366
Lesbos, Mytilene EL Hekte. Circa 454-427 BC. Head of Athena wearing crested Corinthian helmet to
In Auction XI
Beschreibung
Lesbos, Mytilene EL Hekte. Circa 454-427 BC. Head of Athena wearing crested Corinthian helmet to right / Two confronted female heads, their faces overlapping; all within incuse square. Bodenstedt 55; HGC 6, 981; Boston MFA 1693; de Luynes 2555. 2.53g, 11mm, 1h. Extremely Fine. Very Rare (Bodenstedt lists only 8 examples), and among the finest known. This coin seems like a perfectly ordinary hekte when the obverse is first viewed; it is only when the coin is flipped to reveal its highly unusual reverse does the importance and novelty of the type become apparent. Employing a simple but effective form of optical illusion, the reverse appears to show the same female portrait both to the left and to the right. The design is deliberately intended to confound the eye and engage the viewer's attention in attempting to resolve both portraits independently of the other, which is of course impossible, thus presenting the viewer with a visual paradox. The image works by confusing the brain's figure-ground perceptual grouping process by giving it contradictory cues, thus preventing it from assigning definitive edges to the observed shapes. As a result, the human visual system will settle on one of the portraits, facing either left or right, and alternate between them. The importance of this type, both in terms of numismatic art and in the wider context of Greek art in general, cannot be understated. It is a thoroughly novel, and never to be repeated experiment in paradoxical illusion on the coinage of a Greek city-state. The Greeks were certainly familiar with the concept of a visual paradox - Plato describes the ourobouros 'tail-devouring snake' as the first living thing; a self-eating, circular being: the universe as an immortal, mythologically constructed entity. They were also aware of the power of illusions - Greek architects would apply a technique known as entasis in the construction of their temple columns. Columns formed with straight sides would appear to the observer to have an attenuated appearance, and their outlines would seem concave rather than straight. Therefore a slight convex curve would be built into the shaft of the column, resulting in a swelling in the middle parts, in order to correct this disagreeable trick of the eye. Why then, when they were clearly aware of the power of illusion and paradox, did Greek artists not employ such techniques? The answer most likely lies in the cultural shift away from the static representational art of the archaic period driven by new realistic and idealistic paradigms; artists now sought to demonstrate their skill through attempting to attain aesthetic perfection based on both observational study, and occasionally improvement of nature through idealisation of the subject's features. Thus non-practical forms of optical illusion were most likely dismissed as curious, but unlikely to earn an artist everlasting fame. It was therefore left to relatively modern artists such as Oscar Reutersvärd, who created the Penrose Stairs (also dubbed the impossible staircase), and psychologists such as Edgar Rubin, who developed the familiar Rubin's vase (sometimes known as the Rubin face or the figure–ground vase), to explore the visual and psychological implications of these images which trick the brain. The significance of this coin therefore is that it pre-dates the work of both of the aforementioned celebrated 'illusionists' by well over two millennia, and demonstrates an appreciation and understanding of optical illusions as an art form, not just a necessary practical expedience.
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Lesbos, Mytilene EL Hekte. Circa 454-427 BC. Head of Athena wearing crested Corinthian helmet to right / Two confronted female heads, their faces overlapping; all within incuse square. Bodenstedt 55; HGC 6, 981; Boston MFA 1693; de Luynes 2555. 2.53g, 11mm, 1h. Extremely Fine. Very Rare (Bodenstedt lists only 8 examples), and among the finest known. This coin seems like a perfectly ordinary hekte when the obverse is first viewed; it is only when the coin is flipped to reveal its highly unusual reverse does the importance and novelty of the type become apparent. Employing a simple but effective form of optical illusion, the reverse appears to show the same female portrait both to the left and to the right. The design is deliberately intended to confound the eye and engage the viewer's attention in attempting to resolve both portraits independently of the other, which is of course impossible, thus presenting the viewer with a visual paradox. The image works by confusing the brain's figure-ground perceptual grouping process by giving it contradictory cues, thus preventing it from assigning definitive edges to the observed shapes. As a result, the human visual system will settle on one of the portraits, facing either left or right, and alternate between them. The importance of this type, both in terms of numismatic art and in the wider context of Greek art in general, cannot be understated. It is a thoroughly novel, and never to be repeated experiment in paradoxical illusion on the coinage of a Greek city-state. The Greeks were certainly familiar with the concept of a visual paradox - Plato describes the ourobouros 'tail-devouring snake' as the first living thing; a self-eating, circular being: the universe as an immortal, mythologically constructed entity. They were also aware of the power of illusions - Greek architects would apply a technique known as entasis in the construction of their temple columns. Columns formed with straight sides would appear to the observer to have an attenuated appearance, and their outlines would seem concave rather than straight. Therefore a slight convex curve would be built into the shaft of the column, resulting in a swelling in the middle parts, in order to correct this disagreeable trick of the eye. Why then, when they were clearly aware of the power of illusion and paradox, did Greek artists not employ such techniques? The answer most likely lies in the cultural shift away from the static representational art of the archaic period driven by new realistic and idealistic paradigms; artists now sought to demonstrate their skill through attempting to attain aesthetic perfection based on both observational study, and occasionally improvement of nature through idealisation of the subject's features. Thus non-practical forms of optical illusion were most likely dismissed as curious, but unlikely to earn an artist everlasting fame. It was therefore left to relatively modern artists such as Oscar Reutersvärd, who created the Penrose Stairs (also dubbed the impossible staircase), and psychologists such as Edgar Rubin, who developed the familiar Rubin's vase (sometimes known as the Rubin face or the figure–ground vase), to explore the visual and psychological implications of these images which trick the brain. The significance of this coin therefore is that it pre-dates the work of both of the aforementioned celebrated 'illusionists' by well over two millennia, and demonstrates an appreciation and understanding of optical illusions as an art form, not just a necessary practical expedience.
Auction XI
Auktionsdatum
Ort der Versteigerung
The Electra Room
The Cavendish Hotel London
81 Jermyn Street
London
SW1Y 6JF
United Kingdom
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Wichtige Informationen
AUCTION XI
7 April 2016
10:00 Greek Coins
14:00 Roman, Migration Period, Byzantine and World Coins
Location:
The Electra Room
The Cavendish Hotel London
81 Jermyn Street
London
SW1Y 6JF
United Kingdom
Viewing:
At the office of Roma Numismatics
20 Fitzroy Square
London, W1T 6EJ
United Kingdom
From February 29th – April 6th:
Monday – Friday, 09:30 – 17:30
Lots will not be available for viewing during the sale.
Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 3% of the hammer price plus VAT at the rate imposed.
AGB
CONDITIONS OF SALE
The following terms and conditions will apply to this auction:
- All estimates are in POUNDS STERLING. The opening bids will be 80% of the estimate unless there are existing higher bids. There will be a 17.5% Buyer’s Fee added to the hammer price.
- VAT at 20% (applicable to customers within the UK and EU) is due on the Buyer’s Fee only, not the hammer price.
- The auctioneer guarantees the absolute authenticity of any and all coins sold. There is no expiration to this guarantee. Any coins subsequently found to be not authentic will be exchanged for a full refund of the purchase price.
- Absentee bids must be submitted and received by 20:00 on the day before the auction at the latest. It is the bidder’s responsibility to ensure that bids have been received by Roma Numismatics.
- All grades and descriptions are the opinion of the cataloguer. Conditions of all lots are as per the photographs displayed on the Roma Numismatics website; condition reports are available upon request. It is not possible to note all marks or defects, and thus customers are encouraged to carefully examine in person all lots that they are interested in bidding on. Bids, once placed, are final and will not be rescinded. If, however, the description is found to be incorrect, the item is returnable within 21 days after the sale. No other returns will be accepted except on the grounds of non-authenticity. All prospective bidders who exercise the opportunity to examine lots in hand shall assume all responsibility for any damage they cause in so doing. The auctioneer shall have sole discretion in determining the value of the damage caused, which shall be promptly paid by the prospective bidder.
- The auctioneer will have absolute discretion to accept or decline any bid, withdraw lots from sale at any time until such point as the purchaser takes physical possession, re-open any lot, even after the hammer has fallen, in which a bidding error has occurred, and to determine in the event of a dispute, the final winner of a lot or to rescind the sale and put the lot up for sale again.
- For the protection of mail or absentee bidders, no ‘unlimited’ or ‘buy’ bids will be accepted. When identical bids are received for the same lot, preference will be given to the bid received first. A mail bid will take preference over a floor bid.
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- By making a bid the customer agrees to the above terms and conditions and accepts to be bound by them. These conditions shall take effect and be construed in accordance with the provisions of English Law.
US COIN IMPORT RESTRICTIONS
Any coins in this sale that fall under US import restrictions but may still be legally imported into the US are accompanied by documentation proving that they were outside of the source country prior to the effective date, or are accompanied by a valid export certificate issued by the country of origin.
Any coins subject to US import restrictions that may not lawfully be imported into the United States of America will be clearly indicated as such with the note: ‘not suitable for US market’.
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PAYMENT METHODS
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