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Lot # 360 - Tiberius, 14-37. Tessera. Rome. Circa AD 14 (Lead, 19.71 mm, 2.32 g). Tiberius Caesar and Livia seated on a throne left; Tiberius, on the right, holds scepter; in the exergue and in the right field: TI CAE - SA; Livia, on the left, holds a scepter and a branch (?); in the left field: IVLI - A AVG. Rev. PACIS / AVGVS, The Ara Pacis Augustae: altar-enclosure with ornamented top and central door. Ficoroni -. Rostovtsev -. Overbeck -. Turcan, Nigra Moneta -. Arzone & Marinello, Lead Tokens of Museo di Castelvecchio -. Baratta, Instrumenta Inscripta VIII -. Dark Tiber patina. Full Very Fine. Unpublished and possibly Unique. The Ara Pacis was commissioned by the Roman Senate in 13 BC to honor Augustus' return to Rome after three years in Hispania and Gaul, and was consecrated in 9 BC. Years later, in AD 4, Tiberius was adopted by Augustus, and his name was changed from Tiberius Claudius Nero to Tiberius Iulius Caesar. The identity of the Julia depicted at his side can only be that of his mother, Livia Drusilla, who had been Augustus’ wife since 38 BC. At that time, Tiberius — born from Livia’s previous marriage — was only two years old. It should be noted that Livia assumed the name Julia only after Augustus' death in AD 14, when she was granted the title of Augusta by his will; during Augustus' lifetime, she continued to be known simply as Livia. Moreover, Tiberius' marriage to Julia Major, Augustus’ daughter, had ended in divorce six years before his adoption as Caesar. We are therefore inclined to associate the issuance of this tessera with the festivities celebrating the beginning of Tiberius' principate, which took place on September 17, AD 14, amid grand celebrations.
Lot # 385 - Hadrian, 117-138. "Proto-Contorniate" Medallic Sestertius. Rome. AD 130-138 (Bronze, 28.44 mm, 19.08 g). HADRIANVS - [AVG COS] III [P P], Bareheaded and draped bust right. Rev. [SICILIA], Charybdis represented as a triskeles and a Medusa-like face, with ears of wheat among the hair instead of snakes; below is the monster Scylla wielding what is probably the rudder; on the left, above the leg of the triskeles, a musician playing the aulos is visible, facing left (a detail never noticed before); the rest of the elements described by previous numismatists, namely a temple on hill on the left and a lighthouse (also interpreted as a helmet and standing figure) on the right, are not visible due to the hammered edge. RIC II.3 2896. Cohen 1141 (250 Francs). Banti -. Gnecchi III, p. 19, n. 87, pl. 145, n. 10 (only one specimen). Untouched green patina, with a red cuprite crystal on the emperor's lips. Small die break on the reverse, which probably caused the coin to be minted in a very limited number of specimens. Almost unattainably Rare: the third recorded specimen, with the other two held in institutional collections. Despite the hammered edge, it represents the finest example among all in terms of preservation. Once his power was sufficiently consolidated, Hadrian undertook a series of travels throughout the Empire (Gaul, Germany, Britain, Spain, Mauretania) to personally assess the needs and take the necessary measures to make the defensive system efficient. In 128, he inspected the province of Africa, and probably during this visit, he had the opportunity to tour Sicily. If we are to judge by the reverse of this Medallic Sestertius to understand the outcome of his Sicilian stay, we can confidently say it was extraordinary—both a mystical and archaic experience, much like it still is today. The obverse portrait features an extremely detailed representation of the hair, unlike the usual bareheaded portrait seen on Hadrian's coins. The curls above the forehead undoubtedly reflect the sublime style of the engraver known as the 'Alphaeus Master.' The edge of the coin has been subtly worked to create a raised rim, a characteristic sometimes associated with Proto-Contorniates. This Medallic Sestertius has lived more than one life. At some point—though perhaps not for the last time—it may have been repurposed as a presentation piece, possibly set into a phalera for display.
Lot # 391 - Caracalla, 211-217. Sestertius. Rome. AD 215 (Bronze, 31.98 mm, 26.46 g). M AVREL ANTONINVS PIVS AVG GERM, Laureate, draped and cuirassed bust right. Rev. P M TR P XVIII IMP III COS IIII PP / S C, Emperor, in military dress, standing left, holding spear and resting left foot on crocodile, facing to Isis advancing right, holding ears of grain and sistrum to present to him. RIC IV.1 544. Cohen 334. BMCRE 286. Dark green patina. Flan edge split. Expressive portrait. Good Very Fine. Rare. From the Giovanni Maria Staffieri Collection; ex Astarte 1, 11 May 1998, lot 279. From the pen of G.M.S.: This important and rare sestertius of Caracalla, in excellent condition and with a fine patina, features first of all a severe and expressive portrait of the emperor, combining both courtly and realistic styles. On the reverse, along the exergual line, we find a scene depicting Caracalla on the right, in the guise of a military leader, standing left, holding a sceptre (or spear) in his left hand, and placing his right foot upon a crocodile. He receives the homage of Isis, who stands facing him on the left, holding a sistrum and extending two ears of wheat toward the emperor. This is not a reference to a past event, but rather a clear anticipation of the imperial voyage to Egypt, which would take place in AD 216. There, Caracalla would become infamous for the brutal repression of the people of Alexandria, who had dared to mock him—especially for the fratricide of Geta and the cult of Alexander the Great which he sought to appropriate.

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