Numismatica Ars Classica
Spring Sale 2020 25 May 2020
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The Roman Empire. Vespasian, 69 –79
Sestertius circa 71, Æ 36 mm, 26.83 g. IMP CAES VESPASIAN AVG P M TR P P P COS III Laureate head r. Rev. ROMA – RESVRCES Vespasian standing l., extending r. hand to Roma, kneeling r. before him; in background, helmeted Minerva standing r., holding shield with l. hand. In exergue, S C. C 424 var. (COS II). BMC 565. RIC 195 (the reverse illustrated on the back-cover page). CBN 531. Cayon 157 (only three specimens listed and all of them in worse condition).
Extremely rare, possibly the finest of very few specimens known. A bold portrait and an
extremely interesting reverse composition. Brown- green patina gently smoothed,
otherwise about extremely fine /good very fine
Ex NAC sale 25, 2003, 410.
Few of Vespasian's coin types illustrate as profoundly as this ROMA RESVRGES sestertius the task confronting this new emperor upon his arrival in Rome. Vespasian himself takes credit for initiating this task, for he is shown standing, raising from her knees the kneeling figure of Roma accompanied by Virtus. Whit the benefit of hindsight we can say Vespasian was entirely successful in his restoration of Rome's fortunes, and in keeping the promise he makes on this sestertius. The capital had been ravaged during the civil war; even its inviolable Temple of Jupiter Capitolinus was burned to the ground in the last days of Vitellius' regime. Rebuilding Rome and her empire was no easy task, and Suetonius tells us Vespasian estimated it would cost no less than 400 million aurei. Vespasian attained a reputation for fiscal creativity, for he would collect money in most any way possible. He became equally renowned as his stinginess, but in the end he achieved his objective by raising Rome back to her unquestioned position of dominance in the Mediterranean world. Interestingly, this attractive reverse scene is also paired on some sestertii with the inscription LIBERTAS RESTITVTA. Considering C. M. Kraay, in his 1978 die study of Vespasian's aes, could locate only one die for each issue, we know both coinages were extremely limited. There is only the slightest variation between the scenes on these two dies, which at first glance seem identical except for the inscriptions, and as such we have every reason to presume the same gifted artist engraved both dies.
Sestertius circa 71, Æ 36 mm, 26.83 g. IMP CAES VESPASIAN AVG P M TR P P P COS III Laureate head r. Rev. ROMA – RESVRCES Vespasian standing l., extending r. hand to Roma, kneeling r. before him; in background, helmeted Minerva standing r., holding shield with l. hand. In exergue, S C. C 424 var. (COS II). BMC 565. RIC 195 (the reverse illustrated on the back-cover page). CBN 531. Cayon 157 (only three specimens listed and all of them in worse condition).
Extremely rare, possibly the finest of very few specimens known. A bold portrait and an
extremely interesting reverse composition. Brown- green patina gently smoothed,
otherwise about extremely fine /good very fine
Ex NAC sale 25, 2003, 410.
Few of Vespasian's coin types illustrate as profoundly as this ROMA RESVRGES sestertius the task confronting this new emperor upon his arrival in Rome. Vespasian himself takes credit for initiating this task, for he is shown standing, raising from her knees the kneeling figure of Roma accompanied by Virtus. Whit the benefit of hindsight we can say Vespasian was entirely successful in his restoration of Rome's fortunes, and in keeping the promise he makes on this sestertius. The capital had been ravaged during the civil war; even its inviolable Temple of Jupiter Capitolinus was burned to the ground in the last days of Vitellius' regime. Rebuilding Rome and her empire was no easy task, and Suetonius tells us Vespasian estimated it would cost no less than 400 million aurei. Vespasian attained a reputation for fiscal creativity, for he would collect money in most any way possible. He became equally renowned as his stinginess, but in the end he achieved his objective by raising Rome back to her unquestioned position of dominance in the Mediterranean world. Interestingly, this attractive reverse scene is also paired on some sestertii with the inscription LIBERTAS RESTITVTA. Considering C. M. Kraay, in his 1978 die study of Vespasian's aes, could locate only one die for each issue, we know both coinages were extremely limited. There is only the slightest variation between the scenes on these two dies, which at first glance seem identical except for the inscriptions, and as such we have every reason to presume the same gifted artist engraved both dies.