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 21,55gr. ; bronze Ø 31mm.

obv. Diademed and draped bust of Otacilia Severa right,
surrounded by the legend; MARCIA OTACIL SEVERA AVG
rev. Pudicitia seated left, drawing veil from face and holding
transverse sceptre, S C in exergue, surrounded by the legend;
PVDICITIA AVG

On the coins of Empress Marcia Otacilia Severa, the personification of Pudicitia (Modesty or Chastity) carried vital political, religious, and dynastic meanings. It was one of her most frequently struck reverse types.

To the Romans, pudicitia was the highest moral ideal for a married woman (matrona). On imperial coinage, the inscription PVDICITIA AVG (Purity of the Empress) signaled that Otacilia Severa was the moral exemplar for all Roman citizens, exhibiting absolute faithfulness and devotion to her husband.  Philippus the Arab was a military commander from a non-Italian background who took power under highly disputed circumstances after the death of Gordianus III. By prominently displaying Pudicitia, Otacilia′s coinage manufactured an aura of a traditional, conservative, and stable Roman household. It signaled that despite their provincial roots, the ruling family embodied ancient Roman domestic values.

On these coins, Pudicitia is typically depicted seated, pulling a veil over her face with one hand, and holding a transverse sceptre in the other. While the veil represents traditional modesty, the addition of the sceptre elevates the goddess into an authoritative posture. This legally and visually reinforced Otacilia′s sovereign status as a ruling Augusta, rather than a passive or deferential figure.

Cohen 55 ; RIC 209a ; Sear 6169
attractive dark patina
vf

weight 4,39gr. ; silver Ø 23mm.

obv. Diademed and draped bust of Otacilia Severa right on crescent,
surrounded by the legend; M OTACIL SEVERA AVG
rev. Concordia, draped, seated left, holding patera in right hand and double
cornucopiae in left hand, surrounded by the legend; CONCORDIA AVGG

On coins of Empress Otacilia Severa, the goddess Concordia symbolizes harmony between co-rulers, unity within the imperial family, and general societal stability. The specific inscription CONCORDIA AVGG stands for Concordia Duorum Augustorum (the harmony of the two Augusti), referring to Otacilia′s husband, Philippus the Arab, and their young son, Philippus II, who shared the imperial throne.

Cohen 4 ; RIC 125c ; Hunter 4 ; Sear 9147
vf/xf

weight 4,34gr. ; silver Ø 21,5mm.

obv. Diademed and draped bust of Otacilia Severa right on
crescent, surrounded by the legend; OTACIL SEVERA AVG
rev. Concordia, draped, seated left, holding patera in right hand
and cornucopiae in left hand, to left, altar, surrounded by the
legend; CONCORDIA AVGG

On coins of Empress Otacilia Severa, the goddess Concordia symbolizes harmony between co-rulers, unity within the imperial family, and general societal stability. The specific inscription CONCORDIA AVGG stands for Concordia Duorum Augustorum (the harmony of the two Augusti), referring to Otacilia′s husband, Philippus the Arab, and their young son, Philippus II, who shared the imperial throne.

Cohen 16 ; RIC 129 ; Hunter 7 ; Sear 9150
vf

weight 3,58gr. ; silver Ø 17mm.

obv. Laureate head of Severus right, surrounded by the legend;
L SEPT SEV AVG IMP XI PART MAX
translation: Lucius Septimius Severus Augustus, Imperator
ndecimum, Parthicus Maximus = Lucius Septimius Severus,
emperor (Augustus), supreme commander (Imperator) for the
eleventh time, great conqueror of the Parthians.
rev. Jupiter, naked to waist, seated left on low seat, holding Victory in
extended right hand and sceptre in left hand  IOVI CONSERVATORI

Septimius Severus campaigned in the Middle East to stabilize the Roman frontier and punish client kingdoms that had allied with his rival, Pescennius Niger, during the Roman Civil War. For his military successes in Arabia, Parthia, and Adiabene, he was awarded with the titles ″Pathicus Arabicus″ and ″Parthicus Adiabenicus″ by the Senate in 195 AD. In 195, a Roman invasion of Mesopotamia began under the Emperor Septimius Severus, who occupied Seleucia and Babylon, and then sacked Ctesiphon yet again in 197. The title ″Parthicus Maximus″ ("Greatest Conqueror of Parthia") was officially awarded to emperor Septimius Severus by the Roman Senate in 198 AD. It celebrated his successful military campaigns against the Parthian Empire, which included the sacking of the Parthian capital, Ctesiphon. Minting these victories on the coins was a way for the emperor to solidify his legitimacy, flaunt his martial success, and unify the Roman public behind him. Parthia ultimately fell not to the Romans, but to the Sassanids under Ardashir I, who entered Ctesiphon in 226. Under Ardashir and his successors, Persian-Roman conflict continued between the Sassanid Empire and Rome.

The seated Jupiter (Iovi) represents supreme cosmic power, stability, and the ultimate head of the Roman pantheon granting safety from above. The legend Iovi Conservatori can be translated as "To Jupiter the Protector/Preserver," signaling that the emperor and the Roman state owe their safety and survival to the god. By holding the goddess Victory it shows that Jupiter does not just passively protect, but actively dispenses military triumph and success to the terrestrial ruler. The sceptre signifies sovereign authority, command, and eternal kingship over the world.

This coins was struck shortly after Septimius Severus defeated his rival claimants (Pescennius Niger and Clodius Albinus) and successfully concluded his first Parthian campaign. By aligning himself closely with Jupiter Conservator, Severus presented himself as the favored earthly agent of the supreme god, reinforcing political stability and discouraging rebellion.

cf. Cohen 237 (with XII in error) ; RIC 130 ; BMC 129-131 ; Sear - (cf. 6289)
vf-

weight 3,32gr. ; silver Ø 18mm.

obv. Laureate head of Severus right, surrounded
by the legend; L SEPT SEV PERT AVG IMP VIII
translation: Lucius Septimius Severus Pertinax Augustus, Imperator
Octavum = Lucius Septimius Severus Pertinax, emperor (Augustus),
supreme commander (Imperator) for the eighth time.

rev. Pax, draped, seated left, holding branch in extended right
hand and sceptre in left hand, surrounded by the legend;
P M TR P V COS II P P
translation: Pontifex Maximus, Tribunicia Potestate Quinta, Consul
Secundum, Pater Patriae = High priest, holder of tribunician power
for the fifth time, consul for the second time, father of the nation.

A seated deity conveys permanence, calm, and security. Unlike a standing Pax, who might be actively bringing peace to a battlefield, a seated Pax shows that peace has officially arrived and is firmly settled in Rome. The seated Pax, holding an olive branch and a scepter, symbolizes the restoration of stability and the end of internal bloodshed. By February 197 AD, Severus had eliminated all domestic claimants (Pescennius Niger and Clodius Albinus) to the throne. Issuing a coin with Pax sent a message of relief to the Roman citizenry, claiming that the brutal era of civil war was over and a new period of domestic tranquility had begun.

Cohen 444 ; RIC 88a ; BMC 55, 215 ; Sear 6329
attractive toning
vf-/vf

weight 3,14gr. ; silver Ø 16,5mm.

obv. Laureate head of Severus right, surrounded by the legend;
L SEPT SEV PERT AVG IMP VIII
translation: Lucius Septimius Severus Pertinax Augustus, Imperator
Octavum = Lucius Septimius Severus Pertinax, emperor (Augustus),
supreme commander (Imperator) for the eighth time.

rev. Septimius Severus, in military attire, on horse prancing right,
holding spear in right hand., surrounded by the legend;
PROFECTIO AVG
translation: Profectiones Augusti = Departure of the emperor (Augustus).

The legend PROFECTIO AVG means the ceremonial "setting forth" or departure of the emperor as a military commander, symbolizing imperial duty, decisive action, and readiness for war. On Septimius Severus coins from 196 AD, it marked his military departure from Rome to campaign against his rival Clodius Albinus.

The reverse depicts Severus on horseback with a spear, emphasizing his role as the active, physical defender and commander-in-chief of the Roman state. It reassures the public and the army that the emperor is taking direct, hands-on control to suppress civil conflict and restore order. This event was accompanied with official religious vows (vota) made at departure for a safe campaign and victorious return (adventus).

The PROFECTIO AVG coin legend from 196 AD signaled the official start of this campaign. After defeating his eastern rival Pescennius Niger, Severus stripped his temporary ally, Clodius Albinus (the governor of Britain), of his titles. Albinus gathered three British legions, moved to Gaul, and set up his headquarters at Lugdunum (modern Lyon, France). Severus marched his Danube legions rapidly across the Alps to confront him. The confrontation between the armies of Severus and Albinus took place on 19 February 97, at Lugdunum (modern Lyon). This Battle of Lugdunum was the largest and bloodiest clash ever fought between Roman armies. Roughly 150,000 men fought on each side. Severus nearly lost his life and his horse, but a decisive cavalry charge secured a brutal victory. Albinus committed suicide. Severus decapitated the corpse, sent the head to Rome as a warning, and executed dozens of sympathetic Roman senators to secure his absolute rule.

Immediately after securing the Western provinces, Severus moved his forces east to counter the Parthian Empire, which had taken advantage of the Roman civil war. Severus raised three brand-new legions (I, II, and III Parthica). He marched into Mesopotamia, forcing the Parthians to instantly abandon the siege of Nisibis and retreat. Severus built a fleet, advanced down the Euphrates River, and captured the major cities of Babylon and Seleucia. By the end of 197 AD, his army successfully stormed and sacked the Parthian capital of Ctesiphon, massacring the male population and taking an estimated 100,000 citizens into slavery. This campaign concluded with the permanent annexation of northern Mesopotamia as a Roman province.

Cohen 578 ; RIC 91 ; BMC 170-171 ; Sear - (cf. 6353) S
Struck on a short flan, Scarce type.
vf/vf-

weight 2,67gr. ; silver 16,5mm.

obv. Laureate head of Severus right, surrounded by the legend;
L SEPT SEV PERT AVG IMP IIII
translation: Lucius Septimius Severus Pertinax Augustus, Imperator
Quartum = Lucius Septimius Severus Pertinax, emperor (Augustus),
supreme commander (Imperator) for the fourth time.

rev. Minerva, helmeted, draped to feet, standing left, holding spear
downward in right hand and round shield at side in left hand.,
surrounded by the legend; P M TR P II COS II P P
translation: Pontifex Maximus, Tribunicia Potestate Tertia, Consul
Secundum, Pater Patriae = High priest, holder of tribunician power
for the third time, consul for the second time, father of the nation.

Minerva on the coinage of Septimius Severus primarily symbolizes military power, divine protection, and wisdom. Because he seized the throne during a brutal civil war, he heavily utilized Minerva on his reverses to align his rule with her martial and strategic attributes. Minerva′s spear symbolizes active warfare, military supremacy, and Septimius Severus′s capability to defend the empire and vanquish his political rivals. Minerva′s shield represents divine protection, defensive strength, and the steadfast guardianship of the state under the emperor′s rule. Judging by the static depiction of Minerva, it seems to refer to the palladium, a sacred statue of Pallas Athena. Owning this statue was heavily associated with the survival and glory of Rome.

Cohen 381 ; RIC 49 ; BMC 33, 76 ; Sear 6326
slightly off-centre strike / short flan
vf

weight 3,73gr. ; silver Ø 19mm.

obv. Laureate head of Severus right, surrounded
by the legend; SEVERVS PIVS AVG
rev. Roma, helmeted, draped, seated left on shield,
holding palladium in right hand and spear in left hand,
surrounded by the legend; RESTITVTOR VRBIS

Septimius Severus was undeniably one of the most formidable and influential emperors in the history of the Roman Empire. His reign, which lasted from 193 AD until his death in 211 AD, was marked by a series of remarkable achievements and bold actions that solidified his reputation as a truly badass emperor. First and foremost, Severus′s military prowess was legendary. He successfully led several campaigns to expand and defend the Roman Empire′s borders. One of his most notable military feats was his campaign against the Parthian Empire in 197 AD. Despite facing challenging terrain and a formidable enemy, Severus managed to secure significant victories and even captured the Parthian capital city of Ctesiphon. This military triumph not only demonstrated his strategic genius but also showcased his unwavering determination and fearlessness on the battlefield.

Severus′s badassery wasn′t limited to military conquests alone. He was also known for his iron-fisted rule and unyielding determination to restore order and stability within the empire. Upon assuming power, Severus swiftly eliminated his rivals and consolidated his authority, thereby putting an end to the chaotic period known as the Year of the Five Emperors. His firm grip on power allowed him to implement a series of reforms aimed at strengthening the Roman state and revitalizing its economy.

Furthermore, Severus was a patron of the arts and architecture. Under his rule, numerous grand construction projects were undertaken, leaving a lasting impact on the urban landscape of Rome. One of his most renowned architectural endeavors was the construction of the famed Arch of Septimius Severus in the Roman Forum. This monumental arch served as a testament to his military achievements and was adorned with intricate reliefs depicting scenes from his victorious campaigns.

In light of these events we must view the issue of this denarius. It reflects on the recovery of the Roman Empire after the chaos that followed the death of Commodus. This was largely due to the policy of Septimius Severus, who was rightly awarded the title of  ″restitutor urbis″ (″restorer of the world″). According to the propaganda methods of the time, this image was widely spread through the issuance of this coin type.

By 207 AD, Severus was celebrating his 15th year in power (denoted on parallel coins as TR P XV). This specific year was critical because it marked the transition out of his intense Eastern military campaigns against Parthia. By blending the themes of restoring the city (Urbis) with neutralizing external threats to the world (Orbis), the coinage sent a clear message to the Roman public: the chaos of the late 2nd century was completely eradicated, and universal harmony was restored. The goddess Roma seated on a shield, holding a Palladium symbolizes the permanence and divine security of the Roman state protected under the emperor.

Cohen 606 ; RIC 288 ; BMC 221,359  ; Sear 6358
vf

gewicht 5,23gr. ; zilver Ø 29mm.
muntmeester: Otto Buck
zonder munt- of muntmeesterteken

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, omringd door de tekst;
HAC NITIMVR - HANC TVEMVR
kz. Gekroond generaliteitswapen, daarboven I7 - 48, geflankeerd door
X - ST, omringd door de tekst; MO:ARG:ORD:FÆD:BELG:HOLL:

In de eerste helft van de 18e eeuw werd het kleingeld dat circuleerde binnen de Republiek gedomineerd door minderwaardig zilvergeld, met name schellingen en buitenlandse muntstukken. Dit leidde tot inflatie en verwarring. Er bestond derhalve behoefte aan kleinere zilverstukken van hoogwaardig zilver voor dagelijkse betalingen. Al eerder hadden de Staten-Generaal met de introductie van de generaliteitsmunten meer uniformiteit willen brengen in het muntstelsel van de verschillende gewesten. Ook de halve generaliteitsgulden van 10 stuiver werd reeds in 1681 geïntroduceerd, maar die muntslag kwam al voor 1700 nagenoeg tot stilstand. Met de hervatting van aanmunting van de X stuiver in 1748 wilde men een betrouwbaar alternatief bieden voor al het minderwaardige geld dat binnen de Republiek circuleerde. Ook Gelderland en Utrecht zouden weldra volgen met de aanmunting van X stuiverstukken.

Delmonte 1198 ; Verkade 54.2 ; HNPM.66 ; CNM.2.28.107
minieme haarkrasjes, overigens nauwelijks gecirculeerd prachtexemplaar
pr+

gewicht 3,23gr. ; zilver Ø 25mm.
muntmeester: Jacob Jansz. de Jonge
muntteken: roos

vz. Gelauwerd en geharnast borstbeeld van de graaf
van Leicester naar rechts, omringd door de tekst;
+ CONCORDIA•RES•PARVAE•CRESCVNT
kz. Pijlenbundel van de Zeven Provinciën binnen versierd ovaal,
omringd door de tekst; •MONETA•BELGICA•HOL✿1587

De stoter duikt in de 15e eeuw op als Nederlandse benaming voor de Engelse groat, een zilveren munt die onder meer in het toen nog Engelse Calais werd geslagen en ook in de Nederlanden in omloop was. De waarde kwam grofweg overeen met de Bourgondische dubbele stuiver. Rond 1500 was door de verlaging van het zilvergehalte van de Bourgondische zilverstukken de koers van de stoter gestegen tot 2½ stuiver. De Engelse groat verdween, maar andere laat 16e-eeuwse zilverstukken van 2½ stuiver, zoals de 1/20 philipsdaalder en de 1/20 leicesterreaal werden ook stoter genoemd. Die laatste werden aangemunt in de jaren van de opstand tegen het Spaanse gezag, toen Engeland de Nederlanden te hulp kwam en Robert Dudley, Graaf van Leicester als landvoogd werd aangesteld. Deze flamboyante graaf kwam al snel in aanvaring met de Staten van Holland. Toen de graaf in 1587 onverrichter zake vertrok, werd er geen poging meer gedaan een nieuwe vorst te vinden. De republiek was een feit. De zilveren leicesterreaal, met de afgeleiden 1/5 leicesterreaal en 1/20 leicesterreaal of stoter, werden tijdens het bewind van Leicester ingevoerd volgens het ″Muntplakkaat van Leicester″ van 4 augustus 1586, en zijn in feite de eerste generaliteitsmunten. De munten uit de serie droegen de beeldenaar van Leicester en zijn nog tot 1597 aangemunt door meerdere gewestelijke munthuizen. In de 17e eeuw verdween het muntstuk uit omloop, maar het begrip stoter bleef nog tot ver in de 19e eeuw in gebruik als rekeneenheid van 2½ stuiver en later 12½ cent.

Verkade 44.2 ; HNPM.29 ; CNM.2.28.57 R
Lichte zwaktes van de slag, doch voor dit munttype een net
exemplaar met goed portret van de landvoogd Leicester.
zfr-

gewicht 6,72gr. ; goud 900/1000;  Ø 22,5mm.
randschrift: positie B
Schulman 185 ; LSch.200 ; KM.56 ; Friedberg 327
minieme contactspoortjes / minor bagmarks.
Ongecirculeerd prachtexemplaar. Zeer mooi.
unc

weight 3,47gr. ; gold Ø 20mm.
mintmark: caduceus
mintmaster mark: torch

obv. Helmeted and armored knight standing to the right,
in his right hand a sword on his shoulders, bundle of arrows
in his left hand, dividing 18 - 31, surrounded by the legend;
caduceus CONCORDIA RES -  PARVAE CRESCUNT. torch
translation: With harmony small things grow

rev. Double lined square, curled foliage on the sides, a rosette
on each quarter, with inside a Latin legend in four lines;
MO. AUR. / REG. BELGII / AD LEGEM / IMPERII.
unabridged legend: Moneta Aurea Regni Belgii Ad Legem Imperii
translation: Gold coin of the Kingdom of the Netherlands by virtue of imperial law

imitation of a Dutch gold ducat

Bitkin 24 ; KM.50.2 ; Friedberg 161
some minor scratches
vf/xf

weight 11,45gr. ; copper Ø 22,5mm.

obv. Draped bust of Faustina the Younger right, diademed,
hair waved and fastened in a bun on back of head, surrounded
by the legend; FAVSTINA AVGVSTA
rev. Fecunditas standing right, holding sceptre in right hand
and sitting child in left hand, S - C across field, surrounded
by the legend; FECVNDITAS

In the Roman Empire, an Empress′s primary political duty was to provide heirs to secure a peaceful transfer of power. The single child sitting on Fecunditas′ hand or arm represents a direct answer to the empire′s prayers for a male lineage. Coming closely on the heels of the birth of Faustina′s famous twin sons in 161 AD (Commodus and Antoninus, the latter of whom died in infancy), the 162 AD issue heralded the continuous survival and reinforcement of the Antonine dynasty. Specifically, this design (categorized under RIC 1638 or RIC 1639) functions as a public celebration of the birth of a healthy male heir, most likely Marcus Annius Verus, born late 162 AD.

The reverse text FECVNDITAS merges the physical person of Empress Faustina the Younger with the abstract goddess of fertility and childbearing. Fecunditas typically holds a long scepter in her other hand. This is not just a divine attribute; it represents Majestas (sovereignty) and imperial power, directly linking the act of childbearing to the governance and stabilizing of the Roman state.

Cohen 101 ; RIC 1639 ; BMC 980 ; MIR 9 ; Sear 5295
Wonderful example with good portrait and dark patina.
vf+ à vf/xf

weight 3,85gr. ; silver Ø 18mm.

obv. Laureate head of Tiberius right, surrounded by the legend;
TI CAESAR DIVI AVG F AVGVSTVS
rev. Tiberius, laureate and cloaked, standing in quadriga right,
holding laurel-branch in right hand and eagle-tipped sceptre
in left; all four horses heads turned right, TR POT XVII in front,
IMP VII in exergue

This denarius refers to Tiberius′ military successes. Tiberius was a brilliant military commander who expanded the empire and provided it with a defensible border with his younger brother Drusus and nephew Germanicus. On this coin the Pompa Triumphalis is depicted. The car itself is of the ″slow″ type with the focus on the triumphator himself, elevated in his chariot, with a laurelbranch in his right hand as a direct symbol of military victory and the peace achieved through conquest. In his left hand he holds an eagle-tipped sceptre, which denoted supreme military command (imperium) and a close association with Jupiter, the king of the gods. 

This denarius honors Tiberius′ successful campaigns and the triumph granted to him for his victories in Germany, achieved between 16-7 BC in the Danube area and his triumph of 6-9 AD. The German Marcomanni confederation had established a strong kingdom in modern Bohemia. Tiberius and another Roman general launched a two-pronged attack that devastated the Marcomanni. In 6 AD, Tiberius was called away from the Danube to prevent a German breakthrough after the Roman defeat at Teutoberg Forest. He accomplished this mission and was then called back to the Danube frontier. The Great Illyrian Revolt of 6-9 AD saw all the tribes in the western Balkans rise in rebellion. This was one of the greatest revolts against Rome in the history of the Empire, and the rebels could muster an army of 100.000 men. Tiberius and his nephew Germanicus eventually suppressed the rebellion, which earned them both Augustus and Rome′s gratitude. Tiberius was a great commander, and historians have neglected his accomplishments. He annexed two new provinces, established a frontier on the Danube that was not penetrated by invaders for almost two centuries. Tiberius′ greatest military achievement was his role in the suppression of the Great Illyrian Revolt.

cf. NAC, Auktion 143 Lot 488 (in xf/xf+ : SFR 8.000 + 22,5%)

Cohen 48 ; RIC 4 (R2) ; BMC 7 ; Sear 1762 R
Wonderful specimen of the best style with
excellent details and beautifully toned. Rare.
xf+/xf

weight 3,70gr. ; silver Ø 18mm.

obv. Bare head of Caius Caesar right, CAESAR below, within oak wreath
rev. Candelabrum ornamented with rams′ heads, AVG - VSTI across field ;
all within a floral wreath entwined with two bucrania and three paterae

Struck in confirmation of Caius Caesar role as Augustus′ successor
and in memory of the death of Caius′ father and Augustus′ son-in-law
Marcus Vipsanius Agrippa.

Born Caius Vipsanius Agrippa, the eldest son of Marcus Vipsanius Agrippa and Julia, the daughter of Augustus. Upon his adoption by his grandfather in 17 BC along with his brother Lucius, he assumed the name of Caius Julius Caesar. It was Augustus′ intent that Caius should succeed him at the helm of the empire, and to this purpose he was enrolled in the senate at the age of fourteen, and assumed the consulship at twenty one. He was made commander of the armies in the east, and the young Caius soon earned the respect of his countrymen and enemies alike when he forged a peace treaty with Phraates V of Parthia on an island in the Euphrates. Tragically, his brother Lucius fell ill and died in August 2 AD, and around the same time Caius was wounded while besieging the Armenian city of Artagira. He died eighteen months later at the age of twenty four. Their deaths robbed the empire of two most promising young princes, and Augustus of his most favoured heirs. The aged emperor was left inconsolable with grief, and the way was thus cleared for the succession of Tiberius.

This denarius represents one of the more enigmatic issues of Augustus′ long reign as emperor. The obverse of this coin shows us the portrait of the young heir, Caius Caesar, surrounded by the corona civica aurea which in 28 BC was awarded by a grateful Roman Senate to Augustus for having ended the long period of civil wars. On the reverse we see a candelabrum ornamented with rams′ heads. Shortly after the adoption of Caius and Lucius, Augustus held the fifth-ever Ludi Saeculares ("Secular Games"). The adoption of the boys coupled with the games served to introduce a new era of peace – the Pax Augusta. Traditionally the emission of this coin type has been associated with these Ludi Saecalares, although the association of the candelabrum with the Ludes Saeculares is not readily apparent.

The candelabrum was an important object and part of the burial rituals during the Julian-Claudian dynasty Rams′ heads are fairly common adornments on Julio-Claudian funerary altars (see, e.g., P. Zanker, The Power of Images in the Age of Augustus p. 280 for a Roman funerary altar of the Claudian period that features the garland, candelabra and rams′ heads), and an aromatic garland was a staple of Roman funerary rites for obvious reasons. For these reasons, the association of this coin type with the Ludi Saeculates must be considered less likely. But what was the real reason for coining this special coin type? Seemingly only a death of significance to the succession would manifest itself on coinage, and the death of Agrippa in 12 BC was one such death as he was not only Augustus′ closest friend and confidant but his chosen successor. It is recorded that the emperor mourned his passing for a full month and even had Agrippa′s remains interred in his own mausoleum despite Agrippa having constructed a mausoleum of his own. In light of the funerary nature of the reverse of this coin, and also the fact that nothing specifically ties it to the ludes Saeculares of 17 BC other than the tenuous link of the candelabrum reverse, could it be that the portrait in the obverse is in fact young Caius Caesar and that it was struck in 12 BC to commemorate both Agrippa′s death and Caius′ newfound role as Augustus′ direct heir. The framing corona civica would quite nicely associate the youth with the imperium of the principate in this instance and should not necessarily be interpreted as a prerogative solely of the emperor. It also serves as an artistic function as a balance to the floral border enclosing the candelabrum on the reverse.

The reattribution to Augustus himself by more recent cataloguers seems to be very unlikely and has no real foundation. It is remarkable that this unlikely reattribution is preferred to a much more plausible one and that many dealers and collectors stubbornly cling to it. The overall symbolism, meanwhile is not only religious but funereal, and the only logical event of magnitude that would call for such an issue was the sudden death of Agrippa in 12 BC from a fatal illness suffered from the rigors of the Pannonian campaign. Furthermore, as David Sear notes in the millennial edition of Roman Coins and Their Values, the combination of the youthful portrait along with the title CAESAR simply and clearly suggests the young heir, while its placement in the place of precedence on the obverse further serves to highlight his status.

Cohen 2 (Caius) ; RIC 540 (R2) ; BMC 684 ; Sear 1749 RR
Some small bankersmarks and graffiti on obverse.
Attractive patina. Very rare historical coin.
vf

weight 3,65gr. ; silver Ø 19mm.

obv. Bare head of Augustus right, CAESAR behind,
AVGVSTVS before
rev. Six-rayed star above crescent, surrounded by the legend;
TVRPILIANVS III VIR

Publius Petronius Turpilianus was probably a son of Publius Petronius, who was prefect from Egypte  from 25 to 20 BC. It is believed that he owed the cognomen Turpilianus to his mother, who would then have been called Turpilia and possibly descended from the poet Turpilius. It is generally assumed that Turpilianus is the father of the Publius Petronius who was consul suffectus in AD 19. and was appointed governor of Syria under Caligula.

In 19 BC. Publius Petronius Turpilianus was appointed triumvir monetalis by Emperor Augustus, the office of mint master, in which he (along with two other triumviri) was responsible for the issue of coins. Turpilianus held office simultaneously with Lucius Aquilius Florus and Marcus Durmius. Several coins bearing Turpilian′s name have been preserved (mainly from 19-18 BC, but possibly also from 17 BC). The coins illustrate how much Turpilianus, in line with the function of the coins at the time, contributed to the propaganda for the still young principate of Augustus. It is plausible that Turpilian received the office as a reward for his father′s successful governorship over Egypt. The office of triumvir monetalis greatly enhanced the social and financial position of the family and was often seen as a springboard to the senatorial position. It is therefore believed that the Petronii family was given senatorial status during this time.

Presumably we must also identify this Turpilianus with the proconsul of Hispania Baetica of 6/5 BC mentioned in an inscription. Nothing more has been said about the further course of Turpilian′s career. The fact that both his sons held the office of consul suffectus under Tiberius, however, illustrates the high esteem in which Petronius′ family had come to stand.

The pairing of a celestial star and a crescent moon reflects the Roman imperial practice of recording significant lunar or stellar events viewed as divine approval for the regime. The star echoes the Sidus Iulium (the comet/star of Julius Caesar), linking Augustus and his administration to the divine ancestry of his adoptive father. Celestial symbols on Augustan coinage were widely understood to signify the enduring stability and eternal duration (aeternitas) of the new Pax Romana.

Cohen 495 ; RIC 300 ; BMC 32 ; Sear 1640  R
Very attractive well centered specimen
with wonderful portrait. Bold strike. Rare.
xf-/xf

weight 3,45gr. ; gold Ø 20,5mm.
mintmark: caduceus
mintmaster mark: torch

obv. Helmeted and armored knight standing to the right,
in his right hand a sword on his shoulders, bundle of arrows
in his left hand, dividing 18 - 28, surrounded by the legend;
caduceus CONCORDIA RES -  PARVAE CRESCUNT. torch
translation: With harmony small things grow

rev. Double lined square, curled foliage on the sides, a rosette
on each quarter, with inside a Latin legend in four lines;
MO. AUR. / REG. BELGII / AD LEGEM / IMPERII.
unabridged legend: Moneta Aurea Regni Belgii Ad Legem Imperii
translation: Gold coin of the Kingdom of the Netherlands by virtue of imperial law

imitation of a Dutch gold ducat

Bitkin 21 ; KM.50.2 ; Friedberg 161 R
Rare date.
vf/xf

gewicht 4,22gr. ; zilver 569/1000 ; Ø 20,6mm.
Schulman 289 ; LSch.292 ; KM.48
pr-

weight 10,94gr. ; bronze Ø 21mm.

obv. Laureate head of Julius Caesar right, ΘΕOΣ before
rev. Bare head of Octavianus right, ΘΕΣΣ behind,
AΛONIKΕΩN before, Δ below head

Gaebler (AMNG, p. 125) believed the Δ stands for 4 asses. Touratsoglou (p. 25) interprets it to indicate year four an era of beginning with the Battle of Actium, which would date the issue to 28 - 27 BC.

The dual-portrait design celebrated Octavianus′ role as the heir to Caesar and his victory over his rivals, such as Antony and Cleopatra. The use of Caesar′s image also reflected the worship of the deified Julius Caesar in cities like Thessalonica. The obverse features the laureate head of Julius Caesar. The inscription ΘΕOΣ (Theos) means "God". The reverse shows the bare head of Octavianus. The inscription reads "ΘEΣΣAΛONIKEΩN" (Thessalonikeon), identifying it as being struck in Thessalonika.

cf. Gemini auction VII, lot 729 (in about xf: USD 1.700 + 18%)

BMC p.115, 58 ; AMNG p.125, 43 (Pl. XXIV, 6) ; SNG.Copenhagen 395 ;
RPC I 1554 ; Sear Imperators 675 ; SNG ANS 824 ; Varbanov 5153 ;
Touratsoglou 25 ; Sear GIC 151 R
Very attractive specimen with good portraits and dark patina.
Exceptionnal nice for the type. Rare.
vf/xf

weight 3,72gr. ; silver Ø 20mm.

obv. Laureate head of Apollo right, lyre behind
rev. Diana Lucifera standing right, holding two long torches,
P•CLODIVS on right, M•F• on  left

Like the other members of the monetary quattuorvirate of 42 BC, we have no certain knowledge of the identity of Publius Clodius, son of Marcus. His personal coin types admit of no obvious explanation other than the general belief in the imminence of a new age suggested by the celestial types of Sun en Moon and their related deities Apollo and Diana. Their cults may have been associated with political leaders or Clodius′ family.

Clodius′ and his father Marcus′ biography is difficult to ascertain as this coin type bears no cognomen and two possible candidates of the same name and age lived in the late 40s.  Borghesi, followed by Babelon, attributed this denarius to a Publius Clodius Turrinus. The only information about his life comes from Seneca the Elder, whose son (the famous Seneca the Younger) seems to have been a great friend of Turrinus′ son.  In his Controversiae (x. 14-16), Seneca tells that Turrinus′ father (Marcus), a supporter of Caesar in Spain (presumably a colonist like him), was nonetheless ruined by the Civil War, and that his son Publius recovered his fortune thanks to his oratory skills. Therefore, by becoming moneyer, Turrinus might have received a compensation for his involvement in favour of Caesar, possibly from Octavianus, and also to ensure the fidelity of a prominent Spanish family, as Spain was an important province.

The assumption that this Publius Clodius was the one mentioned by Seneca was however not supported by Crawford. There is another possibility, that Clodius was the son of Publius Clodius Pulcher, the famous Tribune and arch-enemy of Cicero, even though it is written ″Marcus filius″ on the reverse.  Indeed, Pulcher′s widow Fulvia had become Mark Antonius′ third wife circa 46 BC; Pulcher′s son could therefore have cunningly claimed a filiation with Antonius since he was married to his mother. Antonius could also have adopted Pulcher′s son, because he seems to have taken great care of him; he even wrote to Cicero to ensure that the orator would not attack him as he did with his father (Ad Atticum, xiv. 13A).  He then became Praetor and Augur (CIL 6.1282).

The latter theory is the most likely, because Pulcher minted his coins together with Antony for the beginning of the Triumvirate (cf. other RRC 494 types).  Moreover, at this time, the name of Clodius essentially referred to the late Tribune, whereas a provincial would have included his cognomen on his coins to avoid the confusion, or at least a reference to his hometown or province, as did many other moneyers from Italy or the provinces.

Crawford 494/23 ; Sydenham 1117 ; BMCRR 4290 ;
CRI.184 ; Albert 1583 ; Sear 492
Struck with some minor weaknesses, otherwise attractive
specimen of good style and with appealing toning.
vf/xf

weight 3,51gr. ; silver Ø 17,5mm.

obv. Galley right, with rowers, a mast with fluttering banners 
placed at the prow, ANT AVG above, III•VIR•R•P•C
rev. Legionary eagle (aquila) between two standards (signa) , 
LEG - II across lower field either side of eagles′s shaft

The last major coinage issued by the Triumvir Marcus Antonius, prior to his downfall at Actium on 2 september 31 BC, was the celebrated ′legionary′ series. Antonius knew that his army would both have vital roles to play if he was to prevail over Octavianus in the struggle for mastery of the Roman world. Accordingly, the two branches of the armed forces receive equal attention on the coinage which was produced specifically for military pay during the long months of preparation prior to the final conflict. The obverse shows a war galley, the revers a legionary aquila between standards, which was to become so familiar on the coinage of imperial Rome, had been utilized only twice before in the period of the civil wars. Twenty-three legions are honoured. Many of these units would have been raised by Antonius in the East as his supply of Italian recruits had been virtually cut off by Octavianus. The style and fabric of the coins is uniform throughout suggesting that the entire series was issued from a single centrally-located mint. As production probably probably did not commence before the latter part of 32 BC, by which time Antonius was already in Greece, it seems logical to seek a mint in this region rather than farther afield. It would be tempting to see the ′legionary′ series as the successor of Silanus′ coinage at Athens, but the fabric is so different that another mint must be sought. A likely choice would be Antonius′ headquarters at Patrae, near the mouth of the Gulf of Corinth, where he was to spend the winter of 32/31 BC making final plans for the deployment of troops and naval forces. Actium itself seems an improbable location because of the potential vulnerability of the site so close to the enemy encampment. These denarii remained in circulation for a long time, and specimens are occasionally found in hoard of the Severan period, more than twohundred years later. This was because the ′legionary′ denarii had early acquired a reputation for having been struck in debased metal and for that reason had not disappeared from circulation during the latter part of Nero′s reign (after 64 AD), when that emperor reduced the weight, but probably not the fineness, of the denomination.

It probably concerns here Legio II Augusta. After the defeat of the Republicans, Legio II swore allegiance to Octavianus and with the same remained until the Battle of Actium of 31 BC, after which it seems to have been dissolved for some years. At the beginning of Augustus′ rule, in 25 BC, the new Legio II Augusta was stationed in Hispania, to fight in the Cantabrian Wars, which definitively established Roman power in Hispania, and later camped in Hispania Tarraconensis. With the annihilation of Legio XVII, XVIII and XIX in the Battle of the Teutoburg Forest (AD 9), Legio II Augusta moved to Germania, possibly in the area of Moguntiacum (Mainz). After 17, it was at Argentoratum (modern Strasbourg) and after 43 in Glevum (Gloucester).

Cohen 27 ; Sydenham 1216 ; Crawford 544/14 ;
BMC 190 ; Babelon (Antonia) 105 ; Albert 1715 ; CRI.349
Wonderful specimen with excellent details and attractive toning.
Rare in this high state of preservation.
xf

weight 8,53gr. ; gold Ø 19mm.

obv. Roman consul accompanied by two lictors (bodyguards) carrying
fasces, BR-monogram in lower left field, ΚΟΣΩΝ in exergue
rev. Eagle with spread wings standing left on sceptre,
clutching wreath in talons

These gold staters were minted by order of the Romans for the payment of Dacian mercenaries in Brutus′ battle against Octavianus and Markus Antonius. They are made of Roman gold. These staters mention the name of a local king in Dacia, Koson. He was probably King Kotiso or Kotison that we know from history, mentioned by Horatius and Suetonius, and was an ally of Brutus. In addition, we also see the monogram of Brutus on this gold stater. After Brutus′ death in 42 BC, the minting of these staters continued, but without Brutus′ monogram and made of Dacian gold. These staters are also of coarser style and with somewhat rougher surfaces.

The obverse is inspired by the silver denarii issued by Marcus Junius Brutus in 54 BC (see Junia denarius; Cr.433/1, Sydenham 906). The reverse is inspired by the silver denarii issued by Pomponius Rufus in 73 BC (see Pomponia denarius; Cr.398/1, Sydenham 793).

There are two variants of this coin type:
with the BR monogram and without the BR monogram.

Recently, both monogrammed and non-monogrammed versions were examined for their composition. These studies provided a highly sensitive elemental fingerprint for each coin. It was found that all coins without the monogram were made from native alluvial gold, (i.e., had trace amounts of tin) the same composition found for other Dacian gold artifacts (i.e., bracelets) that were made at the time. In contrast, all the coins with the BR monogram lacked tin, and were of highly purified gold. This finding leads to an intriguing possibility – BR-monogrammed coins were produced by Brutus using highly refined gold, and non-monogrammed coins were imitations by Thracians or Dacians using their own methods and local alluvial gold.

BMC Thrace p. 208, 1 ; RPC I, 1701A ; Iliescu 1 ; Weber 2782 ;
M. Bahrfeldt, ″Über die Goldmünzen des Dakerkönigs Κoson″
Berliner Münzblätter 1912, pp. 725–729 (no.66) ; SNG.Copenhagen 123 ;
McClean 4547 ; Mionnet S. II, p. 276, no.445 ; Sear 1733 ; HGC 3, 2049 ;
J. Winkler, ″Considerati despre moneda Koson,″ Etudes et Recherches
d′Histoire Ancienne 23/2 (1972), pp. 175 f., 1 and 3-5, fig. 1 ; Pozzi 2709 ;
coll. de Hirsch 869 ; Dewing 1246 ; SNG Oxford 3780–3782 ; Friedberg 124
Very attractive lustrous coin, struck on a broad flan.
Near mintstate.
unc-

weight 12,75gr. ; silver Ø 24mm.
Phoenician (Sidonian) standard

obv. Melqart, holding reins and arched bow, riding hippocamp
right above waves; below, dolphin right
rev. Owl standing right, head facing; crook and flail in background

Melqart is usually shown as a bearded male divinity holding a bow and reins while riding a winged hippocamp (a mythological sea creature with the front half of a horse and the tail of a fish) over two rows of ocean waves. A dolphin is frequently depicted swimming underneath the creature to reinforce Tyre′s identity as a maritime power.

Melqart was the king of Tyre′s pantheon, and his name literally translates to "King of the City." Because he possessed attributes of both a protector god and a traveler, classical Greek writers heavily equated him with their own hero-deity, Heracles (or the Roman Hercules). In his guise as a sea god on these earlier silver coins, the imagery of him riding the hippocamp across the waves symbolized Tyre′s absolute dominance over maritime trade routes.

On 5th to 4th-century BC silver coins of Tyre, the owl symbolizes Athenian currency imitation and trade trust, while the crook and flail represent Egyptian royal authority and agricultural fertility adopted during Persian rule. The owl was adapted directly from the famous Athenian tetradrachm, used to signal trusted weight, high silver purity, and market acceptability.

Traditional ancient Egyptian symbols of divine kingship and rule are associated with Osiris. The Shepherd′s Crook (Heka) denotes the leader′s duty to guide and protect the populace. The Threshing Flail (Nekhakha) signifies the power to provide sustenance, agricultural fertility, and maintain order.

BMC 19 ; Babelon, Traité II, p. 619, 1004 (Pl.CXXII, 16) ;
SNG.Copenhagen 301 ; Mitchiner ATAEC 1290 ; Dewing 2760 ;
Elayi 2009, nos. 613-651 ; Babelon, Achemenide, 2001 (Pl.XXXV, 13)
Sear 5912 ; Winterthur- ; HGC 10, no. 315 ; McClean 9518 R
Struck on a broad flan. Very attractive and rare.
vf

weight 0,63gr. ; silver Ø 10mm.

obv. War-galley (Phoenician pentekonter) travelling left, 
propelled by row of oars ; shields along bulwarks, standard
at stern, beneath lines of zig-zag waves, above Phoenician
letter ″B″ and regnal year ″30″
rev. Persian king (?) standing right, wearing crenellated
crown and slaying lion standing left, O between them

The penteconter was an ancient Greek galley in use since the archaic period. In contrast to the ships of the Homeric poems, used to transport warriors to the battlefield, penteconters were designed to fight at sea. They had a heavy metal ram at the bow to pierce the hull of the enemy. Speed and maneuverability were key to their design. Naval historians reconstruct their design partly from written sources, from inscriptions, and from the visual arts. In present understanding, the fifty of the penteconter′s name refers to the number of oars on each side. They were arranged in two banks of twenty-five, one hundred oars in total. A midship mast with sail could also propel the ship under favorable wind. Penteconters were longer than merchant ships. They had a deck for carrying armored warriors (hoplite). According to some contemporary calculations, penteconters are believed to have been between 28 and 33 m long, approximately 4 m wide, and capable of reaching a top speed of 9 knots (17 km/h).

BMC 36-44 ; SNG.Copenhagen 197-200 ; Mitchiner ATAEC 1280 ; 
Elayi 2004, no.851-1218 ; HGC 10, no.240 ; Betlyon 27 ;
McClean 9492 ; Winterthur 1077 ; Weber - ; Sear 5936
f/vf

weight 1,55gr. ; silver Ø 15mm.
reduced Rhodian Plinthophoric standard

obv. Laureate head of Hekate right, wearing kalathos
with crescent, above, EYME - NHC
rev. Nikè advancing right, holding wreath in right hand and palm
over left shoulder; C - T, P - A across field, all within shallow incuse

In the Hellenistic period Stratonikea had produced a large silver coinage of plinthophori. This coinage ended circa 88 BC and was replaced by much rarer silver, which was accompanied by a bronze coinage. In the early imperial period, Stratonikeia seems to have made only silver coins, all excessively rare. This drachme was probably minted during the reign of Augustus, with the shallow incuse fabric as was the case with the plinthophoric coinage and Lycean Leagae silver. Extremely rare.

The head of Hekate on the silver coins of Stratonikeia symbolizes her role as the supreme civic patron goddess and protector of the city-state, tied directly to her famous regional sanctuary at nearby Lagina. Unlike the rest of the Greek world where Hekate was viewed mainly as a private chthonic or underworld deity of crossroads and magic, at Stratonikeia she held a unique, state-sponsored status as protector (Soteira/Saviour) of the polis. Putting her head on the obverse of silver drachms advertised the city′s religious and political autonomy, uniting surrounding Carian territories under a shared civic identity.

The lunar crescent typically shown atop her head or brow highlights her celestial aspect and dominion over the night sky, earth, and sea, as inherited in her traditional Titanic lineage. The singular head or bust matches the local monumental sculptural style used inside her civic temple at Lagina.

BMC - ; SNG.Copenhagen - ;  McClean- ; Sear - ; Kayhan I - ;
SNG. von Aulock - ; HNO - ; Imhoof-Blumer 153, no. 7 ;
Winterthur 3531 (= specimen Imhoof-Blumer) ; RPC 2776 (1 specimen listed) ;
SNG.Keckman - ; Slg. Klein - ; Weber collection - ; SNG. Tübingen- RRRR
Attractive specimen with appealing toning. 
vf-/vf