Researcher in numismatics Dr.Alsadeek Alsadouk

Exceptional Reverses of owl on Athena’s tetradrachm / Drachm from Greek ( 475-465 BC) to Egypt/ #Palestine (Gaza) to Yemen ( #Himyarite -30 BC and 14 AD) to south Arabia with Musnad script and to Turkish city #Troas with Script (ΣIΓE) Translation: Sigeion - Troas ( Turkey) between 375 BC - 325 BC.

Hadrian. AD 117–138. AR Cistophorus (10.93 g), struck in Asia Minor after AD 128, at an uncertain mint. Obv. Bare head of Hadrian facing right. Rev. Cult statue of #Artemis_Ephesia standing facing, extending her hands, flanked by stags and thymiateria .

Excessively Rare and Greek Silver Distater of Paphos (Cyprus), Struck Under the King Nikokles, Circa 325-309 BC,( 21.27 g 6), Persic standard. Head of Aphrodite to left, wearing an elaborate tiara composed of a mural crown with four towers enclosing a polos ornamented with palmettes and annulets, a disc earring with a triple pendant and a pearl necklace; behind her neck, Π-ΒΑ. Rev. ΝΙΚΟΚΛΕΟΥΣ / ΠΑΦΙΟΝ Apollo, wearing a laurel wreath and nude but for a cloak over his shoulders, seated left on omphalos, holding an arrow in his right hand and a bow, the bottom of which rests on the ground, in his left; to left, laurel branch; to right, behind Apollo’s hand, Ο . only four genuine examples are known of this exceptional coin. Attractively toned and with particularly fine representations of both Aphrodite and Apollo. Some very minor metal faults, otherwise, nearly extremely fine. #Paphos #Nikokles #Ptolemy_I

Rare decadrachm of Alexander the Great , auctioned by NAC in Zurich with a start of 80,000 CHF, minted in Babylon in the last 2 years of Alexander's reign, scripted (ΑΛΕΞΑΝΔΡΟY) with some monogram.

This extremely rare gold double decadrachm of Agathocles was struck during the chaotic wars between Syracuse and Carthage around 310–304 BC. The coin reflects Agathocles’ desperate but ambitious African campaign after Carthage nearly destroyed his power in Sicily. Facing blockade and military collapse, he invaded North Africa to force the Carthaginians to retreat from Syracuse. The coin’s imagery — a portrait with an elephant scalp and a winged Athena — symbolizes military power, African conquest, and his attempt to present himself like the great Hellenistic rulers after Alexander the Great.

The main scholarly issue surrounding this coin is uncertainty about where and when it was minted. Some historians believe it was produced in Syracuse, while others think it may have been struck in North Africa during the campaign because coin dies could easily travel. Another debate concerns the portrait and symbolism: whether the image represents Africa, Alexander, or a political imitation of Ptolemy I Soter. The design closely copies Ptolemaic coinage but changes important details, suggesting Agathocles wanted to associate himself with the Diadochi and elevate his legitimacy during a period of instability and propaganda warfare.

The Ptolemaic Gold Oktadrachm of Ptolemy II Philadelphos minted in Alexandria ( 27.93 g) depicts Arsinoe II, the sister and wife of Ptolemy II Philadelphos. Their marriage symbolized both dynastic power and divine legitimacy, following Egyptian royal traditions of sibling unions. After Arsinoe’s death, Ptolemy II honored her as a goddess, placing her portrait on valuable gold coinage to promote the cult of the “Sibling Gods” (Theoi Adelphoi). The coin therefore served not only as currency, but also as royal propaganda expressing the unity, wealth, and sacred authority of the Ptolemaic dynasty.

Ptolemaic Gold oktadrachm of Ptolemy IV Philopator, whose full name means “Ptolemy, lover of his father,” ruled Ptolemaic Egypt from 221 to 204 BC. He was the fourth monarch in the Ptolemaic dynasty, succeeding his father Ptolemy III Euergetes.

Ptolemaic Gold oktadrachm of Ptolemy III Euergetes, conjoined busts of Ptolemy II and Arsinoe II/conjoined busts of Ptolemy I and Berenike I, minted in Alexandria ( Egypt ) Date: ca. 246–221 BCE, (27.77g), during Hellenistic Period .

Sestertius Of Lucius Aelius Caesar AD 136-138. (21.94 g ) , Rome mint. Struck under #Hadrian, who died prematurely in January AD 138. . Bareheaded and draped bust right, seen from behind / #Concordia seated lett of throne, holding patera and resting elbow on cornucopia set on the base of the throne. Most coin matches with Marble bust of Lucius Aelius Caesar.

Between 425 BC - 420 BC terina ( bruttium ) issued coins says : Upon the cold silver surface sits Nike, no longer triumphant, but weary and silent. Seated upon a hydria, she lowers her gaze toward the fragile bird resting in her hand, as though mourning a peace too delicate to survive the violence of men. In her other hand she holds the caduceus, once a symbol of harmony and reconciliation, now seeming powerless against the sorrow carved into her posture. Her wings remain unfurled, yet they do not rise; they hang like the memory of victories that cost too much. The coin captures not glory, but the loneliness that follows conquest — a divine figure surrounded not by celebration, but by the quiet weight of loss and the fading echo of a broken world.

Didrachm of Velia \Lucania, c. 330-300 BC, silver, 7.61 g. On Obverse : Head of #Athena three-quarter face to left, wearing winged and crested Phrygian helmet. Script: Greek Lettering: KEYAOPY , on Reverse

From SICILY, Gela to derrones ( north Macedon ) carried same coins objects and symbols!! Is it because of greeks culture ? Or local kings were imitating greeks coins or because of common beliefs . As we see

1-Triskeles running left; below, palmette; all within shallow incuse square.

2-Male driving ox-cart right, wearing kausia and holding kentron; +E between driver and ox, wheel or open flower(?) above ox, flower between legs / Triskeles (worn to blank).

3-Helmeted head of Athena right.

4-Charioteer, holding kentron in right hand and reins in left, driving slow quadriga right; above, Nike flying right, crowning horses with open wreath held in both hands .

English/Arabic

Medallion of Antoninus Pius, 150 AD.The reverse illustrates the legend described by Ovid in The Metamorphoses: Asclepius, in the form of a serpent, journeys from Epidauros to Tiber Island to save its residents from the plague that struck Italy in the third century BCE. Tiberinus (or Faunus) welcomed Asclepius on his arrival. AESCVLAPIVS is inscribed on the exergue.

ميدالية أنطونيوس بيوس، 150 ميلادي. يصور وجهها الخلفي الأسطورة التي وصفها أوفيد في كتاب التحولات: أسكليبيوس، متخذًا هيئة ثعبان، يسافر من إبيداوروس إلى جزيرة تيبر لإنقاذ سكانها من الطاعون الذي ضرب إيطاليا في القرن الثالث قبل الميلاد. استقبل تيبيرينوس (أو فاونوس) أسكليبيوس عند وصوله. نُقش اسم أسكليبيوس (AESCVLAPIVS) على قاعدة الميدالية.

Sestertius of Nero (AD 54–68), A powerful bronze issue from the reign of one of Rome’s most controversial emperors, this sestertius captures both imperial authority and military imagery in striking detail.

On Obverse: Laureate head of Nero facing right, with a small globe at the base of the neck.

Legend: NERO CLAVD CAESAR AVG GER P M TR P IMP P P. Expanded:

Nero Claudius Caesar Augustus Germanicus, Pontifex Maximus, Tribunicia Potestas, Imperator, Pater Patriae. Which Means:

Nero Claudius Caesar, Emperor (Augustus), conqueror of the Germans, high priest, holder of tribunician power, supreme commander, father of the nation. On Reverse : Nero, bare-headed and armored, rides energetically to the right on horseback, spear in hand, cloak flowing behind him. He is flanked by mounted soldiers also riding right, each carrying a vexillum (military standard). Legend: DECVRSIO S C . Expanded:

Decursio, Senatus Consultum; Meaning:

“Military maneuver” — issued by decree of the Senate.

The reverse scene represents a decursio, a ceremonial cavalry exercise performed by Roman troops. It emphasizes Nero’s role as a military leader, projecting strength, discipline, and imperial command—an image carefully crafted despite the more complex historical reputation of his reign. A bold and dynamic type, this sestertius stands out for its narrative composition and political messaging, blending imperial portraiture with vivid military symbolism.