Roma Numismatics Ltd
Auction XIV 21 Sep 2017
View prices realized
► Sale information
Find similar lots
Mysia, Kyzikos EL Stater. Circa 500-450 BC. Double-bodied winged sphinx standing with head facing atop tunny fish to right, wearing ouraios, hair falling in plaited locks behind / Quadripartite incuse square. Von Fritze -, cf. 128 (hekte); Greenwell -, cf. 101 (hekte); SNG France -, cf. 280 (hekte); CNG inventory 925160. 15.88g, 22mm.
Extremely Fine. Extremely Rare; not more than a half-dozen examples known, and of these it is one of the best preserved and most complete.
The sphinx as a type recurs frequently on the coinage of Kyzikos and new types are still being discovered today (see lot 617), yet the double-bodied sphinx is certainly the most curious depiction of this mythological monster, and the reason for it being so is not easy to divine. Greenwell (p. 102), who was citing Cousinéry, proposed that it was simply an artistic device for showing the sphinx as seated facing, 'arising from the difficulty of depicting a figure in that position'.
This proposition appears plausible, until one considers that double-bodied owls are also engraved on coins at various cities including Athens, where they certainly had no problem with engraving a front-facing owl. More damning still for this simplistic view, the double-bodied sphinx appears also in statuary where again there is no logical reason to sculpt it so unless it possesses some significance - see in particular the limestone Tarentine column capital of the Corinthian order at the Metropolitan Museum, New York, and also the marble gravestone decorated with a loutrophoros supported by a double-bodied sphinx at the British Museum (both 4th century).
The concept of double-bodied monsters was an ancient one, and probably originated in ancient Sumeria, as they are seen on cylinder seals from this culture, and are repeated later on ancient Iranian goldwork. Here, the double-bodied monsters probably signified a dualistic nature that is easily adaptable and can be one thing or another, or a span between two distinct yet connected elements such as sunrise and sunset. Tom Rasmussen (Corinth and the Orientalising Phenomenon) proposes that the artistic portrayal of the sphinx as a double-bodied monster was first devised at Corinth, where it can be found on a Protocorinthian olpe vase, circa 640 BC, known as the Chigi olpe which is now in the Villa Giulia in Rome. This was likely the product of a blending of Greek and Eastern imagery, yet the result is wholly original; indeed Rasmussen points out that 'Greek Orientalising is rarely straight copying of Oriental'.
It has often been suggested that the electrum staters of Kyzikos take their types from a wide range of artistic sources across a broad geographical range, as might be expected for a city-state that relied almost entirely for its prosperity on being a commerce hub where east and west would meet and exchange wares and ideas. Whether or not Corinth was the origin of the double-bodied Sphinx, it is not surprising that such an intriguing motif should be adopted at Kyzikos.
Extremely Fine. Extremely Rare; not more than a half-dozen examples known, and of these it is one of the best preserved and most complete.
The sphinx as a type recurs frequently on the coinage of Kyzikos and new types are still being discovered today (see lot 617), yet the double-bodied sphinx is certainly the most curious depiction of this mythological monster, and the reason for it being so is not easy to divine. Greenwell (p. 102), who was citing Cousinéry, proposed that it was simply an artistic device for showing the sphinx as seated facing, 'arising from the difficulty of depicting a figure in that position'.
This proposition appears plausible, until one considers that double-bodied owls are also engraved on coins at various cities including Athens, where they certainly had no problem with engraving a front-facing owl. More damning still for this simplistic view, the double-bodied sphinx appears also in statuary where again there is no logical reason to sculpt it so unless it possesses some significance - see in particular the limestone Tarentine column capital of the Corinthian order at the Metropolitan Museum, New York, and also the marble gravestone decorated with a loutrophoros supported by a double-bodied sphinx at the British Museum (both 4th century).
The concept of double-bodied monsters was an ancient one, and probably originated in ancient Sumeria, as they are seen on cylinder seals from this culture, and are repeated later on ancient Iranian goldwork. Here, the double-bodied monsters probably signified a dualistic nature that is easily adaptable and can be one thing or another, or a span between two distinct yet connected elements such as sunrise and sunset. Tom Rasmussen (Corinth and the Orientalising Phenomenon) proposes that the artistic portrayal of the sphinx as a double-bodied monster was first devised at Corinth, where it can be found on a Protocorinthian olpe vase, circa 640 BC, known as the Chigi olpe which is now in the Villa Giulia in Rome. This was likely the product of a blending of Greek and Eastern imagery, yet the result is wholly original; indeed Rasmussen points out that 'Greek Orientalising is rarely straight copying of Oriental'.
It has often been suggested that the electrum staters of Kyzikos take their types from a wide range of artistic sources across a broad geographical range, as might be expected for a city-state that relied almost entirely for its prosperity on being a commerce hub where east and west would meet and exchange wares and ideas. Whether or not Corinth was the origin of the double-bodied Sphinx, it is not surprising that such an intriguing motif should be adopted at Kyzikos.