Numismatica Ars Classica
Auction 132 30-31 May 2022
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Syracuse
Tetradrachm signed by Kimon circa 405-400, AR 16.83 g. Head of nymph 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 on which the signature [KIMΩN]. Around three dolphins emerging from curls and a fourth swimming downwards; in l. field, ΣΩ. Above, outside dotted border, [APEΘOΣA]. Rev. ΣYPAK – [OΣIΩN] Fast quadriga driven l. by chiton-clad charioteer, holding kentron and reins; above, Nike floating r., holding wreath to crown the charioteer. Beneath the two further horses, an overset column (meta); in exergue, ear of barley l. Rizzo pl. XLVIII, 11 (these dies). SNG ANS 288 (these dies). Dewing 846 (these dies). AMB 473 (this reverse die). H. Cahn, Arethusa Soteira, in Essays Carson-Jenkins, 1 (this obverse die). Ognina hoard, SNR 57, 1978, pl. 31, 298 (these dies). Burlington Art exhibition 1904, 238 (this coin). Tudeer 81. Coins, Artists and Tyrants 81j.
Extremely rare. A magnificent portrait of masterly style struck on a very
broad flan. Superb old cabinet tone and very fine
Ex Sotheby, Wilkinson & Hodge 15 March 1897, 53 and Sotheby's 4 April 1973, Metropolitan, 238 sales. From the Ward and Mentor collections.
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.
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Tetradrachm signed by Kimon circa 405-400, AR 16.83 g. Head of nymph 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 on which the signature [KIMΩN]. Around three dolphins emerging from curls and a fourth swimming downwards; in l. field, ΣΩ. Above, outside dotted border, [APEΘOΣA]. Rev. ΣYPAK – [OΣIΩN] Fast quadriga driven l. by chiton-clad charioteer, holding kentron and reins; above, Nike floating r., holding wreath to crown the charioteer. Beneath the two further horses, an overset column (meta); in exergue, ear of barley l. Rizzo pl. XLVIII, 11 (these dies). SNG ANS 288 (these dies). Dewing 846 (these dies). AMB 473 (this reverse die). H. Cahn, Arethusa Soteira, in Essays Carson-Jenkins, 1 (this obverse die). Ognina hoard, SNR 57, 1978, pl. 31, 298 (these dies). Burlington Art exhibition 1904, 238 (this coin). Tudeer 81. Coins, Artists and Tyrants 81j.
Extremely rare. A magnificent portrait of masterly style struck on a very
broad flan. Superb old cabinet tone and very fine
Ex Sotheby, Wilkinson & Hodge 15 March 1897, 53 and Sotheby's 4 April 1973, Metropolitan, 238 sales. From the Ward and Mentor collections.
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.
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