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 signed by Kimon circa 406-400, AR 17.36 g. Head of Arethusa facing three-quarters l., wearing pearl-shaped pendant and necklace over collier ornamented with pearls; hair flowing in loose tresses. Across her forehead ampyx upon which the signature K[IMΩ]N; around, three dolphins swimming among the locks and the snout of a fourth emerging l. from curls. In l. field, [ΣΩ] and above, outside the dotted border, [AΡEΘOΣA]. Rev. Fast quadriga driven l. by chiton clad charioteer, holding kentron and reins; above, Nike flying r., holding wreath to crown the charioteer; on the exergual line, KIMΩN. In exergue, ΣYPAKOΣIΩN / ear of barley l. Rizzo pl. XLVIII, 11 (this obverse die) and 10 (this reverse die). Jameson 822 (these dies). de Luynes 1226 (these dies). Boston, MFA 417 (these dies). Boehringer, SNR 57, 1978, pl. 31, 297 (these dies). Boehringer, Essays Thompson, pl. 38, 4 (these dies). Kraay-Hirmer pl. 45, 123 (this obverse die) and pl. 44, 122 (this reverse die). Cahn, Arethusa Soteira, 1b (these dies). Tudeer 80. Coins, Artists and Tyrants 80.
Extremely rare and in exceptional condition for the issue, undoubtedly one of the finest
specimens in existence. A portrait of enchanting beauty, the work of the most talented
and celebrated master engraver, struck in high relief on exceptionally fresh
metal. Minor area of weakness on reverse, otherwise
good extremely fine / extremely fine
From a Swiss collection. Privately purchased from Tkalec in 1995 and notarized as being in Switzerland in 2004.
Certainly among the most influential coinages of the ancient Greeks, this set of dies rank among Kimon's finest. The obverse offers an arresting portrait of the nymph Arethusa, whose placid countenance is a foil to the hive of activity that surrounds it (and to the energetic scene on the reverse). First to catch the viewer's attention is Arethusa's hair, which flows wildly in all directions, though not to the detriment of her appeal; indeed, the fact that is flows back permits an unobstructed view of her beauty. Four dolphins artfully intertwine with the strands of Arethusa's hair: one at the right is shown in full, one at the left is nearly full, and only the faces of the remaining two are shown, one at each side. Kimon imparts a "playful quality" to these dolphins - a naturalistic triumph considering that is one of the most endearing features of these sea mammals. Even the dotted border is of interest, as it restrains the expansive power of Arethusa's image. Perhaps most masterful of all, though, is how Kimon incorporates three inscriptions into the design. His signature appears on the ampyx that restrains the nymph's hair; her name, Arethusa, is creatively placed at the top outside the border; and an abbreviation for "saviour" is so cleverly hidden among the dolphins and the strands of hair at the left that it was not acknowledged until very recently (H. A. Cahn, "Arethusa Soteira", Essays in honour of Robert Carson and Kenneth Jenkins, 1993, pp. 5-6). The reverse is equally masterful: here we observe a quadriga in high action, viewed at a slight angle, which allowed the artist to demonstrate his ability to convey perspective. Here, it would seem, we have a momentary snapshot of a victorious team after the meta: the driver, with his firm grip on the reins and his command of the goad, is restraining the horses, which rear up and toss their heads in all directions. Clearly Kimon captured a moment when a driver performs an unconventional, but masterful action that catches his team by surprise, yet, was necessary to secure a victory, as symbolised by the crowning of the driver by Nike. We may note that the border is a thin, solid line that does not distract us from the powerful scene; Kimon even delights in allowing the hoofs of the lead horse to break through the border. The combination of the obverse depicting "Arethusa the Savior" and the reverse dedicated to a victorious charioteer, and the remarkable quality of the dies, earmarks this as a commemorative issue. As such, it has been associated with historical events, principally the defeat of the Athenian fleet at Syracuse in 413 B. C. and, perhaps more likely, the good fate of the Syracusans in the otherwise devastating invasion of Sicily by the Carthaginians from 406 to 405 B. C.
Tetradrachm signed by Kimon circa 406-400, AR 17.36 g. Head of Arethusa facing three-quarters l., wearing pearl-shaped pendant and necklace over collier ornamented with pearls; hair flowing in loose tresses. Across her forehead ampyx upon which the signature K[IMΩ]N; around, three dolphins swimming among the locks and the snout of a fourth emerging l. from curls. In l. field, [ΣΩ] and above, outside the dotted border, [AΡEΘOΣA]. Rev. Fast quadriga driven l. by chiton clad charioteer, holding kentron and reins; above, Nike flying r., holding wreath to crown the charioteer; on the exergual line, KIMΩN. In exergue, ΣYPAKOΣIΩN / ear of barley l. Rizzo pl. XLVIII, 11 (this obverse die) and 10 (this reverse die). Jameson 822 (these dies). de Luynes 1226 (these dies). Boston, MFA 417 (these dies). Boehringer, SNR 57, 1978, pl. 31, 297 (these dies). Boehringer, Essays Thompson, pl. 38, 4 (these dies). Kraay-Hirmer pl. 45, 123 (this obverse die) and pl. 44, 122 (this reverse die). Cahn, Arethusa Soteira, 1b (these dies). Tudeer 80. Coins, Artists and Tyrants 80.
Extremely rare and in exceptional condition for the issue, undoubtedly one of the finest
specimens in existence. A portrait of enchanting beauty, the work of the most talented
and celebrated master engraver, struck in high relief on exceptionally fresh
metal. Minor area of weakness on reverse, otherwise
good extremely fine / extremely fine
From a Swiss collection. Privately purchased from Tkalec in 1995 and notarized as being in Switzerland in 2004.
Certainly among the most influential coinages of the ancient Greeks, this set of dies rank among Kimon's finest. The obverse offers an arresting portrait of the nymph Arethusa, whose placid countenance is a foil to the hive of activity that surrounds it (and to the energetic scene on the reverse). First to catch the viewer's attention is Arethusa's hair, which flows wildly in all directions, though not to the detriment of her appeal; indeed, the fact that is flows back permits an unobstructed view of her beauty. Four dolphins artfully intertwine with the strands of Arethusa's hair: one at the right is shown in full, one at the left is nearly full, and only the faces of the remaining two are shown, one at each side. Kimon imparts a "playful quality" to these dolphins - a naturalistic triumph considering that is one of the most endearing features of these sea mammals. Even the dotted border is of interest, as it restrains the expansive power of Arethusa's image. Perhaps most masterful of all, though, is how Kimon incorporates three inscriptions into the design. His signature appears on the ampyx that restrains the nymph's hair; her name, Arethusa, is creatively placed at the top outside the border; and an abbreviation for "saviour" is so cleverly hidden among the dolphins and the strands of hair at the left that it was not acknowledged until very recently (H. A. Cahn, "Arethusa Soteira", Essays in honour of Robert Carson and Kenneth Jenkins, 1993, pp. 5-6). The reverse is equally masterful: here we observe a quadriga in high action, viewed at a slight angle, which allowed the artist to demonstrate his ability to convey perspective. Here, it would seem, we have a momentary snapshot of a victorious team after the meta: the driver, with his firm grip on the reins and his command of the goad, is restraining the horses, which rear up and toss their heads in all directions. Clearly Kimon captured a moment when a driver performs an unconventional, but masterful action that catches his team by surprise, yet, was necessary to secure a victory, as symbolised by the crowning of the driver by Nike. We may note that the border is a thin, solid line that does not distract us from the powerful scene; Kimon even delights in allowing the hoofs of the lead horse to break through the border. The combination of the obverse depicting "Arethusa the Savior" and the reverse dedicated to a victorious charioteer, and the remarkable quality of the dies, earmarks this as a commemorative issue. As such, it has been associated with historical events, principally the defeat of the Athenian fleet at Syracuse in 413 B. C. and, perhaps more likely, the good fate of the Syracusans in the otherwise devastating invasion of Sicily by the Carthaginians from 406 to 405 B. C.