Catalog
| Issuer | Mauretania |
|---|---|
| Year | 11-23 |
| Type | Standard circulation coin |
| Value | 1 Denarius |
| Currency | Denarius (25BC-40AD) |
| Composition | Silver |
| Weight | 3.12 g |
| Diameter | 17 mm |
| Thickness | |
| Shape | Round (irregular) |
| Technique | Hammered |
| Orientation | Variable alignment ↺ |
| Engraver(s) | |
| In circulation to | |
| Reference(s) | CNNM#361, MAA#108, SNG Copenhagen#566 |
| Obverse description | Diademed head of Juba right. |
|---|---|
| Obverse script | Latin |
| Obverse lettering | REX IVBA |
| Reverse description | Diademed and draped bust of Cleopatra left. |
| Reverse script | Greek |
| Reverse lettering |
BACIΛICCA KΛEΟΠΑΤΡA (Translation: Queen Cleopatra) |
| Edge | |
| Mint | |
| Mintage |
ND (11-23) - - |
| Numisquare ID | 2767963850 |
| Additional information |
Historical Context: This silver denarius, struck in Mauretania (11-23 AD), commemorates the joint rule of King Juba II and Queen Cleopatra Selene. Juba II, an educated client king installed by Augustus, married Cleopatra Selene, daughter of Mark Antony and Cleopatra VII. Their strategic union solidified Roman influence in North Africa, creating a powerful client kingdom. Issued during the reigns of Augustus and Tiberius, this coin underscores Mauretania’s integration into the Roman imperial system, reflecting its adoption of Roman monetary standards and political allegiance.
Artistry: The artistic execution adheres to the prevailing Roman provincial style, heavily influenced by Augustan imperial portraiture. While engravers remain anonymous, designs typically feature idealized portraits of Juba II and Cleopatra Selene in a classical manner. Juba’s effigy often depicts him with a diadem, mirroring Roman imperial iconography, while Selene’s portrait emphasizes her regal lineage. The artistry conveyed their authority and close ties to the Roman imperial family, blending Hellenistic and Roman aesthetic elements.
Technical/Grading: Weighing 3.12 grams and measuring 17 millimeters, this silver denarius aligns with provincial standards of the era. For grading, key high-points on the obverse portraits include hair details, forehead, nose, and chin, alongside any intricate reverse features. While overall strike quality varies, examples from Mauretania under Juba II are generally well-executed. Minor flan imperfections or slight off-centering are not uncommon, but the fabric is typically solid with good silver content.