10 gold coin value
: Antique gold
10 Gold Coin Value
- The value of a collector?s coin depends above all on the numbers still available (rarity), and, furthermore, the condition, if old coins are concerned (value specifications in catalogues are guidelines for sales prices).
- amber: a deep yellow color; "an amber light illuminated the room"; "he admired the gold of her hair"
- A yellow precious metal, the chemical element of atomic number 79, valued esp. for use in jewelry and decoration, and to guarantee the value of currencies
- A deep lustrous yellow or yellow-brown color
- made from or covered with gold; "gold coins"; "the gold dome of the Capitol"; "the golden calf"; "gilded icons"
- An alloy of this
- ten: being one more than nine
- ten: the cardinal number that is the sum of nine and one; the base of the decimal system
- A gramophone record, commonly known as a phonograph record (in American English), vinyl record (when made of polyvinyl chloride), or simply record, is an analog sound storage medium consisting of a flat disc with an inscribed, modulated spiral groove.
A Unique, Magnificent, and Highly Important Roman Gold Medallion of 8 Aurei of Gallienus (253-268 C.E.), One of the Largest Recorded Gold Medallions and of the Highest Importance, Possibly the Finest
Gallienus, 253 - 268
Medallion of 8 aurei circa 265-266, 29.67 g. IMP GALLIENVS - PIVS FEL AVG GERM Head l., wearing wreath of reeds. Rev. CONCORD·P·R·ET·MILIT Two clasped hands; all within laurel wreath closed by round shield. RIC -. C -. Gnecchi - Toynbee -. Cf. Gobl, MIR 36, 700 (medallion of 10
Apparently unique and unpublished. An extremely important medallion,
one of the largest of Gallienus in existence, bearing a very appealing portrait.
A few minor marks and an insignificant edge nick at six o'clock on obverse,
otherwise about extremely fine.
Without question this is one of the most impressive and important Roman gold medallions to have survived antiquity. Not only is it apparently unique and of extraordinary size, but its portrait is of remarkable style, representing the apex of Gallienus' "classical renaissance". It belongs to a single emission late in his reign that seems to have followed his initiation into the most important of all Greek occult rituals, the Eleusinian Mysteries. This portrait style occurs only on ceremonial gold pieces and large bronze medallions. The most striking aspect of the portrait is its style, which arguably is the best achieved in Gallienus' 15-year reign. The 'binio' that proceedes, lot 196, is of the same issue. There can be little doubt that the dies of this series either were cut by the same master, or at the very least were derived from his prototype. Indeed, it is surprising that this die cutter has not been singled out and named (perhaps the "Eleusinian Master"), as his work is virtually beyond comparison in this troubled era. In addition to style points, this bust type captures interest because it is left-facing and is wreathed with grain ears. Determining the date of this issue is no easy task, as Gallienus' reign is one of the most difficult to comprehend. Even his coinage, when inscribed with tribunician dates, is often contradictory, and thus the internal chronology of his reign is not well understood. This issue must fall near the end of his reign, c. 265-268. If it is associated with the enigmatic INT VRB bronzes with the GENIVS P.R. obverse bearing a portrait of Gallienus in the guise of the Genius of the Roman People, then it probably belongs in 266 or 268. Kent, in Roman Coins, prefers a date of c. 267. Gobl, in his posthumously published corpus on this period, argues for a date of c. 265 on the strength of the Eleusinian Mysteries connection. He cites an inscription in which Gallienus reformed rules for the marketplace that served Eleusinian initiates. It is dated to his 14th tribunician, which perhaps began in August, 265 or simply ran the length of 266 (theories vary). The nature of the inscription presumes the emperor's presence in Athens at that time, which is not opposed by any other evidence. In about 265 Gallienus delegated the war against Postumus to his subordinate, the future rebel Aureolus, which allows a window for his visit to Athens between his departure from Gaul and the Gothic invasion of late 267 or early 268. The reverse of this medallion, inscribed CONCORD. P. R. ET. MILIT, is most unusual, as it calls for harmony between the Roman people (Populus Romanus) and the army (Militarium). Often inscriptions on Roman coins and medallions will honour, or call for the harmony of the senate and the people or the emperor and the army, but this combination is quite irregular. Roman interest in the secretive Eleusinian Mysteries had a long history: Cicero, Augustus and Marcus Aurelius had been initiated, and Claudius attempted to move the rituals from Eleusis to Rome. The most famous Roman benefactor to the Mysteries, Hadrian, was initiated to the lower grade of mystes in 125, and achieved the higher grade of epoptes ('one who has seen') on his visit to Athens in 128. With this in mind it should not escape our attention that the composition of Gallienus' portrait on this medallion is almost Hadrianic, which may have been purposeful due to their Eleusinian connection. The Great Mysteries of Eleusis drew participants and onlookers from throughout the western world. The final rituals required utmost secrecy, which is remarkable considering up to three thousand could be seated in the hall of initiation (the Telesterion), and the event occurred every year. Yet few who attended even spoke of it, out of respect, and out of fear of the penalties for doing so. Central to the Mysteries was Demeter's search for her daughter Persephone, who had been taken by Pluto to his personal domain, Hades. Upon discovering her daughter's absence, Demeter, goddess of the earth, abandoned the pleasures of Mt. Olympus and descended to earth to commence the search (while there she was aided by the king of Eleusis). Demeter's absence brought what threatened to be an eternal winter on earth, and this required divine intervention. Persephone was allowed to return, but only on the condition that she return to Hades every winter to serve as the
.00 NGC AU53
Most of the Philadelphia eagles from the 1840's are common but there are three exceptions. The 1844 is very rare in all grades and the 1846 is quite scarce. The 1845, while not quite at the level of the other two, is a difficult issue to locate in the EF40 to AU50 range and it is rare in properly graded AU53 or finer. The 1845 is nearly unobtainable in properly graded AU55 to AU58 and it is extremely rare in Uncirculated with just three known to me.
As with most 1845 eagles, this piece is a bit on the baggy side with abrasions noted on the obverse and reverse. But unlike most examples of this date, it is original with deep natural green-gold hues. There is luster in the protected areas and a bit of dirt is caked into the date, stars and lettering as if to further broadcast its originality.
I have become increasingly drawn to No Motto Philadelphia half eagles and eagles as an area that offers great value to the collector.
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