Numismatica Ars Classica
Auction 138 18-19 May 2023
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Sicily, Agrigentum.
Tetradrachm signed by engraver Myron circa 410-406, AR 17.33 g. Fast quadriga driven r. by charioteer holding kentron and reins; above, Nike flying l., holding wreath and below, MYP. In exergue, Scylla r. Rev. [AKPAΓ – ANTINON] Two eagles, one raising head and screaming, the other with head lowered, both perched on dead hare which lies upon a rock; in l. field, cicada. BMC 54 (this coin). Seltman 2b (this coin). Rizzo pl. 2, 5 (this coin). Forrer, RBN 1905, p. 299 (this coin illustrated). Dewing 560 (these dies). SNG Lloyd 820 (these dies). Westermark, Akragas 584.1 (this coin illustrated).
Extremely rare and in exceptional condition for this important and fascinating issue
and the finest specimen in private hands. A coin of enchanting beauty, work of a
talented master engraver. Superb old cabinet tone and good extremely fine
Ex Hess-Leu sale 24 March 1959, 53. From the duplicates of the British Museum and Exceptional Collection assembled between the early 70s and late 90s.
This beautiful tetradrachm of Agrigentum belongs to the period of great artistic flowering in Sicily known as the age of the signing artists. This period was stimulated by a flood of silver into western Sicily taken as plunder by the Syracusans from their defeated Athenian besiegers in 413 BC. Much of this silver was coined as Syracusan tetradrachms and skilled artists experimented to inject new dynamism into their types. Taking pride in their work, these artists frequently signed their dies so that the mint and users of the finished coins would know who had engraved them. The more easterly city of Agrigentum closely followed the artistic developments at Syracuse, despite the fact that the two cities had a rocky relationship that broke out into open warfare in 461 BC and prevented Agrigentum from aiding Syracuse during the Athenian siege. Here the Agragantine artist who signed his name as Myr(on) has given his interpretation of the quadriga obverse type pioneered by Euainetos at Syracuse. However, in place of the trophy normally found in the exergue of Syracusan issues, the sea-monster Scylla appears on the Agrigentine tetradrachm. The dramatic reverse depicting two eagles triumphing over the body of their prey served as a badge for the city and is a brilliant study of nature executed with great artistic skill. It is somewhat remarkable that the engraver responsible did not also seek immortality and sign the die. While the tetradrachm is a great example of the high numismatic art of Sicily in the last decade of the fifth century BC, the impetus for its production is also a potent reminder of the petty rivalries and dangers that consumed the island's Greek cities in the same period. Due to ethnic hatreds, when the neighbouring city of Silenous was defeated by the Carthaginians in 410 BC, the Agrigentines did not lift a finger to aid the Selenuntines in their defence, although they did accept refugees when the Carthaginains sacked Silenous in the following year. Only too late, with the destruction of Silenous, did the Agrigentines realise that their city would be next on the Punic hit list and that little support would come to them from elsewhere. Faced with this prospect, attempts were made to repair the fortifications of Agrigentum and to hire mercenaries for defence-both of which required money like the present tetradrachm. When the Carthaginians returned in 406 BC, Agrigentum weathered a terrible siege of eight long months before the city finally fell. Many Agrigentines tried to flee to the cities of Gela and Leontini but were captured and put to the sword by the victorious Punic army. The Carthaginians remained at Agrigentum over the winter of 406/5 BC and then destroyed the city before taking ship back to their homes in north Africa.
Tetradrachm signed by engraver Myron circa 410-406, AR 17.33 g. Fast quadriga driven r. by charioteer holding kentron and reins; above, Nike flying l., holding wreath and below, MYP. In exergue, Scylla r. Rev. [AKPAΓ – ANTINON] Two eagles, one raising head and screaming, the other with head lowered, both perched on dead hare which lies upon a rock; in l. field, cicada. BMC 54 (this coin). Seltman 2b (this coin). Rizzo pl. 2, 5 (this coin). Forrer, RBN 1905, p. 299 (this coin illustrated). Dewing 560 (these dies). SNG Lloyd 820 (these dies). Westermark, Akragas 584.1 (this coin illustrated).
Extremely rare and in exceptional condition for this important and fascinating issue
and the finest specimen in private hands. A coin of enchanting beauty, work of a
talented master engraver. Superb old cabinet tone and good extremely fine
Ex Hess-Leu sale 24 March 1959, 53. From the duplicates of the British Museum and Exceptional Collection assembled between the early 70s and late 90s.
This beautiful tetradrachm of Agrigentum belongs to the period of great artistic flowering in Sicily known as the age of the signing artists. This period was stimulated by a flood of silver into western Sicily taken as plunder by the Syracusans from their defeated Athenian besiegers in 413 BC. Much of this silver was coined as Syracusan tetradrachms and skilled artists experimented to inject new dynamism into their types. Taking pride in their work, these artists frequently signed their dies so that the mint and users of the finished coins would know who had engraved them. The more easterly city of Agrigentum closely followed the artistic developments at Syracuse, despite the fact that the two cities had a rocky relationship that broke out into open warfare in 461 BC and prevented Agrigentum from aiding Syracuse during the Athenian siege. Here the Agragantine artist who signed his name as Myr(on) has given his interpretation of the quadriga obverse type pioneered by Euainetos at Syracuse. However, in place of the trophy normally found in the exergue of Syracusan issues, the sea-monster Scylla appears on the Agrigentine tetradrachm. The dramatic reverse depicting two eagles triumphing over the body of their prey served as a badge for the city and is a brilliant study of nature executed with great artistic skill. It is somewhat remarkable that the engraver responsible did not also seek immortality and sign the die. While the tetradrachm is a great example of the high numismatic art of Sicily in the last decade of the fifth century BC, the impetus for its production is also a potent reminder of the petty rivalries and dangers that consumed the island's Greek cities in the same period. Due to ethnic hatreds, when the neighbouring city of Silenous was defeated by the Carthaginians in 410 BC, the Agrigentines did not lift a finger to aid the Selenuntines in their defence, although they did accept refugees when the Carthaginains sacked Silenous in the following year. Only too late, with the destruction of Silenous, did the Agrigentines realise that their city would be next on the Punic hit list and that little support would come to them from elsewhere. Faced with this prospect, attempts were made to repair the fortifications of Agrigentum and to hire mercenaries for defence-both of which required money like the present tetradrachm. When the Carthaginians returned in 406 BC, Agrigentum weathered a terrible siege of eight long months before the city finally fell. Many Agrigentines tried to flee to the cities of Gela and Leontini but were captured and put to the sword by the victorious Punic army. The Carthaginians remained at Agrigentum over the winter of 406/5 BC and then destroyed the city before taking ship back to their homes in north Africa.