Classical Numismatic Group, LLC
Triton XXV 11-12 Jan 2022
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VISIGOTHS, Spain. 'Curru' Group. Circa 568-592. AV Tremissis (19mm, 1.23 g, 6h). Toleto (Toledo) mint. CVRRVTI + IИTV(retrograde R)(retrograde R)V(retrograde C), diademed and draped bust right; cross on drapery with crescents above and below / VI VRRV – TИV V(retrograde R)V(retrograde R)V, Victory advancing right, holding wreath and palm frond; OИO. Tomasini Group C3, 583 var. (legends); cf. Chaves 80 (for type); cf. MEC 1, 207 (same); ME –; Triton XX, lot 1098 (same obv. die). Areas of light toning, tiny scrape on reverse edge. EF.
From the Rossini Collection. Ex Cayón (11 December 2006), lot 1021.
From the collector:
Visigothic coins, circulating in Spain between the 5th and early 8th centuries form an intriguing series, not least so for their unusual and distinctive artistic style. While the coins issued by the first Visigothic kings resemble similar issues produced by contemporary Germanic tribes, and the coinage of the 5th to the 6th century issues were heavily influenced by Romano-Byzantine imitative types, it is the coins of the later Visigothic kings which exhibit the intriguing abstract characteristics that make them stand out from the panorama of other barbarous coin types circulating in the early Middle Ages.
This evolution towards abstract representation begins with the coin types of Recesvinto (649-672) whose coinage introduced alternative, more stylized, ways to represent the figural portraits of the king on the obverse, and sees the first notable departure from the more standard, formalized, figural types that had characterized the early series as seen in the coins of Leovigildo through to Chindasvinto (569 - 653).
However, it is the coinages of Wamba (672-680) and even more so with his successors, Ervigio (680-687), Egica (687-702), Witiza (698-710), and the joint reign issues of Egica and Witiza (695-702), that the figural evolution towards abstract models finds its most original expression. It is these distinctive types where the familiar attributes of regal power, the crown and sceptre, become intermingled with the king's portrait in a strange combination of blurred, abstract, figural representation of great charm.
The small selection presented here aims to show some of the intriguing examples created in this quest for abstraction and reflects both the artistic and historical appeal they have for the collector who humbly assembled them.
From the Rossini Collection. Ex Cayón (11 December 2006), lot 1021.
From the collector:
Visigothic coins, circulating in Spain between the 5th and early 8th centuries form an intriguing series, not least so for their unusual and distinctive artistic style. While the coins issued by the first Visigothic kings resemble similar issues produced by contemporary Germanic tribes, and the coinage of the 5th to the 6th century issues were heavily influenced by Romano-Byzantine imitative types, it is the coins of the later Visigothic kings which exhibit the intriguing abstract characteristics that make them stand out from the panorama of other barbarous coin types circulating in the early Middle Ages.
This evolution towards abstract representation begins with the coin types of Recesvinto (649-672) whose coinage introduced alternative, more stylized, ways to represent the figural portraits of the king on the obverse, and sees the first notable departure from the more standard, formalized, figural types that had characterized the early series as seen in the coins of Leovigildo through to Chindasvinto (569 - 653).
However, it is the coinages of Wamba (672-680) and even more so with his successors, Ervigio (680-687), Egica (687-702), Witiza (698-710), and the joint reign issues of Egica and Witiza (695-702), that the figural evolution towards abstract models finds its most original expression. It is these distinctive types where the familiar attributes of regal power, the crown and sceptre, become intermingled with the king's portrait in a strange combination of blurred, abstract, figural representation of great charm.
The small selection presented here aims to show some of the intriguing examples created in this quest for abstraction and reflects both the artistic and historical appeal they have for the collector who humbly assembled them.