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| 正面描述 | Draped bust of a male figure facing right, depicted with curled hair and a cravat at the collar, rendered in a plain unidentified portrait style characteristic of early 19th-century colonial token coinage. The effigy is set within a plain field bordered by a continuous beaded inner rim. No legend or inscription accompanies the portrait. |
|---|---|
| 正面文字 | 登录 以查看详情 |
| 正面铭文 | 登录 以查看详情 |
| 背面描述 | 登录 以查看详情 |
| 背面文字 | 登录 以查看详情 |
| 背面铭文 | SHIPS COLONIES & COMMERCE |
| 边缘 | 登录 以查看详情 |
| 铸币厂 | 登录 以查看详情 |
| 铸造量 | 登录 以查看详情 |
| 附加信息 |
The "Ships, Colonies and Commerce" tokens flooded into Lower Canada during the second decade of the nineteenth century to fill a chronic shortage of official small change — the Royal Mint showed little interest in supplying copper coinage to the colonies, leaving commerce to fend for itself. Hundreds of die varieties exist across the broader token family, struck by private contractors in Birmingham with minimal oversight and wildly inconsistent quality control.
The Breton 1002 attribution places this among the better-documented bust varieties, though distinguishing authentic period strikes from later restrikes remains a persistent problem with this series.