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1/2 Penny Imitation Nova Scotia - George III / Harp
| Emittent | Canadian provinces |
|---|---|
| Jahr | 1835 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | Anmelden um Details zu sehen |
| Währung | Anmelden um Details zu sehen |
| Material | Anmelden um Details zu sehen |
| Gewicht | 3.7 g |
| Durchmesser | Anmelden um Details zu sehen |
| Dicke | Anmelden um Details zu sehen |
| Form | Anmelden um Details zu sehen |
| Prägetechnik | Anmelden um Details zu sehen |
| Ausrichtung | Anmelden um Details zu sehen |
| Stempelschneider | Anmelden um Details zu sehen |
| Im Umlauf bis | Anmelden um Details zu sehen |
| Referenz(en) | Anmelden um Details zu sehen |
| Aversbeschreibung | Laureate and draped bust of George III facing right, occupying the central field. A partial circular legend surrounds the bust, partially legible due to the crude imitation striking. The date appears in the lower exergue area. The overall style is characteristic of a privately struck imitation token, with somewhat rough workmanship typical of contemporary counterfeits of Nova Scotia halfpenny tokens circulating in British North America. |
|---|---|
| Aversschrift | Anmelden um Details zu sehen |
| Averslegende | Anmelden um Details zu sehen |
| Reversbeschreibung | A crowned Irish harp displayed prominently in the central field, rendered in a simplified but recognizable style. The harp is surmounted by a decorative crown. A beaded or toothed border runs along the rim of the coin. The design closely imitates the reverse type of contemporary Nova Scotia halfpenny tokens, reflecting the widespread use of harp imagery on circulating copper tokens in British North America during the early nineteenth century. |
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| Reverslegende | Anmelden um Details zu sehen |
| Rand | Anmelden um Details zu sehen |
| Prägestätte | Anmelden um Details zu sehen |
| Auflage | Anmelden um Details zu sehen |
| Zusätzliche Informationen |
This piece belongs to a well-documented class of contemporary imitations produced in Birmingham and elsewhere to flood colonial markets chronically short of small change. Nova Scotia had no legal mechanism to prevent their circulation, and merchants accepted them out of necessity. The harp reverse is an Irish borrowing that appeared on numerous such pieces, exploiting design familiarity to ease public acceptance.
CCT BL-29 is catalogued by Courteau among the blacksmith tokens — crude private strikings that circulated alongside officially sanctioned issues without meaningful distinction in daily commerce.