Medaglioni e miti

[apollonia]

Medaglione di Commodo/Tellus reclinata a sinistra, braccio sinistro appoggiato su un cesto di frutta e delicatamente aun lungo ramo di vite da cui pende l'uva, la mano destra appoggiata su un globo stellato intorno al quale si trovano le figure delle Quattro Stagioni (Roma Numismatics 18).

Roman Imperial
Commodus Æ Medallion. Rome, AD 186-187. M COMMODVS ANTONINVS PIVS FELIX AVG BRIT, laureate and cuirassed bust right / P M TR P XII IMP VIII, Tellus reclining left, left arm resting on basket of fruit and cradling long vine branch from which hangs grapes above, her right hand placed on star-studded globe, around which are the figures of the Four Seasons; TELLVS STABIL COS V P P in two lines in exergue. Gnecchi 129, pl. 86, 9. 53.18g, 39mm, 1h.
Good Very Fine. Very Rare.
Ex Roma Numismatics Ltd., Auction XV, 5 April 2018, lot 576.
The production of medallions had been gradually growing since the reign of Hadrian, and reached a climax under Commodus. Used as gifts for the elite, we might consider them one of the devices of the emperor's new policy of self-promotion for they all spoke to the themes Commodus sought to uphold by his reign.
On this medallion the theme of Tellus Stabilita (the earth firmly established) is embodied by the allegorical figure of Tellus who sits on the ground leaning upon an abundant basket of fruit, produce of the earth. Tellus reaches out her hand to rest on a large globe, representative of the heavens and thereby encompassing the whole empire. Around Tellus the seasons, in the guise of four women, pose gracefully. For Commodus, association with this theme had two implications. On the one hand it embodied a vision that under his rule the empire would enjoy a period of peace and prosperity free from all fears of domestic and external wars, while on the other hand it recalled the first imperial Golden Age of Augustus.

Starting price: 8.000 GBP - Estimate: 10.000 GBP - Result: unverkauft

[apollonia]

Medaglione di Marco Aurelio e Lucio Vero/Dioscuri (CNG, Triton IX).

MARCUS AURELIUS and LUCIUS VERUS. 161-169 AD. Æ Medallion (38mm, 42.90 mm, 11h). Struck 161 AD. IMP ANTONINVS AVG COS III upward on left, IMP VERVS AVG COS II downward on right, confronted bare heads of Aurelius, right, and Verus, left / Aurelius and Verus, as the Dioscuri, standing confronted, each holding spear and leading horse by its rein. Gnecchi 6, pl. 71, 6 = MIR 1008-1/30-30; Grueber -; Froehner -; Tocci -; Dressel -; Toynbee -; cf. Banti 8. VF, dark green and red-brown patina, very light smoothing. Extremely rare, only one example recorded (in Berlin). ($15,000)

In Greek mythology, Castor and Pollux were the twin sons of Zeus and Leda. When Castor was killed, Pollux begged that he be taken instead. In return for his noble sacrifice, Zeus granted Pollux immortality, a gift which was later given also to Castor. Now known as the Dioscuri, or "sons of Zeus," these young gods became widely popular as protectors in a moment of crisis. At Lake Regillus in 496 BC, as the infant Roman Republic was struggling for existence against Tarquinius Superbus, the former king, and his allies, legend says two able, but unknown horsemen helped the losing Roman troops to victory. Immediately afterwards these same young men were seen in the Roman Forum watering their horses. Identified as the Dioscuri a temple was built on the spot to honor them and they became Rome's protectors.

Although Szaivert assigns this medallion tentatively to circa 163 AD, the assumption of Marcus Aurelius and Lucius Verus to the imperial throne in 161 AD would have provided the perfect opportunity to use the Dioscuri as a reverse type. The divinely-inspired dynastic arrangement instituted by the Divus Hadrian and implemented by the Divus Antoninus provided a peaceful transfer of power to "twin" emperors. The examples of earlier, more tumultuous imperial successions would have heightened the sense that the state, in a critical moment, had been saved by the new emperors. This peaceful transition, then, would have offered a perfect opportunity for celebrating Rome's divine protectors.

Sale: Triton IX, 9 January 2006, Lot: 1492. Estimate $15000. Sold For $9500. 

 

[apollonia]

Nella mitologia greca Castore e Polluce, noti anche come Dioscuri, sono figli di Zeus e Leda, moglie del re di Sparta. Erano due gemelli un po’ particolari perché nati da due uova che contenevano l’una Polluce ed Elena e l’altra Castore e Clitennestra. Eroi spartani per eccellenza, Castore e Polluce vissero poco prima della guerra di Troia e parteciparono a molte famose imprese tra cui la spedizione degli Argonauti alla conquista del Vello d’Oro, il rapimento delle figlie di Leucippo e la lunga lotta con i figli di Afareo (Idas e Linceo) insieme ai quali avevano rubato un bellissimo gregge in Arcadia. Quest’ultima spedizione però non vide la vittoria dei gemelli: durante lo scontro per recuperare gli animali Castore venne ferito mortalmente dalla lancia di Idas. Per non essere divisi, Polluce implorò Zeus di far morire anche lui oppure di dare l’immortalità anche al fratello. Il padre esaudì per metà la preghiera del figlio, permettendo loro di stare insieme per sempre alternandosi equamente tra l’Olimpo e gli Inferi. Secondo un’altra leggenda, invece, Zeus concesse loro di vivere e morire un giorno per ciascuno trasformati nella costellazione dei Gemelli. Infatti in questa costellazione una delle stelle principali si nasconde sotto l’orizzonte quando appare l’altra, ricordando permanentemente il destino che unisce i due fratelli.

I Dioscuri divennero molto popolari a Roma come protettori in un momento di crisi. Al lago Regillo nel 496 a. C., mentre la neonata Repubblica Romana lottava per l'esistenza contro Tarquinio il Superbo, l'ex re e i suoi alleati, la leggenda dice che due abili ma sconosciuti cavalieri aiutarono le truppe romane perdenti a vincere. Subito dopo questi stessi giovani furono visti nel Foro Romano mentre abbeveravano i loro cavalli. Identificati come i Dioscuri, sul posto fu costruito un tempio per onorarli e divennero i protettori di Roma.

apollonia

[apollonia]

Elettrotipo conservato al British Museum di un medaglione di Adriano con il dio Silvano sul rovescio (CNG 132).

[BM Electrotype copy] Hadrian. 137-138 AD. Æ "Medallion" (37mm, 44.43 g). Laureate, half-length bust right, wearing aegis / Silvanus striding right, holding pedum and dragging ram by its forelegs; tree behind, one Ionic column and a portion of the pediment of a temple before, lighted altar and hen at feet. Gnecchi 18, pl. 39, 2 = Grueber p. 4, 11 ("this coin"). VF, dark greenish-brown patina, edge stamped R(?)H. This is an electrotype of a medallion in the British Museum.

CNG 132, Lot: 309. Estimate $75. Sold for $137

Il rovescio raffigura Silvano che cammina a destra, tiene il pedum e trascina l'ariete per le zampe anteriori; un albero alle spalle, una colonna ionica e una porzione del frontone di un tempio davanti; un altare illuminato e una gallina ai suoi piedi.

[apollonia]

Silvano (dal latino Silvanus) è una figura della mitologia romana che lo vuole dio delle selve e delle campagne.

Deriva dal dio etrusco Selvans, divinità protettrice della Natura e delle attività agresti. Come le divinità antiche della natura selvaggia, era considerato temibile e pericoloso per i neonati e le partorienti. Essendo temuto e venerato dai contadini, gli agricoltori erano soliti placare il dio prima di dissodare un terreno con una triplice cerimonia che ne invocava la protezione sui pascoli, sulle dimore e sui terreni stessi.

Per proteggere i neonati dalle aggressioni notturne del dio, gli antichi Romani invocavano tre divinità tutelari: Pilumno, Intercidona e Deverra.

In origine "Silvanus" era un epiteto del dio Fauno o di Marte e solo successivamente assunse il grado di divinità autonoma. Veniva spesso identificato con Pan o con Sileno, e spesso il suo "numen" si trova accostato alla figura di Marte. Il suo culto era vietato alle donne.

Il suo aspetto era umano, ma talvolta veniva raffigurato con cosce e gambe di caprone e corna sulla fronte.

Secondo una leggenda, dopo la cacciata da Roma di Tarquinio il Superbo, il dio ammonì l'esercito etrusco (desideroso di riportare il sovrano sul trono) di non attaccare i Romani, mettendolo in fuga.

Fonte wikipedia

[apollonia]

Medaglione di Adriano con il dio Silvano sul rovescio battuto alla Stack's Bowers Galleries January 2013 N.Y.I.N.C., lot 5147, 08.01.2013.

ROMAN EMPIRE
HADRIAN, A.D. 117-138. Bronze Medallion (35 mm; 39.92 gms), A.D. 128-138.
cf.Gnecchi-pl. 39, 3 (obverse legend); Banti-214. Hadrian (A.D. 76 – 138, R. 117 – 138), succeeded the emperor Trajan but did not continue his legacy of military conquests. Early in his reign Hadrian marched with his army to the Danube Frontier in order to secure that vital region. After this Hadrian seemed to be more interested in establishing permanent frontiers throughout the Empire. This allowed the Emperor to turn his energies to travel and pursuing his carnal passions. Hadrian espoused these pursuits, deemed very Greek-like qualities, over more Roman ideals of conquest.
 

One notable point of Hadrian’s life and coinage is his long and full beard. This medallion depicts him with a full but more closely cropped Greek style beard. The obverse also includes the inscriptions: HADRIANVS AVGVSTVS, or Hadrian Augustus (Augustus by this time having become a title signifying the emperor and not direct relation to Caesar Augustus). The gently draped shoulders on the right facing bust of Hadrian complete the design and create a simplistic and serene obverse.
The reverse reflects Hadrian’s respect for Silvanus, the Roman deity of the forest. Silvanus is depicted standing, facing right and leading a ram to a temple for sacrifice. This is a wonderful example of a Roman sacrificial scene, with the temple, trees, and altar adding a setting and depth for this piece. The inscription on the reverse includes COS III or Consul for the third time, helping to narrow the dating of this piece to after A.D. 119. This interesting and splendid bronze medallion of Hadrian alludes to the numerous roles the Emperor filled, including that of chief religious figure for the Empire.
"HADRIANVS AVGVSTVS P. P." Bare-headed draped bust of Hadrian right; Reverse: "COS. III. P. P." Silvanus, naked but for cloak draped over left arm walking right holding a ram by its forelegs with his right hand, tree behind, lighted altar at base of column before. Struck in remarkably high relief from dies of exceptional artistic quality. Attractive even dark patina with a hint of lighter highlights in the devices and protected areas, mild unobtrusive smoothing of the fields, natural hairline planchet crack, choice and of the utmost rarity.CHOICE VERY FINE.

Starting price: 12.000 USD - Estimate: 20.000 USD - Result: 19.000 USD

 

A me piace di più l'elettrotipo.

 

[apollonia]

Medaglione di Adriano con il dio Silvano sul rovescio battuto alla Roma Numismatics Limited, Auction 14, lot 722, 21.09.2017.

Roman Imperial
Hadrian Æ Medallion. Rome, AD 128-138. HADRIANVS AVG COS III P P, laureate and draped bust left / Silvanus striding right, holding vine-sickle and leading ram by its forelegs; fruiting tree behind, one Ionic column and a portion of the pediment of a temple before, lighted altar and hound at feet. Gnecchi 16, pl. 39, 1; Mittag, Römische Medaillons, 105. 40.78g, 36mm, 11h.
Near Extremely Fine. Extremely Rare; Mittag records three examples.
This medallion is one of very few surviving examples of a prestigious issue struck at the Rome mint that has been associated with the famed 'Alphaeus Master' (cf. NAC 15, 1999, 355), who was responsible for some of the most accomplished die engraving in all the great span of Roman coinage. This highly talented individual may have been the sculptor Antonianus of Aphrodisias, a master from the illustrious school at the Carian 'City of Marble'. This identification may possibly be supported by a marble relief found in 1907 at Torre del Padiglione, between ancient Lanuvium and Antium. That relief, signed by Antonianus, depicts Antinous as a youthful Silvanus, in an otherwise similar compositional piece. Speculative identification aside, this noted engraver's body of work was recognized by Charles Seltman, and can be seen on bronze medallions of Hadrian (Gnecchi pl. 39, 3 and pl. 42, 3-4), medallic sestertii of Hadrian (see Sotheby's, 1990, Hunt Sale I, lot 134), and provincial bronze medallions struck in honour of Antinous.
The appearance of Silvanus on this medallion of Hadrian may be significant. It is the only depiction on Roman coinage of this tutelary deity of the woods, fields and flocks, who was not officially part of the Roman pantheon, but was an assimilation of numerous native 'provincial' gods, including Silenos, Pan, certain Celtic gods, and possibly the Etruscan 'Selvans'. It is evident, considering the existence of Antonianus' Antinous as Selvans relief, that Hadrian in some way associated his deceased companion with this god of Arcadian vitality. A medallion of Antinous struck at Bithynium-Claudiopolis displays a reverse very similar in character to this medallion - it shows a Pan-like Antinous in a pastoral scene, holding a pedum and reaching towards a reed or stalk of grain, as a bull stands in the background. It is conceivable then that unless the association with Silvanus was contrived only later, after this medallion was issued, that in the Rome medallion may be a veiled allusion to Antinous, whose image was not struck on coins at that city.

Starting price: 8.000 GBP - Estimate: 10.000 GBP - Result: unverkauft

[apollonia]

Il medaglione del post precedente è con tutta probabilità lo stesso esemplare battuto nel marzo dello stesso anno alla Kuenker, Auction 288, lot 550, 13.03.2017, che ha subito un trattamento nella Beauty farm.

RÖMISCHE MÜNZEN
MÜNZEN DER RÖMISCHEN KAISERZEIT
Hadrianus, 117-138
Æ-Medaillon, 128/138, Rom; 40,75 g. Drapierte Büste l. mit Lorbeerkranz//Silvanus geht r. mit Opfermesser in der Linken und zieht mit der Rechten einen Widder hinter sich her; l. Baum, r. Altar vor Tempel. Gnecchi 16, Tav. 39, 1.
RR Leichte Auflagen und Kratzer, sehr schön
Es existieren Angleichungen des Antinoos an Silvanus, aufgrund der bärtigen Darstellung des Silvanus war dieser Bezug beim vorliegenden Medaillon sicher nicht intendiert (siehe Mittag, Peter Franz, Römische Medaillons, Stuttgart 2012, S. 98).
Silvanus wurde auch mit Dakien in Verbindung gebracht, möglicherweise steht die Darstellung mit den Reisen des Kaisers in Zusammenhang (siehe Mittag, S. 92.).

Starting price: 1.000 EUR - Estimate: 1.250 EUR - Result: 7.000 EUR

[apollonia]

Medaglione di Massimiano Erculio che raffigura sul rovescio le tre Monetae in piedi di fronte, con la testa volta a sinistra, che tengono ciascuna una cornucopia con la mano sinistra e una bilancia su un mucchio di monete con la destra (Nomos 16).

ROMAN COINS
Maximianus Herculius, first reign, 286-305. Medallion (Bronze, 38 mm, 35.10 g, 12 h), Rome, 297-298. VIRTVS MAXIMIANI AVG Laureate bust of Maximianus to left, wearing cuirass with aegis and holding the reins of the forepart of a horse to his right with his right hand and with a shield ornamented with the Roman Wolf and Twins over his left shoulder. Rev. MONETA AVGG The three Monetae standing facing, their heads to left, each holding a cornucopia with her left hand and a scale over a pile of coins with her right. Bastien, Buste, pl. 140, 1 and pp. 550-551. Cohen 405. Dressel 184. Gnecchi 18, pl. 127, 6. Very rare and particularly impressive. Grey-brown-green patina. Somewhat smoothed in cleaning, otherwise, extremely fine.
 

Bastien connects this medallion, with its exceptional obverse portrait, with military victories in Mauritania that were won when Maximianus was personally in command of the army. It can be related to another medallion of Maximianus, with a similar portrait but with a variant reverse (Gnecchi, pl. 127, 10) that can, in turn, be related to a series of folles (RIC VI, 10-30, but especially 27-30) that commemorate the arrival of the emperor in Carthage.

Starting price: 6.800 CHF - Estimate: 8.500 CHF - Result: 17.500 CHF

[apollonia]

Esemplare in bronzo dorato del medaglione precedente (NAC 100).

The Roman Empire
Maximian Herculius first reign, 286 – 305. Medallion 297-298, Æ 26.02 g. VIRTVS MAXIMIANI AVG Laureate half bust of Maximianus l., wearing cuirass with aegis on breastplate and holding with his r. hand the reins of the forepart of a horse and with a shield ornamented with the Roman Wolf and Twins motif over his l. shoulder. Rev. The three Monetae standing facing, heads l., each holding scales and cornucopiae; at their feet, heaps of coins. C 405. BMC Medallions 4. Gnecchi 18 and pl. 127, 6 (these dies).
Extremely rare. An impressive medallion with a very interesting portrait. Almost intact gilding, a hairline flan crack, otherwise very fine.

The dramatic military portrait of Maximianus on this stunning gold medallion has been connected by Bastien to victories personally won by the tetrarchic emperor in Mauritania and to his triumphal celebration at Carthage (A.D. 297). It may have been struck as largesse for the army at the time of the triumph in order to guarantee its loyalty for the conclusion of the Mauritanian campaign.
The depiction of Maximianus armored with the aegis and carrying shield and spear belongs to a long Roman tradition of representing the conquering emperor as a latter-day Alexander the Great. This tradition may perhaps be underlined by the added depiction of Maximianus' horse here - a new Bucephalas? On the other hand, the horse could also allude to Carthage, a city that had used the head of a horse as its badge since at least the first century B.C.
While depictions of the singular Dea Moneta, the personification of money and the Roman mint, are not uncommon on Roman Imperial coins of the third and early fourth centuries AD, the representation of three Monetae is somewhat less common. The original numismatic model for this triple depiction seems to have been sestertii struck by Commodus (RIC 500), but Maximianus' gold medallion - and related coinages of Diocletian and Maximianus - most probably take their iconographic cue from the more recent use of the type on coins of Probus, Claudius II Gothicus, and Carinus. Probus struck a silver medallion with a similar military obverse bust (Bastien, Buste, pl. 119, 2).
The three Monetae visually represent the traditional monetary system, which consisted of coins struck in the three primary metals: gold, silver, and aes. The latter included issues struck in bronze and brass alloys. They also allude to the old triple organization of the Roman mint under the Republic and still even in the early Augustan Age, when the job of coining for the state was allotted to three junior magistrates known officially as the tresviri aere argento auro flando feriundo ("three men for striking and casting, bronze, silver, and gold [coins]") or simply as the tresviri monetales ("three money men").
These allusions to old-time Roman minting practices were particularly opportune for Maximianus when this medallion was struck because, only a few years before, in AD 294, his senior imperial colleague, Diocletian, had reformed the coinage. Over the course of the third century, Roman coinage had become increasingly debased to the point that true silver coinage had all but disappeared from circulation, replaced by billon radiates - essentially bronze coins with increasingly minimal silver content. The reformed coinage system involved full weight gold aurei, new silver argentei (equivalent to denarii under Nero), and billon folles. Thanks to Diocletian and Maximianus it could be claimed that the old happy days of coinage in three metals was back. Unfortunately, it was not destined to remain. Continued inflation in the fourth and fifth centuries again largely destroyed silver as part of the regular Roman coinage. By the dawn of the Byzantine period coinage was virtually bimetallic in nature, involving gold and bronze.

 

Starting price: 6.400 CHF - Estimate: 8.000 CHF - Result: 7.000 CHF

[apollonia]

Medaglione di Commodo che lo raffigura sul diritto congiunto a Marcia, e sul rovescio la Felicitas in piedi di fronte, testa a destra, che tiene una cornucopia e uno scettro; sulla destra Commodo, velato, in piedi a sinistra, mentre sacrifica da una patera sul treppiede; sulla sinistra un vittimario che conduce un toro a destra (NAC 29).

The Roman Empire. Commodus Augustus, 177 – 192. No.: 560. Schätzwert/Estimation: CHF 35000.- =41 mm
Medallion circa 192, æ 75.89 g. L AVRELIUVS COMMODVS AVG PIVS FELIX Jugate heads r. of Commodus, laureate and radiate and Marcia, galeate, with pelta. Rev. P M TR P XVII IMP VIII Felicitas standing facing, head r., holding cornucopiae and sceptre; on r., Commodus, veiled, standing l. and sacrificing out of patera over tripod; on l., victimarium leading bull r. C 17. Gnecchi p. 64, 116 (obverse) and 113 (reverse). Toynbee –. Gruber –.
Extremely rare. A fabulous medallion with two very impressive jugate portraits well-struck in high relief. Lovely green patina and extremely fine

At first glance one might presume the helmeted female head conjoined with Commodus is Minerva or Roma, but the pelta at the termination of their busts identifies her as an Amazon. More importantly, though, this is no mere generic representation of an Amazon, but a historical person: Marcia, the concubine with whom Commodus was incurably infatuated. The pelta, a crescent-shaped shield of Thracian origin, was an unmistakable symbol of the Amazons. Ready parallels are found on Roman art objects, including a particularly famous Antonine sarcophagus now in the Museo Capitolino, upon which a pelta is a central device set upon a massive battle scene of Amazons and Greeks. No less than sixty sarcophagi, or sarcophagus fragments, depicting Amazons surviving from the city of Rome. This impressive medallion was struck in 192, the last year of Commodus’ life. It was a turbulent and chaotic time for Commodus, who had lost all comprehension of reality. It was also an unsettling time for those closest to the emperor, including his praetorian prefect Q. Aemilius Laetus, his Egyptian chamberlain Eclectus, and Eclectus’ wife, Marcia, who was the principal concubine and companion of the emperor. Seemingly a freedwoman of Lucius Verus, Marcia had taken part in the plot against Commodus a decade earlier, as she was then the concubine of one of the conspirators, and had a connection with the emperor’s sister Lucilla. Though Commodus executed or banished most of the conspirators, he spared Marcia, whom he took as a lover. Over the years she came to hold sway over him, even convincing Commodus, we are told, to adopt a policy of moderation toward Christians. Late in 192, Commodus’ fate was sealed when a slave exposed a list of proscription Commodus had drafted; heading the list of senators, high-ranking civil servants and military men were Laetus, Eclectus and Marcia. Thus, the New Year’s plot against Commodus was hatched. We are told Marcia administered the poison, disguised in a cup of wine; but when Commodus had a strong reaction to it, a hasty decision was made to have a wrestler named Narcissus strangle him. Our strongest sources on these episodes are Dio Cassius, Herodian and the Scriptores Historiae Augustae. The identification of the Amazon on this medallion with Marcia was popularized by 19th Century scholars, and Cohen even segregated these medallions under the heading "Commode et Marcia". With the passage of time this identification has not been lost, as neither Mattingly nor Tonybee expressing doubt that the Amazon is Marcia. Mattingly goes further by drawing a parallel with Commodus’ personal identification, and assimilation, with Hercules, who "…had won his triumphs over the Amazons, and bore the title ‘Amazonius’. Commodus adopted it and gave it to the month of March." A final aspect making this scenario clearer still is the fact that in 192 Commodus introduces the jugate, or conjoined, bust to the Roman medallion. What better subject as his Amazonian companion than his concubine Marcia, upon whom he relied more completely than any other person? This obverse is paired with five different reverses, which are tightly linked with a virtually identical obverse on which the conjoined female bust varies slightly, and lacks the pelta (which led Tonybee to describe that female as Minerva). The meaning of the reverse scene is unclear, as so many innovations worthy of Imperial sacrifice occurred in Commodus’ last year. Indeed, he had two sacrifice scenes in this medallion series, and had similar ones on sestertii (RIC 602-3) and denarii (RIC 262) of the period 191-192. With the strong presence of Felicitas, though, it likely relates to the Felicitas Commodiana – the happiness of the city of Rome, which had just been re-founded as Colonia Commodiana.

[apollonia]

‘Medaglione’ di Massimino I (Tralleis, Lidia) che raffigura sul rovescio un gruppo statuario di Venere diademata in piedi a destra, che indossa stola e palla e ha le braccia attorno a Marte, nudo tranne che per l’elmo crestato, in piedi di fronte, che regge lo scudo; corazza su una colonna bassa sulla linea di terra nel campo a destra (Roma Numismatics Limited, Auction 11).

Maximinus I Æ37 'Medallion' of Tralleis, Lydia. AD 235-238. Aur. Faidreios, magistrate. AYT K Γ IOYL OYH MAXIMEINOC, laureate, draped and cuirassed bust right / EΠI ΓP AYP ΦAIΔPEIOY A TPAΛΛIANΩN, statue group of diademed Venus standing right wearing stola and palla with arms around Mars, nude but for crested helmet, standing facing, holding shield; cuirass on low column on right field ground line. F. Imhoof, Lydische Statdmünzen, Winterthur 1897, pp. 178-9, 38, pl. 7, 16. 23.63g, 37mm, 5h.
About Extremely Fine. Dark green patina. Of the highest rarity; the only other known specimen is the one recorded by Imhoof in his collection.

Under the Antonines there was an increased interest in depicting both aristocratic and freed men and women in mythical guise. The models for such statuary groups in the round and in the relief undoubtedly belonged to courtly circles. Even though no extant groups or coins explicitly portray an emperor or empress as Mars and Venus, such examples certainly existed. We know from Cassius Dio (81-96) that Marcus Aurelius and Faustina minor were celebrated as Mars and Venus and that she was commonly represented as Venus. Hadrian and other emperors also commonly appeared in statues in the guise of Mars.
Three Roman statue groups have survived of a man and woman depicted as Mars and Venus in which portrait heads were placed on bodies based on the 5th century BC Greek so called ‘Ares Borghese’ type with attributed to the sculptor Alkamenes, now in the Louvre (MA 866; LIMC II, Ares 23). He stands in a counter-pose (contrapposto), with his right leg advanced in front and his weight resting on the left leg. In his right hand he carries a shield or lance and on his head he wears a high crested helmet. The woman also stands in counter-pose to the male figure which ultimately derives from a 4th century BC Greek so called ‘Aphrodite of Capua’ type now in the Museo Nazionale Archeologico, Naples (LIMC II, Aphrodite 627), an earlier version of the celebrated Aphrodite of Milos type now in the Louvre (LIMC II, Aphrodite 645), and close to the Venus of Arles attributed to Praxiteles, also now in the Louvre (LIMC II, Aphrodite 526). The statue probably represented the goddess admiring her reflection in the reflective surface of Ares’ shield, a motif known on coins from Corinth. (cf. Corinth, Plautilla BMC 664-6), with most of its weight on one foot so that its shoulders and arms twist around from the hips and legs, giving the figure a dynamic and tender appearance.
The earliest extant of these three groups was found on the Isola Sacra in Ostia and now in the Museo Capitolino, Rome (LIMC II, Ares/Mars 348). The woman is represented according to the Capuan Aphrodite type: she turns toward her husband and puts her left arm around his shoulders, unlike the Venus of Capua, she is clothed in a stola and palla. The man is nude, wears a helmet and short pallium and stands in the Ares Borghese counter-pose. The woman’s diademed head is coiffure with its series of overlapping locks and bun at the back of the head, is comparable to that of Faustina II on coins and portraits in the round of about AD 147. The carving of the hair style and face of the man resembles the portraits of a young Marcus Aurelius in about AD 145. This group must date from AD 145-150.
The second group, formerly from the Borghese Collection and now in the Louvre (LIMC II, Ares/Mars 350) depicts the woman, probably Sabina, represented in the style of the Capuan Venus, except that she is also clothed in a stola and palla. The man is heroically nude, save for helmet and balteus with parazonium, and stands in the Ares Borghese counter-pose with a portrait that has often been identified as Hadrian during the principate of Antoninus Pius and can be dated to about AD 150-160.
The third and latest group was found in the so-called Basilica at Ostia, now in the Museo Nazionale, Rome (LIMC II, Ares/Mars 347) also represents a man and woman in the style of the Venus of Capua and Ares Borghese statuary group, but now the woman is partially nude and the man is again completely heroically nude but for helmet and balteus with parazonium. The carving style of this group suggests an unknown Roman and his wife in the time of Marcus Aurelian and Faustina II to Commodus and Crispina, circa AD 175-180.
Although there is no consensus amongst scholars as to the identification of these three groups as celebrating imperial personages or high status wealthy members of Roman society emulating the conceit of mythological portraiture popular among the imperial circle, there are three other lesser works with very similar representations of the general Mars/Venus group theme: the ‘Concordia group’ high relief sarcophagus panel in Palazzo Mattei, Rome (LIMC II, Ares/Mars 351); a mint of Rome medallion of Faustina II (Gnecchi II, p. 39, 10, pl. 67, and a rare mint of Rome As of Faustina II (RIC III, 1680; BMC IV, 999-1001).

[apollonia]

Medaglione di Valeriano I con i busti suo e di Gallieno, emesso a Mitilene per l’alleanza con Pergamo ed Efeso (Gemini Auction XII). Sul rovescio la dea della città di Mitilene seduta di fronte, che indossa una corona murale e tiene la patera e l'erma di Dioniso, tra (a) la figura in piedi di Asclepio di Pergamo a sinistra, che tiene un'asta con un serpente attorcigliato, e (b) l'arcaica immagine di Artemide di Efeso a destra.

Roman Empire
Valerian I. AE 43, Medallion, 40.31g (12h). Mytilene, Lesbos. Obv: AVT K Π ΛΙΚ ΒΑΛEPIANOC AVT K Π ΛIK ΓAΛΛIHNOC Vis-à-vis busts of Valerian on the left and Gallienus on the right, each laureate, draped, and cuirassed. Rx: EΠI CTP - BAΛ APICT - O - MA - XOV around, OMO - NOI / A in two lines in upper field, MVTIΛHNAIΩN / ΠEPΓAMHN / EΦECI in three lines in exergue, City-goddess of Mytilene seated facing, wearing mural crown and holding patera and herm of Dionysos, between (a) standing figure of Asklepios of Pergamum on left, holding rod with serpent entwined around it, and (b) archaic cult-image of Artemis of Ephesus on right. Unpublished, but cf. Franke/Nollé 1343-4 (the same rev. die, coupled with an obv. type of Zeus). Choice EF

A rare reverse type showing Mytilene in alliance with both Pergamum and Ephesus, apparently unique and unpublished in combination with this obverse type of Valerian I and Gallienus together. Our reverse type was hitherto known on only two medallions, in Paris and in the von Aulock collection, both from the same reverse die as our medallion, but coupled with a "quasi-autonomous" obverse type of Zeus Boulaios (Franke-Nollé 1343-4). Under the same strategos Val. Aristomachos, Mytilene indeed struck smaller bronze coins for both Valerian I alone and Gallienus alone, but our medallion die combining the portraits and titles of both emperors was hitherto unknown. Cohen reports provincial medallions of Valerian I and Gallienus together only from two mints, Temenothyrae in Phrygia (e.g. SNG Aulock 4012) and Tripolis in Lydia (Mionnet III, p. 396, no. 541); the reported pieces have different legends and bust types than our medallion, so are from different obverse dies. The alliances commemorated on provincial coins were normally only between two cities; types like ours that commemorated an alliance among three cities were unusual. See H. von Aulock, Die Homonoia-Münzen von Mytilene, JNG XIX, 1969, pp. 83-88, pl. 7-8

A in two lines in upper field, MVTIΛHNAIΩN / ΠEPΓAMHN / EΦECI in three lines in exergue, City-goddess of Mytilene seated facing, wearing mural crown and holding patera and herm of Dionysos, between (a) standing figure of Asklepios of Pergamum on left, holding rod with serpent entwined around it, and (b) archaic cult-image of Artemis of Ephesus on right.

[apollonia]

Oricalco di Elagabalo (Germe, Misia) che raffigura sul rovescio Eracle in piedi, di fronte, testa a destra, con la clava nella mano destra e il leone di Nemea ucciso tenuto per la zampa posteriore destra nella mano sinistra (Leu 5).

Roman Provincial
MYSIA. Germe. Elagabalus, 218-222. Medallion (Orichalcum, 43 mm, 40.93 g, 7 h), T. Ioulios Fontinios Alexandros, strategos. ΑΥΤΟΚΡ Κ•Μ ΑΥΡ ΑΝΤΩΝЄΙΝΟϹ ϹЄΒ Laureate and cuirassed bust of Elagabalus to right, breastplate decorated with gorgoneion. Rev. ЄΠΙ ϹΤΡ Τ•ΙΟΥΛ•ΦΟΝΤΙΛΙΟΥ / ΑΛЄΞΑΝΔ/ΡΟΥ // ΓЄΡΜΗΝ/ΩΝ Herakles standing front, head to right, holding club in his right hand and the slain Nemean lion by the right hind leg in his left. Ehling 175 (V1/R1). RPC VI online 3828. SNG Paris 992 ( same dies ). Extremely rare. The fourth known example, and far superior to the Mabbott and Paris coins (the example in Lanz 165, 9 December 2017, 271, was extensively reengraved). The obverse a bit weak, otherwise, good very fine.
The reverse of this impressive medallion shows us Herakles holding the slain Nemean lion by the right hind leg, a radical modification of the usual imagery of Herkakles wrestling and strangling the beast as we know it from so many Roman Provincial issues.

Starting price: 600 CHF - Estimate: 750 CHF - Result: 3.600 CHF

[apollonia]

Medaglione di Adriano con la Triade capitolina sul rovescio: aquila che rappresenta Giove, civetta che rappresenta Minerva, pavone che rappresenta Giunone (Roma Numismatics 19).

Roman Imperial
Hadrian Æ Medallion. Rome, circa AD 123-128. HADRIANVS AVGVSTVS, laureate head right, slight drapery over far shoulder / The animal symbols of the Capitoline Triad: eagle (representing Jupiter) standing left on thunderbolt, head right; to left, owl (Minerva) perched right on shield; to right, peacock (Juno) standing left; COS III below. RIC II.3 2825; C. 431; Banti 207; Mittag 32-34; Gemini III, 368 (framed, hammer $9000). 83.61g, 54mm, 12h.
Good Very Fine. Extremely Rare; the third known example set within an orichalcum 'frame'.
From a private American collection.
 

This remarkable medallion has been produced by striking a large single piece of orichalcum with a sestertius-sized die, rather than the 'frame' being added as a separate piece later, as with later bi-metallic medallions.

Starting price: 3.000 GBP - Estimate: 5.000 GBP - Result: unverkauft

[apollonia]

Medaglione di Marco Aurelio con Faustina II (?) sul rovescio (Hess Divo 334).

ROMAN COINS
COINS OF THE ROMAN EMPIRE. Marcus Aurelius, AD 161-180. Large Bronze Medallion, 168. AE 177.38 g. On inner part: M ANTONINVS AVG - ARM PARTH MAX Laureate, draped and cuirassed bust r.; dotted circle. Rev. TR P XXIII IMP V - COS III Faustina II (?), wearing long dress, seated l. on throne with high back-rest, holding long scepter with her l. hand, outstretching her r. hand towards two naked cupids bringing on large cornucopiae; around dotted circle. Inserted in outer part consisting of two linear circles and large, thick, circular frame. BMC Medallions 11 and pl. 21,2; C. 909; Gnecchi, Medaglioni II, 34 56 and pl. 63, 6 (no frame); cf. auction Hess-Divo AG Zürich 311 (2008), 559 (these dies, no frame).
Very rare and spectacular. Excellent style. Beautiful green patina. Extremely fine
Provenance: The Osaka Collection.

Starting price: 35.000 CHF - Estimate: 35.000 CHF - Result: 60.000 CHF

[apollonia]

Medaglione in oricalco di Marco Aurelio che celebra la vittoria sui Parti (nomos 21, 21 Nov 2020).

Starting price: 4.000 CHF - Estimate: 5.000 CHF

Lot 332. ROMAN.

Marcus Aurelius, 161-180. Medallion (Orichalcum, 39 mm, 52 g, 11 h), Rome, 168. M ANTONINVS AVG ARM PARTH MAX Laureate, and cuirassed bust of Marcus Aurelius to right, with some slight drapery. Rev. TR P XXI IMP IIII COS III Two winged Victories facing each other, jointly holding wreathed globe inscribed S P Q R / VIC /PARTHI/CAE; below, defeated Parthian wearing bashlyk, seated to left in attitude of mourning on pile of arms, in the stance of mourning; at his left, labaron. Banti 475. Cohen -. Gnecchi 48. Very fine.

[apollonia]

Medaglione di Faustina I, moglie di Antonino Pio, che raffigura sul rovescio Minerva di fronte a Vulcano seduto che forgia un fulmine (Hess Divo 309).

ROMAN COINS
COINS OF THE ROMAN EMPIRE
Faustina I, wife of Antoninus Pius, died 141 AD
Bronze Medallion (39 mm) after 141 AD. DIVA AVG - FAVSTINA. Veiled and draped bust right / / Helmeted Minerva standing left, before her, Vulcanus seated right, producing a thunderbolt. Coh. -; Froehner -; Gnecchi II 18, pl. 59,1; Dressel -; Toynbee -. 39.63 g.
Very rare. Slight traces of corrosion, otherwise, very fine/fine
Estimate: 5000 CHF

[apollonia]

Medaglione di Commodo con l’imperatore e la Vittoria con altri personaggi sul rovescio (Tkalec 2009).

Roman Imperial Coins
Commodus (180-192)
AE-Medallion, 85.24g.
Rome, March-June 193
Obv.: M COMMODVS ANTONINVS PIVS
FELIX AVG BRIT
Laureate, draped, cuirassed bust r.
Rev.:P M TR P XVI IMP VIII/COS VI P P
Roma seated l., Emperor r., Victory.
Gnecchi 109 (different weight); Coh. 562 var.
Green-brown Patina
Unpublished! Extremely fine
Most of Commodus Medallions have a
weight between 45g. and 60g.

[apollonia]

Medaglione di Caracalla con Mên e Artemide sul rovescio (Numismatik Naumann 57).

Roman Provincial Coins
CARIA. Tabae. Caracalla (198-217). Ae Medallion. Apollonios, archon and strategos.
Obv: AVTOK KAI M AVP ANTΩNЄI. Laureate, draped and cuirassed bust right.
Rev: APX CT AΠOΛΛΩNIOV / TABHNΩN. Mên, holding bow and drawing arrow from quiver on back, and Artemis, holding patera and sceptre, standing facing one another.
SNG Copenhagen 566; Künker 124, lot 9289 (which realized a hammer of €3,000).
Very rare medallion.
Condition: Very fine.
Weight: 24.87 g.
Diameter: 35 mm.

Starting price: 80 EUR - Estimate: 100 EUR - Result: 525 EUR

[apollonia]

Medaglione di Caracalla che lo raffigura sul rovescio in piedi, mentre versa una libagione sulla testa di un toro che sta per essere sacrificato ad Asclepio, il cui tempio è sulla destra (Tkalec 2008).

ROMAN IMPERIAL COINS - CARACALLA (198-217) - AE-Medallion, 46.11 g. 214. Obv.: ΑΥΤΚΡΑΤ ΚΗ ΑΡ ΚΟΣ ΑΥΡ ΑΝΤΟΝΙΝΟΣ Laureate, cuirassed bust of Caracalla r.
Rev.: ΕΠΙ ΣΤΡ Μ ΚΑΙΡΕΛ ΑΤΤΑΛΟΥ ΠΕΡΓΑΜΗΝΩΝ ΠΡΩΤΩΝ ΓΝΕΩΚΟΡΩΝ Caracalla r., sacrifycing in front of temple. SNG Paris 2230; BMC 155, 324. Extremely fine
 

This lovely medallion, from the same dies as the coin in Paris, SNG Paris 2230, forms part of a very exciting series of large denomination bronze coins issued by three magistrates, Ioulios Anthimos, M. Aurelious Alexander and M. Kairellious Attalos, to commemorate Caracalla’s visit to Pergamon in 214. They show his entry into the city, the temples he visited, the honors he paid to Pergamon’s patron god Asklepios, and the games held in his honor (see SNG Paris 2223-2251 for a good selection and K. Harl, Civic Coins and Civic Politics in the Roman East A.D. 180-275 [Berkeley, 1987], pp. 55-58 and pls. 23-24 for a discussion of the visit and the meaning of the coins). Here we see Caracalla standing, pouring out a libation over the head of a bull about to be sacrificed to Asklepios, whose temple is to the right.
Estimate: 18000 CHF

[apollonia]

Tetrassarion medaglione-simile di Kibyra (Frigia) emesso per l’alleanza con Hierapolis, con Faustina sul diritto e sul rovescio Leto di Hierapolis con due neonati al seno, in piedi a destra, davanti a Zeus di Kibyra seduto sul trono, con un lungo scettro nella mano sinistra e un'aquila nella destra (Sincona 20).

ROMAN EMPIRE
For Faustina II
Medallion-like tetrassarion c. 160/170, Kibyra in Phrygia. Alliance issue with Hierapolis, with name of the magistrate Cl. Philocles, c. 160/170. FAUCTEINA CEBACTH Draped bust of Faustina to right, her bound up with pearls in a bun at the back. Rev. KIBURATWN K IERAPOLITWN EPI.KL. FILOKLEOC // OMO-NOI-A On the left, Leto of Hierapolis, draped, veiled, and holding two infants at her breast, standing to r. in front of Zeus of Kibyra, seated to l. on throne, holding long sceptre in his left hand and an eagle in his right. 25.18 g. BMC 96 = Franke/Nolle 984 (same dies). Very rare. Broad planchet. Brown Patina. Good very fine. Ex UBS direct purchase. Sold prior to 2007.

Starting price: 1.500 CHF - Result: unverkauft

[apollonia]

Medaglione ai tempi di Alessandro Severo con Core al diritto e il ratto di Persefone al rovescio (Lanz 157).

GRIECHISCHE MÜNZEN
MYSIEN
KYZIKOS
Pseudo-autonomes Bronze-Medaillon, Zeit des Severus Alexander, unter dem Archonten C. Flavius Trophimos. KOPH - CWTEIPA. Drapierte Büste der Kore von Kyzikos mit Ährenkranz und Perlenkette nach rechts. Rs: ЄPI G FL TPOFIMOV AP KVZ/IKHNWN NЄW/KOPWN. Raub der Persephone: Hades in Quadriga im Galopp nach rechts fahrend, im linken Arm die widerstrebende Persephone, dahinter kleiner Krieger mit Lanze und Schild laufend, unter den Pferdehufen umgestürzter Korb und Schlange, über der Quadriga Eros nach rechts fliegend. BMC -; SNG von Aulock -; SNG France 5 -; SNG Tübingen -; zum Beamtennamen siehe Leschhorn II 851. 23,48g. Sehr selten. Vorzüglich.

[apollonia]

Medaglione di Antonino Pio che raffigura sul rovescio Ade con mantello fluente su quadriga mentre rapisce Persefone; sotto il veicolo una grande torcia, sopra Eros (Gorny & Mosch 151).

RÖMISCHE PROVINZIALPRÄGUNGEN
IONIEN
IONISCHE LIGA
Objekt-Nr.: 307
Antoninus Pius, 138 - 161 n.Chr. AE Medaillon (52,84 g.), Vs.: ANTONEINOS SEB AU KAI TI AI ADRIANOS, Büste mit Paludamentum und Lorbeerkranz n. l. Rs.: KOINON IG POLEWN [PROM KL FRONTWN] ASIARX KAI ARXIGI - POLEWN, Hades in einer in den Himmel fahrenden Quadriga mit wehendem Mantel entführt Persephone. Unterhalb des Gefährts eine große, liegende Fackel, oben der vorauseilende Eros. J. U. Gillespie, RBN 102, 1956, 4 (stgl.); SNG Hunter 1663F. Schöne schwarzgrüne Patina, Rs. Kratzer, gutes ss
Das Koinon der dreizehn ionischen Städte der Küste Kleinasiens führt sich bis in die früheste griechische Zeit zurück. Die altehrwürdige Tradition wurde auch in der Kaiserzeit weitergepflegt und panionische Spiele wurden in den verschiedenen Städten abgehalten. Anlässlich der Festivitäten unter der Aufsicht des Asiarchen und Archiereus M. Cl. Fronto wurde die vorliegende Prägung geschlagen, die allerdings keinen Hinweis auf den Namen der Stadt gibt. Nach dem Themen der andern Prägungen dieser Serie ist aber wahrscheinlich Sardeis als Prägeherr anzunehmen, das vielleicht anlässlich der Weihung des neuen Neokrietempels das Fest durchführte und diese Münzserie herausgab.
Estimation: € 2.000,00

[apollonia]

Medaglione dei tempi di Commodo, tipo Kore-Persefone/Edificio con Demetra e due tedofori sul tetto (Münzen & Medaillen 20).

GRIECHISCHE MüNZEN UNTER RöMISCHER HERRSCHAFT
MYSIEN
KYZIKOS
No.: 193
Schätzpreis/Estimate: EUR 900.-
d=42 mm
Autonom. Bronze-Medaillon, Zeit des Commodus, 180-192. KORH SWTEIRA - KUZIKHNWN Drap. Büste der Kore-Persephone mit ährenkranz n. r., das Haar im Nacken mit einem dünnen Band zu einem Schopf gebunden; sie ist geschmückt mit einem Perlencollier. Rv. KUZI-KHNWN / NEOKORWN Grosser, gemauerter Rundbau mit geschlossener Tür; auf dem flachen Dach Demeter zwischen zwei n. l. und r. wegeilenden Fackelträgerinnen, in den erhobenen Armen je eine Fackel haltend; l. und r. des Baus je eine lange, von einer Schlange umwundene Fackel. 32,81 g. SNG BN Paris 564. Von Fritze, Die autonome Kupferprägung von Kyzikos, NOMISMA X (1917), 24, 6f. Sehr selten und interessant. Grüne, etwas geglättete Patina.
Av. Knapp sehr schön. Rv. Schön
Price-Trell 109ff. haben plausibel dargelegt, dass es sich bei dem Bauwerk auf diesem Medaillon nicht um einen Altar handelt, sondern um einen Kultbau in Zusammenhang mit den Demeter- und Koremysterien in Kyzikos. Die Tür ist eine für solche Anlagen typische Scheintür ohne praktischen Nutzen. Medaillons wie das unsrige sind wohl aus Anlass von Kultfeierlichkeiten herausgegeben worden.