Katalog
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| Emittent | Atrebates and Regini tribes |
|---|---|
| Jahr | 60 BC - 20 BC |
| Typ | Standard circulation coin |
| Nennwert | Anmelden um Details zu sehen |
| Währung | Anmelden um Details zu sehen |
| Material | Anmelden um Details zu sehen |
| Gewicht | Anmelden um Details zu sehen |
| 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 | Anmelden um Details zu sehen |
|---|---|
| Aversschrift | Anmelden um Details zu sehen |
| Averslegende | Anmelden um Details zu sehen |
| Reversbeschreibung | A highly stylised, disjointed horse depicted in profile facing right, rendered in the abstract Celtic artistic tradition typical of late Iron Age British coinage. The horse is deconstructed into curvilinear and geometric elements, with a distinctive triple-tail fanning behind. A spoked wheel, a solar symbol characteristic of Atrebatic coinage, is positioned beneath the horse. The surrounding field is populated with a variety of ornamental devices including pellets, crescents, and linear motifs, with a prominent zigzag or wave pattern forming a border along the lower edge of the flan. |
| Reversschrift | Anmelden um Details zu sehen |
| Reverslegende | Anmelden um Details zu sehen |
| Rand | Plain |
| Prägestätte | Anmelden um Details zu sehen |
| Auflage | Anmelden um Details zu sehen |
| Zusätzliche Informationen |
The Atrebates were a Belgic tribe straddling both sides of the Channel, and their British coinage tradition descended from the gold staters of Philip II of Macedon that spread westward through Gaul as military pay and trade currency. The 'B' classification within the Atrebatic stater sequence reflects a stylistic degeneration from the original Macedonian prototype — a process that unfolded over generations of local die-cutting, progressively abstracting the original imagery into the curvilinear vocabulary native to British Celtic metalwork.
The forty-year production window spans Caesar's Gallic campaigns and their direct aftermath, a period that severed or complicated cross-Channel tribal networks the Atrebates had long relied upon.