Free Silver Coinage - Rogers Nickel Silver.
Free Silver Coinage
- Silver coins are possibly the oldest mass form of coinage in recorded history. Silver has been used as a coinage metal since the times of the Greeks. Their silver drachmas were popular trade coins.
- (Silver Coins) Code name for cocaine, a popular adjunct to the coin business during the boom years of the 1970s and 1980s. "Do you have any silver coins for sale?" First heard from Boy Wonder Kevin L.
- (Silver coins) being the color of the moon, indicate you have a strong intuitive ability. Like the moon you are a light in the dark. It is common to find yourself discovering silver coins in a dream or picking them up.
- Without cost or payment
- able to act at will; not hampered; not under compulsion or restraint; "free enterprise"; "a free port"; "a free country"; "I have an hour free"; "free will"; "free of racism"; "feel free to stay as long as you wish"; "a free choice"
- loose: without restraint; "cows in India are running loose"
- grant freedom to; free from confinement
- With the sheets eased
free silver coinage - Remonetization and
Remonetization and free coinage of silver: speech of Hon. John M. Bright, of Tennessee, in the House of Representatives, January 26, 1878
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An Important Greek Silver Tetradrachm of Syracuse (Sicily), Signed by K[imo]n, A Numismatic Masterpiece
SICILY, Syracuse. Second Democracy. 466-405 BC. AR Tetradrachm (17.44 g, 10h). Obverse die signed by Kimon. Struck circa 415-405 BC. Head of Arethusa facing slightly left, wearing ampyx inscribed K[IMO]N, single-pendant earring and necklace, sea-swept hair radiating outward; within her locks of hair, four dolphins: on the left, one swims downward while another is just emerging above, and on the right, one swims down toward another that is presenting from behind Arethusa’s neck / SURAK-OSIWN, charioteer (Arethusa) driving fast quadriga left, holding reins in both hands; above, Nike advancing right, preparing to crown charioteer with laurel wreath; below, stele lying on its side; in exergue, grain ear lying left. Tudeer 81 (dies 29/54); SNG ANS 288; Rizzo pl. XLVIII, 11; BMC 208; Gulbenkian 293; Kraay & Hirmer 123 (all from the same dies). EF, toned with underlying luster in the devices. Well centered and struck. Struck from fine dies by the Syracusan Dekadrachm master, Kimon. By the late 5th century BC, Syracuse had become the most significant of the Greek cities in Sicily, and her political and cultural power was reflected in her massive issues of coinage still extant today. Her status drew a plethora of highly skilled artists from around the Mediterranean, including an assortment of particularly capable die engravers whose names adorned the coins of this period. These masters developed new ways of viewing the world through art, breaking the static forms of Classic art and developing new methods of portraying motion and life in miniature. The silver tetradrachm was the preferred mode of expression, being large enough for their free-ranging talents and also being minted in vast quantities for military endeavors that would disseminate their works far and wide. Even more remarkable were the large silver dekadrachms of Syracuse, which have become universal symbols of Greek numismatic art. Among the famous artists, only two have their signature on the dekadrachms, Euainetos and Kimon. Whether chosen for their skill or by chance, their body of work clearly proves that these two were the elite among numismatic artists. This masterful facing head tetradrachm, however, sets Kimon apart from all of his contemporaries. His rendition of the nymph Arethusa displays a degree of delicacy and control that set a new precedent in die engraving. The composition's beautiful three dimensional perspective is augmented by a fluid style that effectively conveys the natural motion of the nymph's hair in her liquid environment. The nymph's underwater environment is further emphasized by the placement of the dolphins, who weave themselves within her hair in a playful manner. The serenity of Arethusa's countenance, with her full, pouting lips and other-worldly gaze from her almond-shaped eyes, convey a sense of her place aloof from the realm of man, while the entire scene firmly secures her within our natural world. One may sense the pride Kimon took in the completion of his masterpiece, as his name is prominently engraved upon Arethusa's amphyx. We know that Kimon's tetradrachm was as revered for its beauty in the ancient world as much as it is today, as it became a model for facing-head issues of other cities, both local, such as Segesta, and around the Mediterranean, such as Larissa in Thessaly and Tarsos in Cilicia. CNGTriton11, 61
A Rare Greek Silver Tetradrachm of Naxos (Sicily), Among the Finest Examples of the Severe Style of Early Classical Art
Sicily, Naxos, tetradrachm, c. 460 BC, attributed to the Aitna Master, bearded head of Dionysus right, crowned with ivy, hair tied in krobylos at back of neck, rev., N-AXI-ON, nude ithyphallic Silenus seated facing, with head turned to left, raising cantharus to his lips, 17.15g, die axis 3.00, die flaw on obverse, almost extremely fine and very rare, a masterpiece of Greek art with a provenance traced back to 1907 This coin published: Cahn 54, 26. Other references: Rizzo pl. 28, 12; Boston 303; SNG ANS 515; SNG Lloyd 1150; Kraay/Hirmer 6; ACGC 756; Jenkins 237, these dies. Provenance: Numismatica Ars Classica 27, Zurich, 12 May 2005, lot 98; Sotheby, Zurich, 26th October 1993, lot 9; Bank Leu 42, Zurich, 12 May 1987, lot 105; Ryan collection, Glendining, London, 24 November 1950, lot 1509; Ars Classica XIII, Lucerne, 27 June 1928, lot 238; "Collezione di un dotto Numismatico Straniero" (= Wilhelm Froehner [1834-1925]), Ratto, Genoa, 26 April 1909, lot 1233; Hirsch XVIII, Munich, 27 May 1907, lot 2260. Note: In 476 BC the population of Naxos, Sicily's earliest Greek colony, was forcibly removed to Leontini by the Syracusan tyrant Hieron and it was not until some fifteen years later, after the fall of the tyranny, that the Naxians were able to return to their homeland. It was at this point that a new coinage was issued in the form of magnificent tetradrachms struck from only one pair of dies. With their depiction of Dionysus and his woodland companion, the drunken Silenus, they relate to the viticulture which flourished locally and which had influenced the earlier archaic coins of Naxos (see previous lot) in a more restrained fashion. These new coins show many affinities with the unique tetradrachm of Aitna in the Brussels Museum, hence their attribution to the "Aitna Master". The head of Dionysus "here achieves a new and impressive brilliance; like the Aitna Silenus, encircled by an ivy wreath, there is throughout a slightly freer rendering in the forms of the long hair, bound up at the back of the head, in the beard jutting across the border in a way that gives an added depth, and in the expressiveness of the mouth with its hint of a smile. Even surpassing the head, however, is the squatting Silenus of the reverse, a figure in whose pose and modelling there is a complete sculptural mastery, with a skilful foreshortening of the right foot" (Jenkins, Greek Coins, p. 87). ME10242011, 42
free silver coinage
The book has no illustrations or index. It may have numerous typos or missing text. However, purchasers can download a free scanned copy of the original rare book from the publisher's website (GeneralBooksClub.com). You can also preview excerpts of the book there. Purchasers are also entitled to a free trial membership in the General Books Club where they can select from more than a million books without charge. Original Publisher: Govt. Print. Off.; Publication date: 1890; Subjects: Silver question; Business