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
Levantine Coins Online (LCO) Now Live
A new digital database is now available online: “Levantine Coins Online” catalogs Achaemenid and Hellenistic period coin typologies from the southern Levant. The database will be continuously expanded with new areas and collections.
69th ANS Summer Seminar 2025 – Open for Applications
The American Numismatic Society has announced the dates of its Summer Seminar 2025. With the support of this year’s visiting scholar, Professor John Ma, the eight-week program will offer lectures and workshops on numismatic methods, theories, and history.
Archive: Coins, Medals and more

An Introduction to Axumite Coinage
With the collection of Dr. Stephan Coffman, a highly significant ensemble of coins from the great ancient African kingdom of Axum is sold at Leu Numismatik. Learn more about the history of Axum and the often disregarded Axumite Coinage in this detailed article.

Why Are There So Many Coins Depicting Saint George?
Saint George is one of the most popular saints of the Middle Ages and the early modern period. He is venerated by both Catholic and Orthodox Christians, the Druze and even Muslims. What do we know about this saint? Did he even exist? And why are there so many coins depicting him?

















Introducing Nanoshine: CIT’s Butterfly
CIT’s Butterfly seems delicate, fragile and beautiful, just like its real-life model. The technical marvel behind it only becomes apparent at second glance. Nanoshine is a completely new technology with the potential to transform the aesthetics of coin design.
The British Museum: When Theft Becomes PR
Once again, the BM made negative headlines: Ilé Sartuzi stole a coin unnoticed during a hands-on tour and declared this an artistic performance. A commentary by Ursula Kampmann.