西漢 郡國“五銖”錢范，背編號“十九”
尺寸：長276 mm，寬78 mm
范體厚重，字模深峻，形制規范，銹色艷麗，保存極為完好，品相難得。此范五銖為正面穿下橫杠，漢五銖多為上橫杠，下橫杠少見，多為漢武帝元狩年間（公元前118年）所鑄造，目前發現錢范也少有下橫杠。錢范背編號“十九”，文字高挺，當為同期制范之順序編號，較少見，對研究漢代鑄幣工藝有重要史料價值。
金代“大定通寶”折十試鑄
尺寸：43.2 * 3.8 mm，重18.3 g
清 “咸豐重寶 ”背“寶德 當百”母錢
尺寸:51.1 * 4.4 mm 重58.9 g
字口深峻，銅質精黃，狀態一流，極美品，寶德局制錢好品極為少見，母錢更是難得一現，值得藏家重視。
北宋 “靖康通寶”銀質小平宮錢
尺寸：23.3*1.2 mm，重2.9 g
古希臘布魯同地區利基翁城邦四德拉克馬銀幣
重17.28 g
此枚四德拉克馬出自利基翁（Rhegion），所用的模具被認為是古希臘錢幣中雕刻最精細的模具之一，由當時的藝術家Kratesippos簽名的模具打制，后來使用未簽名模具，此枚未簽名版被視為這一系列的的巔峰之作。Herzfeld將這些模具的雕刻師稱為“Rhegium Apollo的大師”。傳統上認為這些模具上的阿波羅風格受到稍早發行的《卡塔尼》的“葉子大師”的影響，但R.R.Holloway認為它可以作為一個最早的標準形象模型，對后期阿波羅在錢幣上的藝術形象產生深遠的影響。
This magnificent tetradrachm is from a series at Rhegion that is regarded as having the most finely engraved dies of all the numismatic output of the mint. The earliest phase features dies signed by the artist Kratesippos, but the later unsigned dies, such as were used here, are regarded as the pinnacle of this period at Rhegion. Herzfelder called the engraver of these dies “the Master of the Rhegium Apollo.” While the style of Apollo on these dies was conventionally considered to have been influenced by the “Master of the Leaf” of the slightly earlier issues of Katane, R.R. Holloway suggests that there was actually a common prototype for both issues, which served as a model for coinages as far away as the Chalkidian League. This high period of artistry at Rhegion coincides with the famed issues of the “signing artists” of Sicily, and was only brought to a conclusion with the sack of the city by Dionysios I of Syracuse in 386 BC.
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