L. (Leonard) Forrer.

Biographical dictionary of medallists : coin, gem, and sealengravers, mint-masters, &c., ancient and modern, with references to their works B.C. 500-A.D. 1900 (Volume 3) online

. (page 12 of 49)
Online LibraryL. (Leonard) ForrerBiographical dictionary of medallists : coin, gem, and sealengravers, mint-masters, &c., ancient and modern, with references to their works B.C. 500-A.D. 1900 (Volume 3) → online text (page 12 of 49)
Font size
QR-code for this ebook

throat by the excessively full chin almost vergingon doubleness is
another point which affords excuse for fault-finding. If this is, as it
seems to be, Kimon's earliest dekadrachm type, some of the
weak points especially the flatness of the modelling may be
due to the largeness of the scale, which was strange to the artist ".
As already noticed, the earliest of Kimon's dekadrachm types
fits into the fine tetradrachm of Evaenetos' " first manner"; the
position of the horses' heads on tyL. is quite identical, but some
alterations have taken place in the treatment of the female head on
obv. ; the sphendone is changed into a narrow band with a net,
which encloses the hair at the back. The same idea had already
been made use of on the older tetradrachms, of the type ot Evans,
PI. i, n 2 ; Head, PI. m, n 5 ; B.M.Cat., p. 162, n 124. But, as
D r Holm remarks, Kimon's treatment of the net is more artistic in
that the baggy form end of the sphendone disappears, and the hair
is disposed with more freedom over the temples and forehead,
whilst the regularly combed hair from the partition takes less room.


Kimon kept to that type, except for some gradual modifications.

The next type of Kimon's Dekadrachms, designated by D r Evans
as Type II, is characterised, observes D r Holm, by the higher
chignon, freer neck, reduction in size of the chin, greater promi-
nence of the forehead, lending the physiognomy a greater force of
expression, reminding one of the coins of Neapolis.

The issue of this type of Dekadrachms must have closely followed
that of Type I (probably B.C. 410).

2. /R. Dekadrachm. ^Obv. ZYPAKO2ION- Head of Arethusa
to 1., wearing single earring and pearl-necklace; hair in net, band
not tied above; on the frontlet of head-band, ; around, four

fyL. Quadriga, &c., in Kimon's usual style, as on n i, with the
inscription, AQAA visible beneath panoply.

Evans, Syr. Med., PI. n, n i. B.M.Cat., Sicily,
n os 205, 206. Hill, op. cit., Frontispiece, n 2 (Paris

3. yR. Dekadrachm (Type IF). Similar, with Kl on band;
it is uncertain whether the inscription existed also on the dolphin
beneath the head. (Description from an impression kindly commu-
nicated to me by M. M. P. Vlasto.)

"The comparatively amiable model of Kimon's earlier type has
given place", observes Mr. Hill, " to a haughty beauty with a
distinctly sneering expression. The relief is much higher, and there
is more modelling to be seen in the features. The curve of the
forehead is broken by allowing some of the locks of hair to stray
from under the frontlet. The earring is a single drop, instead of the
earlier flower-like ornament. The whole design is more restless,
chiefly owing to the profusion of small curling locks of hair ;
it is true that they are hardly more numerous than on the earlier
coins, but they are so treated as to attract more attention ".

To this Type II of Kimon's Dekadrachms corresponds a Tetra-

I 5 2

drachm of exquisite style, with profile head of the Nymph in high

4. J&. Tetradrachm (Circa B.C. 410). Obv. lYPAKOIinN-
Head of Arethusa to 1., resembling in style n 2; but with band
tied above; around, four dolphins : border of dots.

ty,. Quadriga to 1., driven by male charioteer holding goad and
reins ; horses prancing ; above, Nike flying to r. about to crown
charioteer; in ex. ; dolphin to 1. : border of dots.

Weight : 269 grs. - B.M.Cat., Sicily, p. 176, n 207.
Head, op. tit., PI. iv, 8. - Evans, op. tit., PI. n,
2. - Du Chastel, op. tit., PI. 8, n 95. Hill, op. tit.,
PI. vi, n 1 6.

The early coins of Kimon (Type I) served as prototypes for
Carthaginian coins with Zi^, the tyL of which reminds us of that
signed by the artist EYO- Coins of Motya (Evans, PI. n, 5, 6, etc.)
are imitations of Kimon's Type II.

To this same period, circa B . C . 408, soon after the Syracusan
Victory over Athens, must belong also the earliest Gold Stater of
Kimon, which is in close connection with his dekadrachm and
tetradrachm of Type II.

5. N. Stater (iooLitra). Obv. IYPAKOIION- Head of Arethusa
to 1. wearing triple-earring, necklace, and sphendone, upon which
are three stars; behind, a barley-corn and K ; above, A ; border of dots.

^- (IYPA)- Herakles kneeling on r. knee, and strangling lion
with both arms; behind, club; above, ivy-leaf (?).

Weight ; 89 grs. - - Evans, Syr. Med., PI. n, n 3.
B.M.Cat., Sicily, p. 170, n 168. Du Chastel, op. tit.,
PI. 14, 161. Hill, op. tit., PL VH, n 4.

On other specimens, the signature Kl is found (Paris Cabinet).
This coin was imitated by Evaenetos.

r 53

In chronological sequence, we now, according to D r Evans,
meet with Kimon's Dekadracbms of Type III.

6. ^R. Dekadrachm (C'irc. B.C. 406). Obv. Head of Arethusa,
to 1., of somewhat different style to n 2 ; K on band which is
narrower; KIMHN on dolphin. Fine style.
J$L. As before.

Evans, op. cit., PI. n, 8. - B.M. Cat., Sicily, p. 176,
n2oi. Head, op. cit., PI. iv, 7. Holm, Geschichte,
Siciliem, in, PL v, 8. Hill, op. cit., Frontispiece, n 3. -
Weil, Kunsflefinschriften, PI. in, 9.

The British Museum specimen, n 201, is not signed on frontlet
of head-band (vide B.M. Cat., p. 176, fig. 201).

7. ./R. Dekadrachm (Circ. B.C. 403). Obv. Similar head, but
of coarser workmanship ; K on band, and KIMflN on dolphin beneath

]$L. As before.

Evans. Syr. Med., PI. 15, n 5. - - B.M. Cat., op. cit.,
n os 202, 203. - Du Chastel, op. cit., PI. 12, n 142. -
Macdonald, op. cit., I, PI. xvi, 19.

On Type III, the chignon is again lower and resembles Type I,
in the disposition of the hair.


" The Dekadrachms described as Type III ", remarks D r Evans,
Syr. Med., p. 82, " exhibiting a portraiture of Arethusa, which is
simply the profile rendering of the same queenly countenance that
looks forth from his masterpiece the tetradrachm with the facing
head and the inscription APEOOZA, struck about 409 B C. These
coins represent the supreme development of Kimon's style, and the
individuality of features and expression clearly indicate that they
are both of them taken from the same living model, whose beauti-
ful but distinctly haughty face haunts all Kimon's later presentations
of the tutelary Nymph, in much the same manner as the idealised
heads of Andrea's wife or Raffaelle's mistress look forth from their

The next coin in the list is Kimon's masterpiece " a work
immeasurably superior to his Dekadrachms - - the Tetradrachm
with the facing head of Arethusa ".

8. ^R. Tetradrachm (Circa B.C. 409). Obv. Head of Arethusa,
three-quarter face to 1., wearing earring and necklace; hair flowing
in loose tresses; across her forehead, ampyx, inscribed KIMHN ;
around, four dolphins, two on either side; above, outside border
of dots, APEOOIA-

fy~- ZYPAKOZIHN. Quadriga to 1., driven by male charioter,
holding goad in r. hand, reins in both, with head turned, looking
behind him ; horses galloping ; beneath them, a prostrate column ;
above, Nike to r., stepping upon the heads of the two nearer horses,
and carrying wreath with which she is about to crown the charioter ;
in ex., ear of barley to 1. : plain border.

Weight : 266. 3 grs. B.M.Cat., Sicily, p. 177, n 208.
Evans, op. cit., PI. m, n 4. Weil, Kiinstlerin-
schriften, PL in, n 10. Head, op. cit., PI. iv, n 9.
Holm, op. cit., PL v, n n. Du Chastel, op. cit., PL 8,
n 87-89. Hill, op. cit., PL vi, 15.
o. ^R. Tetradrachm. Obv. Similar.

& ZYPAKOZIHN (in exergue). Quadriga to L, driven by
charioteer, holding goad in r. hand, reins in both, touching with
goad the head of the third horse; horses prancing; above, Nike


flying to r., about to crown charioteer; on line of ex: KIMflN ;
plain border.

Weight : 254. 7 grs. B.M.Cat., op. cit., p. 177, n2O9.
Well, op. ell., PI. in, io a ).

"Enthusiasm", says Mr. Hill, " has never been lacking in appre-
ciation of the beauty of the obv. One fact may without hesitation
be admitted it is the most charming of all the front face types
produced not only in Sicily, but also around the coasts of the
Aegean, as at Amphipolis and Aenus, at Clazomenae and Rhodes...
As an example of complicated and delicate design in low relief, this
reverse ranks higher than anything else produced even by a Syracu-
san artist ".

10. ^R. Drachm (Circ. B.C. 409). Obv. Head of Arethusa,
three-quarter face to 1., (similar to n 8), without inscription ; on
either side, a dolphin.

ty~ IYPAKOIION- Warrior tor., in fighting attitude; in ex. :

Hoffmann Sale Catalogue, n 146 (1898).

This unique Drachm is evidently by Kimon, and of the highest
interest as presenting the facing head of Arethusa in a reduced size.

A small copper coin of Syracuse, with the same head of Arethu-
sa, and ty.. Sepia, is probably also the work of Kimon.

This head of Arethusa was imitated on coins of Motya, destroyed
in B.C-397 (Evans, III, 8. 10-12), Camarina, abandoned in B-C.
405 (Evans, III, 9; B.M.Cat., p. 37, n 20) and Himera, destroy-
ed already in B.C. 409 (Evans, p. 70, fig. 4; PI. in, 7), which are
important points for the dating of the piece, not later than 409

This type of the facing head of Arethusa is considered by Prof.
Furtwangler as having come to Neapolis from Pheidias and his
circle, and D r Evans has shown that Neapolitan Didrachms with a
beautiml three-quarter face head of a Nymph (Evans, PI. in, i and
2) served as prototypes for Kimon's masterpiece, and may even
have been engraved by the same artist.

Kimon's facing head of Arethusa was copied further on a bronze
Hemilitron ot Himera, on Didrachms and Drachms of Larissa, and
on Staters of Cilician satraps.

The later gold staters of Kimon correspond to type III (n 6) of his

- i 5 6 -

11. .A/. Stater (100 Litra). Similar to n 5, except in style and

Two varieties are reproduced in Evans, Syr. Med.,P\. n, n os 4 a
and 4 B. Du Chastel, op. cit., PL 14, n 160 (Evaenetos ?).

D r Evans has convincingly proved that Kimon was not ot
Syracusan origin; he has even surmised that he may have been the
grandson of an earlier Kimon who signed a coin of Himera of the
middle years of the fifth century B.C., and it is remarkable that
there is only one Syracusan coin on which his signature is associated
with that of another artist, |M (Himerios).

12. iR. Drachm. Obv. By the artist |M (2YPA)KOIinN-
Female head tor., wearing diadem, earring and necklace; hair flow-
ing; above, IM ; in front, a dolphin to 1., upwards : plain border.

T$L. By Kimon (?). Quadriga to 1., driven by charioteer, holding
reins in both hands; horses prancing; above, Nike flying to r.,
crowning charioteer ; in ex., pilosand Kl-M : plain border.

Weightt 29.8 grs. B.M.Cat., Sicily, p. 181, n 233.
Head, op. cit., PI. v, 8.

To Kimon, or Parmenion, may further be given, according to
D r Head, a pretty JR. Litra.

13. J&. Litra (B.C. 415-400). Obv. IYPAK- Female head to r.,
wearing earring and necklace, hair in sphendone; behind, dolphin
to 1.

Head, op. cit., PL v. 9. - - B.M.Cat., Sicily, p. 181,
n23 4 .
t$L. Sepia.

Not only has Kimon made use of a Neapolitan prototype for his
facing head of Arethusa, but as D r Evans suggests, he was himself
of Chalkidian stock. Before working at Syracuse, the same artist
" executed more than one tetradrachm die for Messana ", and he
may also be the engraver of a Metapontine Didrachm, reproduced
by Garrucci.

The Messana Tetradrachms by Kimon are undoubtedly earlier
than his Syracusan coins.

14. fit. Tetradrachm. Obv. Biga of galloping mules driven by
a female (?) charioteer, crowned by flying Nike ; in ex : barley-

^ ME2IANION in field above hare, running to r.; beneath,
Nymph s head, her back hair contained in a sphendone; PEAflPIAZ

- 157 -

in front of the head, and below the neck... flN (?) ; to r. of head,
cockle-shell and to 1., a corn-spike.

Evans, Syr. Med., PI. x, 3* and 3 b .

D r Evans, who first published this coin, remarks that the inscription
is by no means clear, but believes the signature refers in all proba-
bility to Kimon.

Another Messanian Tetradrachm bears Kimon's signature.
15 . yR. Tetradrachm. Obv. ME2IANIHN. Hare running to 1.;
beneath, eagle, to L, standing on rock, devouring serpent : border
of dots.

}$L. Biga of mules to 1., driven by female charioteer, who holds
goad and reins; mules walking; above, Nike to r., holding wreath
and caduceus; in ex., long fish to 1. ; on exergual line, name of
artist : KIMHN ; border of dots.

Weight : 265.2 grs. B. M. Cat., Sicily, p. 105, n 56.
- Evans, Syr. Med., p. 187. Salinas, Notice degli Scavi.
1888, p. 218, Tav. XVII, 4.

The British Museum specimen does not show distinctly the
artist's signature, but on a coin seen by D r Evans, "the last four
letters of Kimon's name are clearly decipherable ". Specimens in
the Naples and Paris Cabinets, also in the collections of D r lmhoof-
Blumer, Herr A. Lobbecke, &c. show the more or less complete

The Metapontine Didrachm, already referred to, I reproduce
here from Garrucci, Lc Monete dell' Italia anlica, Tav. ciii, fig. 16.

- i 5 8 -

It is evident that Kimon was not a Syracusan. Apart from his
earlier dies for South Italian Mints, further proofs in corrobonuion
of this fact are furnished by his use on Syracusan coins of Campa-
nian forms of earrings.

There is another type of Syracusan Tetradrachm, one variety of
which is signed K onobv., which Sale Cataloguers generally attrib-
ute to Kimon, although it is not ascribed to this artist by the
various writers on Sicilian Coin-engravers' signatures.

1 6. -/R.. Tetradrachm. Obv. By Kimon (?) Female head to 1.,
hair in plain sphendone ; broad diadem, over which her hair is
drawn back; necklet with pendant pearls; large earring; two dol-
phins before and two behind; above, at back, lYPAKOilHN ; the
sphendone is tied above and ornamented with three stars of eight

ty,. By Parme(nion). (Vide Evans, Syr. Med., PI. x, 5). Qua-
driga to r., driven by charioteer crowned by Nike; the rein of the
farthest off-horse hangs loose; under the nearest horse's feet, a
broken chariot-wheel ; in ex., ear of barley.

Weight : 266 grs. Bunbury Sale Catalogue, 1896,
lot 462. - Du Chastel, op. cit., PI. 7, n 77.

A variety of obv. has beneath the head of Goddess, a head of a
bearded satyr to r.

B. M. Cat., Sicily, p. 179, n 219. Head, Coins of Syra-
cuse, PI. v, 2.

17. J&. Tetradrachm. By Kimon (?) IVPAKOIinN. Female
head to r., similar to last; hair in broad sphendone, ornamented
with stars; behind neck, K.

fyL Quadriga to 1., similar to last, but without broken rein or
wheel under horses.

- 159

Weight : 266 grs. Bunbury Sale Catalogue, 1896,
lot 463. Du Chastel, op. cit., PI. 7, n 78.
A variety in the National Collection has >l behind neck.
Another specimen, of the same type is without the signature.

B. M. Cat., Sicily, p. 179, n 221. R. Hobart
Smith Collection (illustr.*). - - Bunbury Sale Catalogue,
1896, lot 464. Du Chastel, op. cit., pi. 7, n 79.
Hill, op. cit., PI. vii, n 3.

The coin, reproduced here, which belongs to Mr. R. Hobart
Smith, of New-York, was ascribed to Kimon by M. Arthur Sam-
bon, in the Catalogue of the Sale at which it was purchased some
few years back.

The soft style in which this head is treated reminds one strongly
of Kimon's First Medallion Type, and indeed D r Evans reproduces
the two coins on the same Plate. I would only draw attention to the
remarkable affinity between this type and that of the Tetradrachm,
by Eukleidas, signed on dolphin, published by D r Hirsch (Sale
Catalogue, 18. May 1903,101 991).

In conclusion, the following notes on the artistic merit ot
Kimon's productions, may add to the interest of this short
summary of the great Artist's work :

" Les oeuvres de Cimon surpassent de beaucoup ce qui a ete fait de
plus remarquable dans le meme art a la Renaissance. Son style est
loin d'etre sans defauts ; il recherche un peu trop les tours de force
et le cote gracieux des types, aux depens d'une beaute plus ideale
et plus sublime. Ses figures, trop surchargees de details et d'orne-
ments, manquent de simplicite, et par suite perdent quelque chose
du cote de la purete et du grandiose. En meme temps, il a toujours
dans 1'execution une certaine aprete, quiquelquefoisatteint presque
a la rudesse et contraste singulierement avec la recherche de grace
dont il parait toujours preoccupe " (Lenormant, La monnaie dans
I'Antiquite, Paris, 1878, III, p. 269).

D r Weil suggested that Kimon's Medallions were executed after
those of Evaenetos, an opinion which D r Evans has refuted with
sufficient reasons not to leave now any doubt on the subject. The
author of Die Kiinstlerinschriften der sicilischen Miln^en, p. 19,
remarks : " Des Euainetos Rivale in der Anfertigung der Dekadrach-

- 160

men-Stempel ist Kimon. Dem Kopf der Gottin hat er einen
ungleich mehr individuellen Ausdruck verliehen als Jener; dns
Haar ist von einem Netz gehalten, dessen breites Band iiber der
Stirn zwischen den Locken \vieder sichtbar wird. In etwas erhaben-

erSchrift tragt es die Buchstaben *' oder auch blosses K, einanderer

kiinstlerisch uberlegener Stempel hat dagegen auf dem unter dem
Hals befindlichen Delphin KIMHN. Die^Kehrseite ist in der Qua-
driga, wie in den Waffenstucken des Abschnitts, denen auch hier
die Beischrift A0AA hinzugefugt ist, dem Dekadrachmen des Euai-
netos durchaus entsprechend gebildet ; jedoch lasst sich an den mir
bekannt gewordenen Exemplaren durchgangig beobachten, dass das
Gespann ruhiger gehalten ist, namentlich das Aussenpferd weniger
emporbaumt als bei Euainetos. Mit besonderer Feinheit ist die Nike
gezeichnet, bei der mehrfach die rechte Brust und das rechte Bein
vom Gewand entblosst bleibt. Die aui der Randleiste einst wohl
durchgangig vorhandene Aufschrift KIMHN ist, dasiebeidemhohen
Relief vorzugsweise ausgesetzt war nur auf ganz vereinzelten
Stticken erhalten geblieben. Auf dem Tetradrachmon, dessen
Kopfseite die gleiche Arbeit zeigt wie das Dekadrachmon, ist
eine Kiinstlerinschift nicht vorhanden. Wohl aber tragt seinen
Namen KIMHN und zwar wiederum auf dem Stirnband der mit
Recht so bewunderte Arethusakopf in Vorderansicht. Um das
Hochrelief wenigstens etwas vor Abnutzung zu bewahren, hat
man wie es scheint absichtlich breitere Metallstucke angewen-
det, so findet sich noch ausserhalb des Perlkreises, welcher das
Miinzbild umschliesst, Raum fur die Umschrilt APEOOIA rechts
und links vom Kopf werden theilweise von den Locken verdeckt
jederseits zwei Delphine sichtbar. Von den beiden hiermit verbun-
denen Kehrseitenstempeln tragt der eine mit den stark emporbaum-
enden Rossen den Nnmen KIMHN auf der Randleiste des Ab-
schnitts, der andere ohne Kunstlernamen lasst die Nike aufrecht
uber den Rossen schweben. "

"Zu den schonsten Miinzen des Alterthums", observes Prof.
Brunn, "gehoren die grossen Medaillons von Syrakus welche auf
der Hauptseite einen weiblichen Kopf nach links gewendet und von
vier Delphinen umgeben mit der Inschrift lYPAKOHHN zeigen.
Besonders elegant unter diesen sind wiederum diejenigen bei wel-
chen das Haar im Nacken in einem Netz gesammelt ist. Auf der
Ruckseite finden wir das gewohnliche Viergespann nach links
gewendet mit der schwebenden Nike, welche dem Lenker einen
Kranz entgegen bringt; im Abschnitt ist die Rustung eines
Hopliten gebildet, unter welcher in den besser erhaltenen Exempla-
ren die Inschrift AOAA steht. "

BIBLIOGRAPHY. Arthur). Evans, Svracman " Medallions" and their Engrav-
ers. London, 1891. B. V. Head, Coins of Syracuse, 1874. B. V. Head,


Brit. Mas. Cat. Sicily, 1876. Raoul Rochette, Lettre sur ies Graveurs des mon-
naies grecques. Paris, 1831. A. von Sallet, Kiinstlerinschriften, &c., 1871.
R. Weil, Kftnstkrinschriften auf siciliscben Mfm^en. Berlin, 1884. Du Chastel,
Syracuse, ses monnaics d' argent ft for au point de vue artistique. Londres, 1898.
Ad. Holm, Gescbicbte Siciliens im Altertbum. Leipzig, 1898. Brunn, Gescbichte
der crriecbiscben Kunsthr. Stuttgart, 1899. Hill, Coins of Ancient Sicily, 1902.
L. Forrer, Les Signatures de Graveurs sur Ies tnonnaies grecques, Bruxelles, 1905.

KINAST, MICHAEL (Germ.). Mint-official at Bernstadt (Silesia),

KINDON (Brit.). Partner in the Die-sinking Establishment of
KEMPSON & KINDON, Token Manufacturers at Birmingham, in the
early part of the nineteenth century. Fide KEMPSON supra.

KINGDON, ABRAHAM (Brit.). Malagasy Trader, who before the
French Occupation, issued, under Queen Ranavalo, a Token cur-
rency for Madagascar, which was however stopped by the govern-

KINSBURGER, SYLVAIN (French). Contemporary Sculptor, born
at Paris; pupil of Dumont, and Thomas. He is the author of a
number of Portrait-medallions, which were exhibited in 1878,
1879, 1880, 1896, and later at the Salon. A Portrait-medal of
Santos-Dumont, 1901, is signed : J. KINSBURGER. At the Salon of
1904 he exhibited a trame containing various Portrait-medals and
Plaquettes. By him are also Portrait-plaquettes of L. Planel, violin-
ist; A. Bertrand, engraver; P. Lagrave, architect;
G. Lemaire, gem-engraver, and others.

BIBLIOGRAPHY. Chavignerie et Auvray. op. cit.

KIPLING-LOCKWOOD (Brit.). Contemporary Sculptor, and bro-
ther of the celebrated writer. He is the author of several Bas-
reliefs and Portrait-medallions, none of which have, as far as I
know, been cast in bronze or reduced to the form of medals.

KIRCHBACH (Germ.). Signed, as Designer, several medals publish-
ed by the Die-sinking Establishment of Oertel at Berlin ; amongst
them a Medal of the International | Electrotechnic Exhibition at
Berlin, 1891.

KIRCHENHOFER, FRANZ IGNATIUS (Germ.). Warden of the Imper-
ial Mint at Oppeln, 27. April 1673; died on 17. October 1685
(Staatsarcbiv). His initials occur on his issues, from 1673 to 1677,
and 1681 to 1683.

BIBLIOGRAPHY. Friedensburg, Scblesische Miin^studien.

KIRCHNER, SAMUEL (Germ.). Burger of Liegnitz ; with Johann
Hoffmann he contracted to work the Mint at Schweidnitz,

L. FORRER. Biographical Notices of Medallists. III. It


9. November 1621; the contract ended on 15. August 1623. The
coins of Schweidnitz of that period nearly all bear his initials K. S.
BIBLIOGRAPHY. Friedensburg, ScUesisclx Mun^studien.

KIRCHHOFER, WOLFGANG (Austr.). Mint-Councillor at Vienna,

KIRCHNER, GEORG (Germ.}. Mint-official at 6ls, 1676-1679.

KIRCHNER, JOHANN VfILEELM(Germ.). Medallist, Wax-modeller,
and Ivory-carver of Cassel, 1772-1794. He was Mint-engraver there
from 1772, and Medallist to the Court from 1787. The Museum at
Cassel preserves works by him. Some of his medals are reproduced
in Hoffmeister's treatise on Hessian coins and medals.

KIRCHNER, JOHANN WILHELM (Germ.}. Mint-engraver at Cassel,
circa 1827.

KIRCHNER, W. (Germ.'}. Medallist of the first half of the nineteenth
century; he resided first at Berlin, but was at St. Petersburg in
1840. He executed amongst others the following Medals : Capture
of Erzeroum; Third Centenary of the Augsburg Confession,
Festivities at Schweinfurt, with Portrait of the Landgrave Philip
of Hesse; Portrait-medal of the celebrated Chemist, Berzelius,
1830, &c.

KIRCHPICHLER, CHRISTOF (Austr.) Mint-official (Hofpfenning-
meister) at Gratz, 1623.

KIRCHPUCHER, HIERONYMUS (Austr.). Mint-master at Klagen-
furt, 1526-1539 (?) Under his term of office a Carinthian Quarter
Thaler, without date, was struck at that Mint; its R6. inscription

BIBLIOGRAPHY. J. Nentwich, Seltene dsterreicbiscbe Vierteltbaler, 1895.

KIRK, A. (Brit.). Probably a brother of John Kirk, and also a
Medallist. He died in 1761 or thereabout. His workshop was in
St. Paul's Churchyard. By him are : 1745. The Rebels repulsed by
the Duke ot Cumberland (obv. only, signed A. KIRK F.); i?45-
Another, on the same event (obv. only) ; - 1746. Battle ot
Culloden (fyL only) ; 1746. Another, on the same event (en-
tirely by A. Kirk), &c.

A. Kirk worked in conjunction with John Kirk.

BIBLIOGRAPHY. Boizenthal, op. cit. Franks and Grueber, Medallic Illustra-
tions, &c.

KIRK, JOHN (Brit.). A London Medallist and Gem-engraver of the
second half of the eighteenth century, born in 1724, by whom
are a number of medals and medalets. He was a pupil of James Anthony

- i6 3 -

Dassier, and received premiums from the Society of Arts. With
A. Kirk he lived in St. Paul's Churchyard, where he died on the
27 th of November 1776. His signature occurs as : I. KIRK F.; -

John Kirk's best known works are : MEDALS. Edward VI.,

Online LibraryL. (Leonard) ForrerBiographical dictionary of medallists : coin, gem, and sealengravers, mint-masters, &c., ancient and modern, with references to their works B.C. 500-A.D. 1900 (Volume 3) → online text (page 12 of 49)