Roma Numismatics Ltd
Auction X 27 September 2015
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Etruria, Populonia (or Pisae) AR 20 Units. Early 5th century BC. Amphora with blunt base set in elaborate stand, from the top of which emerges an Octopus, tentacles spread to either side, XX below, all within linear border. EC I, Pisae 1.5 (this coin): HN Italy 104 (Pisae?); Sambon 20. 22.55g, 29mm.
Good Very Fine. Extremely Rare; one of just five recorded examples, of which it is among the finest and the only one in private hands.
From the VCV Collection.
The tentative attribution to Pisae of the octopus/amphora series is based on Garrucci's statement (p. 49, 18) that two examples, first published by Bompois 1879, pl. 18, come from Pisa and that the name teuthìs or teuthòs, Greek for octopus, is similar to the ethnic Teuta-Teutones recorded by Pliny and Cato as the name of the first inhabitants of Italian Pisa. Subsequent provenances attested for in and around Pisa including Toscanelli 1933 (p. 369 note 2 ), Neppi-Modona 1953 (p. 30h and p. 42 k), Bruni 1993 (pp. 81-82), ASAT (p. 63), Tesei 1992 (p. 196), BTCGI XIII (pp. 597-598) and HN Italy (p. 30) only tentatively imply a Pisan provenance for the series.
The tentative attribution to Pisae of the octopus/amphora series is based on Garrucci's statement (p. 49, 18) that two examples, first published by Bompois 1879, pl. 18, come from Pisa and that the name teuthìs or teuthòs, Greek for octopus, is similar to the ethnic Teuta-Teutones recorded by Pliny and Cato as the name of the first inhabitants of Italian Pisa. Subsequent provenances attested for in and around Pisa include Toscanelli 1933 (p. 369 note 2 ), Neppi-Modona 1953 (p, 30h and p. 42 k), Bruni 1993 (pp. 81-82), ASAT (p. 63), Tesei 1992 (p. 196), BTCGI XIII (pp. 597-598) and HN Italy (p. 30) only tentatively imply a Pisan provenance for the series.
The design on this coin is impressive for its boldness and novelty, and at the same time highly enigmatic. Depicting an amphora on an elaborate (and probably weighted) stand intended to keep it upright when dropped from a boat into the sea, along with the top of the head of an octopus emerging from the opening with its tentacles splayed outwards on all sides, a quotidian fishing tool is transformed into a powerful sigil for the issuing authority. Along with the ubiquitous Gorgoneion, this type is emblematic of the Etruscan coinage series, though because of its extreme rarity few have ever seen one in hand and so it has for the most part been considered unobtainable by collectors and institutions alike. The elusive nature of the coin is matched by the obscurity of its significance; why the octopus motif occurs repeatedly on the coinage of Populonia is not known. It seems unlikely to be apotropaic in nature despite the qualities (some real, some imagined), attributed to octopodes by the ancients, since though it was known to be a dangerous, crafty and venomous animal, it was evidently also prized as a food source by the coastal Etruscans. The portrayal of the octopus in an amphora therefore suggests a usage similar to that of the crab of Akragas or the barley grain of Metapontum, which represented a prime local produce.
As a powerful marine predator it is tempting to visualise a connection between the recurrent octopus theme and Etruscan naval prowess. Aside from their extensive maritime trade connections, the Etruscans were also renowned for possessing a formidable navy - something which only the richest states could afford to construct, equip and maintain. Indeed, Herodotus credits the Etruscans with the invention of the rostrum - the bronze beak affixed to the prow of warships to ram enemy vessels. Until the 5th century BC the Etruscans had effectively dominated the Tyrrhenian Sea, and at the Battle of Alalia were strong enough to form a combined fleet of 120 warships with the Carthaginians to resist Greek encroachment and piracy.
The other principal types of the period - the Chimaera, the lion, the boar, and a marine lion-serpent monster - are clearly carefully chosen for their connotations of strength and intimidatory qualities. A simply mundane significance to this particular issue would therefore seem particularly incongruous. It thus seems highly likely that the ancient observer was intended to infer some deeper level of meaning from this motif, perhaps related to guile and ferocity in a marine context.
Good Very Fine. Extremely Rare; one of just five recorded examples, of which it is among the finest and the only one in private hands.
From the VCV Collection.
The tentative attribution to Pisae of the octopus/amphora series is based on Garrucci's statement (p. 49, 18) that two examples, first published by Bompois 1879, pl. 18, come from Pisa and that the name teuthìs or teuthòs, Greek for octopus, is similar to the ethnic Teuta-Teutones recorded by Pliny and Cato as the name of the first inhabitants of Italian Pisa. Subsequent provenances attested for in and around Pisa including Toscanelli 1933 (p. 369 note 2 ), Neppi-Modona 1953 (p. 30h and p. 42 k), Bruni 1993 (pp. 81-82), ASAT (p. 63), Tesei 1992 (p. 196), BTCGI XIII (pp. 597-598) and HN Italy (p. 30) only tentatively imply a Pisan provenance for the series.
The tentative attribution to Pisae of the octopus/amphora series is based on Garrucci's statement (p. 49, 18) that two examples, first published by Bompois 1879, pl. 18, come from Pisa and that the name teuthìs or teuthòs, Greek for octopus, is similar to the ethnic Teuta-Teutones recorded by Pliny and Cato as the name of the first inhabitants of Italian Pisa. Subsequent provenances attested for in and around Pisa include Toscanelli 1933 (p. 369 note 2 ), Neppi-Modona 1953 (p, 30h and p. 42 k), Bruni 1993 (pp. 81-82), ASAT (p. 63), Tesei 1992 (p. 196), BTCGI XIII (pp. 597-598) and HN Italy (p. 30) only tentatively imply a Pisan provenance for the series.
The design on this coin is impressive for its boldness and novelty, and at the same time highly enigmatic. Depicting an amphora on an elaborate (and probably weighted) stand intended to keep it upright when dropped from a boat into the sea, along with the top of the head of an octopus emerging from the opening with its tentacles splayed outwards on all sides, a quotidian fishing tool is transformed into a powerful sigil for the issuing authority. Along with the ubiquitous Gorgoneion, this type is emblematic of the Etruscan coinage series, though because of its extreme rarity few have ever seen one in hand and so it has for the most part been considered unobtainable by collectors and institutions alike. The elusive nature of the coin is matched by the obscurity of its significance; why the octopus motif occurs repeatedly on the coinage of Populonia is not known. It seems unlikely to be apotropaic in nature despite the qualities (some real, some imagined), attributed to octopodes by the ancients, since though it was known to be a dangerous, crafty and venomous animal, it was evidently also prized as a food source by the coastal Etruscans. The portrayal of the octopus in an amphora therefore suggests a usage similar to that of the crab of Akragas or the barley grain of Metapontum, which represented a prime local produce.
As a powerful marine predator it is tempting to visualise a connection between the recurrent octopus theme and Etruscan naval prowess. Aside from their extensive maritime trade connections, the Etruscans were also renowned for possessing a formidable navy - something which only the richest states could afford to construct, equip and maintain. Indeed, Herodotus credits the Etruscans with the invention of the rostrum - the bronze beak affixed to the prow of warships to ram enemy vessels. Until the 5th century BC the Etruscans had effectively dominated the Tyrrhenian Sea, and at the Battle of Alalia were strong enough to form a combined fleet of 120 warships with the Carthaginians to resist Greek encroachment and piracy.
The other principal types of the period - the Chimaera, the lion, the boar, and a marine lion-serpent monster - are clearly carefully chosen for their connotations of strength and intimidatory qualities. A simply mundane significance to this particular issue would therefore seem particularly incongruous. It thus seems highly likely that the ancient observer was intended to infer some deeper level of meaning from this motif, perhaps related to guile and ferocity in a marine context.