Art of the Ancients Ancient Portraits Volume VI 2018 by Aphrodite Ancient Art

APHRODITE ANCIENT ART ANCIENT PORTRAITS VOLUME VI 2018

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APHRODITE ANCIENT ART ANCIENT PORTRAITS VOLUME VI 2018 Why is it that the most famous and popularly enduring pieces to survive from antiquity are portraits? From Phidias’ legendary colossi and Praxiteles’ softly youthful contrapposti, to frescoes of Pompeii couples and symbolically rich Egyptian funerary masks, portraiture marked by powerful facial features and unique expressions has captivated viewers and collectors for millennia. At its outset, Egyptian portrait art was primarily meant to be viewed from the front, with a large majority of works decorating royally commissioned locations or being placed in tombs, and concurrently, throughout the Archaic period, Ancient Greeks uniquely emulated this frontal aesthetic with their own kouroi and korai. It wasn’t until the Greek Classical period that a profoundly unique change in portrait art began, producing some of the strongest initial examples of three dimensional portraits, or depictions meant to be thoroughly observed “in the round.” As time passed, the Ancient Greeks continued to move toward greater realism in both mythological and historical portraits, and the idea of individualized portraiture continued to develop. The Greeks believed that, when an individual died, their soul would leave the body on a journey through the afterlife, retaining a memory of its former existence and just a fraction of its physical vitality. This conception of an afterlife didn’t necessarily promise paradise, and imprinted the living with a strong respect and reverence for those who had passed: for the quality of their life in addition to what may transpire after. As a result of this, funerary portrait art, though trueto life in many features of facial depictions, had an idealizing aspect in its bodily depictions (heroic nudity, power stances, etc.). The growing influence of the latter was augmented by religious views, and depictions of people held to be exemplary drew on divine inspiration. Through this idealizing respect for specially regarded people and the deceased, in addition to changing political and social values, as well as the soul concept’s continued development, a new view toward portraiture grew into fruition. Classical severity began to thaw as artists put more emotion into their creations; portraits started taking on more individualized personalities. Later on toward the beginnings of the Roman Empire, impressed by the wealth, culture, and beauty of Greek cities, victorious Roman generals claimed and brought home Greek portraiture in varied media. Soon after, wealthy Romans desired works of art that evoked Greek culture and visual qualities (poikilia, etc.). To meet this demand, Greek and Roman artists made numerous copies of Greek portraits in marble and bronze. By the 2nd Century A.D., the demand for copies of Greek works was enormous, with the latter being sought out to decorate public areas, like theaters and public baths, in addition to private residences. This catalog seeks to evoke the splendor of ancient portraiture. The sample of works illustrated here – large and small, mythological and historical – spans eras of Egyptian, Classical Greek, and Roman dominance, and is depicted through a variety of media, including marble, terracotta, glass, wood, faience, and silver. We sincerely hope that readers enjoy looking at the pieces, and feel a connection with at least one of the idiosyncratic expressions imploringly looking out at the viewer for a response. Happy holidays! J. Rifai

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ROMAN EGYPTIAN GESSO MASK

Culture: Date: Medium: Condition: Provenance:

Egyptian 30 B.C. – 300 A.D. Plaster/gesso Intact, with some minor restoration. Ex American private collection, New York, purchase from New York art market, 1997. Dimensions: H. 7 1/4 in. (18.4 cm.) A fine cast face of a RomanoEgyptian funerary mask depicting a youthful woman with tender facial features. The eyes are painted white, with stark black pupils and borders. An aquiline nose gently arches over thin pursed lips. The black hair is closecropped, but remains of a fibrous overlay, representing actual black strands depicting hair, are present. An ocher wreath of laurel leaves adorns the head.

2. EGYPTIAN CARTONNAGE MUMMY MASK Culture: Date: Medium: Condition: Provenance: Dimensions:

Egyptian 664 – 30 B.C. (Late Period – Ptolemaic Period) Linen Intact, preserving most of its original gilding Ex private American collection, acquired early 1970s H. 8 3/4 in. (22 cm.)

EGYPTIAN WOOD AND STUCCO FACE MASK

Culture: Date: Medium: Condition: Provenance:

Egyptian 1st Century B.C. (Late Ptolemaic Period) Wood/stucco Intact, very good Ex collection of Professor Alcibiades N. Oikonomides (d.1988), Chicago (Classics professor at Loyola University), acquired in the 1970s; ex M.B. Collection, Westlake Village, California Dimensions: H. 13 3/4 in. (34.9 cm.)

Funerary masks were extremely important in ancient Egyptian culture. It was believed that once an individual died, his/her soul would exit the body and journey through the afterlife. A funerary mask was utilized to convey the deceased’s living features. In capturing these qualities, the masks gave the individuals they represented faces in the afterlife, thus allowing the soul to recognize the body and reorient itself within it, allowing the former to live on in death. This mask is in excellent condition. The wooden frame plays host to the stuccocomposed shape. Wide, eager eyes dominate the face, with the beautifully molded mouth and nose being delicately defined. The mask wears a black and yellow striped headcloth.

ROMAN EGYPTIAN FEMALE HEAD

Culture: Date: Medium: Condition: Provenance: Dimensions:

Egyptian 1st Century B.C. – 1st Century A.D. (Roman Period) Bone Complete, rejoined from two pieces Ex early American collection, acquired in 1981 H. 1 1/4 in. (3.2 cm.)

EGYPTIAN FAIENCE HEAD OF A FEMALE

Culture: Date: Medium: Condition: Provenance: Dimensions:

Egyptian Ca. 1070 B.C. (3rd Intermediate Period) Faience Intact Ex Haddad collection, acquired in 1972; ex American collection, 1980 H. 1 1/2 in. (3.8 cm.)

EGYPTIAN LIMESTONE HEAD OF HARPOKRATES

Culture: Date: Medium: Condition: Provenance: Dimensions:

Egyptian Ca. 1100 B.C. (18th Dynasty) Limestone Intact, very good overall, mounted on a custom base display stand Ex C. Martin Collection, Florida; Bonham’s London in the early 1990s H. 3 in. (7.6 cm.)

Harpokrates, or Horus the Child, was portrayed as a small boy with a finger held to his lips, an Egyptian gesture symbolizing childhood. The Greeks misinterpreted this gesture as silence, and they called Harpokrates the god of silence. To the ancient Egyptians, Horus represented the newborn sun rising at dawn each day. The fullgrown Horus was considered the victorious god of the sun who overcame darkness each day.

EASTERN ROMAN STONE HEAD OF A FEMALE

Culture: Date: Medium: Condition: Provenance: Dimensions:

Near East Ca. 2nd – 3rd Century A.D. Stone Intact, with soil deposits, mounted on a custom base display stand Ex early European private collection, 1960s H. 6 in. (15.2 cm.)

ROMAN FRESCO ROUNDEL OF DIONYSUS, MAENAD, AND SILENUS

Culture Date: Medium: Condition: Provenance: Dimensions:

Roman Ca. 1st Century A.D. Stucco/plaster Intact, customframed Ex American collection, W. Froelich, 1970s 14 ½ x 14 in. (36.8 x 35.5 cm.)

ROMAN MARBLE HEAD OF A YOUTH

Culture: Date: Medium: Condition: Provenance: Dimensions:

Roman Ca. 2nd Century A.D. Marble Intact, mounted on a custom base display stand Ex European private collection, 1980s, with Art Loss Register certificate H. 6 ¾ in. (17.2 cm.)

The head, carved of marble, is slightly smaller than lifesize and preserved down to the shoulders. It is sensitively rendered, with lightly chubby and soft shapes distinctive of a child's head. The contour of the face is in the round, with almondshaped eyes and incised irises. Hair envelops the head, furrowing over with wavy lines, framing a face characterized by a somewhat melancholic gaze. In GrecoRoman art, children's images hold a significant place. Initially, bodies were depicted like those of adults, but in miniature size; it is only from the 4th Century B.C. onward, and especially during the Hellenistic and Roman periods, that artists became interested in children's proportions and began to produce them accurately in many attitudes. The archetypical small boy in Ancient Greek art is Eros, Aphrodite’s beloved child and faithful companion, who can be identified with certainty by the presence of wings and a bow, his attributes. As evidenced by the numerous statues and murals portraying Eros or other children excavated from Pompeii, early childhood was among the favorite subjects for the decoration of the wealthy Roman villas, gardens, and walls; they are illustrated in extremely varied activities, often represented in pairs or groups together with different animals (birds, rabbits, dolphins, etc.), playing, working, and acting, among other playful scenes.

10.

ROMAN FLOOR MOSAIC DEPICTING THE HEAD OF MEDUSA

Culture: Date: Medium: Condition: Provenance: Dimensions:

Eastern Roman Ca. 2nd Century A.D. Stone tesserae Intact, mounted on a lightweight background for easier wall mounting Ex Swiss private collection, 1970s, with U.S. import document ca. 1989 49 ½ x 48 1/2 in. (125.7 x 123.2 cm.)

The expressive visage of Medusa occupies the center of this powerful image. At the heart, a head anchors ten dynamically undulating snakes sprawling out from the Gorgon’s hair; the portrait is framed by a circular wreath and four tendrils, one on each corner. Floor mosaics were called lithastrata to distinguish them from the wall or vault mosaics, which were referred to as opuses musivae. The tesserae (latin for cubes or dice) are the pieces that make up the mosaic’s surface; stone was cut into regular, consistent shapes perfectly situated for fitting into the cube grid. The main requisite of the material, aside from colors, was its natural resistance to wear. Stone and marble, and their natural colors, determined the color schemes of mosaics in Roman times (though later, glass was also used). Two or three layers of mortar served as the setting bed, which carried the tesserae facing up; the first layer rests on a thick foundation that prevents the settling of the mortar bed and crack formation. Visual unity in mosaics depends on how closeset the surface texture is, with this mosaic excelling. Regarding subject matter, while the earliest Greek representations of Medusa depicted her as a beautiful woman, later depictions emphasize a hideous and monstrous appearance. Later, in the Hellenistic period, the humanlike face of Medusa resurfaced and flourished – the mosaic dates back to this time. This piece was most likely excavated from Daphne, near Antioch, in the Eastern Roman Empire, an important trading caravan, cultural crossroads, and financial center as well as one of the four great metropolitan centers of the late classical world. One of Antioch’s most luxurious neighbors, Daphne was excavated in 1930 by American and French archeologists, who unearthed floor mosaics as large as thirty feet. Many of these mosaics are now housed in museum collections, such as the Dumbarton Oaks Museum in Washington D.C., the Brooklyn Museum, the Baltimore Museum of Art, and the Princeton University Museum. Cf. a closely similar floor mosaic depicting Medusa’s head in a circular frame, from the “Villa of Dionysus”, is now in the Archeological Museum of Dion in Macedonia.

11.

ROMAN MARBLE HEAD OF ALEXANDER THE GREAT

Culture: Date: Medium: Condition: Provenance:

Eastern Roman Ca. 2nd Century A.D. Marble Intact, mounted on a lightweight background for easier wall mounting Ex German private collection, 1970s; ex New York collection; Aphrodite Gallery exhibition, 1918 Dimensions: H. 5 ½ in. (14 cm.) One of the greatest generals and rulers in history, Alexander the Great was considered a demigod after his untimely death. From the time of his death, the image and powerful associations of Alexander pervaded nearly every facet of Greek and Roman culture in at least some minimal way. Roman emperors (Caracalla chief among them) even adopted him as an ideal, and represented themselves in his guise. He is typically depicted with a vaguely dreamy expression and distinctively wavy hair, falling at his brow and the nape of his neck – called a leonine anastale – as witnessed in our example.

12.

ROMAN SILVER HEAD OF SERAPIS

Culture: Date: Medium: Condition: Provenance: Dimensions:

Eastern Roman Ca. 2nd Century A.D. Silver Intact, offered with a custom base display stand Ex European collection, acquired in1996; ex New York collection, 1998 H. 4 1/8 in. (10.4 cm.)

The cult of Serapis peaked in popularity throughout the Roman Empire during the 2nd Century A.D. Many images of the god took the form of portable busts, meant for dedication or private worship, as we can infer was the case with our present example.

13.

HELLENISTIC MARBLE HEAD OF A YOUTH

Culture: Date: Medium: Condition: Provenance: Dimensions:

Roman Ca. 3rd – 2nd Century B.C. Marble Intact, some pitting; mounted on a custom base display stand Ex Swiss European collection, 1970s; ex East Coast American collection H. 8 ¼ in. (21 cm.)

This youth is depicted with a rounded ovular face anchored by a small mouth of full lips, his wavy locks brushed and bound in a diadem covering the tops of his ears, with an upturned fringe along his forehead; the personage expressively gazes through slightly convex and heavylidded, almondshaped eyes. Forwardfacing, gently arching brows merge with the bridge of his nose to unify the sober expression.

14.

GREEK TERRACOTTA THEATRICAL MASK

Culture: Date: Medium: Condition: Provenance: Dimensions:

Greek Ca. 3rd – 2nd Century B.C. Terracotta Intact, offered with custom base display stand Ex New York collection, acquired in 1992 H. 7 3/4 in. (19.7 cm.)

15.

GREEK TERRACOTTA SILENUS THEATER MASK

Culture: Date: Medium: Condition: Provenance: Dimensions:

Greek Ca. 4th Century B.C. Terracotta Intact, excellent overall condition Ex American collection, acquired in the 1960s H. 7 1/2 in. (19 cm.), W. 7 in. (17.8 cm.)

16.

GREEK BRONZE ROUNDEL OF MEDUSA

Culture: Date: Medium: Condition:

Greek Ca. 3rd – 2nd Century B.C. Bronze Intact, parts of inner circumferential edge missing, mounted on a custom display stand Provenance: Ex Swiss collection, A.W., acquired in the 1970s from Swiss art market Dimensions: Diam. 2 ½ in. (6.4 cm.)

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17.

GREEK RING INTAGLIO OF TYCHE WITH INSCRIPTION

Culture: Date: Medium: Condition: Provenance: Dimensions:

Greek Ca. 3rd Century B.C. Red jasper/bronze Intaglio intact, mounted on a fragmentary bronze ring Ex New York private collection, acquired in 1998 ¾ x ½ in. (1.9 x 1.3 cm.)

18.

EGYPTIAN FLAT FACE GLASS BEAD

Culture: Date: Medium: Condition: Provenance: Dimensions:

Egyptian Ca. 1st Century A.D. Glass Intact Ex European collection, acquired 1960s; Aphrodite Gallery exhibition, 1915 5/8 x ½ in. (15 x 13 mm.)

Cf. Early Glass of the Ancient World, Wolfe Collection, nos. 14954

19.

EGYPTIAN FEMALE PORTRAIT GLASS INLAY

Culture: Date: Medium: Condition: Provenance: Dimensions:

Eastern Roman Ca. 2nd Century B.C. – 1st Century A.D. Glass Intact Ex European collection, acquired 1960s; Aphrodite Gallery exhibition, 1915 3/8 x ¼ in. (10 x 6 mm.)

Seemingly wearing a flattopped black headdress tied under chin and neck; opaque red, white, and black, in blue matrix. Cf. Goldstein, no. 497; Corning Museum of Glass no. 55.1.82 for a similar bust inserted in a patella cup; Ancient Egyptian Glass and Faience Part III, Christie’s London, 1993, Lot 46.

20.

EGYPTIAN FLAT FACE GLASS BEAD

Culture: Date: Medium: Condition: Provenance: Dimensions:

Egyptian Ca. 1st Century A.D. Glass Intact. Ex European collection, acquired 1960s; Aphrodite Gallery exhibition, 1915 H. 5/8 x 1/2 in. (15 x 13 mm.)

Cf. Ancient Egyptian Glass and Faience Part III, Christie’s London, 1993, Lots 4244.

21.

ROMAN BLUE GLASS MEDUSA/GORGON FACE INLAY

Culture: Date: Medium: Condition: Provenance: Dimensions:

Eastern Mediterranean Ca. 1st Century A.D. Glass Intact Ex European collection, acquired 1960s; Aphrodite Gallery exhibition, 1915 Diam. 3/4 in. (19 mm.)

22.

ROMAN EGYPTIAN SPHERICAL MOSAIC GLASS FACE BEAD

Culture: Date: Medium: Condition: Provenance: Dimensions:

Roman Egyptian Ca. 1st Century A.D. Glass Intact Ex European collection, acquired 1960s; Aphrodite Gallery exhibition, 1915 Diam. ½ in. (13 mm.)

The face depicted on this bead alludes to a Gorgon basis, perhaps Medusa. Similar beads have been found to the North of the Black Sea as well as in Ras el Tin, Egypt, where their context suggests the dating adopted here. Cf. Ancient Glass from the Borowski Collection, 149, no. EG34an.

23.

ROMAN EGYPTIAN SPHERICAL MOSAIC GLASS FACE BEAD

Culture: Date: Medium: Condition: Provenance: Dimensions:

Roman Egyptian Ca. 1st Century A.D. Glass Intact Ex European collection, acquired 1960s; Aphrodite Gallery exhibition, 1915 Diam. ½ in. (13 mm.)

An almost circular bead uniquely branded with a twofaced inlay, embedded in dark blue, yellow, white, black, and red. Cf. Lot 22 in this catalog; Ancient Glass from the Borowski Collection, 149, no. EG34an.

24.

ROMAN EGYPTIAN SPHERICAL MOSAIC GLASS FACE BEAD

Culture: Date: Medium: Condition: Provenance: Dimensions:

Roman Egyptian Ca.1st Century A.D. Glass Intact Ex European collection, acquired 1960s; Aphrodite Gallery exhibition, 1915 Diam. ½ in. (13 mm.)

Cf. Lots 22 and 23 in this catalog; Ancient Glass from the Borowski Collection, 149, no. EG34an.

25.

PHOENICIAN OR CARTHAGINIAN RODFORMED GLASS HEAD PENDANT

Culture: Date: Medium: Condition: Provenance: Dimensions:

Phoenician or Carthaginian Ca. 6th – 5th Century B.C. Glass Intact Ex European collection, acquired 1960s; Aphrodite Gallery exhibition, 1915 H. 1 in. (2.5 cm.)

Representing the head of an African, with a pointed chin, dark blue face and suspension loop; the turban, eyes, and mouth are in yellow. Cf. Toledo, Early Ancient Glass, no. 42; Sotheby’s New York, December 1993, Lot 219.

26.

PHOENICIAN OR CARTHAGINIAN RODFORMED GLASS HEAD PENDANT

Culture: Date: Medium: Condition: Provenance: Dimensions:

Phoenician or Carthaginian Ca. 3rd Century B.C. Glass Intact Ex European collection, acquired 1960s; Aphrodite Gallery exhibition, 1915 H. ¾ in. (1.9 cm.)

In the form of a blueandyellow turbaned male head, with opaque brown face, applied blue eyes, and suspension loop in blue. Cf. Ancient Egyptian Glass and Faience Part III, Christie’s London, 1993, Lot 159.

27.

PHOENICIAN OR CARTHAGINIAN RODFORMED JANIFORM GLASS HEAD PENDANT

Culture: Date: Medium: Condition: Provenance: Dimensions:

Phoenician or Carthaginian Ca. 6th – 5th Century B.C. Marble Intact Ex European collection, acquired 1960s; Aphrodite Gallery exhibition, 1915 H. ½ in. (1.3 cm.)

Janusheaded pendant, with hair, beard, and eyes in dark blue, face in light blue and white, and suspension loop in light blue. Cf. Corning no. 213; Toledo no. 41; Wolkenberg collection, Christie’s London, 1991, Lot 160; Ancient Egyptian Glass and Faience Part III, Christie’s, 1993, Lot 158.

28.

PHOENICIAN OR CARTHAGINIAN RODFORMED GLASS HEAD PENDANT

Culture: Date: Medium: Condition: Provenance: Dimensions:

Phoenician or Carthaginian Ca. 5th – 4th Century B.C. Marble Intact, but for right temple missing Ex European collection, acquired 1960s; Aphrodite Gallery exhibition, 1915 H. 1 in. (2.5 cm.)

Beige/yellowish head, with beard, eyes, hair, and suspension loop in cobalt blue; the turban alternates in white and blue. Cf. Ancient Glass from the Borowski Collection, pp. 19698, nos. P3335.

29.

CANOSAN TERRACOTTA RELIEF FACE

Culture: Date: Medium: Condition: Provenance:

Apulia Ca. 3rd Century B.C. Terracotta Intact Ex Munzen und Medaillen AG Basel, Swiss collection A.W., acquired in 1987 Dimensions: H. 8 ¼ in. (21.5 cm.) Published in Munzen und Medaillen AG 1987, Sonderliste W., no. 32, p. 59.

30.

TARENTUM GORGON TERRACOTTA ANTEFIX

Culture: Date: Medium: Condition: Provenance: Dimensions:

Tarentum Ca. 6th – 4th Century B.C. Terracotta Intact Ex Elsa BlochDiener, Bern, A.W. collection, Switzerland, acquired in 1982 6 ¼ x 5 in. (16 x 12.9 cm.)

31.

TARENTUM MEDUSSA TERRACOTTA ANTEFIX

Culture: Date: Medium: Condition: Provenance: Dimensions:

Tarentum Ca. 5th Century B.C. Terracotta Intact Ex Galerie Elsa BlochDiener, Bern, A.W. Collection, Switzerland 7 ¾ x 9 1/2 in. (19.9 X 24.2 cm.)

32.

CANOSAN TERRACOTTA FACE RELIEF

Culture: Date: Medium: Condition: Provenance: Dimensions:

Apulian Ca. 4th – 3rd Century B.C. Terracotta Intact Ex Elsa BlochDiener, Bern, A.W. collection, Switzerland, acquired in 1981 H. 6.7 x 7 in. (17 x 18 cm.)

33.

ATTIC GREEK REDFIGURE POTTERY PLATE OF GORGON HEAD

Culture: Date: Medium: Condition: Provenance:

Greek Ca. 6th Century B.C. Pottery Complete, reattached from several fragments Ex A.W. Collection, Switzerland, Ernest Brummer, 1976; Sotheby Parke Bernet, 1949 Dimensions: Diam. 5 ¼ in. (13.3 cm.) Published in D. KallipolitisFeytmans, Les plats attique a figures noires (1974), no. 359, A III 50, Table 66, Figure 50.

34.

GREEK TERRACOTTA HEAD OF A WOMAN

Culture: Date: Medium: Condition: Provenance:

Tarentum Ca. 6th – 4th Century B.C. Terracotta Intact Ex Swiss collection, 1970s, New York collection; Aphrodite Gallery exhibition, 1918 Dimensions: H. 2 in. (5 cm.)

35.

GREEK TERRACOTTA HEAD OF A WOMAN

Culture: Date: Medium: Condition: Provenance:

Tarentum Ca. 6th – 4th Century B.C. Terracotta Intact Ex Swiss collection, 1970s, New York collection; Aphrodite Gallery exhibition, 1918 Dimensions: H. 1 5/8 in. (4 cm.)

36.

GREEK TERRACOTTA HEAD OF A WOMAN

Culture: Date: Medium: Condition: Provenance:

Tarentum Ca. 6th – 4th Century B.C. Terracotta Intact Ex Swiss collection, 1970s, New York collection; Aphrodite Gallery exhibition, 1918 Dimensions: H. 1 ½ in. (3.8 cm.)

37.

GREEK TERRACOTTA HEAD OF A WOMAN

Culture: Date: Medium: Condition: Provenance:

Tarentum Ca. 6th – 4th Century B.C. Terracotta Intact Ex Swiss collection, 1970s, New York collection; Aphrodite Gallery exhibition, 1918 Dimensions: H. 1 ½ in. (3.8 cm.)

38.

GREEK TERRACOTTA FEMALE HEAD

Culture: Date: Medium: Condition: Provenance:

Tarentum Ca. 6th – 4th Century B.C. Terracotta Intact Ex Swiss collection, 1970s, New York collection; Aphrodite Gallery exhibition, 1918 Dimensions: H. 1 ¼ in. (3.2 cm.)

39.

GREEK TERRACOTTA HEAD OF A WOMAN

Culture: Date: Medium: Condition: Provenance:

Tarentum Ca. 6th – 4th Century B.C. Terracotta Intact Ex Swiss collection, 1970s, New York collection; Aphrodite Gallery exhibition, 1918 Dimensions: H. 1 ½ in. (3.8 cm.)

40.

GREEK TERRACOTTA HEAD OF A MINIATURE KORE

Culture: Date: Medium: Condition: Provenance:

Greek Ca. 6th – 5th Century B.C. Terracotta Intact Ex Swiss collection, 1970s, New York collection; Aphrodite Gallery exhibition, 1918 Dimensions: H. 1 ¾ in. (4.5 cm.)

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