front, chlamys draped over
his arms, holding laurel branch and bow, Pamphylian legend in field to right.

A double-feature of the gods Athena and Apollo, the Greeks replacements for the Anatolian Gods Kybele and Mên. Side was an ancient city on the eastern part of the Pamphylian coast. Founded by Greek settlers from Kyme, Aeolia, its coins were minted in honour of Athena, the patroness god of their city. The people of Side abandoned the Greek language for one of their own. The inscriptions on this coin are in their unique language, and to date, are yet to be successfully deciphered.

BMC- ; SNG.v.Aulock- ; SNG.Copenhagen- ; Sear- ;
Weber collection- ; McClean- ; SNG.Paris- (cf. 641) RR
Attractive example of this very rare coin type.
vf

weight 5,88gr. ; silver Ø 18mm.
Aeginetic standard

obv: Head of roaring lion right with paw extended
rev: Facing head of bull, +ΕΡ to left, branch to right, in square incuse

Khersonesos (also Kherronesos), was a town of ancient Caria. Khersonesos is Greek for ′peninsula′ and several ancient Greek cities used the name. It was a member of the Delian League since it appears in tribute records of Athens between 452/1 and 428/7 BC, paying a phoros of two to three talents. It is also mentioned in a tribute decree of Athens dated to 425/4 BC. We also know that this Carian Khersonessos was the donor of the votive gift in Olympia. That suggests an independent city of prestige. Coins are preserved that have been dated around 500/450 BC, bearing the legend «ΧΕΡ»., which are attributed to Khersonessos (Kherronesos). Its site is unlocated.

The location of Carian Khersonessos, which was responsible for this coinage, has not yet provided a clear picture to historians. The fact that there probably were two cities of that name in Caria also plays a complicating role; one on the Knidian Peninsula and one on the Loryma Peninsula.

Possibly the Cnidian Khersonessos was a settlement that was located not far from early (Archaic) Knidos on the eastern slope of Cape Krio and was therefore highly dependent on Knidos. However, we are looking for a more autonomous city, which also had its own currency. This brings Khersonessos into the picture, which is mentioned in texts together with the island of Syme. An island that is approximately 20 km. was located offshore of the Loryma Peninsula.

The currently most likely location of the Khersonessos, which was responsible for this coinage, is on the Loryma Peninsula. A Doric settlement not affiliated with the Hexapolis, but in the late 6th and 5th centuries BC. a city of some significance. In a slightly later time the Loryma peninsula was also known as Rhodian Khersonessos. With a lion depicted on the obverse of her coins, Khersonesos probably sought connection with the coinage of Knidos. Her own distinctive symbol was a bull. We see a bull′s head or front part of a bull depicted on all her coins.

BMC - (cf. 2) ; Sear- (cf. 3547) ; SNG.Kopenhagen- (cf. 190) ;
SNG.Keckman- (cf. 29-30) ; SNG.Kayhan - ; SNG.Tübingen- ;
SNG. von Aulock (cf. 8077) ; Rosen collection 627 ; Cahn X, 18  RRR
Very attractive specimen. Extremely rare.
vf/xf

weight 1,99gr. ; silver Ø 12mm.
Milesian  standard

obv. Head of Ketos left with gaping mouth
rev. Incuse geomatric pattern

On the obverse of these Greek tetrobols from the ancient city of Kindya in Caria is the head of a sea monster known as a Ketos with its tongue protruding. On the other side is a geometric pattern within an incuse square.

In Greek mythology, both Perseus and Herakles killed a Ketos (Latin cetus). When Kassiopeia boasted that her daughter Andromeda was more beautiful than the Nereids, this invoked the wrath of Poseidon who sent the sea monster Ketos to attack Æthiopia. Upon consulting a wise oracle, Kepheus and Kassiopeia were told to sacrifice Andromeda to Ketos. They had Andromeda chained to a rock near the ocean so that Ketus could devour her. Perseus found Andromeda chained to the rock and learned of her plight. When Ketos emerged from the ocean to devour Andromeda, Perseus managed to slay it. In one version, Perseus drove his sword into Ketos′ back. In another version, Perseus used Medusa′s severed head to turn Ketos to stone.

SNG.Kayhan 812 ; Rosen Collection 617 ; Asyut Hoard 687 ; 
Historia Numorum Online 213 (Halikarnassos) ; Keckman 920 ;
SNG.Ashmolean 295-315 ; Sear- ; Ashton/Konuk 2 ;
SNG.Copenhagen 356 ; SNG.von Aulock 2340 ;
Kagan/Kritt ″the coinage of Kindya″, NC 1995, 103
Very remarkable cointype in an wonderful condition.
vf

weight 2,98gr. ; silver Ø 14mm.

obv. Bee, E - Φ in upper field
rev. Quadripartite square incuse

Milesian standard. Bee with spirals and with curved wings.

♦ beautifully depicted bee ♦

BMC 7 ; SNG.Copenhagen 208 ; SNG.von Aulock 7818 ;
Head, period II, page 19, no.2 (pl. I, 11) ; Sear 4360 ; 
SNG.Tübingen 2760 ; Rosen Collection 571 ; McClean 8061 ;
Weber collection- ; Mitchiner ATAEC 484 ; Sammlung Klein- ;
SNG.Kayhan 121-122 ; Karwiese, series VI, type 2A (plate 4) ;
Babelon, Traité II, 1866 (pl. CLII, 10)
very attractive specimen
vf+

weight 1,14gr. ;  electron Ø 7mm.

obv. Head of lion right, with globule on forehead
rev. Square punch with rough pattern

This 1/12 stater is one of the very earliest coins. It was made from electrum, a natural occurring alloy of gold and silver. The Lydians were the first to have fixed retail shops, probably contributing to the development of the coins. The coin above looks like a tiny nugget with a design on one side only. This ancient stater was hand struck. A die with a design, in this case a lion′s head, for the front of the coin was placed on an anvil. A blank piece of metal was placed on top of the die, and a punch hammered onto the reverse. The result was a coin with an image on one side and a punch mark on the other. Even though it looks crude, the weight was strictly monitored. Rare.

Sear 3402 ; BMC 17 ; SNG.Copenhagen 453 ; SNG.Kayhan 1015 ;
SNG.von Aulock 2869 ; Rosen collection 654 ; Weidauer 90
very attractive for the type
vf

weight 2,34gr. ; electrum Ø 10x8mm.

obv. Head of lion right, with globule on forehead,
remains of text “VALVEL” in font
rev. Square punch roughly divided in two parts

This 1/6 stater (hekte) is one of the very earliest coins. It was made from electrum, a natural occurring alloy of gold and silver. The Lydians were the first to have fixed retail shops, probably contributing to the development of the coins. The coin above looks like a tiny nugget with a design on one side only. This ancient stater was hand struck. A die with a design, in this case a lion′s head, for the front of the coin was placed on an anvil. A blank piece of metal was placed on top of the die, and a punch hammered onto the reverse. The result was a coin with an image on one side and a punch mark on the other. Even though it looks crude, the weight was strictly monitored. This denomination is much more rare then the 1/3 and 1/12 electrum stater.

The trites, hettes and smaller denominations usually bear no text. However, there are trites and hettes with the native Lydian text "KUKALIM" and "VALVEL" (also FALFEL or WALWEL). These texts probably do not refer to the ruling kings, but to officials or local rulers who had these coins minted on behalf of the king. Very rare.

Sear 3400 ; BMC- ; SNG.von Aulock- ; SNG.Copenhagen 452 ;
Weidauer, Group XV, 76-78 ; vgl.SNG.Kayhan 1014 ;
Rosen Collection- ; Mitchiner ATAEC 12 RR
very attractive for the type
vf

weight 0,61gr. ; billon Ø 7mm.
Light Lesbian Standard
Series IV

obv. Confronted heads of two boars, AN-monogram above
rev. Incuse square with rough pattern

On these denominations the obverse features the monogram AN, a reference to the city of Antissa. These are considerably more rare than the pieces of the Lesbian Koinon (with inscription Λ, ΛE or ΛEΣ).

ANTISSA
The ancient city of Antissa, one of the six most important city-states of Lesbos in antiquity, originally was a Bronze Age settlement. It flourished from the end of the second millennium onwards. Antissa was the birthplace of Terpandros (Terpander), a Greek poet and citharede who lived about the first half of the 7th century BC. He was the father of Greek music and through it, of lyric poetry, from who is said to be the inventor of the seven-stringed lyre. He gained a reputation as a singer and composer, but after having killed a man in a brawl, he was exiled. He is perhaps the earliest historically certain figure in the music of Ancient Greece. According to legend, the head and lyre of Orpheus, the mythical poet and musician of antiquity, who was dismembered and thrown into the sea of Evros by the Maenads of Thrace, ended up in Antissa.

The Classical town originated in the early geometric period. Three apsidal buildings (possibly temples), stretches of a probable city wall, and remains of a harbour mole have been identified. The Mytileneans strengthened the defences during their revolt of 428 BC. To the west of the city, there was the fertile valley by Voulgaris river and to the east, the ancient harbour, from which parts of the engulfed in water jetty and few building remains of the fortification are preserved to this day. The necropolis of ancient Antissa extended to the south and southwest. The Athenian general and democratic leader Thrasyboulos captured the town c.389; later it joined the Second Athenian Confederacy. Antissa was destroyed by the Romans (ca.167/166 BC) after the conquest of Perseus, king of Macedonia (168 BC), because the Antissaeans had received in their port and given supplies to Antenor, the admiral of Perseus. Its territory was given to Methymna and the people were removed to that city.

The German architect and archaeologist Robert Johann Koldewey (1855-1925) was the first to locate, identify and map the ancient city of Antissa, which, as is shown in the relevant topographic maps, was surrounded by walls built according to the masonry system of Lesbos. It is assumed that it occupied a total of 165 hectares, while the perimeter of its walls was approximately 2 km. The important data provided by Koldewey were largely confirmed by the findings of the excavations carried out by the British archaeologist and historian Winifred Lamb (1894-1963) between 1930 and 1932. Apart from fragmentarily preserved parts of the walls, the building remains and the wells, the archaeological excavation brought to light a wealth of portable finds, such as pottery, inscriptions, coins and figurines, covering a wide chronological range from the end of the 2nd millenn. BC to the 16th c. AD, which attest to the continuous and uninterrupted occupation of the site. The most important archaeological finds include the building remains of an early sanctuary, which seems to have been founded around 1000 BC. It is an arched, four-part cult building from which at least two building phases can be distinguished, with the second one dating back to the 8th c. BC, when the cult building was transformed into an ellipsoidal building, acquiring a double arch at its narrow ends. An elongated, rectangular building of the 4th c. BC which is associated with a stoa, seems to be related to the wider sanctuary area.

♦ Attractive for the type and extremely rare ♦

BMC - (cf. 11 = 1/12 stater) ; McClean - (cf. 7959) ;
Weber collection - (cf. 5588) ; Sear -- ; SNG.Copenhagen 289 ;
Babelon, Traité I, - (cf. p.350, nr. 567-568 = 1/12 stater) ;
Slg.Klein - (cf.349) ; SNG.von Aulock - ; SNG.München - ;
cf. HGC 6, 1068 (=1/12 stater) ; Rosen collection - ;
cf. Lazzarini, series IV, page 96 RRR
vf

weight 4,14gr. ; silver Ø 16mm.

obv. Head of  young Herakles right, wearing lion skin headdress,
rev. Zeus Aëtophoros enthroned left, holding eagle and scepter,
bee in left field, ΛΘ-monogram beneath throne, ΦIΛIΠΠOY in right field

Müller P72 ; Price P.104 ; HGC 3, no.974g
very attractive drachm with fine details
vf/xf

weight 3,99gr. ; silver Ø 16mm.

obv. Head of  young Herakles right, wearing lion skin headdress
rev. Zeus Aëtophoros enthroned left, holding eagle and scepter,
ΠA -monogram to left, ΦIΛIΠΠOY to right, A beneath throne

Müller P136 ; Price P47 ; HGC 3, 974d
vf

weight 9,97gr. ; silver Ø 21mm.
first type ″archaic style″

obv. Naked ithyphallic Satyr, with ponted beard, in kneeling-running
attitude right, carrying in his arms a struggling nymph who raises her
right arm in protest
rev. Rough quadripartite incuse square

The overtly sexual displays seen on many early Greek coins can be disconcerting to the modern eye, viewing them through the lens of centuries of Christian fulminations against ′paganism′ and its erotic excesses. These scenes are at their most graphic in northern Greece, showing the interplay of nymphs and satyrs. The towns and tribes of this region were only newly introduced to the ′civilizing′ influences of the south, and were still close to their roots in farming and herding cultures. Their gods were not the Olympian super beings, but the spirits of nature, and the emphasis was on celebrating the fecundity of fields and flocks.

Very rare earliest issue of Thasos. This magnificent example of the first dies (Svoronos 1-5) of the long-running Thasos series of staters exudes power in the face of the satyr. Each of the heads is exceptionally detailed. The metal is superb.

♦ Exceptional quality for an archaic coin. Extremely rare as such ♦

cf. NAC, auction 84, 20-21 May 2015, Lot 614 (in about xf  SFR 9.000 + 17,5%)

Sear 1357 ; BMC 5 ; Weber collection 2500 ; SNG.Copenhagen 1007-1008 ;
McClean 4195 ; Asyut hoard 117 ; Svoronos Plate 10, 5 ;
Babelon, Traité p. 1198, 1743 (Pl. LV, 18) ; Le Rider, Thasiennes 1-2 ;
Jameson 1066 ; Pozzi 1109-1113 ; HGC 6, no. 331
Beautiful lustrous specimen. Near mintstate.
xf/unc

weight 9,69gr. ; bronze Ø 27mm.

obv. Laureate ans draped bust of Severus right, surrounded
by the legend; ΑΥΤ ΚΑΙ Λ ϹΕΠ ϹΕΥΗΡΟϹ ΠΕΡ ϹΕ
rev. Incusum image of the obverse
(Normally a draped bust of Julia Domna is depicted on the
reverse, with the legend; ΙΟΥΛ ΔΟΜΝΑ ϹΕΒ ΙΕΡΟΠΟΛΙΤωΝ)

HIERAPOLIS-KASTABALA
The ancient city of Hierapolis-Kastabala (also known as Kastabala or Hierapolis ad Pyramum) is located in southern Turkey in Osmaniye Province, near the Ceyhan (Pyramus) River. Often called the "Ephesus of Çukurova," it has a history spanning from Late Hittite origins through the Roman, Byzantine, Armenian, and Crusader periods.

The settlement dates back roughly 2,700 years, beginning as a Late Hittite/Luwian site in the region of Cilicia. The city later fell under the control of the Achaemenid (Persian) Empire. It entered broader Western historical records in 333 BC when Alexander the Great passed through the area around the time of the Battle of Issus. In the 1st century BC, it became the capital of the local dynast Tarcondimotus, who was an ally of Rome. The city reached its architectural and cultural peak during the Roman period, when it was incorporated into the Roman provinces of Cilicia Secunda and Cappadocia.  At the city there was the sanctuary of Artemis Perasia. According to Strabo, the priestesses were walking with naked feet over hot embers without pain. The city continued to be inhabited and fortified through the Byzantine era, later seeing use by Armenian and Crusader forces who built a medieval castle (Bodrum Kalesi) atop the ancient acropolis hill.

BMC- ; SNG.Copenhagen- ; SNG.von Aulock -; SNG.Levante 1590 ;
SNG.Paris- ; Ziegler- ; Sammlung Leypold 2373 ; Lindgren III, 843a ;
SNG Pfalz 576 ; RPC online 74035 RR
Attractive specimen with good portrait and dark patina. Very rare.
vf

weight 2,55gr. ; silver Ø 18mm.

obv. Laureate head of Severus right, surrounded
by the legend; SEVERVS PIVS AVG
translation: Severus Pius Augustus =
Severus, the pious emperor (Augustus).

rev. Fortuna, draped, seated left on low seat, holding rudder set
on globe in right hand and cornucopiae in left hand; under seat,
wheel., surrounded by the legend; P M TR P XI COS III P P
translation: Pontifex Maximus, Tribunicia Potestate Undecima,
Consul Tertium, Pater Patriae = High priest, holder of tribunician
power for the eleventh time, consul for the third time, father of the nation.

The appearance of Fortuna on coins of Septimius Severus around 203 AD (associated with tribunician power TR P XI, corresponding to 203 AD) symbolizes the divine favor, stability, and prosperous steering of the Roman Empire under his rule. By 203 AD, Septimius Severus had consolidated power, triumphed in the East, and returned to Rome (celebrating the completion of the Arch of Septimius Severus in this same period). Featuring Fortuna emphasized that the gods, and good luck, blessed his continued reign, safety, and public harmony.

In Roman religion, Fortuna was the personification of chance, fate, and good fortune, ensuring the well-being of the state and the emperor. The rudder (on a globe) represents Fortuna actively "steering" the course of the world, destiny, or the ship of state. The cornucopia (Horn of Plenty) signifies the wealth, harvest, and abundance that good fortune brings to the empire. The wheel (under the seat) symbolizes the ever-turning wheel of fate, reminding viewers of the cyclical nature of fortune controlled by the goddess.

Cohen 461 ; RIC 189b ; BMC 240, 432 ; Sear 6334
vf-/vf

weight 2,34gr. ; silver Ø 18mm.

obv. Laureate head of Severus right, surrounded
by the legend; SEVERVS PIVS AVG
translation: Severus Pius Augustus =
Severus, the pious emperor (Augustus).

rev. Concordia, draped, seated left, holding patera in extended
right hand and sceptre in left hand, surrounded by the legend;
P M TR P XVI COS III P P
translation: Pontifex Maximus, Tribunicia Potestate Sexta Decima,
Consul Tertium, Pater Patriae = High priest, holder of tribunician
power for the 16th time, consul for the third time, father of the nation.

Concordia (equivalent to the Greek Homonoia) embodied peaceful coexistence. Originally, she celebrated domestic or social peace, such as ending class struggles between patricians and plebeians. Under the Roman Empire, the symbol was frequently used by or dedicated to empresses and emperors to advertise loyalty, affection, and a stable marriage (such as between co-rulers or royal couples). Coins sometimes invoked Concordia to promote harmony and loyalty between the army (Concordia Militum) and the emperor or across different factions of the state.

Cohen 514 ; RIC 218 ; BMC 268, 562 ; Sear 6344
f/vf à vf-

weight 2,83gr. ; silver Ø 17mm.

obv. Laureate head of Severus right, surrounded by the legend;
L SEPT SEV PERT AVG IMP X
translation: Lucius Septimius Severus Pertinax Augustus Imperator
Decimum = Lucius Septimius Severus Pertinax, Emperor (Augustus),
Supreme Commander for the 10th time.
rev. Sol, radiate, naked except for cloak over left shoulder, standing left,
raising right hand and holding whip in left hand, surrounded
by the legend; P M TR P VI COS II P P
translation: Pontifex Maximus, Tribunicia Potestate Sexta, Consul Secundum,
Pater Patriae = High priest, holder of tribunician power for the sixth time,
consul for the second time, father of the nation.

The title ″Imperator X″ was granted to Severus in 197-198 AD for the
successful capture of Ctesiphon, the capital of the Parthian Empire.

On Roman imperial coins, the image of Sol (the Roman sun god) wearing a radiate crown (a crown with sun rays) and holding a whip (flagellum) symbolizes solar velocity, divine power, and the eternal, unstoppable movement of the sun across the sky. Depicting Sol with a whip and raised hand assured the Roman public of the emperor’s divine protection, cosmic backing, and the perpetual safety and renewal of the Roman state.

Unlike a globe (which represented global dominion or rule over the earth), the whip was the traditional attribute of a charioteer. It symbolized Sol′s swift motion as he drove his four-horse chariot (quadriga) across the heavens every day. The spikes or rays shooting from Sol′s head represented the blazing light and heat of the sun. Emperors (beginning notably with Nero and becoming common in the 3rd century AD) often adopted the radiate crown on their own coin portraits to link their divine authority directly to the sun god.

Cohen 449 ; RIC 117 ; BMC 263 ; Sear - (cf. 6331)
vf

weight 3,46gr. ; silver Ø 16mm.

obv. Laureate head of Severus right, surrounded by the legend;
L SEPT SEV AVG IMP XI PART MAX
translation: Lucius Septimius Severus Augustus, Imperator
undecimum, Parthicus Maximus = Lucius Septimius Severus,
emperor (Augustus), supreme commander (Imperator) for the
eleventh time, great conqueror of the Parthians.

rev. Mars, helmeted, in military attire, standing right, resting right
hand on shield set on small round object and holding spear in left
hand, surrounded by the legend; MARTI VICTORI

MARTI VICTORI is a Latin inscription on Roman coins that translates to "To Mars, the Victorious" (dedicated to Mars in the dative case).
Marti means "to Mars" (the Roman god of war) and Victori means "to the victor" or "victorious". The reverse side typically depicts Mars, the helmeted god of war, standing in military attire, holding a spear, resting his hand on a shield (sometimes set over a captive), and embodying military triumph and imperial protection.

Cohen 321var. ; RIC 134 ; BMC 133 ; Sear - (cf. 6312)
vf-/vf

weight 2,04gr. ; silver Ø 18,5mm.

obv. Laureate head of Severus right, surrounded
by the legend; SEVERVS PIVS AVG
translation: Severus Pius Augustus =
Severus, the pious emperor (Augustus).

rev. Neptune, naked except for cloak over left shoulder and
right arm, standing left, right foot set on globe, holding trident
in left hand, surrounded by the legend; P M TR P XVII COS III P P
translation: Pontifex Maximus, Tribunicia Potestate Septima Decima,
Consul Tertium, Pater Patriae = High priest, holder of tribunician
power for the 17th time, consul for the third time, father of the nation.

A standing Neptune with a trident on the coins of Septimius Severus symbolizes imperial protection and safe passage over the sea, specifically commemorating or invoking divine favor for maritime travel and military transport during his campaigns. Placing the god of the sea on the coin linked the emperor′s worldly power to divine command, assuring the Roman army and citizens that the gods of the cosmos and oceans favored Severus′s reign and movement.

Numismatists generally link these specific Neptune silver denarii to Septimius Severus′s major military expedition to Britannia (208-211 AD). To transport legions and supplies across the rough English Channel, the Roman military depended entirely on naval logistics. Depicting Neptune, often shown with one foot resting on a rock or a globe, served as propaganda signaling total dominion over the waters and praying for a calm, successful crossing.

Cohen 529 ; RIC 228 ; BMC 356, 3 ; Sear 6346
vf/f+

weight 3,50gr. ; silver Ø 16mm.

obv. Laureate head of Severus right, surrounded by the legend;
L SEPT SEV PERT AVG IMP X
translation: Lucius Septimius Severus Pertinax Augustus Imperator
Decimum = Lucius Septimius Severus Pertinax, Emperor (Augustus),
Supreme Commander for the 10th time.
rev. Mars, helmeted, in military attire, standing left, foot set on cuirass,
holding branch in right hand and reversed spear in left hand, surrounded
by the legend; MARTI PACIFERO

Marti is the dative form of Mars (the Roman god of war), and Pacifero is the dative form of pacificer (peacemaker or peace-bringing). On the reverse Mars is typically depicted standing left, his right foot resting on cuirass. Instead of only holding weapons of war, Mars holds an olive branch (a universal symbol of peace) in his right hand, while still carrying a spear in his left hand.

The title ″Imperator X″ was granted to Severus in 197-198 AD for the
successful capture of Ctesiphon, the capital of the Parthian Empire.

Cohen 315 ; RIC 113 ; BMC 60, 250 ; Sear 6311
Short flan, typically for this early issue.
vf-

weight 2,90gr. ; silver Ø 16mm.

obv. Laureate head of Severus right, surrounded by the legend;
L SEPT SEV PERT AVG IMP X
translation: Lucius Septimius Severus Pertinax Augustus Imperator
Decimum = Lucius Septimius Severus Pertinax, Emperor (Augustus),
Supreme Commander for the 10th time.
rev. Annona, draped, standing left, right foot set on prow,
holding corn-ears in right hand and cornucopiae in left hand,
surrounded by the legend; ANNONAE AVGG

Annona was the divine personification and protector of the annual grain supply and food sustenance for the city of Rome. She was closely linked to Ceres, the major Roman goddess of agriculture. While Ceres managed the growth of crops in the fields, Annona managed the harvested grain, its delivery, and its distribution.

Derived from the Latin word annona (meaning "corn," "grain," or "yearly produce," which itself comes from annus, meaning "year"), she represented the cyclical harvest and life-sustaining food supply. Rome′s population relied heavily on imported grain (from Egypt, North Africa, Sicily, and other provinces). Ensuring a steady flow of cheap or free grain was essential for preventing riots and maintaining social order; a policy famously linked to "bread and circuses". While minor in traditional myth, Annona became a major figure of imperial religion. Roman emperors promoted her cult (often as Annona Augusti) to show the people that the emperor′s divine power and governance guaranteed their daily survival and prosperity.

On Roman coins and art, Annona was typically shown holding a cornucopia (horn of plenty) and ears of wheat, often standing next to a modius (a grain measure/basket) or with a ship′s prow or stern in the background to symbolize overseas grain shipments.

The title ″Imperator X″ was granted to Severus in 197-198 AD for the
successful capture of Ctesiphon, the capital of the Parthian Empire.

Cohen 37 ; RIC 107 ; BMC W239,43 ; Sear-
Usual short flan for this early issue.
vf-

gewicht 28,26gr. ; zilver Ø 40mm.
muntmeester: Johan Bencken
muntteken: roos ❀

vz. Geharnast en gelauwerd borstbeeld van een Nederlandse edelman,
in zijn rechterhand een geschouderd zwaard, in de linker houdt hij het
provinciewapen aan een geluste lint, binnen een parelcirkel, omringd
door de tekst: ❀•MO•ARG•PRO• - CONFOE•BELG•HOL•
kz. Gekroond generaliteitswapen geflankeerd door het jaartal I6 - 22,
binnen een parelcirkel, omringd door de tekst;
x CONCORDIA•RES•PARVÆ•CRESCVNT

Delmonte 939 ; Verkade 46.4 ; HNPM.40 ; CNM.2.28.76 ; Davenport 4831 S
Kleine zwaktes van de slag. Schaars.
zfr-

gewicht 26,38gr. ; zilver Ø 40mm.
muntmeester: Rochus Grijp
muntteken: roos ❀
stempelsnijder: Gerard van Bylaer
type 3

vz. Geharnaste en gehelmde ridder staande naar links, met baard, hoofd
naar rechts gewend, cape royaal om zich heen geslagen waarvan hij het
geluste uiteinde in zijn rechterhand houdt, het wapenschild van Holland
binnen een geornamenteerde omlijsting voor zich geplaatst welke aan
de onderzijde geflankeerd wordt door het jaartal I5 - 76, binnen een
parelcirkel, omringd door de tekst; x MOxNOxARGx  – xORDINxHOLx
kz. Klimmende Hollandse leeuw naar links binnen een parelcirkel,
omringd door de tekst; xCONFIDENSxDNOxNONxMOVETVRx ❀

Het betreft hier een leeuwendaalder van het derde type, met de ridder naar rechts kijkend over zijn schouder. De leeuwendaalder werd in 1575 ingevoerd, als eerste grote zilverstuk van de opstandige Nederlanden. Het werd uitgegeven op een koers van 32 stuiver, gelijk aan de Bourgondische kruisrijksdaalder. Deze koers was feitelijk te hoog, daar de leeuwendaalder zo′n 16% minder zilver bevatte dan de Bourgondische kruisrijksdaalder. Dit koersverschil diende tot het spekken van de kas voor oorlogsvoering tegen Spanje. In de loop van 1576 werd het eerste type vervangen door een tweede type, dat al duidelijk beter was uitgevoerd qua beeldenaar. Ook de vervaardiging is beter, alhoewel ook deze stukken nog vaak erg zwak werden uitgemunt. Blijkbaar nog altijd ontevreden over het eindresultaat werd besloten de kundige stempelsnijder Gerard van Bylaer opdracht te geven tot het vervaardigen van geheel nieuwe stempels voor de leeuwendaalder, hetgeen resulteerde in het derde type. Thans veel fijner en stilistisch beter van snit. Ook in de uitvoering van de muntslag zien we grote verbetering, waardoor de stukken veel scherper van slag waren. De stukken van het eerste type, zonder jaartal ent 1575, zien we maar hoogst sporadisch, die van het tweede type uit 1576 komen al wat vaker voor en die van het derde type zien we veelvuldig in de handel en collecties.

Delmonte 831 ; Verkade 48.3 ; HNPM.22 ;
CNM.2.28.66 ; Davenport 8838
zwaktes van de slag
zfr-

gewicht 14,19gr. ; zilver Ø 34mm.
muntmeester: Jacob Boreel
muntteken: burcht

vz. Geharnast borstbeeld van Willem van Oranje met in zijn
rechterhand een geschouderd zwaard, binnen een parelcirkel,
daarboven I59I, omringd door de tekst;
•VIGILATE•DEO•CONFI – DENTE – S•
kz. Provinciewapen gedekt door gekroonde helm getooid met
helmteken met de Zeeuwse leeuw en lambrekijns aan de zijden,
binnen een parelcirkel, omringd door de tekst;
•MO•NO•ARG•COMITATVS•ZEL• ♖ •

De gehelmde rijksdaalder of prinsendaalder met het portret van Willem van Oranje als beeldenaar werd voor Zeeland slechts gedurende twee jaren aangemunt, namelijk in 1591 en 1592. Daarnaast werden in diezelfde jaren ook 1/2 gehelmde rijksdaalders of ½ prinsendaalders aangemunt. Zeer zeldzaam.

Coin with the portrait of William the Silent (1533-1584) ;  William I, Prince of Orange (24 April 1533 – 10 July 1584), also widely known as William the Silent or William the Taciturn or more commonly known as William of Orange, was the main leader of the Dutch revolt against the Spanish Habsburgs that set off the Eighty Years′ War and resulted in the formal independence of the United Provinces in 1581. He was born in the House of Nassau as Count of Nassau-Dillenburg. He became Prince of Orange in 1544 and is thereby the founder of the branch House of Orange-Nassau and the ancestor of the monarchy of the Netherlands. A wealthy nobleman, William originally served the Habsburgs as a member of the court of Margaret of Parma, governor of the Spanish Netherlands. Unhappy with the centralisation of political power away from the local estates and with the Spanish persecution of Dutch Protestants, William joined the Dutch uprising and turned against his former masters. The most influential and politically capable of the rebels, he led the Dutch to several successes in the fight against the Spanish. Declared an outlaw by the Spanish king in 1580, he was assassinated by Balthasar Gérard (also written as ″Gerardts″) in Delft in 1584.

Delmonte 936 ; Verkade 83.4 ; HNPM.40 ; CNM.2.49.46 RR
Lichte zwaktes van de slag. Zeer zeldzaam.
zfr-

gewicht 13,96gr. ; zilver Ø 34mm.
muntmeester: Jacob Boreel
muntteken: burcht

vz. Geharnast borstbeeld van Willem van Oranje met in zijn
rechterhand een geschouderd zwaard, binnen een parelcirkel,
daarboven 9I, omringd door de tekst;
•VIGILATE•DEO•CONF – IDENT – ES•
kz. Provinciewapen gedekt door gekroonde helm getooid met
helmteken met de Zeeuwse leeuw en lambrekijns aan de zijden,
binnen een parelcirkel, omringd door de tekst;
•MO•NO•ARG•COMITATVS•ZEL• ♖ •

De gehelmde rijksdaalder of prinsendaalder met het portret van Willem van Oranje als beeldenaar werd voor Zeeland slechts gedurende twee jaren aangemunt, namelijk in 1591 en 1592. Daarnaast werden in diezelfde jaren ook 1/2 gehelmde rijksdaalders of ½ prinsendaalders aangemunt. Tegen het gebruik in, zien we bij dit exemplaar dat het jaartal I59I is afgekort tot 9I. Deze variant wordt niet vermeld in de naslagwerken. Als zodanig ongepubliceerd en uiterst zeldzaam.

Coin with the portrait of William the Silent (1533-1584) ;  William I, Prince of Orange (24 April 1533 – 10 July 1584), also widely known as William the Silent or William the Taciturn or more commonly known as William of Orange, was the main leader of the Dutch revolt against the Spanish Habsburgs that set off the Eighty Years′ War and resulted in the formal independence of the United Provinces in 1581. He was born in the House of Nassau as Count of Nassau-Dillenburg. He became Prince of Orange in 1544 and is thereby the founder of the branch House of Orange-Nassau and the ancestor of the monarchy of the Netherlands. A wealthy nobleman, William originally served the Habsburgs as a member of the court of Margaret of Parma, governor of the Spanish Netherlands. Unhappy with the centralisation of political power away from the local estates and with the Spanish persecution of Dutch Protestants, William joined the Dutch uprising and turned against his former masters. The most influential and politically capable of the rebels, he led the Dutch to several successes in the fight against the Spanish. Declared an outlaw by the Spanish king in 1580, he was assassinated by Balthasar Gérard (also written as ″Gerardts″) in Delft in 1584.

Delmonte 936var. ; Verkade 83.4var. ; HNPM.40var. ; CNM.2.49.46var. RRR
In het centrum zwak geslagen. Mooi patina
zfr-

gewicht 28,61gr. ; zilver Ø 41mm.
muntmeester: Johan Alewijn
muntteken: herkruist kruis (zgn. Gelders kruis)

vz. Geharnast en gelauwerd borstbeeld van een Nederlandse edelman,
in zijn rechterhand een geschouderd zwaard, in de linker houdt hij het
provinciewapen aan een geluste lint, binnen een parelcirkel, omringd
door de tekst: • MO•ARG•PRO • - CONFOE•BELG•GEL•- ✥
kz. Gekroond generaliteitswapen geflankeerd door het jaartal I6 - 23,
binnen een parelcirkel, omringd door de tekst;
x CONCORDIA•RES•PARVÆ•CRESCVNT

Dit jaartal komt slechts sporadisch voor. We zien bij dit jaartal ook dat gebroken wordt met de typische ″Leicesterstijl″ van de Nederlandse rijksdaalder. Dit is het werk van de stempelsnijder Jacob van Bylaer, die in 1622 in dienst trad als stempelsnijder bij de Munt te Harderwijk. Zeldzaam.

Delmonte  938 ; Verkade 9.1 ; de Voogt 205 ; 
Pannekeet 74 (R3) ; HNPM.73 ; CNM.2.17.121  R
Lichte graffiti ("M") op de voorzijde en kleine zwaktes van de slag.
zfr

gewicht 26,23gr. ; zilver Ø 41mm.
muntmeester: Rochus Grijp
muntteken: roos ❀
type 2

vz. Geharnaste en gehelmde ridder, zonder baard, staande naar links,
cape om zijn hals geknoopt welke royaal naar achteren wappert, het
wapenschild van Holland binnen een geornamenteerde omlijsting voor
zich geplaatst welke aan de onderzijde geflankeerd wordt door
het jaartal I5 - 76, binnen een parelcirkel, omringd door de tekst;
MO•NO•ARG•  – •ORDIN•HOL
kz. Klimmende Hollandse leeuw naar links binnen een parelcirkel,
omringd door de tekst; •CONFIDENS•DNO•NON•MOVETVR• ❀

Het betreft hier een leeuwendaalder van het tweede type, met de ridder naar links gewend. De leeuwendaalder werd in 1575 ingevoerd, als eerste grote zilverstuk van de opstandige Nederlanden. Het werd uitgegeven op een koers van 32 stuiver, gelijk aan de Bourgondische kruisrijksdaalder. Deze koers was feitelijk te hoog, daar de leeuwendaalder zo′n 16% minder zilver bevatte dan de Bourgondische kruisrijksdaalder. Dit koersverschil diende tot het spekken van de kas voor oorlogsvoering tegen Spanje. In de loop van 1576 werd het eerste type vervangen door een tweede type, dat al duidelijk beter was uitgevoerd qua beeldenaar. Ook de vervaardiging is beter, alhoewel ook deze stukken nog vaak erg zwak werden uitgemunt. Blijkbaar ontevreden over het eindresultaat werd besloten de kundige stempelsnijder Gerard van Bylaer opdracht te geven tot het vervaardigen van geheel nieuwe stempels voor de leeuwendaalder, hetgeen resulteerde in het derde type. Thans veel fijner en stilistisch beter van snit. Ook in de uitvoering van de muntslag zien we grote verbetering, waardoor de stukken veel scherper van slag waren. De stukken van het eerste type, zonder jaartal en uit 1575, zien we maar hoogst sporadisch, die van het tweede type uit 1576 komen al wat vaker voor en die van het derde type zien we veelvuldig in de handel en collecties. Zeldzaam.

This is a leeuwendaalder (lion dollar) of the second type, with the knight facing to the left. The lion dollar was introduced in 1575, as the first large silver coin of the rebellious Netherlands. It was issued at a rate of 32 stuiver, equal to the Bourgondische kruisrijksdaalder. This rate was actually too high, as the lion dollar contained about 16% less silver than the Bourgondische kruisrijksdaalder. This exchange rate difference served to supplement the coffers for warfare against Spain. In the course of 1576, the first type was replaced by a second type, which was clearly better in terms of imagery. The production is also better, although these pieces were often still very poorly made. Apparently dissatisfied with the end result, it was decided to commission the skilled die cutter Gerard van Bylaer Jongelinck to produce completely new stamps for the lion dollar, which resulted in the third type. Now much finer and stylistically better cut. We also saw a major improvement in the execution of the coinage, which made the pieces much sharper. The pieces of the first type, without date and from 1575, are only seen very sporadically, those of the second type from 1576 are more common and those of the third type are frequently seen in the trade and collections. Rare.

Delmonte 830 ; Verkade 48.2 ; HNPM.21 ; CNM.2.28.65 ; Davenport 8837 R
gebruikelijke zwakke slag
fr/zfr à zfr-

gewicht 31,41gr. ; zilver Ø 40mm.
muntmeester: Jan Abraham Bodisco
zonder munt- of muntmeesterteken
met kabelrand

vz. De Nederlandse maagd staande frontaal, speer met vrijheidshoed
in de rechterhand, haar linker elleboog leunend op de bijbel welke
geplaatst is op een rijkelijk versierd altaar, daaronder I 7 9 2 , omringd
door de tekst; HAC NITIMVR - HANC TVEMVR
kz. Gekroond Generaliteitswapen, geflankeerd door 3 - G,
omringd door de tekst; MO:ARG:ORD:FÆD:BELG:HOLL:

Delmonte 1146 ; Verkade 53.1 ; HNPM.61 ; CNM.2.28.101 ;
Davenport 1850
gietgal aan de rand en licht kraje op de keerzijde,
overigens een bijzonder mooi exemplaar
pr