Le più belle rappresentazioni di guerrieri

[King John]

Classical Numismatic Group, Inc.

Electronic Auction 171, lot 50, 22/08/2007

EGYPT, Alexandria. Hadrian. AD 117-138. Æ Drachm (33mm, 27.53 g). Dated RY 18 (AD 133/4). Laureate, draped and cuirassed bust right / Canopi of Isis and Osiris under canopic canopy; date across fields. Köln 1142; Milne 1430; Emmett 935. VF, brown and green patina, rough in spots but overall with very good detail.
The canopic jar gets its name for the port city of Canopus in the Delta. Kanopus was also the name of the pilot of Menelaos’s ship in The Iliad, and it is uncertain whether the city’s demotic name was hellenized to Canopus to reflect the Homeric myth, or whether Homer adopted the maritime name from the city. In any case the Egyptian god Osiris was worshiped in Canopus in the specific form of a jar or reliquary, and the name became attached by Egyptologists to the four jars used to hold the viscera of the mummified dead, as well as the cult objects associated with Osiris and Isis.

ILLUSTRAZIONE: VASI CANOPI.  I vasi canopi o canopici erano usati nell'Antico Egitto per conservare le viscere estratte dal cadavere durante la mummificazione e rappresentavano una costante caratteristica funebre egizia.

[King John]

Nomos, Auction 8, lot 116, 22/10/2013

GREEK COINS
Thessaly
Ainianes. Circa 360s-350s BC. Trihemidrachm or Stater (Silver, 22mm, 7.41 g 1), Hypata. Epikrates. Head of Athena Parthenos to right, wearing an Attic helmet adorned with Pegasos, tendril, and four horse protomes. Rev. AINIANΩN / EΠΥKΡA Phemios, as a slinger, nude but for chlamys over his shoulder and sword on baldric, standing facing, head turned to right, shooting his sling to right; behind him, two spears leaning against his right leg. BCD II, 41.1 ( this coin ). BMC 7. De Callataÿ 2004, 3. Darkly toned as found. Very fine. From a northern European collection and from the BCD Collection, Triton XV, 3 January 2012, 40.1, ex DNW 69, 15 March 2006, 1734.
Struck on the reduced Aiginetic standard - the larger silver coins struck in Greece during the 1st century BC are often on curious standards, basically related to the often low weight silver then circulating. They might all be best termed staters.

[King John]

Numismatica Ars Classica NAC AG, Auction 106, lot 1051, 9/05/2018

The Roman Empire 
Constantine I, 307 – 337. Medallion, Ticinum 315, AR 6.08 g. IMP CONSTANT – INVS P F AVG Cuirassed bust three-quarters facing, wearing high-crested helmet, holding horse by bridle with r. hand and reversed spear in l. Rev. SALVS REI – PVBLIC – AE Constantine I, draped, cuirassed, standing l. on platform, holding trophy across l. shoulder, crowned by Victory; before him, four soldiers with horses and three soldiers with shields; behind him, two soldiers, standing on either side of dais, each holding standard. C 484. RIC 36 (this obverse die). Alföldi pl. 4, 61 (this obverse die).
Of the highest rarity, apparently only the fourth and by far the finest specimen known.
An issue of tremendous importance and fascination with a portrait of enchanting
beauty, work of a very skilled master engraver and a finely detailed and
executed reverse composition. Struck on a very broad flan and with a
lovely old cabinet tone, minor area of weakness on reverse,
otherwise good extremely fine
This incredible medallion was struck for distribution as a military donative as part of the celebrations commemorating Constantine’s decennalia (10-year anniversary of his reign) in A.D. 315. It features what is arguably one of the most iconic, dramatic, and rare numismatic portraits of Constantine I. As with many special issues associated with the decennalia, the usual profile imperial portrait has been eschewed in favor of an arresting frontal portrait that seems to stare at the viewer. The ornate and flamboyantly crested helmet features the Chi-Rho – a monogram formed by the first two Greek letters in the name ”Christ.” According to Eusebius and Lactantius, this monogram appeared to Constantine in a vision before his final showdown with his rival, Maxentius, at the Milvian Bridge (A.D. 312). Advised that, ”in this sign he would conquer,” Constantine had the monogram painted on the shields of his soldiers and marched to victory and the prize of Rome. Eusebius further adds that later in life Constantine took to wearing a helmet with the Chi-Rho monogram emblazoned on it because it was felt that this monogram afforded him added divine protection in battle. The helmet depicted here must surely be the same as the one described by Eusebius. Its apotropaic powers were augmented still further after A.D. 326-328 with the addition of a crown made from a nail believed to be from the True Cross.
Constantine’s pose, holding a shield emblazoned with the wolf suckling Romulus and Remus and with his right hand leading a horse by the bridle, presents him as the master of Rome, which was a significant feature of the decennalia celebrations. Part of the festivities included the dedication of the Arch of Constantine in Rome to commemorate his victory over Maxentius three years earlier. Like the Chi-Rho on the helmet, the celebrations also put on public display Constantine’s Christian leanings. Although it had been expected that he would dedicate the arch with sacrifices to the traditional Roman gods, he refused to do so out of respect for the Christian God whose intervention won him the city. The portrait with horse and shield on this medallion also serves to advertise Constantine as the legitimate and unchallenged Augustus in the West. It closely mimics a similar portrait type used for gold medallions of Maximian I (Gnecchi 18), the western Augustus of Diocletian’s tetrarchic system, who also happened to be the father of the defeated Maxentius and the father-in-law of Constantine.
The reverse type may represent the occasion on which the medallion was given out, since Constantine appears standing on a dais with Victory surrounded by four infantrymen and four cavalrymen. What better way to preserve the SALVS REIPVBLICAE (”health of the state”) mentioned in the legend than by a distribution of valuable, attractive, and symbolically significant medallions to the commanders of the army?

ILLUSTRAZIONI: STATUA DI COSTANTINO DI FRONTE ALLA BASILICA DI SAN LORENZO (MILANO) E RICOSTRUZIONE DELL'ELMO DI COSTANTINO RAFFIGURATO AL DIRITTO DEL MEDAGLIONE QUI POSTATO

[King John]

Gemini, LLC, Auction VII, lot 183, 9/01/2011

Agathocles. 317-289 BC. AE 23, 9.24g. (h). SyracuseObv: ΣΥΡΑΚΟΣΙΩΝ Unbearded head of Herakles facing left, wearing diadem with a meniskos at the forehead. Behind, cornucopia (?). Dotted border. Rx: The Nemean lion striding to right. Above, club. Calciati I, p. 288, 150 Ds41. SNG ANS 735. SNG Morcom 768. Winterthur I 971. Mahogany-brown patina of extraordinary quality. EF.

ILLUSTRAZIONE: AGATOCLE, TIRANNO DI SIRACUSA, INCITA I SUOI SOLDATI

Modificato 17 Settembre, 2018 da King John

[King John]

Heritage Auctions, Inc., Auction 3044, lot 31007, 3/01/2016

SICILY. Syracuse. Agathocles (317-289 BC). AR tetradrachm (26mm, 17.01 gm, 12h). Struck ca. 310/08-306/5 BC. ΚΟΡΑΣ, wreathed head of Kore ("maiden") right, wearing single-pendant earring and necklace / [ΑΓΑΘΟΚΛΕΙΣ], Nike standing right, half draped, erecting trophy of helmet, cuirass and shield on post; to left, triskeles; between Nike an trophy, AIK monogram. Ierardi 98 (O20/R59). Gulbenkian 334 (same rev. die). Kraay-Hirmer 137 (same reverse die). Sharply struck from dies of particularly charming style. Exceptional metal quality, with considerable original luster. NGC Choice AU★ 5/5 - 5/5. Fine Style. From the Northern California Collection. This beautiful tetradrachm falls into the first series of coins struck in the name of Agathocles, who ruled Syracuse as a military strongman or "tyrant" and later styled himself "King of Sicily." In many ways he was a western counterpart to the Hellenistic rulers who carved up Alexander the Great's vast empire to the east. The son of a simple potter, he joined the army and rose through the ranks to become a strategos, or general. Ambitious, audacious and unscrupulous, he was banished for attempting to overthrow the democratic government of Syracuse, but returned in 317 BC leading an army of mercenaries, seized the city, and banished or murdered all of his opponents. War with Carthage followed; with Syracuse under siege, he staged a daring attack on the African hinterlands of Carthage that turned the tide of war in his favor. Though ultimately defeated in Africa, Agathocles returned to Sicily strengthened and was able to conclude a treaty with Carthage on favorable terms. The Kore tetradrachms were struck following an impressive victory over Carthaginian forces outside the gates of Sicily in 310 BC. The reverse, depicting Nike erecting a trophy, proved highly influential and was widely copied by other Greek kingdoms and the Romans for centuries to come. The coins are found in two main varieties based on the engraving style, termed "Sicilian" and "African," although both were probably struck in Syracuse. This piece is an exemplar of the finest Sicilian style, with a lovely head of Kore and a lush figure of Nike, clearly the work of a master engraver.

ILLUSTRAZIONE: L'ASSEDIO ATENIESE DI SIRACUSA (414 A.C.)

[eracle62]

8 ore fa, King John dice:

Numismatica Ars Classica NAC AG, Auction 106, lot 1051, 9/05/2018

The Roman Empire 
Constantine I, 307 – 337. Medallion, Ticinum 315, AR 6.08 g. IMP CONSTANT – INVS P F AVG Cuirassed bust three-quarters facing, wearing high-crested helmet, holding horse by bridle with r. hand and reversed spear in l. Rev. SALVS REI – PVBLIC – AE Constantine I, draped, cuirassed, standing l. on platform, holding trophy across l. shoulder, crowned by Victory; before him, four soldiers with horses and three soldiers with shields; behind him, two soldiers, standing on either side of dais, each holding standard. C 484. RIC 36 (this obverse die). Alföldi pl. 4, 61 (this obverse die).
Of the highest rarity, apparently only the fourth and by far the finest specimen known.
An issue of tremendous importance and fascination with a portrait of enchanting
beauty, work of a very skilled master engraver and a finely detailed and
executed reverse composition. Struck on a very broad flan and with a
lovely old cabinet tone, minor area of weakness on reverse,
otherwise good extremely fine
This incredible medallion was struck for distribution as a military donative as part of the celebrations commemorating Constantine’s decennalia (10-year anniversary of his reign) in A.D. 315. It features what is arguably one of the most iconic, dramatic, and rare numismatic portraits of Constantine I. As with many special issues associated with the decennalia, the usual profile imperial portrait has been eschewed in favor of an arresting frontal portrait that seems to stare at the viewer. The ornate and flamboyantly crested helmet features the Chi-Rho – a monogram formed by the first two Greek letters in the name ”Christ.” According to Eusebius and Lactantius, this monogram appeared to Constantine in a vision before his final showdown with his rival, Maxentius, at the Milvian Bridge (A.D. 312). Advised that, ”in this sign he would conquer,” Constantine had the monogram painted on the shields of his soldiers and marched to victory and the prize of Rome. Eusebius further adds that later in life Constantine took to wearing a helmet with the Chi-Rho monogram emblazoned on it because it was felt that this monogram afforded him added divine protection in battle. The helmet depicted here must surely be the same as the one described by Eusebius. Its apotropaic powers were augmented still further after A.D. 326-328 with the addition of a crown made from a nail believed to be from the True Cross.
Constantine’s pose, holding a shield emblazoned with the wolf suckling Romulus and Remus and with his right hand leading a horse by the bridle, presents him as the master of Rome, which was a significant feature of the decennalia celebrations. Part of the festivities included the dedication of the Arch of Constantine in Rome to commemorate his victory over Maxentius three years earlier. Like the Chi-Rho on the helmet, the celebrations also put on public display Constantine’s Christian leanings. Although it had been expected that he would dedicate the arch with sacrifices to the traditional Roman gods, he refused to do so out of respect for the Christian God whose intervention won him the city. The portrait with horse and shield on this medallion also serves to advertise Constantine as the legitimate and unchallenged Augustus in the West. It closely mimics a similar portrait type used for gold medallions of Maximian I (Gnecchi 18), the western Augustus of Diocletian’s tetrarchic system, who also happened to be the father of the defeated Maxentius and the father-in-law of Constantine.
The reverse type may represent the occasion on which the medallion was given out, since Constantine appears standing on a dais with Victory surrounded by four infantrymen and four cavalrymen. What better way to preserve the SALVS REIPVBLICAE (”health of the state”) mentioned in the legend than by a distribution of valuable, attractive, and symbolically significant medallions to the commanders of the army?

ILLUSTRAZIONI: STATUA DI COSTANTINO DI FRONTE ALLA BASILICA DI SAN LORENZO (MILANO) E RICOSTRUZIONE DELL'ELMO DI COSTANTINO RAFFIGURATO AL DIRITTO DEL MEDAGLIONE QUI POSTATO

Costantino per quello che rappresenta e il contributo che ha dato, un medaglione che urla, e la sua statua che mi appare quasi tutti i giorni d'innanzi passando per la basilica di San Lorenzo, e infine per questo luogo le colonne di San lorenzo, dove abitualmente passavo le mie giornate da adolescente...

[eracle62]

2 ore fa, King John dice:

Heritage Auctions, Inc., Auction 3044, lot 31007, 3/01/2016

SICILY. Syracuse. Agathocles (317-289 BC). AR tetradrachm (26mm, 17.01 gm, 12h). Struck ca. 310/08-306/5 BC. ΚΟΡΑΣ, wreathed head of Kore ("maiden") right, wearing single-pendant earring and necklace / [ΑΓΑΘΟΚΛΕΙΣ], Nike standing right, half draped, erecting trophy of helmet, cuirass and shield on post; to left, triskeles; between Nike an trophy, AIK monogram. Ierardi 98 (O20/R59). Gulbenkian 334 (same rev. die). Kraay-Hirmer 137 (same reverse die). Sharply struck from dies of particularly charming style. Exceptional metal quality, with considerable original luster. NGC Choice AU★ 5/5 - 5/5. Fine Style. From the Northern California Collection. This beautiful tetradrachm falls into the first series of coins struck in the name of Agathocles, who ruled Syracuse as a military strongman or "tyrant" and later styled himself "King of Sicily." In many ways he was a western counterpart to the Hellenistic rulers who carved up Alexander the Great's vast empire to the east. The son of a simple potter, he joined the army and rose through the ranks to become a strategos, or general. Ambitious, audacious and unscrupulous, he was banished for attempting to overthrow the democratic government of Syracuse, but returned in 317 BC leading an army of mercenaries, seized the city, and banished or murdered all of his opponents. War with Carthage followed; with Syracuse under siege, he staged a daring attack on the African hinterlands of Carthage that turned the tide of war in his favor. Though ultimately defeated in Africa, Agathocles returned to Sicily strengthened and was able to conclude a treaty with Carthage on favorable terms. The Kore tetradrachms were struck following an impressive victory over Carthaginian forces outside the gates of Sicily in 310 BC. The reverse, depicting Nike erecting a trophy, proved highly influential and was widely copied by other Greek kingdoms and the Romans for centuries to come. The coins are found in two main varieties based on the engraving style, termed "Sicilian" and "African," although both were probably struck in Syracuse. This piece is an exemplar of the finest Sicilian style, with a lovely head of Kore and a lush figure of Nike, clearly the work of a master engraver.

ILLUSTRAZIONE: L'ASSEDIO ATENIESE DI SIRACUSA (414 A.C.)

E poi questo tondello che non si può non omaggiare, una tetradracma dalla sublime incisione..

[King John]

Fritz Rudolf Künker GmbH & Co. KG  Auction 71, lot 575, 12/03/2002

RöMISCHE MüNZEN

MüNZEN DER RöMISCHEN REPUBLIK
No.: 575
Schätzpreis-Estimation: EUR 150,-
AR-Denar, 82 v. Chr., Rom, C. Mamilius Limetanus; 4,13 g. Mercurbüste r., über der Schulter Caduceus//Odysseus geht r. mit Stab, davor steht sein Hund Argus l. Bab. 6; BMC 2720; Crawf. 362/1; Syd. 741.
R Stempelfrisches Prachtexemplar
Exemplar der Auktionen Lanz 48, 1989, Nr. 477 und Lanz 34, 1984, Nr. 364. Die Rückseite stellt den Augenblick dar, als Odysseus von seinen Irrfahrten nach Ithaka heimkehrend von seinem alten Hund Argus erkannt wird. Die Familie Mamilia behauptete von Telegonus, dem Sohn des Odysseus und der Circe abzustammen.

 

ILLUSTRAZIONE: IL CANE ARGO RICONOSCE ULISSE (DI SEGUITO IL RELATIVO, BELLISSIMO PASSO DELL'ODISSEA)

 

Odissea, libro XVII, versi 290-329, traduzione di Salvatore Quasimodo Mentre questo dicevano tra loro, un cane  che stava lì disteso, alzò il capo e le orecchie.  Era Argo, il cane di Odisseo, che un tempo  egli stesso allevò e mai poté godere nelle cacce,  perchè assai presto partì l'eroe per la sacra Ilio.  Già contro i cervi e le lepri e le capre selvatiche  lo spingevano i giovani; ma ora, lontano dal padrone,  giaceva abbandonato sul letame di buoi e muli  che presso le porte della reggia era raccolto,  fin quando i servi lo portavano sui campi  a fecondare il vasto podere di Odisseo.  E là Argo giaceva tutto pieno di zecche.  E quando Odisseo gli fu vicino, ecco agitò la coda  e lasciò ricadere la orecchie; ma ora non poteva  accostarsi di più al suo padrone. E Odisseo  volse altrove lo sguardo e s'asciugò una lacrima  senza farsi vedere da Euméo; e poi così diceva:  " Certo è strano , Euméo, che un cane come questo  si lasci abbandonato sul letame. Bello è di forme;  ma non so se un giorno, oltre che bello, era anche veloce  nella corsa, o non era che un cane da convito,  di quelli che i padroni allevano solo per il fasto ".  E a lui, così rispondevi, Euméo, guardiano di porci:  " Questo è il cane d'un uomo che morì lontano.  Se ora fosse di forme e di bravura  come, partendo per Troia, lo lasciò Odisseo,  lo vedresti con meraviglia così veloce e forte.  Mai una fiera sfuggiva nel folto della selva  quando la cacciava, seguendone abile le orme.  Ma ora infelice patisce. Lontano dalla patria  è morto il suo Odisseo; e le ancelle, indolenti,  non si curano di lui. Di malavoglia lavorano i servi  senza il comando dei padroni, poi che Zeus  che vede ogni cosa, leva a un uomo metà del suo valore,  se il giorno della schiavitù lo coglie ".  Così disse, ed entrò nella reggia incontro ai proci.  E Argo, che aveva visto Odisseo dopo vent'anni,  ecco, fu preso dal Fato della nera morte.

Modificato 18 Settembre, 2018 da King John

[dabbene]

Anche Argo, la fantastica storia di un cane coniato su una moneta ..bellissimo per chi ama poi i cani ...

A 100 pagine mi raccomando festicciola per la discussione e i suoi follower ?

[King John]

Solidus Numismatik, Auction 2, lot 12, 18/05/2014

IMITATIONEN GRIECHISCHER UND RÖMISCHER MÜNZEN.

Nachahmung einer Prägung der Römischen Republik. Denar. Ungesicherte Münzstätte. 1. Jhdt. v. Chr.
Vs: Kopf des Apollo rechts, dahinter C.
Rs: C MANIL - [ … ]AN. Männliche Gestalt (Odysseus) mit spitzer Kappe und Stab nach rechts schreitend.
Zum Vorbild vgl. Cr. 494/34 (Avers) und Cr. 362/1 (Revers).
Sehr schön.
Sehr selten.3,28 g   19 mm

ILLUSTRAZIONE: POLIFEMO ACCECATO SCAGLIA MASSI A MARE PER TENTARE DI AFFONDARE LA NAVE DI ULISSE

[King John]

Dr. Busso Peus Nachfolger,  

Auction 374, lot 295, 23/04/2003

RÖMISCHE MÜNZEN (ROMAN COINS) 

-Republikanische Prägungen    295.
L. Mamilius. As 189/180 v. Chr. Januskopf / Odysseus auf Prora. Cr. 149, 1a; Syd. 369. 23.13 g. Rotgrüne Patina, Sehr selten Prüfhiebe am Rand, sehr schön
Schätzung (estimation): 250,-- EUR

ILLUSTRAZIONE: ULISSE ASCOLTA IL CANTO DELLE SIRENE LEGATO AL PALO DELLA SUA NAVE (DA UN VASO DEL V SECOLO A.C.)

Odissea, libro XI:

Dapprima arriverai dalle Sirene che incantano tutti gli uomini, chiunque giunga da loro. Se uno, cioè, senza sapere si avvicina e ascolta la voce delle Sirene, non gli si fa più incontro la moglie al suo ritorno a casa, non gli fanno festa i teneri figli, ma le Sirene là lo affascinano con il canto melodioso, sedendo nel prato. E in giro c'è un grande mucchio d'ossa di uomini che imputridiscono gli si disfa e consuma la pelle dattorno. Ma tu passa oltre spalma sulle orecchie dei compagni, ammorbidendola, la cera dolce come il miele, perché nessuno degli altri deve udire. Tu invece ascolta pure se vuoi, ma ti leghino nella nave le mani e i piedi, stando là diritto alla base dell'albero, e a questo restino allacciate le funi. Così potrai ascoltare con viva gioia la voce delle due Sirene. E se tu preghi i compagni e gli ordini di scioglierti, essi allora ti leghino ancora di più con le corde. E quando i compagni avranno spinto la nave oltre le Sirene, qui non ti voglio più dire con precisione quale sarà la tua strada, ma decidi da te.

 

[King John]

Roma Numismatics Limited, E-Sale 21, lot 248, 31/10/2015

Ionia, uncertain mint. EL 1/12 Stater. Circa 5th Century BC. Siren standing right, holding tympanon (tambourine) / Bukranion with fillets hanging from each horn. Rosen 369. 1.00g, 7mm, 10h.

Good Very Fine. Extremely Rare, only the sixth recorded specimen.
From the Doliones Collection
This type, which is known from just five examples including the current piece, was encountered for the first time in only 1957 when a specimen appeared for sale at the Hess-Leu auction in Lucerne on April 16 of that year. That piece, lot 271, now resides in Oxford. Two further examples were sold by Münzen & Medaillen, one on 6 October 1987 (lot 131), which was the Rosen specimen. Jeffrey Spier inexplicably wrote (Numismatic Chronicle 1988, p.221) that that example was ‘gold rather than electrum’, though it is clearly not. Another was sold on 22 March 2002 (lot 72); the last example was sold at The New York Sale 25 on 5 January 2011 (lot 97). All were heavily worn and/or incomplete. The current piece is the only known example in this grade.
The mythical Sirens are best known to us from two ancient epics: the ‘Argonautica’ by Apollonios in which Jason and the Argonauts have to travel pass them on their quest for the Golden Fleece, and Homer’s ‘Odyssey’, where they are portrayed as a pair of dangerous creatures that lure passing sailors to their deaths with their sweet music (Odyssey XII, 40). They are supposed to have inhabited an island with a particularly rocky shoreline onto which sailors would be drawn by their desire to hear the Sirens sing, leading to shipwreck. Speaking to Odysseus and warning him of the dangers he would encounter further into his journey, Queen Circe describes the Sirens as sitting in a meadow, with around them “a great heap of bones of mouldering men” (XII, 45).
Although later depicted as women with wings, feathery tails and scaly bird-like feet, and eventually as mermaids, whose bodies were as seductive as their voices, depictions of the Sirens in early Greek art were as they appear on this coin, combining the body of a bird with the head of a woman, as can be seen on the ‘Siren Vase’, now in the British Museum, decorated in c. 480-470 BC and roughly contemporaneous with this coin.

ILLUSTRAZIONE: "ULISSE E LE SIRENE, OLIO SU TELA DI JOHN WILLIAM WATERHOUSE (1891)

[King John]

Heritage Auctions, Auction 3064, lot 30133, 20/04/2018

IONIA. Phocaea. Ca. 477-388 BC. EL sixth stater or hecte (9mm, 2.51 gm). NGC AU★ 4/5 - 4/5. Siren (with human female head and bird body) standing left, seal above / Quadripartite incuse square. Bodenstedt 61. Extremely rare, with only one other specimen to have been offered at auction in recent years!

Sirens, the mythical offspring of the river-god Alpheus and several of the Muses, are described by ancient mythmakers as birds with the heads of female humans, whose beautiful singing voices that drew sailors to their deaths. The most famous episode involving Sirens is undoubtedly found in the Odyssey, whence Odysseus stops up the ears of his crew with wax and has himself lashed to the ship's mast so that only he can hear their deadly song. An early myth suggests sirens received their wings when Demeter sent them off to search for her daughter Persephone.
HID02901242017

 

Modificato 19 Settembre, 2018 da King John

[King John]

Roma Numismatics Limited, Auction 15, lot 217, 5/04/2018

Mysia, Kyzikos EL Stater. Circa 550-500 BC. Winged siren standing to left, holding tunny fish by the tail / Quadripartite incuse square. Von Fritze 74, pl. II 29 (these dies); cf. SNG France 203 (Hekte); Boston 1441 (these dies). 16.08g, 19mm.

Good Very Fine. Very Rare, and among the finest known specimens. Only a half dozen examples auctioned in the past 15 years.
From the A.F. Collection, Germany.
The mythical Sirens are best known to us from two ancient epics: the 'Argonautica' by Apollonios in which Jason and the Argonauts have to travel past them on their quest for the Golden Fleece, and Homer's 'Odyssey', where they are portrayed as a pair of dangerous creatures that lure passing sailors to their deaths with their sweet music (Odyssey XII 40). They are supposed to have inhabited an island with a particularly rocky shoreline onto which sailors would be drawn by their desire to hear the Sirens sing, leading to shipwreck. Speaking to Odysseus and warning him of the dangers he would encounter further into his journey, Queen Circe describes the Sirens as sitting in a meadow, with around them 'a great heap of bones of mouldering men' (XII, 45).

 

[dabbene]

Spettacolare a dir poco, moneta del 550 a.c. con incuso in elettro, tra le prime coniate in assoluto, con una iconografia così, una sirena con in mano un pesce , rimango sbalordito dalla perfezione e dalla simbologia di Monete così ...

[King John]

 

Anche Argo, la fantastica storia di un cane coniato su una moneta ..bellissimo per chi ama poi i cani ...

A 100 pagine mi raccomando festicciola per la discussione e i suoi follower ?

 

[eracle62]

 

Roma Numismatics Limited, E-Sale 21, lot 248, 31/10/2015

 

Ionia, uncertain mint. EL 1/12 Stater. Circa 5th Century BC. Siren standing right, holding tympanon (tambourine) / Bukranion with fillets hanging from each horn. Rosen 369. 1.00g, 7mm, 10h.

Good Very Fine. Extremely Rare, only the sixth recorded specimen.
From the Doliones Collection
This type, which is known from just five examples including the current piece, was encountered for the first time in only 1957 when a specimen appeared for sale at the Hess-Leu auction in Lucerne on April 16 of that year. That piece, lot 271, now resides in Oxford. Two further examples were sold by Münzen & Medaillen, one on 6 October 1987 (lot 131), which was the Rosen specimen. Jeffrey Spier inexplicably wrote (Numismatic Chronicle 1988, p.221) that that example was ‘gold rather than electrum’, though it is clearly not. Another was sold on 22 March 2002 (lot 72); the last example was sold at The New York Sale 25 on 5 January 2011 (lot 97). All were heavily worn and/or incomplete. The current piece is the only known example in this grade.
The mythical Sirens are best known to us from two ancient epics: the ‘Argonautica’ by Apollonios in which Jason and the Argonauts have to travel pass them on their quest for the Golden Fleece, and Homer’s ‘Odyssey’, where they are portrayed as a pair of dangerous creatures that lure passing sailors to their deaths with their sweet music (Odyssey XII, 40). They are supposed to have inhabited an island with a particularly rocky shoreline onto which sailors would be drawn by their desire to hear the Sirens sing, leading to shipwreck. Speaking to Odysseus and warning him of the dangers he would encounter further into his journey, Queen Circe describes the Sirens as sitting in a meadow, with around them “a great heap of bones of mouldering men” (XII, 45).
Although later depicted as women with wings, feathery tails and scaly bird-like feet, and eventually as mermaids, whose bodies were as seductive as their voices, depictions of the Sirens in early Greek art were as they appear on this coin, combining the body of a bird with the head of a woman, as can be seen on the ‘Siren Vase’, now in the British Museum, decorated in c. 480-470 BC and roughly contemporaneous with this coin.

ILLUSTRAZIONE: "ULISSE E LE SIRENE, OLIO SU TELA DI JOHN WILLIAM WATERHOUSE (1891)

Beh più animato di cosi questo tondello si sentono le sirene di brutto...

[eracle62]

 

Heritage Auctions, Inc.

 

aUCTION 3064, LOT 30133, 20/04/2018

IONIA. Phocaea. Ca. 477-388 BC. EL sixth stater or hecte (9mm, 2.51 gm). NGC AU★ 4/5 - 4/5. Siren (with human female head and bird body) standing left, seal above / Quadripartite incuse square. Bodenstedt 61. Extremely rare, with only one other specimen to have been offered at auction in recent years!

Sirens, the mythical offspring of the river-god Alpheus and several of the Muses, are described by ancient mythmakers as birds with the heads of female humans, whose beautiful singing voices that drew sailors to their deaths. The most famous episode involving Sirens is undoubtedly found in the Odyssey, whence Odysseus stops up the ears of his crew with wax and has himself lashed to the ship's mast so that only he can hear their deadly song. An early myth suggests sirens received their wings when Demeter sent them off to search for her daughter Persephone.
HID02901242017

 

 

 

Anche questo tondello si muove, vola, e canta libero...

Questo è uno statere spettacolare, per tanti aspetti e non solo simbolici..

[King John]

Savoca Numismatik, Live Online Auction 10, lot 26, 16/10/2016

Bruttium. Skylletion 344-336 BC.
Litra Æ
20mm., 6,89g.
Male head left, wearing wreathed pileus / Skylla left, holding club (or oar?) over left arm.
good very fine
SNG ANS 800 (Skylletium in Bruttium); Calciati III pg. 319, 1; SNG Copenhagen 1992 (Skylletium); SNG Morcom 878; Laffaille -; Virzi 457 (Skylletium)
Skylletion (ΣΚΥΛΛΗΤΙΟΝ,) according to a tradition, was founded by an Athenian colony, a part of the followers, who had accompanied Menestheus to the Trojan War. Another tradition was, however, extant, which ascribed its foundation to Ulysses. But no historical value can be attached to such statements, and there is no trace in historical times of Scylletium having been a Greek colony, still less an Athenian one. Its name is not mentioned either by Scylax or Scymnus Chius (Greek geographer) in enumerating the Greek cities in this part of Italy, nor is there any allusion to its Athenian origin in Thucydides at the time of the Athenian expedition to Sicily.

Illustrazione: Scilla raffigurata su un cratere greco conservato al Louvre.

.

[King John]

Classical Numismatic Group, Auction 105, lot 202, 10/05/2017

MYSIA, Kyzikos. Circa 450-330 BC. EL Stater (15.5mm, 15.97 g). Nude hero (Herakles or Jason?), wearing conical hat, holding club in right hand, animal skin draped over left arm, kneeling right on tunny right / Quadripartite incuse square. Von Fritze I 167; Greenwell 68; Boston MFA –; SNG BN –; BMC 71; Gillet –; Gulbenkian 637; Jameson 2200 = Pozzi 2185; Myrmekion 45–51; Rosen –; Weber –. VF.

The identification of the hero on the obverse of this issue is uncertain. In older references he was identified as Herakles, but this was based on examples on which the conical hat was not visible. The use of this headgear makes it unlikely that it is Herakles that is depicted here. As an alternative, Jameson suggested the hero Jason, in which case the animal skin would be the Golden Fleece. That hero's hat, though, is traditionally depicted as a much more broad-rimmed device (see, e.g., AGCG 374), unlike the narrow hat on this issue. Most modern references simply refer to the figure as a hero

ILLUSTRAZIONE: GLI ARGONAUTI GUIDATI DA GIASONE

Gli Argonauti erano degli eroi che, imbarcati sulla nave Argo, parteciparono al seguito di Giasone al viaggio dalla Grecia alla Colchide, sulle estreme rive del Mar Nero, per la conquista del vello d’oro. Giasone fu spinto alla pericolosa impresa da Pelia – usurpatore del trono di Esone, padre di Giasone, a Iolco in Tessaglia – che aveva avuto dall’oracolo una predizione di morte per mano di Giasone. I principali fra i 55 Argonauti, oltre a Giasone, furono Acasto, Anceo, Anfiarao, Calai, Castore, Echione, Eracle, Erito, Eufemo, Ida, Ifito, Ila, Linceo, Meleagro, Oileo, Peleo, Piritoo, Polluce, Polifemo, Telamone, Zete e i vati Orfeo, Mopso, Idmone; Eracle, capo designato dell’impresa, rinunziò a favore di Giasone. Partiti da Pagase, gli Argonauti indugiarono a Lemno con le donne dell’isola che avevano fatto strage dei loro uomini. Indotti da Eracle a riprendere il viaggio, dopo molte avventure, giunsero nella Colchide a Ea, la città del re Eeta, custode del vello, del quale Giasone si impadronì con l’aiuto di Medea, la figlia del re innamoratasi di lui. Partendo dalla Colchide, gli Argonauti furono seguiti da Medea che uccise e gettò a brani dalla nave il suo fratellino Absirto per far ritardare i Colchi che la inseguivano. Gli Argonauti per l’Istro giunsero all’Eridano, di qui al Rodano, poi al mare Ausonio; solo dopo aver toccato l’Italia e le Sirti libiche raggiunsero la terra di origine e il porto di Pagase. La leggenda, formatasi sui racconti dei più antichi viaggi greci verso il Mar Nero, si arricchì di infinite tradizioni locali e di particolari novellistici ed ebbe numerosi riflessi anche nelle arti figurative. Nella forma più completa è narrata dal poema in 4 libri Le Argonautiche(᾿Αργοναυτικά) di Apollonio Rodio. Ma già prima se ne ha menzione in Omero e più particolarmente in Esiodo, nel ciclo e spesso nella lirica (cfr. Pindaro, Pitica IV); in seguito ne trattarono i poeti ellenistici (per es. Teocrito negli Idilli 13 e 22), poi gli storici e i mitografi fino alle tarde Argonautiche orfiche. Tra gli scrittori latini il mito è trattato specialmente nelle Argonautiche, in 8 libri, di Valerio Flacco (Treccani.it).

 

 

Modificato 19 Settembre, 2018 da King John

[King John]

Nomos, Auction 4, lot 1312, 10/05/2011

Coins of Thessaly, the BCD Collection
Pherai
Alexander. Tyrant, 369-358 BC. Hemidrachm (Silver, 2.94 g 9). Youthful head of Jason to left, wearing petasos. Rev. ALEXA - NDREION Horse's hoof and lower leg to right. Traité IV, 617, pl. CCXCIV, 18 ( same dies? ). Extremely rare. Well centered and well struck in high relief, very lightly toned and remarkably attractive. Good extremely fine. A note from BCD : Undoubtedly the best of the few known, a coin of magical appeal. The more I looked at it over the years, the more enchanted I became by its beauty. Without intending to exaggerate I would say that it is as close to perfection as any classical Greek coin can be.

ILLUSTRAZIONE: GLI ARGONAUTI, CRATERE A CAMPANA OPERA DEL PITTORE DEGLI ARGONAUTI (400-380 A.C.)

 

[King John]

Roma Numismatics Limited, Auction 2, lot 468, 2/10/2011

C. Hosidius C. f. Geta AR Denarius. Rome, 68 BC. Diademed and draped bust of Diana right, bow and quiver on shoulder; GETA before; III•VIR behind / Wild boar of Calydon right, pierced by arrow and attacked by dog; C•HOSIDI C•F in exergue. Sydenham 903; Crawford 407/2. 3.87g, 18mm, 7h.

Good Extremely Fine. Lovely old cabinet tone.
King Oenus of Calydon, an ancient city of western Greece, north of the Gulf of Patras, held annual harvest sacrifices to the gods on the sacred hill. One year the king forgot to include Diana in his offerings. Insulted, she loosed the biggest, most ferocious boar imaginable on the countryside of Calydon. It rampaged throughout the land, destroying vineyards and crops, forcing people to take refuge inside the city walls, where they began to starve.
Oeneus sent out messengers to look for the best hunters in Greece, offering them the boar’s pelt and tusks as a prize. Among those who responded were some of the Argonauts, Oeneus’ own son Meleager, and, remarkably for the Hunt’s eventual success, one woman - the huntress Atalanta, the “indomitable”, who had been suckled by Artemis as a she-bear and raised as a huntress.
Many of the men refused to hunt alongside a woman, but it was the smitten Meleager who convinced them. Nonetheless it was Atalanta who first succeeded in wounding the boar with an arrow, although Meleager finished it off, and offered the prize to Atalanta, who had drawn first blood. But the sons of Thestios, the uncles of Meleager, who considered it disgraceful that a woman should get the trophy where men were involved, took the skin from her, saying that it was properly theirs by right of birth, if Meleager chose not to accept it. Outraged by this, He slew the sons of Thestios and again gave the skin to Atalanta. It had been prophesied at Meleager’s birth that he would only live until a brand, burning in the family hearth, was consumed by fire. So his mother Althaea, overhearing, doused and hid the brand. Upon now hearing that Meleager had slain his uncles, her brothers, she took the fatal brand from the chest where she had kept it for so many years and threw it once more on the fire; as it was consumed, Meleager died on the spot, as the Fates had foretold. Thus did Diana achieve her revenge against King Oeneus.

ILLUSTRAZIONE: DETTAGLIO DI UN SARCOFAGO ROMANO CHE RAFFIGURA L'EROE MELEAGRO CHE CACCIA IL CINGHIALE MENTRE DIANA STA ALLA SUA SINISTRA (MUSEI CAPITOLINI, ROMA)

Meleagro era figlio di Eneo, signore di Calidone (o di Ares) e di Altea; uccise un terribile cinghiale mandato da Artemide, offesa perché Eneo non aveva sacrificato in suo onore. Nella contesa sorta fra Etoli e Cureti per la pelle della belva, gli Etoli vinsero finché furono aiutati da Meleagro ed ebbero la peggio quando egli si ritirò, sdegnato per la maledizione di Altea, cui egli aveva ucciso involontariamente i fratelli; riprese la lotta per le suppliche della moglie Cleopatra e salvò gli Etoli, ma non ritornò più dalla battaglia. Secondo Bacchilide, Altea, irata per la morte dei fratelli, gettò nel fuoco il tizzone, che lei custodiva dalla nascita e da cui secondo gli avvertimenti delle Moire dipendeva la vita di Meleagro, sicché questi morì subito. Euripide, in una tragedia Meleagro di cui abbiamo frammenti, introdusse Atalanta fra i cacciatori del cinghiale calidonio e inventò il motivo dell’amore di Meleagro per lei (Treccani.it).

[dabbene]

Leggenda tra amore e morte, sentimenti e dolore, animali, divinità, il tutto con arte e sempre monete come testimoni del tutto, quasi da film, bellissima la moneta tra l’altro ...

[King John]

Numismatica Ars Classica NAC AG, Auction 72, lot 1488, 16/05/2013

The Roman Empire
Gaius, 37-41
Bronze, Ilium Troadis 37, 10.86 g. Confronting heads of Gaius, laureate and Augustus, radiate Rev. Statue of Athena between confronting busts of Roma and Senate. Bellinger, Troy, T120. RPC 2312. Very rare. Green patina and good very fine Ex Lanz sale 121, 2004, 320.

 

[eracle62]

 

Classical Numismatic Group, Auction 105, lot 202, 10/05/2017

• MYSIA, Kyzikos. Circa 450-330 BC. EL Stater (15.5mm, 15.97 g). Nude hero (Herakles or Jason?), wearing conical hat, holding club in right hand, animal skin draped over left arm, kneeling right on tunny right / Quadripartite incuse square. Von Fritze I 167; Greenwell 68; Boston MFA –; SNG BN –; BMC 71; Gillet –; Gulbenkian 637; Jameson 2200 = Pozzi 2185; Myrmekion 45–51; Rosen –; Weber –. VF.

The identification of the hero on the obverse of this issue is uncertain. In older references he was identified as Herakles, but this was based on examples on which the conical hat was not visible. The use of this headgear makes it unlikely that it is Herakles that is depicted here. As an alternative, Jameson suggested the hero Jason, in which case the animal skin would be the Golden Fleece. That hero's hat, though, is traditionally depicted as a much more broad-rimmed device (see, e.g., AGCG 374), unlike the narrow hat on this issue. Most modern references simply refer to the figure as a hero

ILLUSTRAZIONE: GLI ARGONAUTI GUIDATI DA GIASONE

Gli Argonauti erano degli eroi che, imbarcati sulla nave Argo, parteciparono al seguito di Giasone al viaggio dalla Grecia alla Colchide, sulle estreme rive del Mar Nero, per la conquista del vello d’oro. Giasone fu spinto alla pericolosa impresa da Pelia – usurpatore del trono di Esone, padre di Giasone, a Iolco in Tessaglia – che aveva avuto dall’oracolo una predizione di morte per mano di Giasone. I principali fra i 55 Argonauti, oltre a Giasone, furono Acasto, Anceo, Anfiarao, Calai, Castore, Echione, Eracle, Erito, Eufemo, Ida, Ifito, Ila, Linceo, Meleagro, Oileo, Peleo, Piritoo, Polluce, Polifemo, Telamone, Zete e i vati Orfeo, Mopso, Idmone; Eracle, capo designato dell’impresa, rinunziò a favore di Giasone. Partiti da Pagase, gli Argonauti indugiarono a Lemno con le donne dell’isola che avevano fatto strage dei loro uomini. Indotti da Eracle a riprendere il viaggio, dopo molte avventure, giunsero nella Colchide a Ea, la città del re Eeta, custode del vello, del quale Giasone si impadronì con l’aiuto di Medea, la figlia del re innamoratasi di lui. Partendo dalla Colchide, gli Argonauti furono seguiti da Medea che uccise e gettò a brani dalla nave il suo fratellino Absirto per far ritardare i Colchi che la inseguivano. Gli Argonauti per l’Istro giunsero all’Eridano, di qui al Rodano, poi al mare Ausonio; solo dopo aver toccato l’Italia e le Sirti libiche raggiunsero la terra di origine e il porto di Pagase. La leggenda, formatasi sui racconti dei più antichi viaggi greci verso il Mar Nero, si arricchì di infinite tradizioni locali e di particolari novellistici ed ebbe numerosi riflessi anche nelle arti figurative. Nella forma più completa è narrata dal poema in 4 libri Le Argonautiche(᾿Αργοναυτικά) di Apollonio Rodio. Ma già prima se ne ha menzione in Omero e più particolarmente in Esiodo, nel ciclo e spesso nella lirica (cfr. Pindaro, Pitica IV); in seguito ne trattarono i poeti ellenistici (per es. Teocrito negli Idilli 13 e 22), poi gli storici e i mitografi fino alle tarde Argonautiche orfiche. Tra gli scrittori latini il mito è trattato specialmente nelle Argonautiche, in 8 libri, di Valerio Flacco (Treccani.it).

 

 

 

 

Questa questa ovviamente da argonauta non potevo esimermi..

Altro statere degno di nota. forse più Giasone sul tondello..io sono più bello..