Numismatica Ars Classica
Auction 116 1 Oct 2019
View prices realized
► Sale information
Find similar lots
Syracuse
Tetradrachm signed by Euainetos and Eukleidas circa 413-405, AR 17.30 g. Fast quadriga driven r. by charioteer holding reins and kentron. Above, Nike flying l., carrying in one hand a wreath to crown him; EYAINETO on exergue line and in exergue, wheel. Rev. [ΣΥΡΑΚΟΣΙOΣ] Head of Arethusa l., wearing ampyx, sphendone, earring and necklace; on the sphendone, swan and EVKΛEI. Around, four dolphins. Gillet 617 (this coin). Gulbenkian 276 (these dies). SNG ANS 266 (these dies). Tudeer 37. Coins, Artists, and Tyrants 37f (this coin).
Very rare. A portrait of Arethusa of masterly style, the work of one of the most
celebrated master engravers. Wonderful old cabinet tone, an unobtrusive die
break on obverse, otherwise extremely fine
Ex Leu/M&M 28 May 1974, Kunstfreud, 118 and Triton IV, 2000, 104 sales. From the Charles Gillet collection.
It is generally agreed that the golden age of Syracusan numismatic art falls into the decades immediately following the crushing defeat of the Sicilian Expedition (415-413 BC) dispatched by Athens in the hope of conquering Syracuse. This flowering of the engraver's art at this time may have been due in large part to the plunder taken from the Athenians, which was subsequently coined for Syracusan use. Just as the metal of the coins produced in this period represented the triumph of Syracusan arms over the Athenians so too did the high artistry advertise a triumph of spirit. In this period, Syracusan die engravers experimented with the traditional quadriga and Arethusa types of their city to come up with new and vibrant creations, and, filled with pride in their work, frequently signed their dies. The present tetradrachm, signed by the artists Euainetos and Eukleidas, represents one of the very best examples of the engraver's art in this generally sublime period of coin artistry. The quadriga is given a new and dramatic appearance as it hurtles across the obverse and the broken wheels of hapless contenders lie in the exergue. The high Classical perfection of Arethusa's rendering is likewise breathtaking as is the quality of her preservation.
Tetradrachm signed by Euainetos and Eukleidas circa 413-405, AR 17.30 g. Fast quadriga driven r. by charioteer holding reins and kentron. Above, Nike flying l., carrying in one hand a wreath to crown him; EYAINETO on exergue line and in exergue, wheel. Rev. [ΣΥΡΑΚΟΣΙOΣ] Head of Arethusa l., wearing ampyx, sphendone, earring and necklace; on the sphendone, swan and EVKΛEI. Around, four dolphins. Gillet 617 (this coin). Gulbenkian 276 (these dies). SNG ANS 266 (these dies). Tudeer 37. Coins, Artists, and Tyrants 37f (this coin).
Very rare. A portrait of Arethusa of masterly style, the work of one of the most
celebrated master engravers. Wonderful old cabinet tone, an unobtrusive die
break on obverse, otherwise extremely fine
Ex Leu/M&M 28 May 1974, Kunstfreud, 118 and Triton IV, 2000, 104 sales. From the Charles Gillet collection.
It is generally agreed that the golden age of Syracusan numismatic art falls into the decades immediately following the crushing defeat of the Sicilian Expedition (415-413 BC) dispatched by Athens in the hope of conquering Syracuse. This flowering of the engraver's art at this time may have been due in large part to the plunder taken from the Athenians, which was subsequently coined for Syracusan use. Just as the metal of the coins produced in this period represented the triumph of Syracusan arms over the Athenians so too did the high artistry advertise a triumph of spirit. In this period, Syracusan die engravers experimented with the traditional quadriga and Arethusa types of their city to come up with new and vibrant creations, and, filled with pride in their work, frequently signed their dies. The present tetradrachm, signed by the artists Euainetos and Eukleidas, represents one of the very best examples of the engraver's art in this generally sublime period of coin artistry. The quadriga is given a new and dramatic appearance as it hurtles across the obverse and the broken wheels of hapless contenders lie in the exergue. The high Classical perfection of Arethusa's rendering is likewise breathtaking as is the quality of her preservation.