Matidia.
Denarius (112 AD), Rome.
Condition: very rare, vf /vf+.

Julian II. Apostata as Caesar.
Solidus (355–357 AD), Rome.
Condition: unc

Frederik IV.
Double-Ducat 1704, Copenhagen.
With certificate of authenticity.
Condition: ef-

Johann Wilhelm.
Ducat 1753, Nuremberg.
Condition: rare, lightly worked, vf-

Archive: People and Markets
Ruthenium on Euro Commemorative Coins: Mints Turn to Innovative Finishes – with the Blessing of Central Banks
Coins with exotic precious metal coatings have long been viewed with skepticism, but Malta has now set a new trend with a galvanised commemorative coin. Other eurozone countries are also embracing innovative finishing techniques to capture contemporary tastes.
Numismata: The Coin Show with a Special Flair
From 2 to 3 March 2024, the internationally renowned Numismata will be held in Munich. Angela Modes invites collectors and coin dealers from all over the world to experience the wide range of offers at the show.
Archive: Coins, Medals and more

Berlin and South Africa – A Time-Honoured Connection
Did you know that the first coins of the Boer Republic came from Berlin? It was quite a challenge to create the dies because the Berlin engraver Otto Schulz had no idea of Boer identity, which is why things almost went wrong…

Marcus Antonius: The Loser Who Did Not Write History
Künker’s auction 419 features numismatic rarities from the Roman civil war that followed Caesar’s death. In addition to the Eid Mar denarius, aurei of Marcus Antonius will cross the auction block. We will re-tell his story – from his point of view, not that of Augustus.

















Precious Metals Future Forum 2025: Between Geopolitical Uncertainty and Digital Transformation
The inaugural Precious Metals Future Forum in Frankfurt has highlighted how profoundly the precious metals industry is undergoing change – economically, geopolitically, and technologically.
Your Tax Dollars at Work
Is the State Department funding a crusade against private ownership of cultural goods in the U.S.? Peter Tompa explains how taxpayer money was used to justify cultural property Memorandums of Understanding (MOUs) or “emergency import restrictions.”