Numismatica Ars Classica
Auction 120 6-7 Oct 2020
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A Very Important Series of Coins of Syracuse mostly from a Distinguished European Collector
Tetradrachm circa 460-450, AR 17.31 g. Slow quadriga r. on exergual line, driven by charioteer standing, holding reins and kentron; above, Nike flying r. and crowning horses; in exergue, sea-serpent r. Rev. ΣΥΡΑΚ – ΟΣ – Ι – Ο – [Ν] Head of the nymph Arethusa r., wearing diadem of pearls, circular earring, and necklace of pearls; around, four dolphins swimming clockwise. McCLean 2654 (this reverse die). de Nanteuil 333 (this reverse die). SNG Copenhagen 642 (this reverse die). Boehringer 476.
Struck on exceptionally fresh metal and with a superb iridescent tone, an
unobtrusive flan crack on obverse, otherwise good extremely fine
Ex Leu 36, 1985, 63 and Tkalec & Rauch 16-17 1987, 47 sales. Privately purchased from Spink & Son in November 1989.
The tetradrachms of Syracuse underwent a subtle stylistic evolution in the second quarter of the 5th Century B.C.; the compact Arethusa head of the massive issue of the late 480s was transformed into one with a longer, thinner profile. A defining design element on the tetradrachms of this period is the ketos (pistrix), a sea-serpent that appears beneath the chariot scene. It was introduced during the reign of Hieron (478-466 B.C.) and outlasted the Deinomenid house, for it also was used under the democratic government that followed. The meaning of this sea-serpent is debated, though it is often thought to represent Syracusan naval power following the defeat of the Etruscan fleet off the coast of Cumae in 474 B.C. This tetradrachm was struck with masterful dies. The head of the divinity is serene and ideally proportioned, with her hair neatly arranged; her diadem curves over her ear and captures the end of her hair, which is pulled up and contained. Her bust is framed by the pearls or beads of her diadem and her necklace, which offer a contrasting texture to that of her hair and face. Equally impressive is the great size of the dolphins and horses, which give them a robust, lively appearance. Though the treatment of the chariot and Arethusa are distinctive in their details and composition, the 'severity' of the style is reminiscent of the 'Demaretion Master' issues, which belong to the early part of this period. The transitional window to which this coin belongs was regrettably short, and soon afterward the portraits often become ill-proportioned, brutish and generally unappealing. Fortunately, by 450 B.C. or soon after, Syracusan coinage entered another inventive phase defined by signed masterpieces with varied treatments of Arethusa and innovative presentations of the quadriga scene.
Tetradrachm circa 460-450, AR 17.31 g. Slow quadriga r. on exergual line, driven by charioteer standing, holding reins and kentron; above, Nike flying r. and crowning horses; in exergue, sea-serpent r. Rev. ΣΥΡΑΚ – ΟΣ – Ι – Ο – [Ν] Head of the nymph Arethusa r., wearing diadem of pearls, circular earring, and necklace of pearls; around, four dolphins swimming clockwise. McCLean 2654 (this reverse die). de Nanteuil 333 (this reverse die). SNG Copenhagen 642 (this reverse die). Boehringer 476.
Struck on exceptionally fresh metal and with a superb iridescent tone, an
unobtrusive flan crack on obverse, otherwise good extremely fine
Ex Leu 36, 1985, 63 and Tkalec & Rauch 16-17 1987, 47 sales. Privately purchased from Spink & Son in November 1989.
The tetradrachms of Syracuse underwent a subtle stylistic evolution in the second quarter of the 5th Century B.C.; the compact Arethusa head of the massive issue of the late 480s was transformed into one with a longer, thinner profile. A defining design element on the tetradrachms of this period is the ketos (pistrix), a sea-serpent that appears beneath the chariot scene. It was introduced during the reign of Hieron (478-466 B.C.) and outlasted the Deinomenid house, for it also was used under the democratic government that followed. The meaning of this sea-serpent is debated, though it is often thought to represent Syracusan naval power following the defeat of the Etruscan fleet off the coast of Cumae in 474 B.C. This tetradrachm was struck with masterful dies. The head of the divinity is serene and ideally proportioned, with her hair neatly arranged; her diadem curves over her ear and captures the end of her hair, which is pulled up and contained. Her bust is framed by the pearls or beads of her diadem and her necklace, which offer a contrasting texture to that of her hair and face. Equally impressive is the great size of the dolphins and horses, which give them a robust, lively appearance. Though the treatment of the chariot and Arethusa are distinctive in their details and composition, the 'severity' of the style is reminiscent of the 'Demaretion Master' issues, which belong to the early part of this period. The transitional window to which this coin belongs was regrettably short, and soon afterward the portraits often become ill-proportioned, brutish and generally unappealing. Fortunately, by 450 B.C. or soon after, Syracusan coinage entered another inventive phase defined by signed masterpieces with varied treatments of Arethusa and innovative presentations of the quadriga scene.