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  1. Winning Losing Won Lost Watching Available in aftersale  
    A39, Lot 15:

    Withdrawn

  2. Winning Losing Won Lost Watching Available in aftersale  
  3. Winning Losing Won Lost Watching Available in aftersale  
    Paduan
    E33, Lot 60:

    Nero. A.D. 54-68. Æ cast “sestertius." 22.97 gm. 35 mm. Paduan type. Early cast. His laureate head right, globe at point of bust; NERO CLAVD CAESAR AVG GER P M TR P IMP P P / Nero on horseback right, carrying spear, horseman behind holding standard; DECVRSIO S C. Klawans 3. Near Extremely Fine; handsome red patina; some light underlying corrosion. Particularly fine example.

    "Paduan" medals are so named after Giovanni da Cavino of Padua (1500-1570), who during his lifetime produced high quality dies to strike imitations and fantasy versions of Roman coins. The dies were passed down through Cavino's family until being purchased by the antiquary to the king of France in the 17th century, 100 years after Cavino's death. It is quite likely that the dies were used in the years between Cavino's death and their sale, and many copies were also cast based on struck originals. Casts were also created using existing casts, these 'aftercasts' generally decrease in quality and fidelity the further removed they become from the original struck examples.

    Whether or not they were made as intentional counterfeits is not conclusive (many scholars argue no). Various examples found their way into serious collections over time, but Zander Klawans's 1977 reference (and the many preceding works by Lawrence and others) mean that they are now rarely mistaken for real examples. Unlike many non-contemporary counterfeits Paduans are historic and collectible in their own right.

  4. Winning Losing Won Lost Watching Available in aftersale  
    Paduan
    E33, Lot 61:

    Galba. A.D. 68-69. Æ cast “sestertius." 23.48 gm. 33 mm. Paduan type or imitation. Aftercast. His laureate and draped bust right; SER GALBA IMP CAES AVG / The emperor standing right on low platform, addressing four soldiers holding standards; officer standing behind emperor; S C to either side, ADLOCVTIO in exergue. Cf. Klawans 2-3 (different dies, obverse legend). Reverse copied from a genuine die (cf. RIC I 462-465).

    "Paduan" medals are so named after Giovanni da Cavino of Padua (1500-1570), who during his lifetime produced high quality dies to strike imitations and fantasy versions of Roman coins. The dies were passed down through Cavino's family until being purchased by the antiquary to the king of France in the 17th century, 100 years after Cavino's death. It is quite likely that the dies were used in the years between Cavino's death and their sale, and many copies were also cast based on struck originals. Casts were also created using existing casts, these 'aftercasts' generally decrease in quality and fidelity the further removed they become from the original struck examples.

    Whether or not they were made as intentional counterfeits is not conclusive (many scholars argue no). Various examples found their way into serious collections over time, but Zander Klawans's 1977 reference (and the many preceding works by Lawrence and others) mean that they are now rarely mistaken for real examples. Unlike many non-contemporary counterfeits Paduans are historic and collectible in their own right.

  5. Winning Losing Won Lost Watching Available in aftersale  
    Paduan
    E33, Lot 62:

    Galba. A.D. 68-69. Æ cast “sestertius." 18.8 gm. 33 mm. Paduan type. Aftercast. His laureate and draped bust right; IMP SER SVLP GALBA CAES AVG TR POT / The emperor standing left on low platform, addressing five soldiers holding standards; ADLOCVT S C. Klawans 3 (obverse die), 4 (reverse die). Good Very Fine; pleasing brown patina. There are no genuine coins of this type.

    "Paduan" medals are so named after Giovanni da Cavino of Padua (1500-1570), who during his lifetime produced high quality dies to strike imitations and fantasy versions of Roman coins. The dies were passed down through Cavino's family until being purchased by the antiquary to the king of France in the 17th century, 100 years after Cavino's death. It is quite likely that the dies were used in the years between Cavino's death and their sale, and many copies were also cast based on struck originals. Casts were also created using existing casts, these 'aftercasts' generally decrease in quality and fidelity the further removed they become from the original struck examples.

    Whether or not they were made as intentional counterfeits is not conclusive (many scholars argue no). Various examples found their way into serious collections over time, but Zander Klawans's 1977 reference (and the many preceding works by Lawrence and others) mean that they are now rarely mistaken for real examples. Unlike many non-contemporary counterfeits Paduans are historic and collectible in their own right.

  6. Winning Losing Won Lost Watching Available in aftersale  
    Paduan
    E33, Lot 63:

    Otho. A.D. 69. Æ cast “sestertius." 28.75 gm. 38 mm. Paduan type. His bare head right; IMP M OTHO CAESAR AVG TR P / Bust of Albia Terentia, mother of Otho, right; ALBIA TERENTIA L SILVII IMP MATER. Klawans 7. Good Fine; cast within a broader frame; some damage, repaired with dark green lacquer-like material (particularly on reverse bust). Seemingly quite rare. The only example the cataloger found at auction was the one pictured in Klawans, which has a much broader frame. There are no genuine coins of this type.

    "Paduan" medals are so named after Giovanni da Cavino of Padua (1500-1570), who during his lifetime produced high quality dies to strike imitations and fantasy versions of Roman coins. The dies were passed down through Cavino's family until being purchased by the antiquary to the king of France in the 17th century, 100 years after Cavino's death. It is quite likely that the dies were used in the years between Cavino's death and their sale, and many copies were also cast based on struck originals. Casts were also created using existing casts, these 'aftercasts' generally decrease in quality and fidelity the further removed they become from the original struck examples.

    Whether or not they were made as intentional counterfeits is not conclusive (many scholars argue no). Various examples found their way into serious collections over time, but Zander Klawans's 1977 reference (and the many preceding works by Lawrence and others) mean that they are now rarely mistaken for real examples. Unlike many non-contemporary counterfeits Paduans are historic and collectible in their own right.

  7. Winning Losing Won Lost Watching Available in aftersale  
    A43, Lot 170:

    Electrotype of English hammered coinage. Eanbald II (Archbishops of York). 796-808. Penny electrotype (double-thick). 13.5 mm. BMC Type xv. Chester (Leigeceaster) mint; (Ælfsig? as per BMC). Central pellet surrounded by a circle of pellets; +EANBALD ARE around / Central pellet surrounded by a circle of pellets; EADVVLF. S. 868. (Seaby/Spink Standard Catalog plate coin, 1962 to 2007) (SSC 1-15:429. SSC 16-41:868.) BMC 1887. Eanbald II: 688 (Page 190. Not plated). As made.

     

    Electrotypes of Anglo-Saxon coins in the British Museum

    Many used for the Standard Catalog prior to 2007

     

    British Museum electrotypes of ancient coins were produced in quantity and distributed for educational use as well as for collectors. I have been unable to locate any history of the Anglo-Saxon electrotypes offered here. Some of these electrotypes are of images used for photographs of Anglo-Saxon coins in the Standard Catalog of British Coins, Part 1, first published in 1962 by Seaby’s Numismatic Publications. It is probable these actual pieces were photographed.

    Responsibility for the half-tone photographs in the volume as well as editorial responsibility for the Anglo-Saxon section (up to Edward II) fell on Frank Purvey, Seaby’s photographer and long-time director of the firm. Peter Seaby’s comments in the 1962 Coin and Medal Bulletin make no reference to the source for the coins photographed. Current practice for the Standard Catalog includes many pieces from important Spink auctions.

    Each of these electrotypes has been identified in one of the British Museum catalogs as well as in the “Standard Catalog” if the image actually made the cut when the reference was first published.

  8. Winning Losing Won Lost Watching Available in aftersale  
    A43, Lot 171:

    Electrotype of English hammered coinage. Ecgberht (Ecgbeorht) King of Wessex. 802-839. Penny electrotype (double-thick). 20 mm. DOROB C type. Ca 828-839. Canterbury (SSC Type III). The BMC piece is 1020 (Plate 43) in SCBI 67, British Museum Anglo-Saxon Coins II published in 2016. His diademmed head right, bust breaking inner circle. +ECGBEΛRTREX around between an inner and outer circle / Central monogram, "without doubt copied from the Karolus monogram on the coinage of Charles the Great" (Charlemagne). (BMC 1893 note, p xx). Probably for DOROB C (Dorobernia Civitas). +BOSEL TOHETV around (BOSEL MONETA). S. 1035. (Seaby/Spink Standard Catalog plate coin, 1962 to 2007) (SSC 1-15: 569B. SSC 16-41. 1035.) As made.

     

    Electrotypes of Anglo-Saxon coins in the British Museum

    Many used for the Standard Catalog prior to 2007

     

    British Museum electrotypes of ancient coins were produced in quantity and distributed for educational use as well as for collectors. I have been unable to locate any history of the Anglo-Saxon electrotypes offered here. Some of these electrotypes are of images used for photographs of Anglo-Saxon coins in the Standard Catalog of British Coins, Part 1, first published in 1962 by Seaby’s Numismatic Publications. It is probable these actual pieces were photographed.

    Responsibility for the half-tone photographs in the volume as well as editorial responsibility for the Anglo-Saxon section (up to Edward II) fell on Frank Purvey, Seaby’s photographer and long-time director of the firm. Peter Seaby’s comments in the 1962 Coin and Medal Bulletin make no reference to the source for the coins photographed. Current practice for the Standard Catalog includes many pieces from important Spink auctions.

    Each of these electrotypes has been identified in one of the British Museum catalogs as well as in the “Standard Catalog” if the image actually made the cut when the reference was first published.

  9. Winning Losing Won Lost Watching Available in aftersale  
    A43, Lot 172:

    Electrotype of English hammered coinage. Eadwig. 955-959. Penny electrotype (double-thick). 21 mm. BMC type ii, series B (without name of mint). The BMC piece is Wessex, Eadwig 14, p. 160. Plate XII(I: 1. BMC 1893. Small cross patée, +EΛDPIG REX I / Moneyer's name in two lines; ÆLFRED EXMOND divided by three crosses, an "M" in the field. S. 1122. (Seaby/Spink Standard Catalog plate coin, 1962 to 2007) (SSC 1-15: 643. SSC 16-41. 1122.) As made.

     

    Electrotypes of Anglo-Saxon coins in the British Museum

    Many used for the Standard Catalog prior to 2007

     

    British Museum electrotypes of ancient coins were produced in quantity and distributed for educational use as well as for collectors. I have been unable to locate any history of the Anglo-Saxon electrotypes offered here. Some of these electrotypes are of images used for photographs of Anglo-Saxon coins in the Standard Catalog of British Coins, Part 1, first published in 1962 by Seaby’s Numismatic Publications. It is probable these actual pieces were photographed.

    Responsibility for the half-tone photographs in the volume as well as editorial responsibility for the Anglo-Saxon section (up to Edward II) fell on Frank Purvey, Seaby’s photographer and long-time director of the firm. Peter Seaby’s comments in the 1962 Coin and Medal Bulletin make no reference to the source for the coins photographed. Current practice for the Standard Catalog includes many pieces from important Spink auctions.

    Each of these electrotypes has been identified in one of the British Museum catalogs as well as in the “Standard Catalog” if the image actually made the cut when the reference was first published.

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