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Stater bust facing right
| Emittent | Uncertain Gallia Belgica tribes |
|---|---|
| Jahr | 175 BC - 170 BC |
| 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 | 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) | Sp#1, V#10.1, ABC#1, DT#52 |
| Aversbeschreibung | Stylized male head facing right, derived from the Macedonian stater prototype of Philip II, rendered in the distinctive La Tène Celtic artistic style. The hair is elaborately rendered as a dense mass of swirling, trumpet-shaped curls and abstract lenticular pellets radiating across the entire field, largely engulfing the facial features. The face, visible in the right portion of the flan, retains a schematized eye, a prominent curved nose, and a defined chin, while the surrounding decorative elements dissolve the classical prototype into fluid, curvilinear abstraction. The flat, irregular flan and broad fabric are characteristic of early Belgic gold coinage. No legend or inscription is present. |
|---|---|
| Aversschrift | Anmelden um Details zu sehen |
| Averslegende | Anmelden um Details zu sehen |
| Reversbeschreibung | Anmelden um Details zu sehen |
| 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 attribution "Uncertain Gallia Belgica" reflects a genuine scholarly impasse. These early Belgic gold staters derive ultimately from the Macedonian gold coinage of Philip II, introduced into northwestern Europe through mercenary payments and trade contacts during the late 3rd century BC. Over successive generations of copying, the prototype was progressively abstracted by Celtic craftsmen who prioritized geometric rhythm over representational accuracy — a process of deliberate artistic transformation, not degradation through incompetent imitation.
Pinning a specific tribal authority to this type remains impossible given current evidence. The reference cluster — Spink, Van Arsdell, ABC, and Delestrée-Tache — all acknowledge the attribution problem without resolving it.