Watch List notes:

THE ROMAN EMPIRE
Licinius II caesar, 317 – 324

Aureus, Antiochia 321–322, AV 5.28 g. DN VAL LICIN LICINIVS NOB C Draped and cuirassed bust facing. Rev. IOVI CONSER – VATORI CAES Jupiter seated facing enthroned on platform, holding Victory on globe in r. hand and sceptre in l.; in l. field, eagle with wreath in beak and in r. field, star. The platform inscribed SIC·V· / SIC·X·. In exergue, ·SMANE. C –, cf. 28. RIC 33. Depeyrot 38/2. Kent-Hirmer pl. 158, 623. Calicó 5153.
Very rare and among the finest specimen known. A superb portrait of great
style and a wonderful light reddish tone, virtually as struck and Fdc


Ex Rauch sale 90, 2012, 919.
This aureus of Licinius represents an impressive attempt to capture the spirit of the emperor as an individual, not merely as a universal being. Four important issues of gold with facing busts were produced from c. 310 to c. 321. The first was by Maxentius on aurei of c. 310-312, and the second by Constantine on solidi of 316; the former was shown Bare headed and bearded, in the guise of a model Tetrarch, the latter was shown nimbate and clean-shaven, as a reflection of his unique brand of monotheism, which embraced solar worship and the Christian faith. Similarities in the style of the two issues make it possible that both were the work of the same artist, who initially worked for Maxentius, and who remained in Italy after Constantine's takeover and produced a facing-head for his new master. Following these two coinages are the solidi of c. 321 struck for Licinius I and Licinius II, and we should not doubt that they were inspired by one or both of the predecessor issues. The Licinian solidi mark a special event, the taking of imperial vows. The statue of Jupiter in this specimen rests upon a monumental base inscribed SIC V SIX X and clearly alludes to the quinquennalia (fifth anniversary) of Licinius II. Equally worthy of comment is the reverse type, on which Jupiter makes one of his last appearances on Roman coinage. This can be seen as evidence of the simmering hostilities between Constantine and Licinius II father's Licinius I, who not only were co-emperors, but were brothers-in-law. Their rivalry increasingly took on a religious tone, with Constantine now favouring Christianity and Licinius I embracing the supreme pagan god – partly because of his own beliefs, partly in opposition to Constantine. Licinius I had initially adopted religious ambiguity in 313 as a token of good faith toward Constantine, who early in that year had issued the 'Edict of Milan' in both of their names. Here that position is rejected: the inscription describes Jupiter as the protector of Licinius, and the god is represented by an especially powerful and ancient image, seemingly derived from Phidias' famous gold and ivory statue in the Temple of Zeus at Olympia.