Gemini, LLC
Auction 11 12 January 2014
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Bruttium. Terina. 410-405 BC. Stater, 7.16g (5h). Obv: Head of nymph Terina right, hair in sphendone decorated with meander pattern, wearing necklace; artist's signature Π behind. Rx: Nike seated left with open wings on cippus, wearing chiton and himation; holding olive branch in right hand and resting left hand on cippus; artist's signature Π on cippus. Holloway & Jenkins 47. Regling 43 (this coin). Boston MFA 1955, 213 (this coin). HN Italy 2602. EF
Ex The New York Sale, Prospero Collection, 4 January 2012, lot 112. Ex M&M 54, 26 October 1978, lot 79. Ex Museum of Fine Arts Boston. Ex Sir E. Bunbury Collection, Sotheby 1896, lot 246. Ex Catherine Page Perkins Collection
Literature: Guide to the Catherine Page Perkins Collection of Greek and Roman Coins, Boston 1902, #35 (this coin) Terina, Kurt Regling, #43d (this coin), Berlin 1906 Catalogue of Greek Coins, Agnes Baldwin Brett, Boston 1955, #213 (this coin) From the preface of the 1902 MFA Boston Perkins Guide: "As evidence of the estimation in which certain of them are held by connoisseurs, it may be of interest to state that one coin now in this collection was sold at a London auction a few years ago for over $1500, and another, at a different sale, brought over $900. Figures like these show that the formation of a collection of first-rate Greek coins is no longer a simple or inexpensive matter" (Edward Robinson, Director of the Museum) From the Introduction of the 1902 MFA Boston Perkins Guide: "No, 35, Terina (Pl. I), recalling the style of the Nike Balustrade (see casts, Nos. 491-497); and No. 28 Croton (Pl. I), which seems to reproduce the 'Theseus' of the Parthenon (cast 410 C)." From the text of the 1902 MFA Boston Perkins Guide: "34-35 Terina, colonized from Croton 35 (Pl. I.) Nike (Victory) seated, holding an olive spray. This graceful and beautiful figure is among the finest creations of Greek coin-engraving. It is probably the work of the artist of the Pandosia stater, No. 32 (Pl. I). Compare the gem-like fineness of this coin with the similar but more sculpturesque and broadly treated coin of Elis, No. 355" The seated Nike is one of the most charming coin images from the late fifth century. Obviously the engraver Π "who clearly shows a sculptural tendency" (Jongkees) was well informed about avant-garde works of art. The informal, nonchalant posture of the goddess, the slightly rippling folds of her garments, all this shows features of the 'rich style' developed by Attic sculptors after the Parthenon sculptures had been finished in 432 BC. The closest parallels can be found among the reliefs of the Nike temple parapet, the famous one showing Nike fixing her sandal in particular. Known as the 'ornate style' in South Italian vase-painting, the 'rich style' was not confined to sculptures, but it barely has parallels among Greek coins. Here is one of the rare examples where a talented coin engraver was stimulated by the most innovative artists of the Attic school in other media. Of the 605 coins in the Perkins collection that Boston purchased in three sections in 1895,1897 and 1900 only 57 were illustrated in the plates. That is less than 10% and our Terina was one of them. This coin left the museum, not in the 1980 sale of Boston duplicates held by NFA but by private treaty. It was sold to Herbert Cahn of M&M Basel before 1978. Cahn was one of the most renowned numismatists of the last century who was known for his scholarship and great eye. Further attesting to the importance of this coin are the comments, already cited, by the probable author of the Perkins guide, Jacob Hirsch of Ars Classica fame, who anonymously wrote the de Sartiges catalogue in France in 1910, spoke perfect English and thus probably wrote the Perkins Guide. A coin of this artistic quality combined with rarity, condition and provenance rarely comes into the market. Only 14 coins are recorded by Regling for this unique reverse die. It is very unusual that a signed coin or any coin can be linked to a famous sculpture group and further to a famous sculpture. It seems likely that these dies were created by Polycrates who was the author of the Acragas decadrachm dies which date to around the same time
Ex The New York Sale, Prospero Collection, 4 January 2012, lot 112. Ex M&M 54, 26 October 1978, lot 79. Ex Museum of Fine Arts Boston. Ex Sir E. Bunbury Collection, Sotheby 1896, lot 246. Ex Catherine Page Perkins Collection
Literature: Guide to the Catherine Page Perkins Collection of Greek and Roman Coins, Boston 1902, #35 (this coin) Terina, Kurt Regling, #43d (this coin), Berlin 1906 Catalogue of Greek Coins, Agnes Baldwin Brett, Boston 1955, #213 (this coin) From the preface of the 1902 MFA Boston Perkins Guide: "As evidence of the estimation in which certain of them are held by connoisseurs, it may be of interest to state that one coin now in this collection was sold at a London auction a few years ago for over $1500, and another, at a different sale, brought over $900. Figures like these show that the formation of a collection of first-rate Greek coins is no longer a simple or inexpensive matter" (Edward Robinson, Director of the Museum) From the Introduction of the 1902 MFA Boston Perkins Guide: "No, 35, Terina (Pl. I), recalling the style of the Nike Balustrade (see casts, Nos. 491-497); and No. 28 Croton (Pl. I), which seems to reproduce the 'Theseus' of the Parthenon (cast 410 C)." From the text of the 1902 MFA Boston Perkins Guide: "34-35 Terina, colonized from Croton 35 (Pl. I.) Nike (Victory) seated, holding an olive spray. This graceful and beautiful figure is among the finest creations of Greek coin-engraving. It is probably the work of the artist of the Pandosia stater, No. 32 (Pl. I). Compare the gem-like fineness of this coin with the similar but more sculpturesque and broadly treated coin of Elis, No. 355" The seated Nike is one of the most charming coin images from the late fifth century. Obviously the engraver Π "who clearly shows a sculptural tendency" (Jongkees) was well informed about avant-garde works of art. The informal, nonchalant posture of the goddess, the slightly rippling folds of her garments, all this shows features of the 'rich style' developed by Attic sculptors after the Parthenon sculptures had been finished in 432 BC. The closest parallels can be found among the reliefs of the Nike temple parapet, the famous one showing Nike fixing her sandal in particular. Known as the 'ornate style' in South Italian vase-painting, the 'rich style' was not confined to sculptures, but it barely has parallels among Greek coins. Here is one of the rare examples where a talented coin engraver was stimulated by the most innovative artists of the Attic school in other media. Of the 605 coins in the Perkins collection that Boston purchased in three sections in 1895,1897 and 1900 only 57 were illustrated in the plates. That is less than 10% and our Terina was one of them. This coin left the museum, not in the 1980 sale of Boston duplicates held by NFA but by private treaty. It was sold to Herbert Cahn of M&M Basel before 1978. Cahn was one of the most renowned numismatists of the last century who was known for his scholarship and great eye. Further attesting to the importance of this coin are the comments, already cited, by the probable author of the Perkins guide, Jacob Hirsch of Ars Classica fame, who anonymously wrote the de Sartiges catalogue in France in 1910, spoke perfect English and thus probably wrote the Perkins Guide. A coin of this artistic quality combined with rarity, condition and provenance rarely comes into the market. Only 14 coins are recorded by Regling for this unique reverse die. It is very unusual that a signed coin or any coin can be linked to a famous sculpture group and further to a famous sculpture. It seems likely that these dies were created by Polycrates who was the author of the Acragas decadrachm dies which date to around the same time