Numismatica Ars Classica
Auction 133 21 Nov 2022
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Greek Coins. Syracuse.
Tetradrachm signed by Kimon circa 413-399, AR 16.52 g. Head of Arethusa facing slightly to l., wearing earring, necklace and ampyx inscribed [KIMΩN]; her hair flows in long curls and from it emerges four dolphins. On l., at the edge of the flan, traces of APEΘOΣA. Rev. [ΣYPAK–OΣIΩN] Fast quadriga driven l. by charioteer holding kentron and reins; above, Nike flies r. to crown him. Beneath the two front horses an upturned column (meta) lies on the ground; in exergue, ear of barley. Rizzo pl. XLVIII, 11 (these dies). Dewing 846 (these dies). SNG ANS 288 (these dies). Tudeer 81. Kraay-Hirmer, pl. 45, 123 (these dies). Boehringer, Rekonstruktion des Schatzfundes von Ognina 1923', SNR 57, 1978, pl. 37, 298 (these dies). H. Cahn, Arethusa Soteira, in Essays Carson-Jenkins, fig. 1a (this obverse die). Coins, Artists and Tyrants 81.l (this coin).
Very rare. A portrait of enchanting beauty - the work of a talented master engraver.
Light old cabinet tone, reverse somewhat corroded and with traces of
overstriking, otherwise very fine / about very fine
Ex Sotheby's 5 December 1859, 354; Sotheby's 1 March 1889, 129; Rollin & Feuardent 9 May 1910, 219; Egger XXXIX,1912, Doubletten der Münzensammlungen des Allerhöchsten Kaiserhauses, 99 and New York XXVII, 2012, Prospero 179sales. Privately purchased from Spink & Son 22 January 1988.
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 it 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 it 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 Saviour" 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 413-399, AR 16.52 g. Head of Arethusa facing slightly to l., wearing earring, necklace and ampyx inscribed [KIMΩN]; her hair flows in long curls and from it emerges four dolphins. On l., at the edge of the flan, traces of APEΘOΣA. Rev. [ΣYPAK–OΣIΩN] Fast quadriga driven l. by charioteer holding kentron and reins; above, Nike flies r. to crown him. Beneath the two front horses an upturned column (meta) lies on the ground; in exergue, ear of barley. Rizzo pl. XLVIII, 11 (these dies). Dewing 846 (these dies). SNG ANS 288 (these dies). Tudeer 81. Kraay-Hirmer, pl. 45, 123 (these dies). Boehringer, Rekonstruktion des Schatzfundes von Ognina 1923', SNR 57, 1978, pl. 37, 298 (these dies). H. Cahn, Arethusa Soteira, in Essays Carson-Jenkins, fig. 1a (this obverse die). Coins, Artists and Tyrants 81.l (this coin).
Very rare. A portrait of enchanting beauty - the work of a talented master engraver.
Light old cabinet tone, reverse somewhat corroded and with traces of
overstriking, otherwise very fine / about very fine
Ex Sotheby's 5 December 1859, 354; Sotheby's 1 March 1889, 129; Rollin & Feuardent 9 May 1910, 219; Egger XXXIX,1912, Doubletten der Münzensammlungen des Allerhöchsten Kaiserhauses, 99 and New York XXVII, 2012, Prospero 179sales. Privately purchased from Spink & Son 22 January 1988.
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 it 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 it 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 Saviour" 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.