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AR Stater 525-480 v. Chr. MACEDONIA (MACEDON), BERGE - circa 525-480 BC cf. Künker Auktion 376, Lot 4425 (in xf € 40.000 + 25%)
Munthandel G.Henzen 
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cf. Künker Auktion 376, Lot 4425 (in xf € 40.000 + 25%) | Abkürzungen
18,00 mm
weight 9,89gr. | silver Ø 18mm.
Early anepipraphic coinage.
Previously identified as either Lete or Siris.
obv. Bearded satyr, nude and ithyphallic, standing right, grasping hand of
nymph fleeing right, looking back, pellet to left, right, above and between them
rev. Rough incuse square divided diagonally
The satyr and nymph type is one of the more widely occurring designs in early Thraco-Macedonian region. Variations of this type were used at mints from Berge to the north-west of Amphipolis to Thasos in the southeast. Similarly, tribes in this region - the Dionysioi, Laiai, Letai, Orreskii, Pernaioi, and Zaielioi - also used this type. They often included their respective ethnic, although some of these tribes replace the satyr with a centaur. Based on the positioning of the figures, there are two major divisions of the satyr-nymph type. The first group, struck primarily at Thasos, shows the nymph held in the arms of the satryr, who carries her off to the right. The other group, struck primarily at Berge, shows the nymph confronted by the satyr. In both cases the appearance of the figures is largely the same: the satyr is presented nude and ithyphallic, while the nymph is dressed in a long chiton with the skirt divided into many long strands. The only stylistic difference between the groups is the appearance of the lower body of the satyr. On the first group, the satyr has the normal legs and feet of a man, while on the second group, in addition to a tail, the satyr has the legs and hooves of a goat. Overall, the artistic style of the scene is wonderfully archaic, and evident not only in the posture of the figures, but also in its minute details. While most of the mints ceased production after about 480/470 BC, Thasos continued to use the type for some time, allowing the scene to transition through an "archaized" phase, and finally taking on a lovely early Classical style by the time production of the type ended there circa 404 BC.
The satyr/centaur and nymph type represents a common theme in Greek mythology: the juxtaposition of the wildly monstrous and sexually-charged with the human. Kraay′s view (ACGC pp. 148-9) that the coins where the satyr and nymph are both standing show the nymph seducing the satyr, while the coins where the nymph is in the satyr′s arms show the nymph is protesting her being carried off, is contradicted by a close inspection of the coins themselves. In similar scenes of this event depicted elsewhere, the satyr clearly manhandles the nymph, forcibly grasping one of her arms, while the nymph appears in a posture of apparent flight (see, e.g., HPM pl. VII-VIII). Clearly, in both scenes the nymph is protesting the actions of the satyr or centaur, who, in the role of the wild, libidinous creature that he is, is seizing the nymph for his own purposes, driven by his sexual arousal.
Although traditionally assigned to Lete or Siris, S. Psoma reassigned this wonderful series to Berge in what later became the Thasian Peraia. The coins contain the satyr and nymph motive, a highly sexually charged design showing the ferocious and aroused satyr abusing the mannered nymph. Such images of wilderness clashing with civilization were especially popular in frontier regions such as the Thraco-Macedonian coast, where Greek apoikiai came into close contact with the native ′barbarian′ tribes.
cf. Künker Auktion 376, Lot 4425 (in xf € 40.000 + 25%)
cf. Leu, Auktion 10, Lot 2034 (in xf SFR 38.000 + 22%)
cf. Nomos, Auction 25, Lot 81 (in xf SFR 140.000 + 22,5%)
AMNG III, p.68, no.5 (Pl.XIV.20) HPM pl. VIII, 3 | SNG ANS 950
cf. Babelon, Traité 1571 | cf. Svoronos Pl.VII, no.8
cf. BMC 4-6 | cf. SNG.Copenhagen 187 | cf. Weber collection 1829
McClean 3089var. | cf. HGC 3, no. 531 (all as Lete).
vf
Early anepipraphic coinage.
Previously identified as either Lete or Siris.
obv. Bearded satyr, nude and ithyphallic, standing right, grasping hand of
nymph fleeing right, looking back, pellet to left, right, above and between them
rev. Rough incuse square divided diagonally
The satyr and nymph type is one of the more widely occurring designs in early Thraco-Macedonian region. Variations of this type were used at mints from Berge to the north-west of Amphipolis to Thasos in the southeast. Similarly, tribes in this region - the Dionysioi, Laiai, Letai, Orreskii, Pernaioi, and Zaielioi - also used this type. They often included their respective ethnic, although some of these tribes replace the satyr with a centaur. Based on the positioning of the figures, there are two major divisions of the satyr-nymph type. The first group, struck primarily at Thasos, shows the nymph held in the arms of the satryr, who carries her off to the right. The other group, struck primarily at Berge, shows the nymph confronted by the satyr. In both cases the appearance of the figures is largely the same: the satyr is presented nude and ithyphallic, while the nymph is dressed in a long chiton with the skirt divided into many long strands. The only stylistic difference between the groups is the appearance of the lower body of the satyr. On the first group, the satyr has the normal legs and feet of a man, while on the second group, in addition to a tail, the satyr has the legs and hooves of a goat. Overall, the artistic style of the scene is wonderfully archaic, and evident not only in the posture of the figures, but also in its minute details. While most of the mints ceased production after about 480/470 BC, Thasos continued to use the type for some time, allowing the scene to transition through an "archaized" phase, and finally taking on a lovely early Classical style by the time production of the type ended there circa 404 BC.
The satyr/centaur and nymph type represents a common theme in Greek mythology: the juxtaposition of the wildly monstrous and sexually-charged with the human. Kraay′s view (ACGC pp. 148-9) that the coins where the satyr and nymph are both standing show the nymph seducing the satyr, while the coins where the nymph is in the satyr′s arms show the nymph is protesting her being carried off, is contradicted by a close inspection of the coins themselves. In similar scenes of this event depicted elsewhere, the satyr clearly manhandles the nymph, forcibly grasping one of her arms, while the nymph appears in a posture of apparent flight (see, e.g., HPM pl. VII-VIII). Clearly, in both scenes the nymph is protesting the actions of the satyr or centaur, who, in the role of the wild, libidinous creature that he is, is seizing the nymph for his own purposes, driven by his sexual arousal.
Although traditionally assigned to Lete or Siris, S. Psoma reassigned this wonderful series to Berge in what later became the Thasian Peraia. The coins contain the satyr and nymph motive, a highly sexually charged design showing the ferocious and aroused satyr abusing the mannered nymph. Such images of wilderness clashing with civilization were especially popular in frontier regions such as the Thraco-Macedonian coast, where Greek apoikiai came into close contact with the native ′barbarian′ tribes.
cf. Künker Auktion 376, Lot 4425 (in xf € 40.000 + 25%)
cf. Leu, Auktion 10, Lot 2034 (in xf SFR 38.000 + 22%)
cf. Nomos, Auction 25, Lot 81 (in xf SFR 140.000 + 22,5%)
AMNG III, p.68, no.5 (Pl.XIV.20) HPM pl. VIII, 3 | SNG ANS 950
cf. Babelon, Traité 1571 | cf. Svoronos Pl.VII, no.8
cf. BMC 4-6 | cf. SNG.Copenhagen 187 | cf. Weber collection 1829
McClean 3089var. | cf. HGC 3, no. 531 (all as Lete).
vf
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