Numismatica Ars Classica
Auction 120 6-7 Oct 2020
View prices realized
► Sale information
Find similar lots
Vespasian, 69 – 79
Aureus, Antiochia 72-73, AV 7.36 g. IMP VESPAS AVG P M – TRI P P P [COS IIII] Laureate head l. Rev. PAX – A[VGVSTI] Vespasian, nude, standing facing, holding spear in his l. hand and raising female seated r., wearing three-pointed crown. C –. BMC 504. RIC 1550. Calicó 664 (these dies). RPC 1924.
Extremely rare, only nine specimens listed in the RPC online. An issue of great
importance and fascination referring to the Judean campaign. An unusual
portrait and a symbolic reverse composition. About very fine
Ex Leu Winterthur sale 4, 2019, 619.
This aureus of Antiochia, struck in 72 (or perhaps early in 73), is of extraordinary artistic and historical interest. Aurei and denarii were minted at the beginning of Vespasians reign, between AD 69. Vespasins aurei from Egypt (?), Syria and Judaea have been divided into four groups. This aureus belongs to the fourth group dated to AD 72-73 and assigned to Antiochia by Metcalf, according to close stylistic parallels with his tetradrachms. The context of the production and issue of Vespasians eastern aurei are better documented than other Roman gold coinage. Indeed, Vespasian, sent to suppress the Jewish Revolt, was proclaimed emperor at the beginning of AD 69. Tacitus writes that gold and silver were struck at Antiochia, thus, for the levying of troops, the recall of veterans and the maintaining of arms. Returning to Rome, Vespasian left Titus to prosecute the war. Once the war ended, the involved legions were dispatched to Pannonia and Moesia on the Danube because the priorities were to settle the situation on the lower Rhine after the Batavian Revolt and then to renew the full conquest of Britain. This aureus, probably, has been struck to celebrate the new peace in the Roman Empire, as indicated by the legend. On the reverse, Vespasian, depicted as a hero, showed by his nudity, is raising up a kneeling female, wearing a turreted crown or a crown of towers according to Mattingley. The scholars dont agree on the identity of the personification illustrated next to the emperor and have suggested: the Tyche, the Oikoumene, the city-goddess of Antiochia or the city-goddess of Jerusalem, but the issue is certainly part of the Judaea Capta series and it celebrates the end of the First Jewish war.
Aureus, Antiochia 72-73, AV 7.36 g. IMP VESPAS AVG P M – TRI P P P [COS IIII] Laureate head l. Rev. PAX – A[VGVSTI] Vespasian, nude, standing facing, holding spear in his l. hand and raising female seated r., wearing three-pointed crown. C –. BMC 504. RIC 1550. Calicó 664 (these dies). RPC 1924.
Extremely rare, only nine specimens listed in the RPC online. An issue of great
importance and fascination referring to the Judean campaign. An unusual
portrait and a symbolic reverse composition. About very fine
Ex Leu Winterthur sale 4, 2019, 619.
This aureus of Antiochia, struck in 72 (or perhaps early in 73), is of extraordinary artistic and historical interest. Aurei and denarii were minted at the beginning of Vespasians reign, between AD 69. Vespasins aurei from Egypt (?), Syria and Judaea have been divided into four groups. This aureus belongs to the fourth group dated to AD 72-73 and assigned to Antiochia by Metcalf, according to close stylistic parallels with his tetradrachms. The context of the production and issue of Vespasians eastern aurei are better documented than other Roman gold coinage. Indeed, Vespasian, sent to suppress the Jewish Revolt, was proclaimed emperor at the beginning of AD 69. Tacitus writes that gold and silver were struck at Antiochia, thus, for the levying of troops, the recall of veterans and the maintaining of arms. Returning to Rome, Vespasian left Titus to prosecute the war. Once the war ended, the involved legions were dispatched to Pannonia and Moesia on the Danube because the priorities were to settle the situation on the lower Rhine after the Batavian Revolt and then to renew the full conquest of Britain. This aureus, probably, has been struck to celebrate the new peace in the Roman Empire, as indicated by the legend. On the reverse, Vespasian, depicted as a hero, showed by his nudity, is raising up a kneeling female, wearing a turreted crown or a crown of towers according to Mattingley. The scholars dont agree on the identity of the personification illustrated next to the emperor and have suggested: the Tyche, the Oikoumene, the city-goddess of Antiochia or the city-goddess of Jerusalem, but the issue is certainly part of the Judaea Capta series and it celebrates the end of the First Jewish war.