Roma Numismatics Ltd
Auction XXVII 22-23 Mar 2023
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Sicily, Syracuse AR Tetradrachm. Time of the Second Democracy, circa 415-405 BC. Obverse die signed by Eumenes and reverse die signed by Eukleidas. Charioteer, holding kentron in right hand and reins in both, driving fast quadriga to left; Nike above, flying to right, crowning charioteer with wreath; EYMENOY in exergue / Head of Arethusa to left, wearing double-pendant earring, hair bound by ampyx and net-like sphendone; below chin, diptych inscribed EYKΛEIΔA in two lines, ΣYPAKOΣIΩN and four dolphins around. Tudeer 24 (O9/R16); Boston MFA 402 = Warren 372 (same dies); SNG ANS 259 (same dies); BMC 193 (same dies); HGC 2, 1328. 17.18g, 27mm, 6h.
Near Extremely Fine; a bright, attractive example. Scarce; especially so in such condition.
Acquired from Nomos AG.
Described by Cicero as 'the greatest Greek city and the most beautiful of them all' (Against Verres, 2.4.52), Syracuse became the major power in Sicily during the late fifth century BC. Its political and cultural power is borne out in its enormous issues of undoubtedly some of the finest coinage in all of antiquity, with its influence attracting eminent artists, including some celebrated die-engravers from across the Mediterranean. These masters brought about a stylistic revolution, breathing life into the static, rigid forms of Archaic art and developing new ways of depicting motion and life on a miniature scale. These artists were responsible for tetradrachms of beautifully realistic style which were minted in vast quantities and widely disseminated and are now highly sought after by collectors.
Among these master engravers were Eumenes and Eukleidas, who worked contemporaneously and whose status as artists rather than mere craftsmen is symbolised by the act of signing their dies, just as painters would later sign their masterpieces. Intriguingly, Eukleidas' signature can be glimpsed on this example on a miniature folding diptych, an interesting element of materiality that appears to float in the sea with dolphins swimming about the graceful head of the sea-nymph Arethusa, her delicate classical features and serene expression beautifully complemented by her curls flowing wave-like away from her face. The impression of motion carries over to the obverse in a dramatic depiction of a chariot race. An iconic motif which had evolved from sober, canonical renderings inspired by Attic vase paintings, this dramatic engraving emphasises the thundering motion of the team of horses. We are afforded a wonderful view of the charioteer straining forwards, but while Eumenes' style powerfully engages the viewer in the race, the outcome is never in doubt: the presence of Nike, soaring in from above to crown the charioteer, shows victory is assured.
This victorious representation is particularly pertinent within the context of the events of the decade in which this specific type was produced, during which Syracuse saw off the great Sicilian Expedition of Athens and battled with Carthage in the Second Sicilian War. When the Athenians besieged Syracuse in 415-413 BC the Syracusans were able to successfully overcome the onslaught, however a more formidable in the form of Hannibal Mago would soon test Syracusan resolve when in 410 BC the Carthaginians renewed hostilities in Sicily. Having captured Selinos and Himera, Hannibal Mago turned his sights to the greatest prize, Syracuse. Dionysios I was forced to accept an uneasy peace treaty in 405 BC with Himilco, Hannibal Mago's successor, which marked an end to Syracusan influence in much of the rest of the island.
Near Extremely Fine; a bright, attractive example. Scarce; especially so in such condition.
Acquired from Nomos AG.
Described by Cicero as 'the greatest Greek city and the most beautiful of them all' (Against Verres, 2.4.52), Syracuse became the major power in Sicily during the late fifth century BC. Its political and cultural power is borne out in its enormous issues of undoubtedly some of the finest coinage in all of antiquity, with its influence attracting eminent artists, including some celebrated die-engravers from across the Mediterranean. These masters brought about a stylistic revolution, breathing life into the static, rigid forms of Archaic art and developing new ways of depicting motion and life on a miniature scale. These artists were responsible for tetradrachms of beautifully realistic style which were minted in vast quantities and widely disseminated and are now highly sought after by collectors.
Among these master engravers were Eumenes and Eukleidas, who worked contemporaneously and whose status as artists rather than mere craftsmen is symbolised by the act of signing their dies, just as painters would later sign their masterpieces. Intriguingly, Eukleidas' signature can be glimpsed on this example on a miniature folding diptych, an interesting element of materiality that appears to float in the sea with dolphins swimming about the graceful head of the sea-nymph Arethusa, her delicate classical features and serene expression beautifully complemented by her curls flowing wave-like away from her face. The impression of motion carries over to the obverse in a dramatic depiction of a chariot race. An iconic motif which had evolved from sober, canonical renderings inspired by Attic vase paintings, this dramatic engraving emphasises the thundering motion of the team of horses. We are afforded a wonderful view of the charioteer straining forwards, but while Eumenes' style powerfully engages the viewer in the race, the outcome is never in doubt: the presence of Nike, soaring in from above to crown the charioteer, shows victory is assured.
This victorious representation is particularly pertinent within the context of the events of the decade in which this specific type was produced, during which Syracuse saw off the great Sicilian Expedition of Athens and battled with Carthage in the Second Sicilian War. When the Athenians besieged Syracuse in 415-413 BC the Syracusans were able to successfully overcome the onslaught, however a more formidable in the form of Hannibal Mago would soon test Syracusan resolve when in 410 BC the Carthaginians renewed hostilities in Sicily. Having captured Selinos and Himera, Hannibal Mago turned his sights to the greatest prize, Syracuse. Dionysios I was forced to accept an uneasy peace treaty in 405 BC with Himilco, Hannibal Mago's successor, which marked an end to Syracusan influence in much of the rest of the island.