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 !

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

weight 1,45gr. ; silver Ø 13mm.
Rhodian Plinthophoric standard

obv. Laureate head of Zeus right
rev. Eagle with spread wings standing right, deviding C - T,
above MENANAC, pedum in lower right field

The plinthophoric series runs from circa 190 BC to 84 BC, and represents a complete overhaul of the monetary system, in which the traditional Rhodian standard was abandoned in favor of a new standard based on a ′plinthophoric′ drachm of around 3 grams, which was more commensurate with other currencies of the time. Another innovation was the abandonment of all denominations higher than a drachm, and a proliferation of regular issues of hemidrachms and diobols. The reverse design was placed into a shallow incuse square, which is where the name of the series is derived (plinthos = brick or ingot). The exact reason for this major reorganization of Rhodian coinage is not known for certain, but the prevalent theory is that it was undertaken to conform to the changes extant under the terms of the Peace of Apameia in 188 BC. Whatever the reason, this change was enduring, with the series lasting nearly 100 years. The plinthophoric coinage came to an end during the First Mithridatic War.

Stratonikeia had a very famous regional devotion to Zeus as Zeus Panamaros (originally Zeus Karios) at the nearby sanctuary of Panamara, alongside the worship of Zeus Chrysaoreus.

About 10 km south of Stratonikeia at the hilltop the sanctuary of Panamara was located. Every year, citizens processed and carried the sacred statue of Zeus back and forth between the urban center of Stratonikeia and the sanctuary at Panamara. It′s most famous miracle occurred in 40/39 BC. A miraculous military intervention saved the citizens of Stratonikeia from an attack by Labienus and his Parthian troops. Zeus Panamaros was credited for this event.

Just outside the city at the temple of the Chrysaorian League, a political and religious confederation of Carian communities was located. Representatives from across Caria gathered at this site to vote and hold major religious ceremonies in Zeus′s honor.

The Sacred Eagle (Aetos Dios) served as Zeus′s personal messenger and companion, symbolizing keen vision, strength, and celestial dominion over the air.

On these 2nd to 1st century BC silver hemidrachms featuring the laureate head of Zeus on the obverse and an eagle on the reverse, the pedum (shepherd′s crook or lagobolon) typically appears as a minor control mark or secondary symbol in the field. The pedum is the classic tool used by herdsmen, symbolizing the domains of Hermes (the protector of flocks and travelers) or Pan (the rustic god of the wild and shepherds). It pointed to the pastoralism, livestock rearing, and rural agrarian economy of the Carian hinterlands that supported the civic center of Stratonikeia.

♦ An extremely rare helenistic historical coin ♦

BMC - ; SNG.Copenhagen - ;  McClean- ; Sear - (cf. 4931) ; 
SNG.Keckman - ; Slg. Klein - ; Weber collection - ; Kayhan I - ;
SNG. Tübingen- ; SNG. von Aulock - (cf. 8144) ; HNO.-   RRR
Attractive specimen with appealing toning. 
vf à vf+

weight 4,49gr. ; silver Ø 17mm.

obv. Head of the Rhodian Helios facing withing a border of beads
rev. Bust of Athena right, wearing crested helmet, 
AΛI KAPNAC behind, MOCXOC before

The appearance of a Helios head on the later silver and bronze coins of Knidos symbolizes the city′s shifting civic identity, regional Dorian religious ties, and commercial alliances. While Knidos is traditionally famed for featuring the head of Aphrodite and a roaring lion, later Hellenistic issues incorporated the sun god Helios to reflect broader political and cultural links within the Dorian hexapolis region.

Knidos was a prominent Dorian city. Displaying Helios, who held deep significance across Dorian communities in Caria and neighboring Rhodes, emphasized shared religious devotion and regional kinship. As a solar deity, Helios symbolized light, order, and vitality. Placing his radiate head on currency invoked divine favor, protection, and successful maritime trade for the city′s merchants.

Usually the Helios head is slightly facing to the right. Not on this specimen.
Here Helios is looking straight ahead. Very rare.

BMC 46var. ; SNG.Copenhagen- ; Pozzi collection- (cf. 2606-2607) ; 
SNG.Delepierre- ; Hunterian collection- ; Winterthur- ; SNG.Keckman- ; 
SNG.Tübingen ; SNG.Kayhan- ; McClean - ; cf. SNG.von Aulock 8088 RR
Somewhat crude strike, but nearly as struck.
xf/unc

weight 2,52gr. ; silver Ø 12,5mm.
Persic standard

obv. Diademed head of Artemis right, hair bound with stephane,
quiver at shoulder
rev. Tripod,  ΚΝΙΔΙΩΝ to right, APIΣTIAΔA to left

The tripod was the iconic three-legged seat used by the Pythia (the priestess of Apollo) at the Oracle of Delphi when delivering prophecies. Cities like Kroton in Magna Graecia placed the tripod on their silver staters as a civic badge to show that the community was founded under Apollo′s direct guidance. Tripods functioned as altars for burnt offerings and cauldrons for boiling sacrificial meat during panhellenic festivals. Monumental bronze tripods were frequently awarded as high-status prizes to victors in athletic and musical games. Dedicating a golden or bronze tripod to a sanctuary commemorated major military triumphs (such as the famous Serpent Column tripod dedicated after the Persian Wars).

Knidos was the cultural and geographic center of the Dorian Hexapolis, a regional alliance of six Dorian Greek cities. These cities gathered regularly at the Triopian Promontory (near Knidos) to celebrate a major festival and athletic games in honor of Triopian Apollo. The grand prize for victors in these games was a bronze tripod. According to sacred custom, the winner was not meant to keep the tripod but was required to dedicate it immediately to the Temple of Apollo at Knidos.

The tripod on the reverse of Knidian silver coins serves as a direct visual reference to this highly prestigious pan-regional festival and the city′s role as its custodian. On these specific silver coins, the tripod on the reverse is paired with the head of Artemis (Apollo′s twin sister) on the obverse. Artemis represents the hunt, wildlife, and civic protection, shown with her hair bound and a quiver at her shoulder. The tripod on the reverse seamlessly balances the design by introducing her twin brother Apollo′s primary religious attribute, combining the honors of both patron deities on a single coin.

Beside the tripod, Knidian silver features the ethnic inscription ΚΝΙΔΙΩΝ ("of the Knidians") and various changing names. These are the names of the local minting magistrates. Placing their names directly next to the tripod signified their civic and religious accountability over the city′s financial purity and sacred assets.

♦ A rare Helenistic historical coin ♦

BMC-  ; SNG.Tübingen- ; SNG.Copenhagen 275-276 ; McClean - ;
SNG.von Aulock 8110 ; SNG.Delepierre- ; Sear- (cf.4848) ;
SNG.Keckman - ; SNG.Kayhan- ; Weber collection - ; HNO.482 ;
SNG Ashmolean XI, 128 R
xf-

weight 2,22gr. ; silver Ø 11mm.
Milesian standard.

obv. Forepart of bull right
rev. Forepart of bull left within square incuse

We also know examples of this type with the inscriptions X, A and KIM, which probably refer to the mints of these coins. The X could refer to Khersonessos on the Loryma peninsula (Rhodian Khersonessos). This city also used a bull as a symbol, which we also see on its early coinage from the period 500-450 BC.  It is not inconceivable that the letter A refers to a mint in the vicinity of Khersonessos, on the Loryma peninsula. The A could then possibly refer to the city of Amos. Where the inscription KIM refers to is as yet unknown. In a slightly modified form we also see this coin type under Hekatomnos, with the text EKA. It is not possible to say with certainty whether these specimens were struck in Mylase or perhaps also in Khersonessos.

The Milesian standard of the city of Miletus was based on a stater of 14.2 g, which could be divided into six hectae of 2.4 g or four drachmae of 3.55 g. One drachma is devided in 6 obols of 0.59g.

SNG Keckman I, - (cf. 916) ; SNG Kayhan I, - (cf. 973)
cf. Troxell 1984, 12(B) ; SNG.Copenhagen - ; SNG.von Aulock- ;
HNO.- (cf. 972) RRR
Attractive toning. Extremely rare.
vf

weight 3,69gr. ; silver Ø 15mm.
third type ″later classic type of fine style″

obv. Balding ithyphallic Satyr with short hair and a short beard,
in kneeling-running attitude right, carrying in his arms a nymph
who wears a long robe and puts her right arm around the satyr′s neck
rev. Rough quadripartite incuse square

Thasos was a major producer of silver from the mines it controlled on the mainland and struck an enormous number of silver coins as a way of exporting it. From the end of the 6th until the end of the 5th century her issues of staters bearing a satyr carrying off a nymph must have been struck in enormous numbers. They were apparently extremely popular to the north in the Balkans, where very large hoards of them have been found, as well as to the East and in Egypt (they have also turned up in Italy). The archaic and early classical staters are among the most abundant coins of those periods to survive, though really fine ones of good style are rare. However, the issues of the late 5th century, made in a fully developed classical style, reminiscent of the sculptures on the Parthenon and at Bassai, are not only far less common but are struck by dies engraved by a true master. The satyr is old and bearded, but is quite civilized looking, compared to his much rougher brothers on earlier coins. He very carefully holds a rather soignée nymph, wearing transparent drapery: her hair is of the latest fashion (see the nymphs on the hemidrachm coinage of Macedonian Neapolis for close parallels), and while her hands are spread in a pro forma protest, her legs are demurely crossed! This is an exceptional example; very rare in such condition.

♦ Masterpiece of exccelent style and with beautiful toning.
Very rare in this high state of preservation ♦

cf. NAC auction 124, Lot 99 (in vf/xf: SFR 3.500 + 23%)
cf. Walvis, auction 1, lot 40 (5 June 2026) (in xf : GBP 6.800 + 25%)

BMC 32-34 ; Weber collection - ; SNG.Copenhagen 1018 ;
Svoronos plate X, no.30 ; Sear 1748 ; McClean 4203 ;
Pozzi - ; Le Rider , Thasiennes 7 ; Jameson 1068 ;
Babelon, Traité p.712, 1130 (Pl.CCCXXII, 5) ; HGC 6, 335
xf

weight 3,15gr. ; Ø 15mm.

obv. Head of Nikè left, wearing earring and necklace, the hair
bound with broad diadem and tied with a fillet behind
rev. Zeus, naked,  in galloping biga right, hurling thunderbolt
in right hand, holding staff and reins in left, plough en I below,
in exergue the ethnic; BPETTIΩN

Minted during the Second Punic War, as ally of Hannibal.

The Bretii emerged as a separate ethnic entity in the middle of the fourth century and by the 280s BC controlled virtually all southern Italy south of the Laus-Thurium line; only Rhegion, Locri and Kroton held out. It is in this period of Brettian control that the mints of Consentia, Medma and Hipponium produced thein coinages. The Brettii joined Pyrrhus of Epirus and lost much land to Romeafter his defeat. During the Second Punic War the Brettii joined Hannibal after his victory at Cannae in 216 BC, and provided him in due course with his last base. They produced the whole of their ethnic coinage as his allies, before 203.

This variant with I below the horses seems to be unpublished
in the reference literature. Extremely rare as such.

BMC 103var. ; cf. SNG.Copenhagen 1689 ; cf. SNG.ANS.138 ;
cf. Scheu 128-129 ; HGC 1, 1372var. ; cf. Weber collection 975 ;
cf. McClean 1575 ; SNG.Tübingen - ; cf. SNG.München 1354 ;
cf. Historia Numorum, Italy 1997 RRR
vf

gewicht 1,56gr. ; zilver Ø 28mm.

vz. Borstbeeld van Sint Pieter met nimbus frontaal, het boek der
evangeliën in zijn rechterhand en sleutel in de linkerhand, binnen
een zespas, binnen een gekartelde cirkel, daaronder het schild met
het wapen van Arkel welke de cirkel en tekst doorbreekt, omringd
door de tekst; ✠ MONЄTA ⵓ SA ⸰  –  ⸰ NCTI ⵓ PЄTRI
kz. Kort drielijnig kruis met bladversieringen aan de uiteinden
binnen een gekartelde cirkel, omringd door de tekst;
✠ IOHANNЄS ⁑ ЄPS ⁑ LЄODIЄNSIS

Ten zuiden van de stad Maastricht, grenzend aan de Maas en het Jekerdal, bevindt zich een dorp Sint Pieter dat voorheen een vrije baanderij was. Dit gebied stond onder het gezag van de prins-bisschoppen van Luik en fungeerde als een zelfstandige Luikse enclave met eigen wetten, een eigen bestuur en een eigen schepenbank. Volgens de overlevering zou deze heerlijkheid een van de eerste bezittingen zijn van de Luikse Kerk. Zij was in de 7e eeuw het eigendom van Aper en Herislinde, wier zoon Lambertus in 672 tot bisschop van Maastricht zou worden gekozen. Na de dood van zijn ouders werden diens goederen bij de kerk van Maastricht gevoegd. Lambertus had nauwe banden met de familie van de Frankische hofmeier van Austrasië, Pepijn van Herstal, waaronder Pepijns eerste vrouw Plectrudis. Nadat Lambertus tijdelijk uit zijn ambt was ontzet door politieke tegenstanders, herstelde Pepijn van Herstal hem in 682 in zijn rechten als bisschop van Maastricht. Samen ontvingen en steunden zij vroege missionarissen zoals Willibrord om het geloof in de regio te verspreiden.

Op zeker moment ontstond er wrijving tussen Pepijns dienaar Dodo en bisschop Lambertus. Lambertus bekritiseerde namelijk herhaaldelijk Pepijns buitenechtelijke relatie met Alpaïs, de zuster van Pepijns dienaar Dodo. Daarnaast zou Dodo de goederen die hij de kerk had ontnomen weer terug moeten geven. Dit herhaaldelijk aandringen bij Pepijn maakte Lambertus een aartsvijand van Dodo. Op een zekere dag rond het jaar 705 werd Lambertus, die zich naar zijn kapel in de burcht Legia (later Luik) had begeven om aldaar te bidden, door aanhangers van Dodo vermoord. Zijn lijk werd in de Maas geworpen. Volgelingen van de bisschop wisten hem echter te bergen en begroeven hem in het dorp Sint Pieter.

Lambertus′ leerling Hubertus volgde hem op als bisschop van Maastricht. Maastricht en Tongeren waren in die tijd onveilig, daarom verplaatste hij de bisschoppelijke zetel van Maastricht naar Luik. Definitief zoals later zou blijken. Rond 718 werd Lambertus heilig verklaard en werden zijn gebeenten naar Luik verplaatst en aldaar herbegraven. Boven het graf van Lambertus werd de Sint-Lambertuskathedraal opgericht, die in 1794 werd verwoest. Hubertus overleed in 727 en werd in 743 heilig verklaard. Hubertus verkondigde het geloof in Brabant en de Ardennen, vandaar dat in het zuiden van Nederland en in heel België veel kerken naar hem zijn vernoemd. In sommige streken lijkt het soms wel alsof er maar twee heiligen zijn: Hubertus en Lambertus.

De hertog van Brabant verkreeg zeggenschap over Maastricht in 1204, toen de Duitse keizer de stad in leen gaf aan de hertog. Dit markeerde het begin van de unieke tweeherigheid, waarbij de stad bestuurd werd door zowel de hertog van Brabant als de bisschop van Luik. Dit leidde in datzelfde jaar tot een Luiks-Loonse strafexpeditie en verwoesting van de Maasbrug. Het was hertog Hendrik I die in 1229 de stad Maastricht toestemming geeft om een stenen stadsmuur te bouwen, inclusief de latere Helpoort. In het jaar 1284 werd de belangrijkste oorkonde, met betrekking tot de Maastrichtse tweeherigheid opgesteld: de ′Alde Caerte′. Deze overeenkomst werd gesloten tussen de Luikse bisschop Jan van Vlaanderen (1282-1291) en de Brabantse hertog Jan I (1267-1294). Vóór dit jaar bestond er grote onzekerheid over welke heer welke rechten bezat in de stad. De ′Alde Caerte′ hief deze onzekerheid op doordat zij in een aantal paragrafen de rechten van beiden naast elkaar zette. Deze overeenkomst werd ook numismatisch beklonken door de aanmunting van een gemeenschappelijk muntstuk; een denier of penning (zie: van der Chijs, Brabant & Limburg, Pl. III, no. 4).

Omdat Sint Pieter een zelfstandige Luikse ′vrijheid′ (baanderij) was met eigen wetten en rechtspraak, vluchtten criminelen of mensen die conflicten hadden met het Maastrichtse stadsbestuur vaak de grens over naar het dorp om aan vervolging te ontkomen. Het aangrenzende dorp Sint Pieter behoorde exclusief tot het Prinsbisdom Luik. In 1212 bouwde Hugo van Pierremont, bisschop van Luik, een bucht op zijn grondgebied van Sint Pieter. Er werd ook een gerechtshof gevestigd. De overeenkomst van de ′Alde Caerte′ schijnt niet erg lang in acht zijn genomen. Dit komt ook tot uitdrukking in de muntslag. Zo sloegen de hertogen van Brabant hun munten in het bestuurlijk centrum het Vroenhof te Maastricht, terwijl de bisschoppen van Luik dit deden in het nabij gelegen dorp Sint Pieter. Het bisschoppelijk muntatelier van Sint Pieter werd voor het eerst actief onder bisschop Engelbert van der Marck (1345-1363). Tussen 1295 en 1409 raakte het dorp Sint Pieter minstens acht keer direct betrokken bij gewapende conflicten tussen opstandige Luikenaren en de stad Maastricht. Sint Pieter koos hierin vrijwel altijd de kant van de prins-bisschop, tot grote ergernis van de Maastrichtenaren.

Jan van Arkel werd in 1314 geboren als zoon van Jan III van Arkel en zijn tweede echtgenote Kunigonda van Virneburg. Zoals gebruikelijk in die tijd voor jongere adelijke zonen koos ook Jan voor een geestelijke loopbaan. Na de dood van de Utrechtse bisschop Jan van Diest in 1340 kwam het niet direct tot een opvolging. De kapittels hadden Jan van Bronkhorst gekozen, de paus benoemde Nicolaas Capocci. Deze werd echter niet aanvaard door de kapittels en trok zich terug. De uiteindelijke benoeming van Jan van Arkel tot bisschop was te danken aan de invloed van graaf Willem IV van Holland. Jan manifesteerde zich als een sterk bestuurder en wist orde op zaken te stellen binnen het bisdom Utrecht (Het Sticht). Zijn regeerperiode aldaar (1342-1364) kenmerkt zich door een voortdurende en succesvolle strijd tegen het graafschap Holland, gesteund door de stad Utrecht. Aan het einde van zijn episcopaat stond Het Sticht er beter voor dan in tijden het geval was geweest.

In 1364 werd Jan van Arkel ″de prachtlievende″ door paus Urbanus V overgeplaatst naar Luik. Door de macht van de gilden kon hij daar zijn macht minder laten gelden dan in Utrecht, al wist hij in 1366 het graafschap Loon definitief bij het prinsbisdom in te lijven. Jan van Arkel hield van het luxe leven en zag zijn gebieden als wingewesten en verhoogde de belastingen, wat zorgde voor grote onvrede bij de bevolking. In 1373 dwongen de opstandige burgers dwongen de bisschop om een speciale rechtbank op te richten, met soeverein beslissingsrecht, het zgn. tribunaal XXII, om burgers te beschermen tegen oneerlijk handelen van de bisschoppelijke ambtenaren. De spanningen bleven echter groeien, waardoor Jan van Arkel in 1374 naar Maastricht moest uitwijken voor zijn opstandige onderdanen. Maastricht werd daarop in 1375 belegerd door de woedende Luikenaren, een beleg dat pas beëindigd werd na een oproep van paus Gregorius XI, waarna Jan weer kon terugkeren naar zijn residentie in Luik. We kennen van Jan van Arkel ook St. Pietersgroten waarbij St. Pieter de pauselijke tiara op zijn hoofd heeft i.p.v. de gebruikelijke nimbus om zijn hoofd (zie: Dengis 580). Wellicht werd deze uiterst zeldzame emissie geslagen nadat paus Gregorius XI hem in zijn gezag had hersteld, na het beleg van Maastricht in 1375, bij wijze van eerbetoon. Jan van Arkel overleed in 1378 op 63-jarige leeftijd in Luik. Hij werd begraven in de Domkerk te Utrecht. Hij liet twee kinderen na: Kunegonde, geboren in 1345, en Johan van Arkel, heer van Rijnestein (1350-1413). Onder bisschop Jan van Arkel (1364-1378) is het meest gemunt te Sint Pieter. Die muntslag vond plaats in de jaren 1373-1376, dus in de periode dat er een groot conflict was tussen de bisschop en zijn Luikse onderdanen en Jan de wijk had moeten nemen naar Maastricht. De beeldenaars van de munten zijn ontleend aan St. Pietersgroten en sterlingen die onder de Brabantse hertog Jan III te Leuven werden geslagen (zie: de Witte 357 en 358). Zo had met een vertrouwd munttype, dat tegelijk een verwijzing had naar de muntplaats Sint Pieter.

Het gewichten van deze Pietersgroten variëren sterk.
In de regel bewegen die zich tussen de 2,20 en 2,80 gram.
Dit stuk is met 1,56 gram dus opmerkelijk licht.

♦ historisch beschouwd een hoogst interessant en zeldzaam muntstuk ♦

de Chestret 258 ; Engen 55 ; Dengis 576 ; de Mey 487 ; 
van der Chijs (Leenen Brabant & Limburg), pl.XXXI, 6 ;
Vanhoudt G.946 ; RBN 1847, p. 65, no.3 ; Numista 308073 R
Minieme krasjes op de voorzijde, zwaktes van de slag,
en lichte sporen van oxidatie. 
fr/zfr

gewicht 1,88gr. ; koper Ø 16mm.
Schulman 708 ; LSch.592 ; KM.90 R
Zeldzaam jaartal.
fr/zfr à fr+

gewicht 1,87gr. ; koper Ø 16mm.
Schulman 707 ; LSch.591 ; KM.90
zfr

gewicht 9,28gr. ; zilver Ø 30mm.
muntmeester: Jean-Joseph Wouters
muntteken: engelkopje
medailleur: Théodoor van Berckel

vz. Klimmende Beligische leeuw staande naar rechts op ondergrond,
daaronder 17 engelkopje 90, omringd door de tekst;
MON•NOV•ARG•PROV•FOED•BELG•
kz. Twee ineengeslagen hand, uit wolken stekend, met op de achtergrond
een bundel van 11 pijlen, daaronder in de afsnede de waardeaanduiding
I • FLOR •, erboven de tekst IN VNIONE SALVS •

De Latijnse tekst in unione salus betekent; ″in de vereniging ligt het heil″. Het was het devies van Hendrik Karel Nicolaas van der Noot, een van de hoofdrolspelers van de Brabantse Omwenteling.

Al geruime tijd was er onvrede over het Oostenrijkse gezag die vanaf 1711 heersten over de Zuidelijke Nederlanden. In 1787 kwam dit tot uiting door het uitbreken van onlusten; te Namen, Antwerpen, Leuven, en nog andere plaatsen laaide de oproer hoog op.  De slag te Torhout, op 26 oktober van het jaar 1789, waarbij de Oostenrijkers het onderspit delfden, maakte een einde aan de Oostenrijkse tijd.  Voor de Belgische staten brak een nieuwe episode aan, en de Oostenrijkers keerden naar hun land terug.  De eerste vrije verkozenen (?) kwamen samen te Brussel, onder de oud bekende naam van ″Staten Generaal″.  Op 4 januari van 1790 werd een onafhankelijkheidsverklaring vrijgegeven.

Ongeveer terzelfdertijd ontstond een zeer grote behoefte aan ″volksgeld″, wat de Staten Generaal der Belgische Staten er deed toe besluiten een aantal koperen munten te slaan; de oord en de dubbele oord. Deze reeks werd op 23 augustus 1790 verder uitgebreid; de Zilveren Leeuw van 3,5 gulden; de halve Zilveren Leeuw (werd niet geslagen); de gulden, de halve gulden, het vijfstuiverstuk  niet geslagen), het tienstuiverstuk (niet geslagen). De wet voorzag niet in het aanmunten van goudstukken, niettemin werd ook de Gouden Leeuw aangemunt in een kleine oplage van 3.905 stuks.

De munten van de Verenigde Belgische Staten, in navolging van de Brabantse omwenteling in 1789, werden vervaardigd door de medailleur van Theodoor van Berckel ;

Theodoor van Berckel, Rooms-katholiek en geboren in de Noordelijke hoofdstad van het oude Brabant, ’s Hertogenbosch, bracht het tot graveur-generaal van de Munt in die andere hoofdstad van Brabant: Brussel. Hij legde een verbinding tussen de Brabanden en bleef ze allebei trouw. Toen de Oostenrijkers tijdens de revolutie, die de geschiedenis is ingegaan als de Brabantse Omwenteling, tijdelijk hun macht kwijtraakten, ontwierp Van Berckel de munten voor het nieuwe bewind. Op deze munten staat de Brabantse Leeuw fierder dan ooit. Deze leeuw is later vaak geïmiteerd maar nooit meer geëvenaard. Hij staat symbool voor het werk van de Brabander Theodoor van Berckel.

Van dit munttype werden slechts 52.250 stuks aangemunt. Schaars.

Delmonte 395b ; de Witte 1157 ; Vanhoudt 867 ; KM.48 S
Minieme justeersporen. Attractief patina.
zfr