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 4,27gr. ; zilver 569/1000 ; Ø 20,6mm.
Schulman 290 ; LSch.293 ; KM.48
Zeer mooi exemplaar van scherpe slag.
unc

gewicht 9,91gr. ; zilver 945/1000 ; Ø 28mm.
randschrift: positie B

Naar aanleiding van de nieuwe Muntwet van 22 maart  1839, werden gehalte en gewicht van de gulden gewijzigd. Het gehalte werd verhoogd van 839/1000 naar 945/1000, terwijl het gewicht werd verlaagd van 10,77 gram naar 10,00 gram. Vanaf dat moment was 100.000 gulden dus een ton (1000 kg zilver). Een aanduiding die we nog altijd gebruiken voor een bedrag van 100.000 euro, ook al is de koppeling met de gulden van 10 gram er al lang niet meer.

Van de gulden 1840 werden slechts 99.254 stuks aangemunt. Schaars.

Schulman 278 ; LSch.281 ; KM.65 S
graffiti op de voorzijde
zfr/zfr+

gewicht 3,49gr. ; goud Ø 20mm.
muntmeester: G.J.L. du Marchie Sarvaas
muntmeesterteken: bij (met poten)
met kabelrand

vz. Portret van Lodewijk Napoleon naar links, omringd
door de tekst: LODEW.  NAP   KON. VAN  HOLL.
kz. Gekroond wapenschild van het Koninkrijk Holland,
daaronder 1809. / bij, links KONINGRIJK, rechts HOLLAND. 

Louis Bonaparte (1778-1846) was een jongere broer van Napoleon I, die hem aanstelde als de eerste koning van Holland (1806-1810). Hoewel Holland een vazalstaat van Frankrijk was, streefde Louis ernaar onafhankelijk te handelen en de Nederlandse belangen te verdedigen, wat hem de bijnaam "de Goede" opleverde. Zijn weigering om de handel te beperken leidde ertoe dat Napoleon hem dwong af te treden en Holland te annexeren.

Louis Bonaparte (1778–1846) was a younger brother of Napoleon I, appointed by him as the first King of Holland (1806–1810). Though a French client state, Louis sought to act independently and defend Dutch interests, earning the nickname "the Good" before his refusal to restrict trade led Napoleon to force his abdication and annex Holland.

Variant met open letters op voorzijde: als gevolg van gebreken aan het muntstempel zijn delen van de letters weggevallen. Zo ontbreken de dwarsspreepjes in de A′s grotendeels, is de P open aan de onderzijde, de O in KON is aan de onderzijde open en bij de E in LODEW. ontbreekt de middelste dwarsstreep grotendeels. Zeer zeldzaam.

Schulman 132a/b ; LSch.134a/b ; Delmonte 1179 ;
KM.38 ; Friedberg 323  RR
Weinig gecirculeerd prachtexemplaar met veel stempelglans en fijne details.
pr/unc

gewicht 26,25gr. ; zilver Ø 37mm.
muntmeester: G.J.L. du Marchie Sarvaas
muntmeesterteken: bij
met kabelrand

vz. Portret van Lodewijk Napoleon naar rechts, op de halsafsnede
GEORGE F, omringd door de tekst: NAP. LODEW.  I.  KON VAN HOLL ．
kz. Gekroond wapenschild van het Koninkrijk Holland,
geflankeerd door de waarde aanduiding 50 - Ss, daaronder
1807 / bij, links KONNGRIJK, rechts HOLLAND ．

Van dit jaartal werden slechts 300 stuks aangemunt. Ze werden op de nieuwjaarsreceptie van 1 januari 1808 door de koning  uitgereikt aan de aldaar aanwezige dames. Zeer zeldzaam.

Only 300 pieces were minted of this year. They were presented by the King to the ladies present at the New Year′s reception on 1 January 1808. Very rare.

♦ Fantastisch prachtexemplaar met scherpe details ♦

♦ Fantastic example with excellent details ♦

Schulman 148 ; LSch.146 ; KM.28 ; Davenport 228 RR
unc-

gewicht 32,35gr. ; zilver Ø 44mm.
muntmeester: George de Bruyn van Aelst
muntteken: hand

vz. Geharnast en gedrapeerd borstbeeld van Philips IV naar rechts
binnen een parelcirkel, omringd door de tekst;
•PHIL•IIII•D•G•HISP•ET•INDIAR•REX• 16 hand 62
kz. Gekroond wapenschild van Spanje-Oostenrijk-Bourgondië-Portugal met
daaronder twee vuurijzers waaraan kleinood (ramsvacht) van de Orde van het
Gulden Vlies is gehangen, binnen een parelcirkel, omringd door de tekst;
•ARCHID•AVST•DV - X• BVRG•BRAB•Zc•

De dukaton is een grote zilveren munt, die als equivalent gold van de gouden dukaat. In de Nederlanden werd de dukaton ingevoerd in 1618 door de aartshertogen Albrecht & Isabella. Het officieel voorgeschreven gewicht was 32,48 gram bij een fijn zilvergehalte van 944/1000, de waarde was 63 stuivers. Naast hele dukatons werden op veel kleinere schaal ook ½ dukatons geslagen. De Noordelijke Nederlanden kwamen in 1659 ook met een dukaton in de vorm van de zilveren rijder.

The ducaton is a large silver coin, which was the equivalent of the gold ducat. In the Netherlands, the ducaton was introduced in 1618 by the archdukes Albrecht & Isabella. The officially prescribed weight was 32.48 grams with a fine silver content of 944/1000, the value was 63 stuivers. In addition to whole ducatons, ½ ducatons were also minted on a much smaller scale. The Northern Netherlands also introduced a ducaton in the form of the silver rider in 1659.

Delmonte 284 ; van Gelder & Hoc 327-1b ;
de Witte 1002 ; Vanhoudt 642.AN
kleine zwaktes van de slag, doch voor type een mooi exemplaar
zfr/pr

weight 4,35gr. ; gold Ø 21mm.
Officina 3

obv. Pearl-diademed bust of Valens right, wearing cuirass and paludamentum
surrounded by the legend; DN VALEN  -  S P F AVG
rev. Valens standing facing, head right, holding labarum in right hand
and Victory on globe in left, in exergue SMKΓ, surrounded by the legend;
RESTITVTOR REIPVBLICAE

The phrase Restitutor Reipublicae presents the emperor as the savior or stabilizer of the Roman state, implying that he brought order, security, or stability back to the Res Publica (the state/republic) after a period of crisis, instability, or conflict. It was used as a propaganda tool on both gold coins (solidi) and base metal coins to bolster the legitimacy of the emperor. Coins with this inscription frequently show the emperor standing, holding a labarum (a military standard with the Chi-Rho monogram) and a Victory on a globe, highlighting the fusion of military power and Christian legitimacy popular in that period. This legend is strongly associated with the House of Valentinian (Valentinian I and his brother Valens, r. 364–378 AD) and the usurper Magnus Maximus.

Cohen 32 ; RIC 2d (R3) ; Depeyrot page 271, 4/4 ; Sear 19557 RR
Some minor graffiti. Very rare.
vf

weight 7,14gr. ; gold Ø 19mm.

obv. Laureate head of Vespasianus facing left, surrounded
by the legend; IMP CAESAR VESPASIANVS AVG
rev. Heifer or bull standing right, COS VII above

The heifer or bull imagery is generally believed to be a copy of a famous 5th-century BC Greek bronze statue by the sculptor Myron. Augustus had brought these celebrated "cow" statues from Athens to Rome, placing them near his Temple of Apollo on the Palatine. Vespasian reused this type to align his rule with the stability and golden age of Augustus.

The bovine figures are associated with sacrifice, particularly when shown with a "raised head" or as part of a victory, reflecting the restoration of peace and religious tradition after the civil wars of AD 69, often specifically following his victory in the "Great Revolt" (Jewish War). The heifer is sometimes used to symbolize Pax (Peace), appearing on coins celebrating the return of stability. The bull/heifer represents agricultural wealth, fertility, and strength, fitting into the traditional Roman concept of pecunia (money derived from pecus, meaning cattle).

Cohen 116 ; RIC 842 ; BMC 178 ; Calicó 621 R
Very attractive specimen with good portrait. Rare.
vf/xf à vf+

gewicht 6,70gr. ; goud Ø 29,5mm.
muntmeester Jeronimus Bruynzeels
muntteken burcht

vz. Naar elkaar gekeerde gekroonde portretten van het Spaanse
koningspaar Ferdinand en Isabelle, daartussen S te midden van
vier stippen, erboven een kruis, binnen een parelcirkel, omringd
door de tekst; •PHLS•D:G•HISP•Z•REX•COM•ZEL• burcht
kz. Gekroond wapenschild van Castilië-Léon-Granada, adelaar
met gespreide vleugels op achtergrond, omringd door de tekst;
•DVCATVS CO•ZEL•VAL•HISP•

Op 24 februari 1581 ontving Bruynzeels instructies voor aanmunting van dubbele en enkele gouden dukaten ′met de twee hoofden′. Zulke gouden dukaten, officieel ′Excelente de la Granada′ genoemd, waren ingevoerd in 1497 onder de koningen van Spanje Ferdinand van Aragon (1479-1516) en Isabella van Castillië (1474-1504) en daar met onveranderde beeldenaar nog geslagen onder Karel V tot 1537.

Spoedig na aanmunting verscheen in Antwerpen in naam van de Staten van Brabant een gedrukt plakkaat, waarin de in Zeeland geslagen dubbele dukaat met de twee hoofden, en enkele andere munten, voor biljoen werden verklaard. Dat wil zeggen ongeldig. Ongeldig verklaring van deze munten was uiteraard schadelijk voor de omzet van het nieuwe Zeeuwse munthuis en kon eventueel het voortbestaan ervan bedreigen. De Staten van Zeeland tekende protest aan, daar de munten voldeden aan de gewicht- en gehaltevoorschriften. Om de stukken niet teveel te laten gelijken op hun Spaanse voorbeeld, werd de keerzijdetekst aangepast. De eerste stukken vermelden de tekst SVB SVMBRA SALARVM, net als hun Spaanse voorbeeld. Thans werd dit gewijzigd in DVCATVS COM(itatus) ZEL(andiae) VAL(or) HISP(aniorum), vertaald; ducaat van het graafschap Zeeland naar waarde van de Spaanse. Daarbij werd de herkomst van de munt duidelijker aangegeven. Zeer zeldzaam.

On 24 February 1581 Bruynzeels received instructions for the minting of double and single gold ducats ′with the two heads′. Such gold ducats, officially called ′Excelente de la Granada′, had been introduced in 1497 under the Spanish kings Ferdinand of Aragon (1479-1516) and Isabella of Castile (1474-1504) and were minted there with the unchanged image under Charles V until 1537.

Soon after the minting, a printed poster appeared in Antwerp in the name of the States of Brabant, in which the double ducat with the two heads, and a few other coins, minted in Zeeland, were declared for ″biljoen″. That is to say, invalid. Declaring these coins invalid was of course detrimental to the turnover of the new Zeeland mint and could possibly threaten its continued existence. The States of Zeeland protested, because the coins met the weight and fineness regulations. In order to prevent the coins from resembling their Spanish example too much, the text on the back was adjusted. The first pieces bear the text SVB SVMBRA SALARVM, just like their Spanish example. This has now been changed to DVCATVS COM(itatus) ZEL(andiae) VAL(or) HISP(aniorum), translated; ducat of the county of Zeeland according to the value of the Spanish. The origin of the coin was also indicated more clearly. Very rare.

Delmonte 878 ; van Gelder & Hoc 261-12a ; Verkade- ;
HNPM.01 ; CNM.2.49.10 ; Friedberg 300 RR
lichte randschade, doch verder een net exemplaar met goede portretten
slight edge damage, otherwise nice specimen with good portraits
zfr

weight 9,47gr. ; bronze Ø 22mm.

obv. Laureate bust of Philippus Caesar right, seen from rear,
wearing cuirass and paludamentum, surrounded by the legend;
ΑΥΤΟΚ Κ Μ ΙΟΥΛΙ ΦΙΛΙΠΠΟϹ ϹΕΒ
In full: Autokrator Kaisar Markos Ioulios Philippos Cebastoc,
translation;  Emperor Caesar Marcus Julius Philippus Augustus
rev. Temple with four columns, containing seated figure facing,
on rocky hilltop with buildings at the base and steps or colonnades
on either side, surrounded by the legend; ΖΕΥΓΜΑΤΕΩΝ

Zeugma was established as Seleucia on the Euphrates by Seleukos I Nikator, a general of Alexander the Great and King of Syria. The Romans renamed it Zeugma, meaning "bridge" or "crossing",  because it served as a key link on the Silk Road and a connection between the Greco-Roman and Persian worlds. Zeugma reached its peak under Roman rule, becoming a major military base, hosting the 4th Scythian Legion, and a wealthy commercial center with a population of 20,000–30,000. The city was a blend of Greek, Roman, and local cultures, reflected in the extensive mosaics decorating luxurious villas. Following an attack by the Sassanid King Shapur I in 253 AD and being sacked , the city began to decline and was eventually largely abandoned.

The coins of ancient Zeugma (Commagene) frequently depict the temple of Zeus Katabaites. This temple was located on the acropolis of the city, often identified as Belkıs Hill, and was a prominent sanctuary in the Roman-period city. The temple is usually depicted on a hill (acropolis) with a grove of trees within the enclosure and a portico of two stories in front. Inside the temple, a statue of Zeus seated, holding a scepter or spear, is visible. Often, a capricorn is shown in the exergue below the temple, symbolizing the Legio IIII Scythia stationed at Zeugma.

BMC 44 ; SNG.Copenhagen - ; SNG.München - ;
Lindgren collection - ; Weber collection - ; Sr.GIC.- ;
SNG.Schweiz - ; CRS 32b ; RPC VIII Online, 8394 R
Attractive dark patina. Rare.
vf/vf+

weight 3,80gr. ; silver Ø 22mm.

obv. Radiate bust, wearing paludamentum and cuirass,
surrounded by the legend; IMP M IVL PHILIPPVS AVG
rev. Roma seated left, holding Victory and sceptre, shield at side,
surrounded by the legend;  ROMAE AETERNAE

ROMAE AETERNAE (or Roma Aeterna) is a Latin phrase found on Roman coins that translates to "Eternal Rome" or "To Eternal Rome". It is a key propaganda message used to promote the idea that the city of Rome and its empire were destined to endure forever, embodying a divine and permanent power.

♦ excellent portrait ♦

Cohen 169 ; RIC 44b ; Sear 8952
A bit soft struck reverse, but overall a very
attractive specimen with fine-detailed portrait.
xf/xf-

weight 3,48gr. ; silver Ø 19mm.

obv. Draped bust of Julia Paula, hair waved and fastened in plait, right,
around the text; IVLIA PAVLA AVG
rev. Concordia, draped, seated left, holding patera in extended right hand,
star in left field, around the text; CONCORDIA

On Roman coins, the goddess Concordia represents harmony, agreement, and unity, appearing frequently during political upheaval or to promote imperial stability. As the personification of ″with one heart″ (Latin: concordia), she symbolizes peace within the state, harmony between the emperor and the Senate, or marital harmony within the imperial family (often titled Concordia Augusta).

Cohen 6 ; RIC 211 ; BMC 172 ; Sear 7655 S
Minor flan crack. Attractive tone.
vf

weight 2,87 ; silver Ø 18mm.

obv. Laureate head of Pescennius Niger right,
surrounded by the legend; IMP CAES C PESC NIGER IVST AVG
rev. Salus standing right, feeding serpent held in her arms,
flaming altar at feet, surrounded by the legend; SALVTI AVG

Following the death of Pertinax in AD 193, and the ″sale″ of the Roman throne by the Praetorian Guard to Didius Julianus, the governor of Syria, Pescennius Niger, was hailed emperor by the legions under his command. Septimius Severus, who had been proclaimed emperor by the Danubian legions at about the same time, first secured his power by subduing Rome, then marched to encounter Niger. In the ensuing battles, Severus proved to be the stronger adversary and Niger was overtaken as he attempted escape to Parthia. He was executed and his head was sent to Severus, who then ruthlessly slaughtered the rest of Niger′s family.

SALVTI AVGVSTI ("To the health of the Augustus/Emperor") is a common reverse legend on Roman coins, primarily used to wish for the Emperor′s continued health, safety, and security. The legend frequently accompanies an image of an altar (often with double-paneled doors) or the goddess Salus standing, sometimes feeding a serpent.

♦ Attractive specimen for this extremely rare coin type ♦

Cohen 66 ; RIC 75b (R3) ; BMC 314note ; cf. Sear 6124 RRR
vf

weight 4,04gr. ; silver Ø 19mm.

obv. Laureate head of Commodus right, surrounded by
the legend; AVT M AVP KOMO ANTωNINO
rev. Mount Archaeus with trees, star above, surrounded
by the legend;  YΠATOC Δ ΠAT ΠATPI

The site of Caesarea (now Kayseri) has been inhabited for about 3,000 years. It was located on important trade routes, including the Great Silk Road, and therefore developed into an important trading center. Under the name Mazaca, the city was the residence of the kings of Cappadocia. That name was changed to Eusebia in honor of King Ariathes V Eusebes (163-130 BC). That name was changed again during the time of Emperor Tiberius (14-37 AD) to Caesarea. Since then, it has more or less retained that name despite many different rulers such as the Sassanids, Byzantines, Arabs, Seljuks, Mongols and Ottomans.

The city has known three golden periods. The first period was around 2000 BC, when it was an important trading center between the Hittites and Assyrians. The second golden period came at the time of Roman rule in the 2nd/3rd century AD. The third golden period was during the reign of the Seljuk Turks (1178-1243), when it was the second city of the Seljuk Empire. The name Cappadocia comes from the Persian word Katpatuka and means ″land of well-bred horses″. The landscape of Cappadocia is famous. For example, in the places of Göreme and Pamukkale there are moon-like landscapes of tuff and other volcanic rocks, which were caused by the eruption of the Erciyes Dagi volcano. This 3917 meter high dormant volcano is located about 25 kilometers south of Kayseri and dominates the Cappadocian landscape. In ancient times we know this volcano as Mount Archaeus and we see it prominently depicted on the coins of Caesarea from Roman times.

BMC 208-210var. ; Sydenham 372var. ; SNG.Copenhagen 252var. ;
SNG.von Aulock 6443var. ; Metcalf 155k ; RPC Online IV.3, 7115 ;
Sear GIC- R
vf

weight 6,21gr. ; copper Ø 22mm.

obv. Draped bust of Faustina the Younger right, hair waved and fastened in
a bun on back of head, surrounded by the legend; ΦAVCTEINA  CEEBACTH
rev. Hera standing left, holding patera in right hand and sceptre in left hand,
surrounded by the legend; OVΛΠIAC  PAVTAΛIAC

BMC 13 ; SNG.Copenhagen- ; Evelpidis- ; Weber collection 2761 ;
Varbanov 4478 (R3) ; RPC online IV.1, no.8794 (4 specimens) ;
Ruzicka, Pautalia 73–4 ; Sear GIC.- RR
vf

weight 3,17gr. ; silver Ø 18mm.

obv. Draped bust of Faustina the Younger right, diademed,
hair waved and fastened in a bun on back of head, surrounded
by the legend; DIVA FAV  -  STINA PIA
rev. Rectangular altar, with horns at left and right, and door on front,
surrounded by the legend; CONSECRATIO

Cohen 75 ; RIC 746 ; BMC 725 ; MIR 61 ; Sear 5217
Lustrous coin with beautiful toning. Hard to find this nice.
unc-

weight 24,45gr. ; bronze Ø 30mm.

obv. Laureate head of Marcus Aurelius right, surrounded by
the legend; M ANTONINVS AVG GERM TR P XXIX
rev. Annona, draped, standing left, holding corn-ears and poppy
in right hand and cornucopiae in left hand; at her feet, modius,
S - C across field, surrounded by the legend; IMP VII COS III

In ancient Roman religion, Annona is the divine personification of the grain supply to the city of Rome. She is closely connected to the goddess Ceres, with whom she is often depicted in art. Annona, often as Annona Augusti, was a creation of Imperial religious propaganda, manifested in iconography and cult practice. Annona is typically depicted with a cornucopia (horn of plenty) in her arm, and a ship′s prow in the background, alluding to the transport of grain into the harbor of Rome. On coins, she frequently stands between a modius (grain-measure) and the prow of a galley, with ears of grain in one hand and a cornucopia in the other; sometimes she holds a rudder or an anchor.

In the propaganda of Claudius, the cult of Ceres Augusta made explicit the divine power that lay in the Imperial provision of the annona, the grain supply to the city. Annona Augusti appears on coins late in the reign of Nero, when the Cult of Virtues came into prominence in the wake of the Pisonian conspiracy. She embodied two of the material benefits of Imperial rule, along with Securitas Augusti, ″Augustan Security,″ and often appeared as part of a pair with Ceres. On Neronian coinage, Ceres, Annona, and Abundantia (″Abundance″) were closely associated.

Annona also appears on coins issued under Vespasian, where along with other Virtues she represents the restoration of confidence in the principate, and on the coinage of Titus, Domitianus, Trajanus, Hadrianus, Antoninus Pius, and Septimius Severus. She was a particular favorite in Trajanus′ propaganda, which sought to portray his reign as a renewal and a prosperous new era for humanity; hence Annona often appears with a symbolic child. In the context of Trajanic politics, Annona represented Rome′s grain independence from its traditional supplier Egypt.

♦ wonderful potrait of Marcus Aurelius, the philosopher ♦

Cohen 335 ; RIC 1130 ; BMC 1505 ; MIR 295 ; Sear 4981
very attractive specimen with good portrait and dark patina
xf- à vf/xf

weight 2,99gr. ; silver Ø 18mm.

obv. Draped bust of Faustina right, hair elaborately waved
in several loops round head and drawn up and coiled on top,
surrounded by the legend; DIVA FAVSTINA
rev. Juno, veiled and draped, standing left, head left,
extending right hand and holding nearly vertical sceptre in left,
surrounded by the legend; AETERNITAS

About six years after Faustina′s death, a new commemorative coinage was introduced, featuring the legend AETERNITAS (′eternity′); such coins may have been introduced to be distributed at a public ceremony in her memory.

Cohen 26; RIC 344 ; BMC 345 ; Sear 4574
vf/vf+

weight 21,36gr. ; bronze Ø 32mm.

obv. Head of Antoninus Pius, bare, right,
surrounded by the legend; DIVVS ANTONINVS
rev. Corinthian column set on base and surmounted by statue of
Divus Antoninus, S - C across fields, surrounded by the legend; 
DIVO PIO

The Column of Antoninus Pius was erected in Rome to commemorate Antoninus and his wife Faustina by his adoptive sons and heirs, Marcus Aurelius and Lucius Verus after the emperor′s death in 161. It stood in the Campus Martius near the Column of Marcus Aurelius and the commemorative altars of the Antonines. The column is shown on coins surmounted by a Corinthian capital and a statue, presumably of bronze, and a balustrade. The column itself was 14.75 metres high and 1.9 metres in diameter and was constructed of red (Aswan) granite, with no decorating reliefs as on the otherwise similar columns of Trajan and Marcus Aurelius.

A fire in the eighteenth century severely damaged the shaft and its undamaged parts were used to repair the Montecitorio Obelisk (originally the Obelisk of Horologium Augusti). An inscription on the slab indicates it was quarried in 106, probably for one of Trajan′s great projects but never used. When it was excavated in 1703, around six meters of the column projected above ground. The excavations exposed a richly sculpted pedestal made of a single block of Italian marble (28 m³), now located at the Vatican Museums. The inscription on the base records that Antoninus Augustus [Marcus Aurelius] and Verus Augustus dedicated the column to the Divine Antoninus Pius (their adoptive father).

The central relief, opposite the dedicatory inscription, shows the Apotheosis of Antoninus and Faustina. They are borne aloft on the wings of a genius figure, sometimes identified as Aion, and flanked by eagles. At the lower corners are the goddess Roma, who lifts her hand in salutation, and a personification of the Campus Martius, a genius reclining on the ground and holding the Obelisk of Horologium Augusti. The reliefs on the sides, intended to be identical, show the decursio equitum performed at the funeral before the pyre was lit. Riders of several sorts, including senators, move in a ring around a group of foot soldiers representing the praetorian guard.

From the formation of Rome to the mid-2nd century AD cremation was the more common method after somebody died. In the event of cremation, the body was taken to the necropolis (″city of the dead″) and put upon a funeral pyre. It was then burned, and the ashes and remaining fragments of bones and teeth were interned in a funerary urn. It was believed that until the body was interred, the ″shade″(spirit) had not crossed the River Styx yet (the river that takes one from the World of the Living to the World of the Dead). Thus, there was a sense that the psychic impression of the deceased still lingered around friends and family, and the spirit would become angered if anything negative was said about it. After the mid- 2nd century AD inhumation (or burial) eventually took over as the preferred method. The body would be placed inside a coffin, called a sarcophagus, which was often massive and richly decorated. The body was not buried with any possessions. This was a very old practice throughout the Mediterranean, but one that was hardly ever used in Rome, especially when cremation was the most common method.

After the death of an Emperor, he would be buried inside the city. This was an honor reserved for only the most exceptional and illustrious people; most Romans had to be buried outside of the city. It was also believed that Emperors did not become shades (spirits) like others did; rather, they became Gods through a process known as apotheosis. As such, the Emperor′s commemoration was much more impressive and more expensive monuments were erected. Trajan′s Column, under which the Optimus Princeps′ ashes were buried, is one of the most well-known Roman monuments.

Cohen 354 ; RIC 1269 ; BMC 880 ; MIR 46 ; Sear 5199 R
Attractive greenblack patina. Good portrait. Rare.
vf/xf

weight 3,15gr. ; silver Ø 18mm.

obv. Bare-headed portrait of Antoninus Pius right, drapery on left shoulder,
surrounded by the legend; DIVVS ANTONINVS
rev. Pyramidal crematorium of four layers, with garlanded base, the door
on second level, the apex surmounted by emperor in quadriga facing,
surrounded by the legend; CONSECRATIO

Struck shortly after his death, under the reign of Marcus Aurelius.

After the death of an Emperor, he would be buried inside the city. This was an honor reserved for only the most exceptional and illustrious people; most Romans had to be buried outside of the city. It was also believed that Emperors did not become shades (spirits) like others did; rather, they became Gods through a process known as apotheosis. As such, the Emperor′s commemoration was much more impressive and more expensive monuments were erected. Trajanus′ Column, under which the Optimus Princeps′ ashes were buried, is one of the most well-known Roman monuments.

Cohen 164var. ; RIC 438 ; BMC 60 ; MIR 27 ; Sear 5193
very attractive specimen with fine details
xf

weight 24,98gr. ; bronze  Ø 32mm.

obv. Laureate head of Antoninus right, surrounded by the legend;
ANTONINVS AVG PIVS PP TR P XXII
rev. Octastyle temple of Divus Augustus, containing cult-statues
of Augustus and Livia, S - C across field, surrounded by the legend;
TEMPL DIVI  -  AVG REST COS IIII

The Temple of Divus Augustus was a major temple originally built to commemorate the deified first Roman emperor, Augustus. It was built between the Palatine and Capitoline Hills, behind the Basilica Julia, on the site of the house that Augustus had inhabited before he entered public life in the mid-1st century BC. The temple′s construction took place during the 1st century AD, having been vowed by the Roman Senate shortly after the death of the emperor in AD 14. It is known from Roman coinage that the temple was originally built to an Ionic hexastyle design. However, its size, physical proportions and exact site are unknown. During the reign of Domitian the Temple of Divus Augustus was destroyed by fire but was rebuilt and rededicated in 89/90 with a shrine to his favourite deity, Minerva. The temple was redesigned as a memorial to four deified emperors, including Vespasian and Titus. It was restored again in the mid 150s by Antonius Pius, and that was the reason for this coinage. The last known reference to the temple was on 27 May 218; at some point thereafter it was completely destroyed and its stones were presumably quarried for later buildings. Its remains are not visible and the area in which it lay has never been excavated.

Cohen 805 ; RIC 1004 ; BMC 2063 ; Sear 4235 R
minor traces of oxidation
vf

weight 23,22gr. ; bronze Ø 29mm.

obv. Laureate head of Antoninus right, surrounded by the legend;
ANTONINVS AVG PIVS P P TR P
rev. Securitas, draped, seated left, holding sceptre, nearly vertical,
in right hand and propping head on left hand; left elbow is bent and
rests on top of throne, S - C across fields

Cohen 757 ; RIC 782 ; BMC 1712 ; Sear 4222
attractive dark green patina
vf

weight 3,39gr. ; silver Ø 18mm.

obv. Laureate head of Antoninus right, surrounded by the legend;
ANTONINVS AVG PIVS PP TR P XVII
rev. Vesta standing left, holding palladium in left hand and simpulum
in right, surrounded by the legend;  COS IIII

Cohen 198 ; RIC 229a ; BMC 806 ; cf. Sear 4065
vf

weight 3,02gr. ; silver Ø 18mm.

obv. Draped bust of Hadrianus, bare, right,
surrounded by the legend; HADRIANVS AVG COS III PP
rev. Hadrianus in toga standing right, holding scroll,
clasping hands with Felicitas standing left holding caduceus,
surrounded by the legend; FELICITAS AVG

This variety with draped bust and bare head is very rare.

Cohen 632var. ; cf. RIC 237 ; BMC 613-617var. ;
Sear 3488var. ; RIC vol.II, part.3, 1998 (R2) RR
Attractive toning.
vf

weight 13,92gr. ; bronze Ø 25mm.

obv. Laureate head of Hadrianus right, surrounded
by the legend; HADRIANVS AVG COS III PP
rev. Hadrianus standing right, holding scroll and clasping
hands with Roma, standing left, holding spear, S C in exergue,
surrounded by the legend; ADVENTVS AVG

This coin type was minted on his arrival in Rome in 133 AD, after his journey
to Greece and the Middle East (130-132) and Palestine (132-133). Rare.

Cohen 83 ; RIC 794 ; RIC II, Part 3 (2nd ed.), 2078 ; BMC 1571var. R
Slightly smoothed fields. Attractive portrait. Dark patina.
vf/vf-

weight 3,67gr. ; silver Ø 17mm.

obv. Laureate head of Antoninus right, surrounded by the legend;
ANTONINVS AVG PIVS P P TR P XII
rev. Aequitas, draped, standing left, holding scales out in right hand and
cornucopiae in left surrounded by the legend;  COS IIII

Cohen 240 ; RIC 177 ; BMC 654 ; cf. Sear 4066
attractive specimen with beautiful toning
vf/xf