SUBLIME

Egyptian, Greek and Roman sculptures

Galerie Chenel

Sitting in the spolight of the projectors, pertched up on a metalic column, these sculptures are sublime!

The perfection of a fne tuned picture, the interplay amongst the shadows, a black and white contrast, a minimalist scene in an immaculate studio, they face an elegantly defned light. The lens captures their profound aesthetic. Through their magical aura, these works of art awaken a deep seated desire towards the beautiful, simultaneously they harken a return to classical.

Here we have our elegant Egyptian who radiates beams of light. Discovered within the Hadrian’s villa, this piece draws our attention by her presence and her beauty. An altar shaken up by time tells us its extraordinary story. The almighty Hercules’ muscular physique is highlighted under the rays of the spot lights. His formidable strength exudes from his heroic stance. Venus can be perceived completely disrobed, her fesh and voluptuous curves so sensually depicted. Suspended ever so delicately around Venus’s neck, a Medusa in chalcedony of soft azure looks towards the lens with a determined gaze. A marbled portrait of such rare exquisiteness comes to life with a singular and unique expression. And here we can behold an Amazonian’s arm and shield that stirs one’s imagination in contrast with the obscurity of her missing body.

These sculptures evoke the Sublime! We cannot help but admire them. These works of art denote the genius behind the sculptors of this time period and the sheer magnimity of antiquity. We fnd ourselves utterly fascinated!

To fnd the work of art that will capture our attention. To weave together a collection. Enquiring into their provenance. Delving into the research. Discussing together with colleagues and experts alike. Exploring other comparative works. Guiding the restorative process and creating the complentary piedestal that create the framework through which these sculptures emmanate their splendour once again. To photograph them and present them to you in their best lights. All these phases defne the essence of general chemistry of our profession, and continues to inspire us.

This catalogue is our 18th, and it is with great honor that we can present to you our vision of classical antiquity. We hope to share our profound passion that these works of art incite in us daily.

PINAX WITH A THEATRE MASK

PROVENANCE:

FORMERLY IN THE COLLECTION OF MR JACQUES BULLIOT (1817-1902), ARCHAEOLOGIST AND ART CONNOISSEUR.

PASSED DOWN AS AN HEIRLOOM IN THE SAME FAMILY.

This incredible marble relief has the particularity of being sculpted on both sides. The frst depicts a theatre mask in high relief, the face almost entirely detached from the surface. The masculine character looks elderly, in a way that is almost caricatural. His cheekbones are prominent while his straight, wide nose dovetails with two thick eyebrows, exaggeratedly lifted at the corners, accentuating his tragic expression. The wide open, partly hollowed out mouth and full lips accentuate its dramatic side and lend it an amazing expressiveness. The almond-shaped eyes are framed by fne eyelids and follow the curve of the brows, again translating the dramatic expression sought by the sculptor. The mouth is nestled within a full beard, each individually

sculpted strand ending in a small curl and creating further volume. Moreover, his thick hair is made up of curly locks, small ringlets fowing down his face. The mask has a pointed top with a man’s rounded head emerging from the back, creating a very realistic play of superposition and depth.

The other side, meanwhile, is adorned with a bearded satyr, exquisitely sculpted in low relief, in a frame with wide margins. The face, also in profle, is grotesque: the nose is exaggerated and the forehead bulging while the eyebrows seem contracted, hiding the satyr’s eyes almost entirely. The beard was probably depicted long and pointy, just like his abundant hair, with long locks curling across his forehead. This satyr has a very wild, very expressive

ROMAN, 1 ST - 2 ND CENTURY AD MARBLE

HEIGHT: 16 CM.

WIDTH: 15 CM.

DEPTH: 8 CM.

appearance. All the artist’s skill shines through in the intensity evident in both faces. Despite the lack of context or even gestures, the sculptor was able to convey two sets of strong emotions purely through facial expressions – particularly in the case of the theatre mask. Likewise, their talent is apparent in the way the marble was cut, and the play of depth, which difers completely from one side to the other. Finally, a lovely brown patina adorns the marble, attesting to the passing of time.

perishable materials such as wood, wax and painted fabric. However, thanks to the immense popularity of these motifs, many replicas were made from terracotta, bronze and even marble. Moreover, as for our sculpture, many masks were used as motifs in reliefs, as shown by gorgeous examples conserved at the Vatican, in Copenhagen and in Rome (ill. 1-3). These new decorative elements were thus used either as votive oferings in sanctuaries and tombs or as decorations placed in villas to play an apotropaic role. These rectangular reliefs then took on the name of pinakes. Derived from circular oscilla, they were also exhibited in the gardens of villas, generally on columns (ill. 4).

In ancient Greece then in the Roman Empire, theatre was a much appreciated activity, which was widely represented in the arts. At the time, the actors, exclusively men, wore all kinds of masks, enabling them to play several roles and the spectators to quickly recognise the protagonists. Often with caricatural traits, they were divided between the two theatrical genres: comedy and tragedy. For the stage, the masks were made in

Ill. 1. Double-faced relief, Roman, 2nd century AD, marble, H.: 37.5 cm. Galleria Chiaramonti, Vatican Museums. Ill. 2. Double relief with masks, Roman, 1st century AD, marble, H.: 22 cm. Ny Carlsberg Glyptotek, Copenhagen.

Ill. 3. Pinax, Roman, 2nd century AD, marble, H.: 30 cm. Centrale Montemartini, Rome, inv. no. 2129.

Ill. 4. Pinax, Roman, end of the 1st century AD, marble, H.: 130 cm. Garden of the House of Gilded Cupids, Pompeii. Ill. 5. Relief, Roman, 1st-2nd century AD, marble, H.: 22 cm. Villa Albani, Rome, inv. no. 652.

The repertory of the theatre and satyrs was a subject of predilection generally tied to the Dionysian universe, particularly appreciated by the Romans, as shown by the previously mentioned examples and the Villa Albani one (ill. 5).

Our double relief was originally in the collection of Jacques-Gabriel Bulliot (1817-1902, ill. 6), archaeologist and art connoisseur. A scholar and member of the Société Éduenne des Lettres, Sciences et Arts, he is known for having discovered the ancient site of Bibracte, capital of the Aeduans, a people of Celtic Gaul. In 1867, Napoleon III tasked him with heading the digs that would lead to the discovery of complex groupings of buildings, private dwellings, public buildings and artisanal workshops. Our sculpture stayed in his family’s collections as an heirloom until the present day. An old collection label is still visible on the marble base.

Ill. 6. Jacques-Gabriel Bulliot (1817-1902).

STATUETTE OF VENUS

PROVENANCE:

FORMERLY IN THE COLLECTION OF DEALER PHOCION J. TANO (1898-1972 ), TANO ANTIQUITIES, CAIRO, EGYPT, SINCE AT LEAST THE 1940S

JUDGING BY THE OLD LABEL AND THE WOODEN BASE. THEN FORMER FRENCH PRIVATE COLLECTION.

This delicate statuette represents Venus, Roman goddess of love and beauty, with her sensual body covered by a lovely, folded drapery. The statuette is sculpted from marble with deep yellow hues and brown and white touches, attesting to the passing of time and giving the work a certain aura. The goddess is represented standing, the weight of her body on her straight left leg. This position, known as contrapposto, leaves her right leg bent, slightly turned inwards in a movement intended to shield her privates and thus creating a slight tilt of her hips. Venus has just emerged from her bath, entirely nude and only wearing a drapery that falls gracefully from her pelvis, falling along her thighs and covering her buttocks and legs. The fabric, sculpted in a realistic manner, seems wet, each fold slipping

while hugging the shape of her body, accentuating her feminine attributes. Her torso is tilted, her left shoulder lowered and her stomach slightly creased. Her bosom is left naked, revealing two rounded, delicately shaped breasts. Her stomach and hips are plump and she has a discreetly etched navel. The fnely shaped groin leads the viewer’s gaze to our goddess’s private parts, accentuating the sensuality inherent to the goddess of beauty. Her back is smooth, the line of her spine slightly etched, following the curve created by her tilted hips and going down to her buttocks. Her hourglass fgure is thus well defned, with her small waist and round hips. The fabric, which cascades down her body, covers her buttocks in a very elegant gesture of modesty. Her left arm is intact almost up to

HEIGHT: 11.5 CM.

WIDTH: 5 CM.

DEPTH: 2 CM.

her wrist. Her elbow is bent and her hand would probably have held locks of hair, while a swathe of fabric went over it. A fragment is still visible just below her shoulder. Given the position of her right shoulder, her right arm was probably raised along her head, her right hand holding back locks of hair. This very position is illustrated by a sculpture currently conserved at the Vatican (ill. 1).

appearance inherent to the goddess of beauty, sculptors often represented her partially clothed in a drapery that is frequently slipping delicately, almost uncovering her privates, sparking the public’s curiosity. This is the case in our sculpture, the drapery subtly revealing the goddess’s voluptuous curves and smooth skin. Other gorgeous examples are currently conserved in several international museums (ill. 3-6).

Ill. 3. Aphrodite, Hellenistic, 1st century BC - 1st century AD, marble, H.: 29 cm. Musei Capitolini, Rome, inv. no. 2124.

Ill. 4. Torso of Aphrodite, Hellenistic, 1st century BC 1st century AD, marble, H.: 97.8 cm. Harvard Art Museums, Massachusetts, inv. no. 1900.17.

This statuette is based on the Aphrodite of Knidos model, the frst entirely nude portrayal of the goddess, carried out by the Greek sculptor Praxiteles in the 4th century BC. The original statue, the existence of which is confrmed by antique sources, represented the goddess bathing, surprised during her ablutions and shielding her privates in a gesture of modesty (ill. 2). The now vanished masterpiece was a source of inspiration for many sculptors, bringing about countless sculptures with varied postures and draperies. To accentuate the sensuality and intimate

Ill.

1053.

Ill. 5. Statue of Aphrodite, Roman, marble, H.: 59 cm. Arkeoloji Müzesi, Izmir, inv. no. 630.

6. Two Statuettes of Aphrodite, Hellenistic, 3rd–2nd century BC, marble, H.: 42.5 cm. Arkeoloji Müzeleri, Istanbul, inv. no.

Ill. 1. Venus Anadyomene, Roman, mid-2nd century AD, marble, H.: 149 cm. Musei Vaticani, inv. no. MV.807.0.0.

Ill. 2. Venus, Roman sculpture, 1st-2nd century AD, found in Ostia, Parian marble, H.: 107 cm. British Museum, London, inv. no. 1805,0703.15.

This delicate statuette of Venus once belonged to the antiquities collection of the Tano gallery in Cairo, Egypt. It belonged to Phocion J. Tano (1898-1972), a dealer specialising in Egyptian antiquities (ill. 7). Our sculpture is mounted on a pretty black wooden base stamped with “Venus” in golden letters. Just above the stamp is another faint impression of the goddess’s name, without any gold highlighting. At the bottom of the base was an old label from the Tano gallery, which says “N. Tano, Antiquities, no. 721, Cairo — Egypt” (ill. 8).

HEAD OF A WOMAN

ROMAN, JULIO-CLAUDIAN DYNASTY, 1 ST CENTURY BC - 1 ST CENTURY AD

MARBLE

UPPER LIP RESTORED.

HEIGHT: 27 CM.

WIDTH: 16 CM.

DEPTH: 18.5 CM.

PROVENANCE:

IN A EUROPEAN COLLECTION FROM THE 18 TH CENTURY, BASED ON THE RESTORATION TECHNIQUES. THEN IN THE FRENCH PRIVATE COLLECTION OF THE ACADEMICIAN ÉMILE GIRARDEAU (1882-1970), ACQUIRED BEFORE 1970. BY DESCENT IN THE SAME FAMILY.

This head represents an elegant young woman. Sculpted from white marble, her oval, delicate featured face is made striking by large, strongly carved eyes. Her eyebrows are delicately arched, softening her gaze. Her closed mouth and calm, composed gaze bestow upon the young woman a serene, almost pensive expression. Her missing nose shrouds our statue in a veil of mystery, giving free reign to the viewer’s imagination. Her features, hairstyle and the lack of a nose not only make the charm and elegance of this statue, they make it

unique. Her hairstyle, which was originally topped with a greater volume of hair, is made up of several plaits that are fattened and held back. Her hair is parted down the middle, with the braids forming a low chignon at the nape of her neck. On her crown, a band encircles her hair, adorned with small circular berries that add extra charm. Wavy locks that have come free fall elegantly across her forehead. Her chignon is tied with a plait from which well defned curls have come loose on either side of her nape. Each type of hairstyle reveals a hair fashion from a certain

period. This one enables us to date our sculpture to the Julio Claudian era. Our delicate feminine head has traces of concretion and a brown patina, giving the marble very elegant, golden highlights.

The infuence that imperial portraits, idealised and representing the patron’s position, had on private portraits is obvious. Individuals eagerly embraced the trends adopted by their sovereigns or their spouses, particularly as far as hair was concerned. Although the art of private portraiture was generally subject to less restrictive rules, it still needed to give a certain image. As an example, the bust of Livia, wife of the emperor Augustus and mother of Tiberius, currently conserved at the J. Paul Getty Museum, displays a smooth, full, oval face, giving her a gentle, candid appearance (ill. 1). Presented as a young woman, she embodies modesty and stability — key themes as Augustus asserted his power after years of political confict and civil war. And yet, at the time the bust was crafted, Livia was about 60 years old. The bust thus perfectly illustrates the idea of the idealised portrait, making it possible to infer that our delicate statue did not portray its owner realistically, but rather idealistically. Moreover, our elegant, plait wearing young woman displays features similar to those of Livia. Both faces are oval and full, with high cheekbones and gentle, delicate traits, the delicately arched brows following the lines of the eyes. The assimilation of physical features and hairstyles was common among the aristocratic elite, whose portraits, arranged in their interiors, served to assert their social status and display their

wealth. As for our portrait, other representations of young women depicted in the fashion of the time are currently conserved in Italy (ill. 2-3).

Ill. 1. Portrait of Livia, Roman, ca. AD 1-25, marble, H.: 40 cm. J. Paul Getty Museum, Los Angeles, inv. no. 74.AA.36.

Ill. 2. Portrait of a young woman, ca. AD 10, marble, H.: 52 cm. Capitoline Museums, Rome, inv. no. 1081.

Ill. 3. Bust of a woman, Roman, ca. AD 13, marble, H.: 35 cm. Palazzo Malatestiano, Fano, no. 5674.

The other particularity of our portrait is the discreet presence of a band adorned with berries that dresses the hair of our young woman. Fruit adorned crowns are generally associated with Dionysus, the Greek god of wine and immoderation, and, more broadly speaking, his Dionysian suite, which included maenads, satyrs and wild animals. A gorgeous example of a portrait of a maenad whose forehead is adorned in the same way is currently conserved in Italy (ill. 4). The use of such an attribute in private Roman portraits was not uncommon, conveying the patrons’ desire to be associated with either the god himself or his companions and all that they represent: abundance, the pleasures of life and prosperity. This is what we fnd in our portrait. The association of the facial features following the trend of the time with a mythological attribute celebrates virtues inherent to the Dionysian world and confrms the patron’s high social status. This very typology can be found in various examples conserved in diferent collections across the world (ill.

Our gorgeous portrait was initially in a European collection from the 18th century, as shown by the restorations carried out on the nose, now removed, and the upper lip, still visible. It then joined the collection of the engineer and academician Émile Girardeau (1882-1970, ill 6) and stayed within his family as an heirloom.

5).

Ill. 4. Maenad, Roman, 2nd century AD, marble, H.: 30 cm. Museo Civico, Italy, inv. no. 699. Ill. 5. Child crowned with ivy, Roman, 2nd century AD, marble, H.: 60 cm. Gallerie degli Ufzi, Florence, inv. no. 1914.260.

Ill. 6. Émile Girardeau (1882-1970).

TORSO OF DIONYSUS

PROVENANCE:

FORMER COLLECTION OF MR AND MRS BETHAM, LONDON. WITH THE URAEUS GALLERY, 24 RUE DE SEINE,

6 TH ARRONDISSEMENT, PARIS, SINCE AT LEAST NOVEMBER 1975. THEN FRENCH PRIVATE COLLECTION OF MR F., ACQUIRED FROM THE ABOV E.

This captivating sculpture depicts the torso of Dionysus in an aged white marble. The god, of whom only a torso and thighs remain, is represented by a young athletic man in heroic nudity. The muscles are subtly marked, the abdomen in front, reinforcing this juvenile appearance. The play of curve and counter-curve is present here, the body taking the S-shape characteristic of the contrapposto position. The left leg is stretched while the right is slightly bent, the line of the pelvis creating an oblique thus contorting the torso. The left hip, full, moves forward into the space, reinforcing the athletic aspect of our young god. Finally, the line of the pelvis is opposed to the line of the shoulders, the left shoulder slightly lowered creating again a very singular torsion. The back, quite fragmentary, reveals muscular buttocks

while a tree trunk remains serving as support for the whole sculpture. Our young god is thus represented in heroic nudity, simply dressed in a skin of an animal. Attached to his left shoulder, it falls on his right hip in thick waves. The animal drape, commonly called nebride (in ancient Greek “deer”), is a skin of panther, fawn, or goat, a characteristic of the cult of Dionysus. It was worn by the god himself and by his companions: the satyrs, the maenads and the Bacchante. The attention brought by the artists in the representation of clothing is marked by the rendering of folds, giving an impression of gravity and a quite singular play of matter. Finally, on his right shoulder is preserved a lock of hair typical of the hairstyle worn by the god. Our torso in sculpted in a marble marked with an

HEIGHT: 84 CM.

WIDTH: 31 CM.

DEPTH: 18 CM.

ancient patina and traces of brown, a testament to the passage of time on the stone. Its fragmentary characteristics as well as the browns on the surface of the marble testify to its past history and give our torso a very distinctive aura.

Dionysus, later called Bacchus by the Romans, is the son of Zeus and the mortal Semele. Provoked by jealousy, Hera, the wife of Zeus, kills Semele whom was still pregnant with the young Dionysus. Zeus saves his son by sewing him into his thigh until he was born. Once born, Hermes delivered Dionysus to the Bacchantes and maenads to be raised. Dionysus is one of the most celebrated divinities in the ancient world, associated with vines and wine, to excessiveness and also wild nature. He is also commonly represented surrounded by his companions in the famous Dionysus procession, including wild animals such as panthers or leopards. This representation of Dionysus in such heroic nudity and his hip, echoes the work of the famous Greek sculptor Praxiteles who developed his art in the 4th century BC. One of his masterpieces, the Satyr at Rest, a roman copy which is the most known in the Capitoline Museum (ill. 1), shows the attention the artists was rendering for the muscularization and details of the body. The contrapposto position that we fnd in this work and in other sculptures thus allows artists to show their dexterity in the rendering of fesh. Faithful companion of Dionysus, the Satyr sculped by Praxiteles, also wears an animal skin refecting the outft of our young deity. This iconography is also

found in beautiful examples in New York, Rome, Madrid, and Santa Barbara (ill. 2-5).

Our torso was frst housed in the private collection of Mr and Mrs Betham, in London and later joined the collection of Galerie Uraeus, located at 24 rue de Seine in the 6th arrondissement of Paris. It was then photographed for a Maison & Jardin company advertisement, published in n°285 of the

Ill. 1. The Resting Satyr by Praxiteles, Greek, marble, H.: 170.5 cm. Musei Capitolini, Rome, inv. no. MC0739.

Ill. 2. Statuette of a Young Dionysus, Roman, 1st-2nd century AD, marble, H.: 38 cm. The MET, New York, inv. no. 2011.517.

Ill. 3. Statue of Dionysus, Roman, 1st half of the 2nd century AD, marble, H.: 86.5 cm. Musei Vaticani, inv. no. MV.2394.0.0.

Ill. 4. Dionysos and a Panther, Roman, AD 130-140, marble, H.: 97 cm. Museo del Prado, Madrid, inv. no. E000105.

Ill. 5. Dionysos Lansdowne, Roman, 2nd century AD, marble, H.: 134,5 cm. Museum of Art, Santa Barbara, inv. no. 2009.1.1.

magazine Connaissance des Arts, in November 1975 (ill. 6). The torso was fnally acquired on 18 October 1976 by Mr F., a French private collector (ill. 7).

Ill. 6. Connaissance des Arts, n° 285, November 1975, p. 1.

Ill. 7. Invoice of the Uraeus gallery, 16 October 1976.

LIBATION TABLE

MARBLE RESTORATIONS.

PROVENANCE:

FORMERLY IN THE COLLECTION OF GIAMPIETRO CAMPANA (1809-1880), IN THE GARDENS OF VILLA CAMPANA, ROME. THEN IN THE FRENCH PRIVATE COLLECTION OF GUSTAVE CLÉMENT-SIMON (1833-1909) AT HIS CHÂTEAU DE BACH, NAVES, CORRÈZE. PASSED ON TO GEORGES COUTURON WHEN THE CASTLE AND ITS COLLECTION WERE SOLD IN 1938. BY DESCENT IN THE SAME FAMILY SINCE THEN.

This once quadrangular marble fragment presents a Latin inscription with a hollow circular motif in the middle. The whole piece is bordered with a carved line that forms a frame. The inscription is laid out over six straight, regular lines, written in Roman square capitals also known as capitalis monumentalis. Considered the most advanced form of Latin writing, they were used from the 5th century BC and really perfected from the 2nd century BC. They then acquired a more regular, rigorous appearance, alternating between thick and

thin strokes and punctuated with triangular serifs. The ceremonial writing was then mainly used for inscriptions on public monuments and, as illustrated by our example, in funerary contexts.

The text of our inscription reads as follows:

D(is) M(anibus)

Cornelius

Dignus Mussiae

Horaeae

Coniugi Dul

Cissimae B(ene) M(erenti) F(ecit)

HEIGHT: 28.5 CM.

WIDTH: 32.5 CM.

DEPTH: 3.5 CM.

We can translate it as:

To the Manes.

Cornelius Dignus had this made for his very gentle and deserving wife Mussia Horaea.

Our inscription begins with a dedication to the Manes, deities likened to genies, which were considered, in the pagan religion of Rome, to symbolise the souls of the dead. Next comes the patron, Cornelius Dignus, who had the inscription engraved for his dead wife Mussia Horaea. Our inscription was once a libation table, commonly called mensa sepulchralis. In the middle of it is a hollowed out, circular area, itself perforated with fve small holes. The circle is adorned with a pattern delicately carved around the edge, imitating the shape of the cups used in funerary cults. Such plaques were once placed on tombs, and the central perforations made it possible to pour oferings over them. This religious ritual, popular under the Roman Empire, consisted in honouring the dead by serving them sustenance, generally milk, wine, honey or oil. These were poured over the plaque and fowed through the holes to feed the dead in the afterlife. Gorgeous examples of such libation tables are currently conserved in England and France (ill. 1-5).

which appears on most of the funerary inscriptions from that period. These deities, which symbolised the spirits of the dead, were the physical anchors of commemorative ceremonies, particularly during the festival of Parentalia in February, when people took care to honour the tombs of dead family members to appease the gods. Secondly, it shows the importance of the honorary practice of libations to the Romans through the object’s very typology, as it was created for that specifc purpose.

Our inscription is thus a fne illustration of the importance of private religion in the Roman Empire, frst with the dedication to the Manes,

This libation table is sculpted from gorgeous white marble and has a slightly brown patina. Despite the

Ill. 1. Libation table, Roman, 1st-2nd century AD, marble, H.: 26 cm. Wellcome Collection, London, inv. no. 1655529.

Ill. 2. Libation table, Roman, 1st-2nd century AD, marble. Wellcome Collection, London, inv. no. 1655527.

Ill. 3. Libation table, Roman, 1st-2nd century AD, marble, H.: 32 cm. Ashmolean Museum, Oxford, inv. no. C3.45.

Ill. 4. Libation table, Roman, 1st-2nd century AD, marble, H.: 15.5 cm. Musée du Louvre, Paris, inv. no. Ma 3910.

breaks, the inscription is still completely legible and extremely well conserved, each letter standing out very distinctly. It is presented in a wooden frame, attesting to the piece’s old provenance.

Our inscribed plaque was in the collection of Marquis Giampietro Campana (1809-1880), who lived in Rome and was one of the greatest collectors of the 19th century. As a papal banker and art enthusiast, over several decades, he accumulated a collection of close to 12,000 archaeological pieces, paintings and sculptures. These artworks were divided between a few of his residences, where they adorned rooms and gardens, jealously hidden from the eyes of the public. Our inscription is mentioned in Corpus Inscriptionum Latinarum (“Corpus of Latin inscriptions”), with its location given as the gardens of his villa in Laterano (ill. 6). The book illustrates the growing interest in epigraphic science in the 19th century, which led several archaeologists to undertake the ambitious endeavour of listing every Latin inscription. Giovanni Battista de Rossi thus wrote, in Volume 6: “Tabula marmorea in hortis Campanae prope Lateranum” (“marble

plaque in the gardens of Villa Campana, near Laterano”). The marquis of Campana ultimately met with an outlandish fate. Accused of having stolen from the cofers of the Papal State, he was banished for life. The Pope then decided to put his collection up for sale and it was divided between private collections as well as the collections of some of the most prominent museums in the world. Our inscription joined the collection of the French Scholar, Gustave Clément-Simon, born in 1833 and died in 1909. After magistracy studies and holding various positions throughout France, he fnally settled in Corrèze in 1879 and acquired the Château de Bach. He then devoted the last years of his life to his art collection, including our libation table. Passionate about archeology, he took an interest in the various excavations around Corrèze and traveled frequently to Italy, Greece, and Turkey, bringing back a number of souvenirs that would en-rich his collection. The inscription

Ill. 6. Giovanni Battista de Rossi, Inscriptiones urbis Romae latinae (“Inscriptions of the Latin city of Rome”), Vol. IV.3, Berlin, 1886, p. 1832, no. 16189.

Ill. 5. Libation table, Roman, 1st century AD, marble, H.: 26 cm. Musée du Louvre, Paris, inv. no. Ma 3896.

remained to his descendants and then passed onto George Couturon when he bought the Château, furniture, and art collection in 1938. Our libation table passed down within the same family thereafter.

Ill.

Publication:

- G. Battista de Rossi, Inscriptiones urbis Romae

latinae (“Inscriptions of the Latin city of Rome”), Vol. IV.3, Berlin, 1886, p. 1832, no. 16189.

Ill. 6. Marquis Giampietro Campana (1809-1880).

7. Château de Bach, Naves, Corrèze.

SEATED STATUE OF INEFER

EGYPTIAN, LATE PERIOD, DYNASTY XXV OR XXVI

ASWAN GRANITE

HEIGHT: 32 CM.

WIDTH: 25.5 CM.

DEPTH: 11 CM.

PROVENANCE:

SOLD IN A PUBLIC ANTIQUES SALE IN 1950-1960, LOT 41, ACCORDING TO AN EXTRACT OF THE CATALOGUE.

ACQUIRED BY MARGUERITE BORDET (1909-2014), VISUAL ARTIST. THEN IN A PARISIAN PRIVATE COLLECTION FROM 1999.

Sculpted from a single block of Aswan granite, our magnifcent sculpture represents a man seated on a throne. Without a head, his hands are resting on his thighs, the right one fat while the left is holding a piece of fabric. Our fgure is depicted bare chested, dressed only in a masculine loincloth commonly called a schenti, a traditional ancient Egyptian garment worn frst by peasants then frequently represented in sculptures of gods, pharaohs and individuals. The loincloth is made up of two superposed swathes and a triangular fap that goes down between the legs. Represented in a stylised, very symbolic way, the folds are depicted through straight lines as though squashed fat and follow the delicate curve

of the pelvis, ending just above his knees, leaving them bare. The rest of his body is also bare, revealing powerful muscles. His torso has broad, square shoulders, his arms are impressive and his chest is proudly pufed out, abdominal muscles contracted, giving our sculpture an athletic, majestic appearance. Additionally, his lower legs and feet are represented in a manner that is both symbolic and monumental. The geometric austerity, both in the composition and in the sculptor’s work, thus imbues our sculpture with a certain power and an unrivalled poise.

In ancient Egypt, when a fgure was represented, the point was not to portray them in the modern

sense of the term, but rather to depict a sublimed, timeless image that followed canons elaborated in those very ancient times. Private Egyptian statuary ofers an almost complete overview of the rich range of materials, from stone to ivory to wood, Egyptian sculptors used from the very frst dynasties. With its dark colour, the speckled granite gives depth and majesty to our delicate statue. The light marks soften the hardness of the stone and add an unparalleled ardour and human warmth. Two principles govern Egyptian art: aspectivity and frontality. The frst is a concept whereby the artist represents the defnition of the object and not its visible aspect; the second translates to the axiality and symmetry of the construction. The frst is illustrated by the fact there is a mortice in the place of the neck, allowing for a head to be inserted. The statue could thus change heads and identities, illustrating the idea of not representing the visible aspect, but an ideal that suited whoever wished to be thus identifed. Moreover, not a single physical feature individualises our statue, revealing a universal physique. The second concept is illustrated by the perfectly symmetrical and frontal aspect of our work.

The Late Period is marked by a certain instability. It is a troubled period politically because of the rise in power of various kingdoms whose infuence can be felt in the artistic production. Our sculpture can be dated more precisely to the dynasties XXV or XXVI. The last two dynasties, from 774 BC to 525 BC, were characterized by an intense intellectual

and artistic activity that sought its references in the ancient forms of the past, particularly those of the Old and Middle Kingdom. These new artistic researches give rise to eclectic works that can be qualifed as archaizing—our sculpture being a perfect example. Indeed, at frst glance, our seated statue of Inefer resembles works of the Dynasty XII, taking up the rather schematic representation of the body that we fnd, for example, in works conserved in New York (ill. 1-2). However, certain artistic liberties taken lead us to believe that our statue is in fact later, especially from acknowledging the proportions. Thus, the body of our fgure is more slender and elongated than the canons of the Middle Kingdom. In the same way, the style and way of representing the details of the limbs testify to this combination of styles and to the will of the artists of the time to create an eclectic

Ill.

Ill. 1. Seated Statue of the Steward Sehetepibreankh, Egyptian, Middle Kingdom, Dynasty XII, reign of Amenemhat II, limestone, H.: 94.5 cm. The MET, New York, inv. no. 24.1.45.

2. Seated Statue of King Senwosret I, Egyptian, Middle Kingdom, Dynasty XII, greywacke, H.: 103.5 cm. The MET, New York, inv. no. 25.6.

artwork marked by the past. Fine examples of these diverse infuences during the XXVth and XXVIth dynasties are preserved in Cairo today (ill. 3-4). The original head had to be either broken or removed from the body in ancient times. The head was attached by means of a mortise carved into the bust of the fgure. A horizontal plane was carefully prepared for this purpose at the height of the neck so that a new head could be placed on the body.

Ill. 3. Seated statue of Horouda, Late Period, Dynasty XXVI, reign of Wahibre Psamtik I, limestone, H.: 78 cm. The Egyptian Museum, Cairo, inv. no. JE 37403.

Ill. 4. Seated statue of Padiamenope, Late Period, Dynasty XXV or Dynasty XXVI, reign of Wahibre Psamtik I, calcite, H.: 97 cm. The Egyptian Museum, Cairo, inv. no. CG 48620.

While the body of our fgure was painstakingly represented, there is also much delicacy and precision to be admired in the hieroglyphs adorning the stone. The seated position was an Egyptian tradition for more than 800 years. Its advantage was the fat surface it created for inscriptions, which were of a crucial importance to the Egyptians. The right side of the seat shows two standing

fgures, depicted in profle. The frst masculine fgure is depicted holding a sceptre in one hand and the same object our seated fgure is holding in the other, difcult to identify. The inscription reads: “His son who carries on his name, the divine father and prophet of Amun in northern Heliopolis, Aatj, son of the divine father Inefer, son of the divine father Imes”. The second fgure represents a woman whose inscription reads: “The mistress of the house and musician of Ra-Atum… daughter of the prophet, divine father and governor of Heliopolis, Aatj, son of Tjanefer”. The left side of the throne is decorated with four seated fgures, the frst two of whom bear inscriptions. The frst man is accompanied by the caption: “The divine father and prophet of Amun in northern Heliopolis, Aatj”, while the second is inscribed: “The divine father Inefer”. It is interesting to note that this side is partly eroded, yet the inscriptions follow the surface perfectly and have not sufered the same alterations. This shows that the inscriptions are later additions.

The identity and parentage of the person represented is indicated through two inscriptions along the belt of the loincloth and at his feet. The frst states: “It is the divine father Inefer”, and the second: “It is the divine father Inefer, son of the divine father Imes, son of the divine father Inefer”

The hieroglyphs are fnely engraved, contrasting with the monumentality of our statue. This type of statue would have been placed in the tomb of the deceased, where the family could leave oferings and say prayers.

Our magnifcent sculpture was part of the collection of the visual artist Marguerite Bordet (1909-2014), who acquired it at auction between 1950 and 1960. The extract of the French catalogue thus refers to it as lot 41: “Grey granite statue of a seated fgure, dressed in a folded loincloth […], Middle Kingdom, H: 0m32” (ill. 5). It was then added to a Parisian private collection from 1999.

Ill. 5. Extract of the sales catalogue.

AMAZON’S ARM

PROVENANCE:

FORMERLY IN THE FRENCH PRIVATE COLLECTION OF GUSTAVE CLÉMENT-SIMON (1833-1909), AT CHÂTEAU DE BACH, NAVES, C ORRÈZE.

PASSED TO GEORGES COUTURON WHEN THE CASTLE WAS SOLD IN 1938 ALONG WITH HIS ENTIRE COLLECTION. PASSED DOWN WITHIN THE SAME FAMILY THEREAFTER.

This impressive statue fragment represents a left arm holding a shield. The weapon is attached to the folded arm by a thick band around the wrist. There is also a strap with two rows of stitches over the hand, moulded to the shape of the palm. The fngers are thus curled over the thin strap, while the thumb meets the index in a gripping movement. The fngers are individualised, with space carved between them for added realism. The nails, with fnely carved contours, are also faithfully represented. The shield is in the shape of a crescent moon, making it a very particular type of shield called a pelta. It is known to have had two diferent shapes: the crescent moon shape with only one semicircular notch, or two notches. In mythology, this type of shield was

wielded by the Amazons, a tribe of female warriors. By their shape, small size and lightness, the shields were adapted to the female morphology. On the inside, the shield has one or several handles as well as straps, allowing it to be worn across the back. It has consequently been attributed to the Amazons, equestrians who strapped their shields across their backs. The artist’s mastery is evident in the attention to detail, as well as their desire to ground their work in such realism. It is only accentuated by the large size of this anatomic fragment — almost life-sized –which, despite its subject, presents an incomparable gentleness. This very lovely marble is adorned with an old patina, which attests to the passing of time and gives it a most poetic appearance.

HEIGHT: 40 CM.

WIDTH: 48 CM.

DEPTH: 12 CM.

During antiquity, the theme of the Amazons was frequently represented, particularly in Greek art and in Rome. As they were female warriors, their well established iconography is particular and specifc to them: they are depicted wearing short tunics called chiton, the same type as that worn by the hunter goddess Artemis, the only female deity to wear a short garment. Very often, part of their anatomy is bared (a breast, a shoulder or a foot), while, in the Hellenistic period, there were representations of completely nude Amazons.

The iconographic themes in which they appeared varied little: Amazonomachy, the fght opposing Greeks and Amazons, or the fght that opposed them to Hercules. As the subject was very popular in Greek and Roman art, artists delighted in using it to express their virtuosity on all kinds of supports. There are thus images of Amazons in a variety of media, such as paintings (ill. 1-3) and sculptures in bas relief (ill. 4-5), haut relief (ill. 6-7) and in the round (ill. 8). While the last category is rarer, there is a fragmentary sculpture that is thought to represent an Amazon (ill. 9). Found in the peristyle court adjoining the theatre of Corinth, built in the early 2nd century AD, the statue is believed to have been part of a complex iconographic set. The work, almost true to scale (H.: 160 cm, supposed total H.: 189 cm), represents a young woman wearing a chiton secured by a broad belt around her waist and two bands crossing over her chest, as well as knee high laced boots. She is standing in a classic contrapposto position. The work is fragmentary,

but it seems her left arm was slightly raised and folded, holding an object that worked as a counterweight. It is possible, then, that our arm fragment belonged to that statue — or, at least, that it is an example of that statuary type.

Ill. 1. Oinochoe attributed to the Mannheim Painter, depicting Amazons in combat, Greek, Attic, ca. 440 BC, terracotta. The MET, New York, inv. no. 06.1021.189.

Ill. 2. Kylix fragment with an Amazon and her shield, Greek, ca. 515 BC, terracotta. Musei Vaticani, inv. no. MV.35101.0.0.

Ill. 3. Fragmentary kylix with an Amazon and her shield, Greek, ca. 520-500 BC, terracotte. Musei Vaticani, inv. no. MV.17845.0.0.

Ill. 4. Oil lamp decorated with an Amazon, Roman, 3rd century AD, clay. Musée du Louvre, Paris, inv. no. CA 694.

Our superb anatomic fragment was once part of the collection of Gustave Clément-Simon (1833-1909).

A magistrate by training and a public prosecutor for the appeals court in Aix en Provence, he acquired the Château de Bach in Naves in 1879 and devoted the last 30 years of his life to historical research and amassing a collection in his castle (ill. 10). His property in Corrèze contained his vast collection of archives and his eclectic collection of artworks, including an “archaeology gallery”.

In the monograph on the town of Naves published in 1905, Victor Forot stated that Gustave Clément-Simon “travelled widely (Italy, Greece, Turkey) and brought artworks back, unfortunately uncategorised”. In 1938, the entire collection was sold to Georges Couturon along with the rest of the castle and all its furniture, then passed down.

Ill. 7. Relief of the temple of Apollo Epikourios at Bassai depicting a battle between the Amazons and the Greeks, Greek, ca. 420-400 BC, marble. British Museum, London, inv. no. 1815,1020.23.

Ill. 5. Campana plaque depicting an Amazonomachy, Roman, 1st century BC-1st century AD, clay. Musée du Louvre, Paris, inv. no. S 6609.

Ill. 6. “Viennese” sarcophagus decorated with an Amazonomachy, 19th century plaster casting based on a Greek original, 4th century BC. Musée du Louvre, Paris, inv. no. Gy 0416.

Ill. 8. Wounded Amazon, Roman, 2nd century AD after a Greek original ca. 450-425 BC attributed to Kresilas, marble. Musei Vaticani, inv. no. MV.2252.0.0.

Ill. 9. Statue of an Amazon(?), Roman, probably from the early Antonine period, ca. AD 138-160, marble. Archaeological Museum of Ancient Corinth, inv. no. S 3723.

Ill. 10. Alexandre Bertin, Portrait of Gustave Clément-Simon, 2nd half of the 19th century, once in the library at Château de Bach, H.: 171 cm. Musée du Cloître, Tulle, inv. no. MC.2010.0.10.

HEAD OF AN EMPEROR

ROMAN, ANTONINE DYNASTY, AD 96-192

MARBLE

HEIGHT: 34 CM.

WIDTH: 24.5 CM.

DEPTH: 22 CM.

PROVENANCE:

IN A EUROPEAN COLLECTION FROM THE 18 TH OR 19 TH CENTURY, BASED ON THE OLD RESTORATION TECHNIQUES.

IN A FRENCH COLLECTION FROM THE BEGINNING OF THE 20 TH CENTURY, JUDGING BY THE BASING TECHNIQUE.

THEN IN A FRENCH PRIVATE COLLECTION IN A RESIDENCE IN VAUCLUSE, FRANCE.

This sumptuous sculpted portrait represents a Roman emperor. His fne featured face is fnished of with thick hair and facial hair. His extremely smoothly shaped forehead contrasts with his large, deeply carved eyes. His very thick lower and upper eyelids frame his almond-shaped eyes, which have incised irises etched in their centres and drilled pupils. They are surmounted by a fne, discreet brow line and very thin eyebrows that start at the bridge of his nose and extend almost to his temples. Beneath his eyes, there are hollows at the junctures of his cheekbones, accentuated by his very thick lower eyelids. His nose, now broken, was probably narrow and well proportioned. It dovetails with a rather big mouth, although the lips are thin and

partly concealed by his moustache, which joins a thick beard covering the entire lower part of his face. His very discreet cheekbones, too, are partly hidden by his beard, which starts at the middle of his cheeks and gets thicker as it goes, covering his chin and the top of his neck. The strands are almost individually shaped, refecting a deep desire for realism, and they are grouped here and there, representing wavy locks. His neck is thick and muscled, as wide as his face with slight bulges that correspond to the diferent muscles, showcasing a certain physical strength.

Thick, curly hair puts the fnishing touch to the portrait. It is made up of individualised locks that are messily tangled, giving our portrait a striking

realism and appearance of life. The considerable volume of the hair is due to the way the groups of locks were separately shaped, and especially the use of a drill, which makes it possible to carve down into the marble, simultaneously creating plays of shadow and light. The importance given to the hair indicates that it is a key element in deciphering this portrait. The ears are clearly visible, as only their tips are hidden by his hair. Perfectly proportioned, these, too, attest to the attention to realism that guided the sculptor in their creation. On the back of the head, there are traces of old restoration work. The technique is characteristic of the European craftsmen of the 18th and 19th centuries. We can thus infer that this magnifcent portrait was in a European collection at that time. It would then have belonged to a French collection at the beginning of the 20th century, judging by the rather particular basing technique.

This portrait is admirable on more than one level. More than its aesthetic qualities, the model appears to have been a relatively young man who was portrayed with physical characteristics generally reserved for more mature men, following the iconographic traditions of ancient Roman art. In ancient Rome, beards were worn by young adults, then shaved and ofered to the gods from the age of 24.

While the tradition of Roman portraits was very codifed from its inception, it is still possible to see an evolution, particularly with Emperor Hadrian’s assumption of power in AD 117. He was the frst to

grow a beard, following the trend of the philosophers, which then became the fashion at court. Four years after being named emperor, Hadrian was named eponymous archon, or, in other words, supreme magistrate of the city of Athens, the reason for his particular taste for Greek culture. When he rose to power in Rome, he was soon nicknamed greculus, “the little Greek”, by his peers. In his portraits, his beard thus has a moral connotation recalling Greek identity. The tradition of bearded portraits swiftly spread through the Empire and was no longer limited to philhellenes. The circulation of many portraits and coins bearing Hadrian’s efgy was unquestionably behind the new style of representation, which was adopted by all of Hadrian’s successors in the Antonine dynasty: Antoninus Pius, Marcus Aurelius (who was, incidentally, the frst to grow a long beard) and Commodus.The major novelty in these portraits, besides the beard, is the more detailed, carved shaping of the hair and eyes. Representing the pupils with carved circles was also a novelty that commenced under Hadrian’s reign.

Ill. 1. Portrait bust of Hadrian, Roman, Athens, ca. AD 130, marble. National Archaeological Museum, Athens. Ill. 2. Colossal portrait of Hadrian, Roman, AD 130-138, marble, H.: 55 cm. National Archaeological Museum, Athens.

Finally, the detailed locks of hair coupled with the use of a drill indicate that this portrait was the work of a Roman craftsman.

Our magnifcent bearded head, idealised and noble, thus represents an emperor from that dynasty whose identity cannot be pinpointed. If we compare it with very fne examples such as the two portraits of Hadrian conserved in Athens (ill. 1-2), those of Antoninus Pius in New York and Berlin (ill. 3-4), those of Marcus Aurelius in London and Paris (ill. 5-6) and those of Commodus in Copenhagen and London (ill. 7-8), we can easily glimpse many similarities in the facial features and the way the hair and beard are represented.This luxurious portrait, a similar example of which was sold at Sotheby’s in 2021 (ill. 9), is sculpted from particularly fne grained marble, allowing for an absolutely perfect polishing. The practically immaculate white stone has a few concretions and a very slight patina, which only add to its elegance.

Ill.

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Ill. 5. Portrait bust of Marcus Aurelius, Roman, ca. AD 160 170, H.: 73.5 cm. The British Museum, London, inv. no. 1861,1127.15.

6. Portrait of Marcus Aurelius, Roman, Asia Minor, 3rd quarter of the 2nd century AD (after 161), marble, H.: 27 cm. Musée du Louvre, Paris, inv. no. Ma 4884.

Ill. 7. Portrait of Commodus, Roman, late 2 nd century AD, marble, H.: 26 cm. Ny Carlsberg Glyptotek, Copenhagen.

8. Portrait of Commodus, Roman, ca. AD 185-190, marble, H.: 38 cm. British Museum, London, inv. no. 1864,1021.9.

9. Masculine portrait, Roman, reign of Antoninus Pius, mid 2nd century AD, marble, H.: 29 cm. Private collection.

Ill. 3. Marble portrait of the emperor Antoninus Pius, Roman, ca. AD 138-161, marble, H.: 40 cm. The MET, New York, inv. no. 33.11.3.

Ill. 4. Portrait of Antoninus Pius, Roman, mid 2 nd century AD, marble. Staatliche Museen, Berlin.

TORSO OF SILVANUS

ROMAN, CIRCA 2 ND CENTURY AD

MARBLE

HEIGHT: 60.5 CM.

WIDTH: 38 CM.

DEPTH: 23 CM.

PROVENANCE:

BRUMMER GALLERY COLLECTION, NEW YORK, ACQUIRED BY 1948.

SOLD BY SPINK & SON AND GALERIE KOLLER, “ THE ERNEST BRUMMER COLLECTION: ANCIENT ART”, VOL. II, ZURICH, 16-19 OCTOBER 1979, LOT 638. SOTHEBY’S NEW YORK, “ ANTIQUITIES”, 9 DECEMBER 1981, LOT 231.

SOTHEBY’S NEW YORK, “ ANTIQUITIES”, 14 DECEMBER 1993, LOT 73. THEN AMERICAN PRIVATE COLLECTION. SOTHEBY’S NEW YORK, “ ANTIQUITIES, PROPERTY FROM AN AMERICAN PRIVATE COLLECTION”, 14 DECEMBER 1994, LOT 82. THEN IN THE COLLECTION OF EVELYN AIMIS FINE ART, DELRAY BEACH, FLORIDA. THEN PROPERTY OF A PRIVATE COLLECTION, ACQUIRED FROM THE ABOVE IN 1999.

This striking marble torso depicts the Roman god Silvanus, patron of the forest and uncultivated lands. Our majestic statue is made of a white marble that has elegantly aged in time with a refned aura. The brown patina decorates the left shoulder all the way down to the back of the left thigh, displaying the efects of time on the marble. Originally with a head, our sculpture now presents a sophisticated manner. The nude torso is gently carved in a contrapposto position with a pronounced v-line, subtle abs, and

prominent pecs, giving a youthful appearance. The backside of the torso reveals stifened shoulders thus contributing to the torso’s defned muscularization.

Here, Silvanus stands in an upright and fexed posture, giving him an almost confdent attitude. Tied to his right shoulder is an animal skin that gently drapes over his left shoulder and arm. The delicate and life-like folds in the drapery attests to the artist’s pursuit to depict the god realistically.

His left arm is bent, holding a cornucopia full of grapes, apples, and other fruits, symbolizing a bountiful harvest.

Silvanus, whose name translate to “of the woods” was a Roman tutelary deity. God of the forests, Silvanus protects shepherds and labourers, ensuring their health and the prosperity of their focks. Along with the Lares, Faunus and other woodland deities, he was one of the protectors of rural domains and was widely worshipped from the end of the Republican era. This rustic god did not have any temples or holidays dedicated to him; however, his popularity rose during the 2nd century AD under the rule of Emperor Hadrian. During his reign, Hadrian decorated his countryside villa with numerous Silvanus statues to express his passion for hunting. The god’s image was also used later in agricultural campaigns. Numerous works of Silvanus have survived throughout the centuries.

Full depictions of Silvanus commonly show the god with a muscular body, animal skin drape, bundle of fruits, and a luscious beard, as is the case for the sculpture in Berlin and the one in Rome (ill. 1-2). Similar to ours, there is another torso of Silvanus sharing the same attributes—animal skin and cornucopia— housed in Algeria (ill. 3). A last one with the same iconography was part of the collection of Mr. Mariaud de Serre (ill. 4).

Ill. 1. Statue of Silvanus, Roman, 2nd century AD, marble, H.: 195 cm. Antikensammlung, Berlin, inv. no. Sk 282. Ill. 2. Silvanus, Roman, 2nd century AD, marble, H.: 44.4 cm. Museo Nazionale Romano, Baths of Diocletian, Rome.

Our torso once belonged to the Brummer Gallery in New York. Joseph (1883-1947), Imre (1889-1928), and Ernest (1891-1964) Brummer were major art dealers widely specialized from classic antiquity to modern art (ill. 5-6). Born in Austria-Hungary, the brothers moved to Paris and opened their frst gallery in 1906. Shortly after, in 1914, Joseph and Imre moved to New York to open another gallery (ill. 7).

Ernest joined his brothers in New York following the outbreak of the First World War. It was at the Brummer’s gallery in New York that our torso was

Ill. 3. Silvanus, Roman, between 1st - 3rd century AD, marble, H.: 62 cm. National Museum of Antiquities, Algiers. Ill. 4. Torso of Silvanus, Roman, 2nd century AD, marble, H.: 74 cm. Ex-Mariaud de Serre collection.

proudly displayed. Indeed, several photographs dated back from 1948 show our Silvanus posed next to a case flled with numerous bronzes (ill. 8).

After Joseph’s death in 1947, Ernest began selling most of the collection in New York auctions in 1949 and later in London and Paris. In 1979, the torso was auctioned in Zurich as part of the “The Ernest Brummer Collection”. Then by Sotheby’s in 1981 and again in 1993. Within a year, the Silvanus was sold from a private American collection at Sotheby’s in 1994 before joining a private collection in 1999.

Publications:

- The Ernest Brummer Collection Ancient Art, Vol. II, Spink & Son and Galerie Koller, Zurich, 16-19 October 1979, lot 638.

- Sotheby’s New York, Antiquities, 9 December 1981, lot 231.

- Sotheby’s New York, Antiquities, 14 December 1993, lot 73.

- Sotheby’s, New York, Antiquities: Property from an American Private Collection, 14 December 1994, lot 82.

Ill. 5. Joseph and Imre Brummer, 1917. The MET: Watson Library Digital Collections.

Ill. 6. Ernest Brummer. The MET: Watson Library Digital Collections.

Ill. 7. Brummer Gallery, New York, 1925. The MET: Watson Library Digital Collections.

Ill. 8. Our torso in the Brummer Gallery, 1948. The MET: Watson Library Digital Collections.

CINERARY URN

ROMAN, 1 ST CENTURY AD

MARBLE

PROVENANCE: BY TRADITION, FOUND IN CAPUA.

IN THE COLLECTION OF THE ART DEALER RAFFAELLO BARONI, NAPLES. THEN FORMER COLLECTION OF ROBERT BERKELEY (1794-1874), SPETCHLE Y PARK, WORCESTER, ENGLAND, ACQUIRED IN JUNE 1851 FROM THE ABOVE. BY DESCENT IN THE SAME FAMILY.

This marble cinerary urn is exquisitely decorated on all four sides, as well as the cover. The front represents an interlace of plant motifs commonly called scrolls. Branches burst out of a large crater and twine around each other, ending in large fowers with rounded petals for those in the lower part and pointed petals for the two in the upper part. Large leaves unfold, following the movement of the branches and creating a rather spectacular play of curves and reverse curves. A central trunk surmounted by a pine cone motif also surges vertically from the crater, structuring the whole design. Finally, the scrolls are decorated with various creatures: a winged fgure playing pan pipes is sitting on one branch while various birds inhabit

the scrolls. The periphery of the scene is decorated with classical geometric motifs. The sides are also lavishly decorated with plant motifs: large leaves unfurl from a central branch, while the whole design is surrounded by serrated leaves. Once again, both panels are framed with regular geometric motifs, which give a sense of structure. Likewise, the back of the urn displays a signifcant ornamental repertory. Again, scroll motifs burst out of a crater and criss cross in a more disorderly way. Large, heart-shaped leaves and round fruit thus occupy all of the space. Finally, the cover displays an abundant plant repertory. Scrolls burst from the forets sculpted at the corners, unfolding in volutes and ending in four petal fowers. Lastly, a fower is sculpted in the

HEIGHT: 26 CM.

WIDTH: 36.5 CM.

DEPTH: 29 CM.

centre and framed with three borders of abstract geometric motifs. On the underside of the cover, there is still a collection label with the inked words: Grecian Sarcophagus/from Capu (ill. 1).

of the mausoleum show an interlace of acanthus leaves, wreaths and ivy, peopled with animals such as lizards and birds. Magnifcent examples of urns using that very decorative repertory are currently conserved in museums in Paris, Cologne, the Vatican and the United States (ill. 3-7).

In ancient Rome, there were two main burial rites, inhumation and cremation. From the Republican period, cremation was predominant. Urns were frst made of terracotta and then marble. They became ubiquitous from the reign of Augustus. Their decoration was increasingly meticulous and detailed and reached its height in the 1st and 2nd centuries AD. The decorative repertory was quite common: wreaths of fruit, interlaced scroll motifs, fowers, various creatures and animals and motifs linked to funeral rites such as bucrania (ox skulls). These motifs were symbolic of human hopes regarding life after death and the soul’s journey to luxuriant funerary gardens. These decorative elements on funerary urns would adorn the monuments of ancient Rome over the centuries. The Ara Pacis Augustae, for instance, a monument Emperor Augustus had built between 13 and 9 BC, is one of the best known examples of a monument decorated with particularly detailed scrolls. It signifcantly infuenced the decoration of cinerary urns at the time (ill. 2). Similarly to our urn, the panels

Ill. 2. Ara Pacis, 13-9 BC, marble. Rome.

Ill. 3. Cinerary urn, Roman, 1st century AD, marble, H.: 38.5 cm. Musée du Louvre, Paris, inv. no. Ma 1604.

Ill. 1. Collection label on the underside of the cover.

Ill. 4. Cinerary urn, Roman, 2nd century AD, marble, H.: 33 cm. Römisch-Germanisches Museum, Cologne, inv. no. 164. Ill. 5. Cinerary urn, Roman, 1st - 2nd century AD, marble, H. : 22.5 cm. Museo Gregoriano Profano, Vatican, inv. no. 10519.

Ill. 6. Cinerary urn, Roman, 1st century AD, marble, H.: 22 cm. Museo Gregoriano Profano, Vatican, inv. no. 10577.

Ill. 7. Cinerary urn, Roman, 1st century AD, marble, H.: 35.5 cm. RISD Museum, Rhode Island, inv. no. 46.083.

Our cinerary urn was acquired by Robert Berkeley during his trip in Naples on Wednesday 11 June 1851 to Rafaello Baroni, an antique dealers of the Strada Constantinopoli. Berkeley mentions it on his honeymoon journal: “Wednesday June 11 [Naples] - Bought of Rafaello Baroni dealer in antiquities in the Strada Constantinopoli an antique marble bust of Antoninus Pius - He asked 500 dollars I ofered 200 which he eventually took on condition that I bought a terracotta Etruscan sarcophagus & a marble sepulchral urn - The latter cost respectively 25 & 30 dollars - I gave 6 for the packing & transport to Turners bank - ... - The urn he declares to have heen found in a columbarium at Capua. The sarcophagus has an inscription in Etruscan characters - We preferred the urn to a bas relief on which I had at frst decided” (ill. 8).

The urn is mentioned again in their 1949 inventory: “[…] Two marble Roman [sic] cinerary urns and covers, rectangular shape, 14½” x 12” (one cover cracked)”. The Berkeley family is an ancient English noble family that owns Spetchley Park in Worcestershire (ill. 9). The residence was purchased by Rowland Berkeley in 1605, but was burnt down at the Battle of Worcester in 1651. The Palladian house we know today, with its Ionic portico, was built in 1811 by a descendent, Robert Berkeley (1764-1845). The project, which was both colossal and extravagant, was carried out in harmony with Robert’s desire to decorate the interior tastefully: portraits of ancestors, sculptures probably acquired on a Grand Tour, furniture, wallpaper from China and antique sculptures. In 1830, the estate was transferred to his son, Robert Berkeley (1794-1874), who continued to develop and decorate the residence. With his son, Robert Martin Berkeley, they sustained their love for art and established the Spetchley private museum in the 1840s (ill. 10). The collections continued to grow under Rose and Robert Valentine Berkeley,

Ill. 8. Robert Berkeley Honeymoon Journal, 1851.

then John Berkeley. The urn remained at Spetchley Park, passed down as an heirloom, until now.

Ill. 9. Spetchley Park, Worcester, England.

Ill. 10. Drawing-room and Staircase Hall, Spetchley Park in Country Life, 8 July 1916, vol XL, no. 1018, p. 45-46.

TORSO OF APHRODITE OF KNIDOS

ROMAN, CIRCA 2 ND CENTURY AD

PROVENANCE:

FORMER EUROPEAN COLLECTION SINCE AT LEAST THE 18 TH - 19 TH CENTURY BASED ON THE OLD RESTORATIONS TECHNIQUE. THEN IN THE COLLECTION OF COMMANDER PAUL LOUIS WEILLER (1893-19 93)

SINCE AT LEAST 1948.

This elegant torso represents Aphrodite, Greek goddess of love and beauty, known to the Romans as Venus. Born from sea foam, the deity was widely represented in the Greek then Roman worlds as the symbol of femininity and sensuality. Our magnifcent, life-sized sculpture alludes to the mythological scene in which the nude goddess was surprised bathing. The sculptor was able to showcase the deity’s elegant curves through the slight forward tilt of her bust and the tilt of her hips, characteristic of contrapposto. The harmonious proportions are particularly striking, with fne

shoulders, small, round, closely spaced breasts, a slight waist and widening hips forming a perfect balance. The positioning of her left shoulder enables us to infer that the goddess’s arm was raised to the side, while her right shoulder, which is lower, dovetails with the beginning of an arm that undoubtedly lay along her body. A small excess of fesh between her right breast and shoulder attests to the sculptor’s desire for realism, as do the very slight creases to either side of the neck, intricately depicting her collarbones. Her very smooth abdomen, which has a barely perceptible

HEIGHT: 78 CM.

WIDTH: 35 CM.

DEPTH: 23 CM.

line running down the middle, as well as her navel, fully carved and portrayed in depth, again display the artist’s technical mastery. The pubis is not represented in detail, but we may infer that the goddess was shielding it with one of her hands. The fold of her groin is, however, clearly visible upon her right leg, which, judging from the position of the bust, was the goddess’ supporting leg. Her back, once again most elegantly sculpted, displays a line carved vertically down the middle, following the general curve of the body. Both shoulder blades subtly stand out and bring our sculpture to life by giving the shoulders a sense of movement. Two small dimples mark the small of the goddess’ subtly muscled back. Her buttocks, perfectly round and delicately shaped, are separated by a deep furrow, while a slight fold is visible to the right, representing the transition between buttock and thigh. At the very top of the back, at the junction with her neck, the remnant of a lock of hair is just visible. The goddess’ hair was undoubtedly up in an elegant chignon, from which some thick locks of curly or wavy hair would have escaped.Narrow shoulders, slightly contracted muscles, a small bosom, a slight, delicate waist, an ample pelvis and the curve formed by her back are just a few details used by the artist to illustrate the beauty and sensuality of the female body. All the femininity and sensuousness inherent to the goddess of love and beauty emanate from her spellbinding, elegant form.

4th century BC: the Aphrodite of Knidos, one of the most renowned models in antiquity. It was the frst representation of a female nude.

Our elegant Venus was inspired by a Greek original sculpted by the Athenian sculptor Praxiteles in the

In keeping with ancient tradition, Praxiteles is said to have crafted two statues of Aphrodite, each with perfect proportions, one clothed and one nude. The frst was purchased by the city of Kos, while the second was chosen by the inhabitants of Knidos to adorn the goddess’ sanctuary in which, by way of a second door, it could be observed from all angles. The Aphrodite of Knidos model was thus a fgure of the nude goddess having fnished her bath, standing, dropping her garment over a vase placed on the ground. Her folded right arm holds a cloth, while her left hand shields her sex in a gesture traditionally interpreted as modest. The position of the shoulders of our magnifcent sculpture leave very few doubts as to the arrangement of the arms, as does her bosom, which seems to be sculpted along the same horizontal line. Consequently, as for the complete examples of Praxiteles’ work, the movement of the arms only slightly — or not at all,

Ill. 1. Torso of the Aphrodite of Knidos, Roman, Imperial period, 2nd century AD, marble, H.: 121 cm. Musée du Louvre, Paris, inv. no. Ma 2184.

in some cases — impacts that of the breasts, which stay at the same level, contrary to anatomic reality. Moreover, the contrapposto sets the left leg in motion while the right is immobile, as is the case for all the other known examples of the Aphrodite of Knidos (ill. 1-3). Furthermore, the movement of the shoulders, sloping forwards slightly, gives her a delicately stooped posture.

appearance. The choice of this very fne grained marble bestows upon the goddess an incomparable sensuality and grace. The very light patina on the marble distinguishes itself as a major testament to the passing of time.

Our superb torso of Aphrodite was once in the collection of Paul-Louis Weiller (1893-1993), aviation hero during the First World War and businessman thereafter (ill. 4). Behind the biggest aeroplane engine construction business in Europe, he also created airlines that would shortly be nationalised to become Air France. As a Jewish Alsatian, he fed France for Cuba and Canada during the Second World War. Upon his return, he became a great patron of the arts, namely contributing to the restoration of the Palace of Versailles, establishing a ballet company, supporting many artists and actors and amassing a sizeable collection of more than 750 artworks. In 1965, he was elected to the

As it enjoyed immense popularity, we know several examples of this work, despite the fact the original is now lost. In his work Natural History, Pliny the Elder (Book XXXVI, 6, 9) wrote that the statue was not only the sculptor Praxiteles’ most beautiful, but also the most beautiful in the world. Incidentally, Pliny added that the statue was “visible from every angle”, which explains why our Aphrodite’s back and buttocks are so well shaped. The white marble in which our Aphrodite is sculpted is gorgeously polished, not to mention a very delicate milky colour, giving her a youthful

Ill. 2. “Belvedere Venus”, Roman, 1st-2nd century AD, marble. Museo Pio Clementino, Vatican, inv. no. 4260. Ill. 3. Statuette of Aphrodite, the Aphrodite of Knidos type, Roman, 1st-2nd century AD, marble. The MET, New York, inv. no. 42.201.8.

Ill. 4. Paul-Louis Weiller, photograph taken on the occasion of his election to the Académie des Beaux-Arts in Paris on 24 February 1965.

Académie des Beaux-Arts. Upon his death, his collection would be sold twice, in 1998 and 2011. According to original documents signed by Paul-Louis Weiller (ill. 5), the torso was ftted to a marble base in about December 1948 and seen by Jean Charbonneaux, curator at the Musée du Louvre, at Paul-Louis Weiller’s residence in March 1948. In a letter addressed to the latter, the curator marvelled at the quality of the sculpture and expressed his satisfaction at seeing such a work remain in France (ill. 6).

Ill. 5. Letter from Paul-Louis Weiller to Mr Benezech, stonemason, dated 10 December 1948, accompanied by a photograph of the work on its old wooden base.

Ill. 6. Handwritten letter from Jean Charbonneaux, curator at the Musée du Louvre, addressed to Paul-Louis Weiller, dated 15 March 1948.

FUNERARY ALTAR OF CAIUS COMISIUS HELPISTUS

ROMAN, 1 ST CENTURY AD

MARBLE

HEIGHT: 74 CM.

WIDTH: 64.5 CM.

DEPTH: 46 CM.

PROVENANCE:

FORMERLY IN THE COLLECTION OF CARDINAL DOMENICO PASSIONEI (1682 -1761).

PASSED DOWN AS AN HEIRLOOM IN THE COLLECTION OF HIS NEPHEW, BENEDETTO PASSIONEI (1719-1787), FOSSOMBRONE, ITALY.

THEN IN THE COLLECTION OF BARTOLOMEO CAVACEPPI (1716-1799), ROM E.

ACQUIRED BY THOMAS ANSON (1695-1773), SHUGBOROUGH HALL, STAFFOR DSHIRE. BY DESCENT TO HIS GREAT NEPHEW THOMAS ANSON (1767-1818), 1 ST VISCOUNT ANSON. SOLD BY GEORGE ROBINS, “ THE SPLENDID PROPERTY OF EVERY DENOMINATION APPERTAINING TO SHUBOROUGH HALL”, 1 AUGUST 1842, LOT 50.

PROBABLY ACQUIRED IN THAT SALE BY WILLIAM LOWTHER (1787-1872),

2 ND EARL OF LONSDALE, LOWTHER CASTLE, PENRITH, CUMBRIA. PASSED DOWN AS AN HEIRLOOM WITHIN THE FAMILY UNTIL

LANCELOT LOWTHER (1867-1953), 6 TH EARL OF LONSDALE, LOWTHER CASTLE.

PROBABLY SOLD BY MAPLE & CO. LTD AND THOMAS WYATT, “ LOWTHER CASTLE [...].

THE MAJOR PART OF THE EARL OF LONSDALE’S COLLECTION”, 29 APRIL – 1 MAY 1947. THEN IN AN ENGLISH PRIVATE COLLECTION, ACQUIRED AT THE END OF THE 1940S – BEGINNING OF THE 1950S. PASSED DOWN AS AN HEIRLOOM IN THE SAME FAMILY UNTIL THE PRESENT DAY.

This exceptional marble altar, rectangular in shape, is decorated on all four sides. The frst is undoubtedly the panel with the richest iconographic repertory. A thick festoon composed of fruit and leaves is suspended, ends tucked into the top two corners of the panel. Each element is sculpted in high relief and individualised, the marks made by the drill creating a play of depth that contrasts with the elements sculpted in lower relief. Delicate knotted ribbons fall to the ground, the folds of fabric giving a striking impression of thickness and realism. Two winged putti are sculpted at the corners. Represented nude, each have one leg forward on the main panel and one back, going over onto the side panel. Moreover, each have one arm folded while the second is raised aloft, holding their end of the festoon. Their bodies are plump, with generous curves and full cheeks, emphasising the youthful appearance characteristic of putti. They, like the festoon, are sculpted in high relief, their bodies almost completely detached from the altar, lending the scene a certain vibrancy. Below them, four eagles are represented, wings outstretched, each feather individually sculpted. Other small birds sculpted in lower relief are pecking at fruit beneath the festoon, while two cockerels face each other above it. Finally, three lines of a Latin inscription adorn the higher part of the panel, declaring:

C(aio) Comisio Helpisto

V(ixit) a(nnos) IIII m(enses) III

Comisia C(ai) f(ilia) delicio suo

To Comisius Helpistus

Who lived 4 years and 3 months

Comisia, daughter of Caius, [had it built] for his “pleasure”.

The side panels of the altar are decorated with classic ritualistic elements. On one side is a patera, a shallow wine vase, and on the other, a ewer, both the items used for libations. They are framed by a laurel wreath, its long, narrow leaves punctuated with small, round fruits. As for the frst side, the wreaths are fastened to the top corners with delicate knots and held aloft by the putti. Ribbons again escape, while birds peck fruit in the lower parts of both sides. The back of the altar is decorated more sparsely. Again, the panel is adorned with a festoon made up of fruit with ribbons escaping, while putti and eagles with outstretched wings decorate the corners. Finally, the borders are decorated with heart and dart friezes (this type of motif is also known as Lesbian kymation), lending the whole piece an undeniable elegance.

Under the Roman Empire, funerary altars were commonly used, because they made it possible to commemorate the dead. Originally, the altars were votive, dedicated to deities and heroes, but, over the centuries, they were erected for the dead and placed in funerary complexes and private tombs. They were adorned with an inscription stating the name, function and age of the deceased upon their death and, sometimes, the name of the person who had it built in their honour, generally a family member

or freed slave. Our altar matches this description. These altars were thus placed in private places of worship where loved ones could bring oferings and carry out funeral rites.

the Augustan period. The profusion of fruits and plants symbolises abundance and prosperity after death, the eagles are symbols of Jupiter and the cockerels facing each other represent victory — all iconographic elements linked to Roman funerary art that adorn many altars currently conserved in various international museums (ill. 1-3).

They were frequently decorated, generally with a portrait of the deceased, fruit adorned festoons, various animals and objects recalling funerary rites such as the patera and ewer. This iconographic repertory was also freely inspired by the decoration used for sacrifcial altars, particularly those of

Endowed with a rich iconography, our altar also has an exceptional provenance. Its modern history can be traced back to the end of the 17th or beginning of the 18th century, when it was confrmed to be in the collection of Cardinal Domenico Passionei (1682-1761, ill. 4). The descendant of a prominent Italian noble family, Passionei was a scholar and lover of art in all its forms. On a trip to Paris as a papal legate, he met quite a few intellectuals of the Enlightenment. He was stationed all over Europe, which enabled him to expand his knowledge, and fnally returned to Rome. He was named cardinal in 1738 and put in charge of the Vatican Apostolic Library. An extremely cultivated man, over the years, Domenico Passionei amassed an exceptional private collection mainly made up of books and manuscripts, but also containing paintings, coins and sculptures. Our altar is a perfect example of his taste and trained eye. Some of his sculptures are thus currently conserved in major international museums such as the British Museum.

Upon his death, the altar joined the collection of his nephew, Benedetto Passionei (1719-1787).

While living in Fossombrone, an Italian town in the province of Pesaro and Urbino, he inherited his

Ill. 1. Altar for Junia Procula, Roman, AD 69-96, marble, H.: 99 cm. Gallerie degli Uf zi, Florence, inv. no. 1914 n.950. Ill. 2. Altar for Q. Fabius Diogenes, Roman, AD 14-68, marble, H.: 80 cm. The MET, New York, inv. no. 25.78.29.

Ill. 3. Funerary altar, Roman, 1st century AD, marble, H.: 101 cm. British Museum, London, inv. no. 1907,1214.3.

father and uncle’s collections, a group of exceptional works. Our altar is thus mentioned in a 1763 work listing the antique inscriptions in the Passionei collections (ill. 5).

intellectuals of the time such as Winckelmann, all of whom were great collectors and art enthusiasts. The period was thus propitious to his work — many antique pieces could be found on the art market and in private collections, so their owners called upon him to restore and enhance their statue fragments, as the taste of the time demanded.

It was then acquired by Thomas Anson (1695-1773) before 1772. Cavaceppi, in his work “Raccolta d’antiche statue, busti, bassirilievi ed altre sculture” (“Collection of antique statues, busts, bas reliefs and other sculptures”) dated from 1772, made a very beautiful engraving of our altar, mentioning that it was in Anson’s collection (ill. 6).

The piece was then added to the collections of the famous Italian restorer and sculptor Bartolomeo Cavaceppi (1716-1799), who mainly worked in Rome. Thanks to the support of Cardinal Alessandro Albani, he acquired a certain reputation, enabling him to mingle with rich Italian families as well as the

Ill. 4. Corpus Inscriptionum Latinarum (“Corpus of Latin inscriptions”), Vol. VI. 3, Berlin, 1886, p. 1822, no. 16055.

Ill. 5. M. Monsagrati, Iscrizioni antiche, disposte per ordine di varie classi e illustrate con alcune annotazioni da Benedetto Passionei, Lucca, (“Ancient inscriptions, arranged in order in various categories and illustrated, with some annotations by Benedetto Passionei, Lucca”), 1763, p. 38, no. 21.

Ill. 6. B. Cavaceppi, Raccoltad’antichestatue,busti,bassirilievi ed altre sculture (“Collection of antique statues, busts, bas reliefs and other sculptures”), Vol. III, Rome, 1772, pl. 54.

The politician was a member of the Parliament of the United Kingdom, but also spent most of his time travelling around Europe. Cavaceppi worked for him, creating moulds, for instance, but he also sold him some antique pieces, a perfect example being a Crouching Venus currently conserved at the J. Paul Getty Museum (ill. 7). Our altar thus certainly followed that same path. His collection grew over the years and was passed down in his family until 1842. His descendant, also called Thomas Anson (1795-1854), 1st Earl of Lichfeld, was forced to sell the entire contents of the family dwelling of Shugborough Hall to pay back his debts. The sale was organised by Mr George Robins under the title

“The Splendid Property of Every Denomination

Appertaining to Shugborough Hall” and held from 1 August 1842. Our altar was presented as lot 50 and described as “A singularly fne antique MARBLE ROMANALTAR,ofthemostelaboratesculpture, in bold alto rilievo, representing 4 corner fgures supported by eagles, a festoon of fowers encircling the centre with birds, scroll work and a Latin inscription, 29 inches high, 25 inches wide”

It was probably on the occasion of that sale that our sculpture was acquired by William Lowther (1787-1872, ill. 8), 2nd Earl of Lonsdale. A British politician, he was also a great scholar, passionate about art. Lowther Castle, his residence near Penrith in the county of Cumbria, had been in the Lowther family since the middle of the 12th century, but it was his father, the 1st Earl of Lonsdale, who had the actual castle built. William Lowther

inherited the estate upon his death in 1844. From 1842 and until his death, he amassed a remarkable collection of more than 100 Egyptian, Etruscan, Greek and Roman sculptures. That was probably how he acquired the altar. In 1866, he had two galleries specially built to house his collection. Our altar was exhibited in one of them, surrounded by exceptional marbles, some of which are now in the fnest international museums (ill. 9-10). After William Lowther’s death in 1872, the collections remained at Lowther Castle, passed down within the family of the earls of Lonsdale. The castle was requisitioned by the army during the Second World War and the collection was then dispersed by Lancelot Lowther (1867-1953), 6th Earl of Lonsdale.

The sale was conducted by Maple & Co. Ltd and Thomas Wyatt under the title “Lowther Castle, near Penrith, Cumberland. The Major Part of the Earl of Lonsdale’s Collection” and took place from

Ill. 7. Crouching Venus, Roman, AD 100-150, marble, H.: 115 cm. J. Paul Getty Museum, Los Angeles, inv. no. 55.AA.10. Ill. 8. William Ward, William Lowther (1787-1872), 2nd Earl of Lonsdale, 1827. National Portrait Gallery, London, inv. no. D37472.

29 April to 1 May 1947. Our altar was thus probably sold with the rest of the collection at that time, before joining that of an English collector. It was passed down in the same family until the present day.

Publications:

- M. Monsagrati, Iscrizioniantiche[...]daBenedetto Passionei, Lucca (“Ancient inscriptions [...] by Benedetto Passionei, Lucca”), 1763, p. 38, no. 21.

- B. Cavaceppi, Raccolta d’antiche statue, busti, bassirilievi ed altre sculture (“Collection of antique statues, busts, bas reliefs and other sculptures”), Vol. III, Rome, 1772, pl. 54.

- S. Donati, Ad Novum Thesaurum Veterum Inscriptionum cl.v. Ludovici Antonii Muratorii [...] (“A new collection of the old inscriptions of the illustrious Ludovicus Antonius Muratorius, [...]”), Vol. 2, Lucca, Leonardo Venturini, 1775, p. 317, no. 8.

- S. Howard, Bartolomeo Cavaceppi. EighteenthCentury Restorer, New York, 1982, p. 262, no. 4.

- Corpus Inscriptionum Latinarum (“Corpus of Latin inscriptions”), Vol. VI. 3, Berlin, 1886, p. 1822, no. 16055.

- D. Boschung, Antike Grabaltäre aus den Nekropolen Roms (“Ancient funerary altars from Roman necropolises”), Bern, 1987, p. 102. no. 757.

- C. Laes, “Desperately Diferent? Delicia Children in the Roman Household”, in Early Christian FamiliesinContext:AnInterdisciplinaryDialogue, Grand Rapids, Mich., and Cambridge, England, 2003, p. 313, note 35.

- V. Coltman, “Thomas Anson’s sculpture collection at Shugborough: ‘living good and pleasing’ or ‘much taste a turn and Roman splendor’”, Sculpture Journal, Vol. 12, 2004, p. 47.

Ill. 9. Thomas Allom, Lowther Castle, 1833. Tate gallery, London, inv. no. T06384. Ill. 10. Our altar in the sculpture gallery, Lowther Castle, United Kingdom, 1897.

STATUE OF DIONYSUS AND SATYR

ROMAN, CIRCA 1 ST CENTURY AD

RESTORATIONS FROM EARLY 18 TH CENTURY - LATE 19 TH CENTURY.

PROVENANCE:

IN A EUROPEAN PRIVATE COLLECTION FROM THE END OF THE 18 TH CENTURY OR THE BEGINNING OF THE 19 TH CENTURY, BASED ON THE RESTORATION TECHNIQUES. FORMERLY IN THE BELGIAN PRIVATE COLLECTION OF DR. MAURICE EVERA ET, MERCHTEM, ACQUIRED IN ITALY BETWEEN 1955 AND 1960. THEN BEQUEATHED TO A BELGIAN COLLECTOR IN 1978.

This delicate sculpted group represents three creatures well known in Greek and Roman mythology: Dionysus accompanied by two of his faithful companions, a satyr and a panther. The young god of wine is portrayed in heroic nudity, standing in contrapposto, his left leg bent, the heel raised from the ground. The weight of his body is thus swung onto his straight right leg, creating a swing of his hips and a shift in the line of his pelvis. His bust forms an arc, making the line of his shoulders very slightly slanted. Our deity’s body

has a youthful appearance, with discreet, practically invisible muscles under the skin. His face and particularly his hairstyle display a great mastery and attention to detail, attesting to the artist’s skill. Dionysus is portrayed as young and beardless, with round cheeks, high cheekbones and a straight, fne nose. His almond-shaped eyes are framed by thin eyelids and a discreet brow line, giving him a mild, serene gaze. His relatively full lips give character to his narrow mouth. Dionysus’ smooth, delicate facial features contrast with his luxuriant hair and

HEIGHT: 65 CM.

WIDTH: 39 CM.

DEPTH: 22 CM.

complex hairstyle. His slightly wavy hair is tied up in a chignon at the back of his head and held back by a band circling his forehead. A lock of hair frames his face on either side, falling down his shoulders. His hairstyle is enhanced by a crown of berries and vine leaves. The fruits are exquisitely drilled, giving the hairstyle volume and creating a spectacular play of depth. Our deity’s left arm rests upon his companion’s shoulders.

The young satyr, smaller in size, is also represented entirely nude and in motion, right leg bent and left leg straight. Like Dionysus, the young creature is sculpted with a youthful body with slightly salient muscles. His right arm encircles Dionysus’ waist, while he is holding a lagobolon in his left hand. This shepherd’s crook, a typical attribute for satyrs, is represented with a certain realism, the knots in the wood being delicately sculpted all the way along. His face is turned towards the god, the tension in his neck indicated by the contraction of his muscles. His full cheeks, straight nose and prominent cheekbones frame a full lipped mouth. His eyes are almond-shaped, gorgeously formed and surmounted by fne eyelids. He is casting a gentle, serene gaze at Dionysus, making him appear even more youthful. His hairstyle is also very elaborate. His beautiful curly locks fall delicately down his neck, allowing two pointed ears to emerge. He is wearing a crown of pine needles, from which some exquisitely sculpted pinecones are escaping. Finally, he has a goat’s tail sculpted with fne strands of hair, recalling his status as half man, half goat. The two mythological creatures are accompanied

by a small panther, Dionysus’ iconic animal companion and a member of his suite. The feline is sitting to the right of the young god, its head turned towards him, one of its paws resting on a ram’s head. Its body is sculpted with a certain degree of realism, with salient muscles, fne paws and extended claws. The animal’s whiskers and fur stand out delicately against its mouth, while its visible fangs, represented in a lifelike manner, make it look powerful. The sculptor’s attention to detail is also visible in the depiction of the ram’s head lying on the ground, particularly with the fur, once again masterfully represented. Finally, two supports in the form of tree trunks further enliven the composition. The frst, on which Dionysus is leaning, is richly decorated with vine leaves and bunches of grapes, sculpted in relief and twining all the way down. The second, devoid of vegetation, is decorated with a fute, hanging from the knot of the tree by a strap.

This sculpted group is also very rich from an iconographic standpoint. Dionysus, god of wine, madness and immoderation, was one of the main deities of the Greek then Roman pantheons. In the latter, he is known as Bacchus. Over the centuries, he was frequently portrayed accompanied by his Dionysian suite, generally made up of Silenus and satyrs, maenads and panthers. Two of his faithful companions are represented in this group. The panpipes or syrinx recall Dionysian festivities, while the panther resting its paw on the ram’s head could allude to the fact that death falls within the purview

of the divine forces embodied by panthers, both rams and panthers being animals closely linked to the cult of Dionysus.

representing this subject, which was then taken up by Roman artists, as the second example attests. In both cases, Dionysus and the satyr are standing and look as though they are moving, the god leaning on his companion.

The rest of the composition was carried out later, largely on the basis of another series of sculptures, some examples of which are currently conserved in Italy, Germany and Denmark. The closest from an iconographic standpoint is that of Galleria

Sculpted in marble, the stone displays a delicate patina, and a few subtle traces of concretion attest to the passing of time, while giving the work a certain aura. A restoration campaign was undertaken, probably from the end of the 18th to the beginning of the 19th centuries, to reconstruct the group. Dionysus’s body is antique to the middle of his thighs, dating to the 1st century AD, as are the part of the satyr’s arm attached to our deity’s back and the upper part of his torso, against Dionysus’ thigh. Taking into account only this antique part, our group is a variant of well known and more monumental models, gorgeous examples of which are conserved in Florence and Venice (ill. 1-2). The frst, which is a Roman copy after a Greek original, shows that Greek sculptors were already

Chiaramonti (ill. 3). Dionysus is taking up the pose of Apollo Lykeios, one arm raised above his head, the other around his companion’s shoulders. Holding a goblet of wine, he is crowned with vine leaves and leaning against a trunk adorned with plants. Discovered in Frascati, Italy, in 1769, this group directly inspired the restorations carried out on our sculpture, which makes it possible to date them to the end of the 18th or beginning of the 19th centuries. Variants of this iconography can be seen in works conserved in Italy and Germany (ill. 4-5).

Ill. 1. Dionysus and a satyr, Roman after a Greek model, marble, H.: 185 cm. Galleria Degli Uf zi, Florence, inv. no. 246. Ill. 2. Group representing Dionysus and a satyr, Hadrian’s reign, 2nd century AD, marble, H.: 202 cm. Museo Archeologico Nazionale, Venice, inv. no. 119.

Ill. 3. Dionysus and a Satyr, Roman, 2nd century AD, marble, H.: 220 cm. Galleria Chiaramonti, Vatican Museums, inv. no. 1375. Ill. 4. Dionysus and a Satyr, Roman, ca. AD 160-170, marble, H.: 230 cm. Antikensammlung, Berlin, inv. no. Sk 1797.

The last example in Danemark shows Dionysus leaning on his thyrsus and a half man half goat satyr, but the subject is still identical (ill. 6).

These restorations enable us to confrm that our sculpted group was already in a European collection at the end of the 18th or beginning of the 19th century. It was then sold on the Italian art market and acquired by a private collector between 1955 and 1960. It subsequently joined the collection of Dr Maurice Everaet in Merchtem, Belgium, and was passed down as an heirloom in his family.

Ill. 5. Dionysus, Satyr and Panther, Roman, ca. AD 160-180, marble. Former Ludovisi collection, Museo Nazionale Romano, Palazzo Altemps, Rome.

Ill. 6. Dionysus, Roman, Imperial period, marble, H.: 160 cm. Ny Carlsberg Glyptotek, Copenhagen, inv. no. 1644.

FEMININE STATUE

EGYPTIAN, PTOLEMAIC PERIOD, PROBABLY 3 RD CENTURY BC

GREYWACKE

18 TH CENTURY RESTORATIONS.

HEIGHT: 86 CM.

WIDTH: 26 CM.

DEPTH: 27.5 CM.

PROVENANCE:

HADRIAN’S VILLA IN TIVOLI, NEAR ROME. THEN PRIVATE COLLECTION OF FILIPPO VINCENZO FARSETTI (1703-1774 ),

PALAZZO DI SAN LUCA, VENICE, PURCHASED IN ROME BETWEEN 1766 AND 1769.

PASSED DOWN IN THE COLLECTION OF HIS COUSIN

DANIELE FILIPPO FARSETTI (1725-1787), PALAZZO DI SAN LUCA, VENI CE.

GIVEN TO ANGELO QUERINI (1721-1795) IN EXCHANGE FOR ANOTHER WOR K, GARDENS OF VILLA ALTICCHIERO, NEAR PADUA, BETWEEN 1778 AND 1787

PASSED DOWN IN THE COLLECTION OF LAURO QUERINI († 1806), HIS NE PHEW. MENTIONED IN THE LETTERS SENT BY SIR JOHN STEPNEY (1743-1811)

TO CHARLES TOWNLEY (1737-1805) IN 1804.

PROBABLY IN THE COLLECTION OF THOMAS HOPE (1769-1831), DUCHESS STREET, LONDON, IN 1824. PIERS OAKEY’S PRIVATE COLLECTION, HARRINGTON HOUSE, 4 CLARENDON CRESCENT, LEAMINGTON SPA, WARWICKSHIRE, ENGLAND, UNTIL 2000.

CHRISTIE’S LONDON “ [...] HARRINGTON HOUSE, LEAMINGTON SPA”, 4 MAY 2000, LOT 460.

THEN IN THE TOMASSO BROTHERS’ ENGLISH PRIVATE COLLECTION.

CHRISTIE’S NEW YORK “ANTIQUITIES”, 7 DECEMBER 2011, LOT 207.

This exceptional, large, feminine statue, sculpted from magnifcent green stone, probably represents the goddess Isis or a Ptolemaic queen or princess. While the lower part of the body is Ptolemaic, the upper part is an 18th century restoration. The woman is depicted standing, in the act of walking — a conventional form of representation in ancient Egypt. Despite the sculptor’s desire to convey movement, our sculpture has a very hieratic posture, as is the case for Egyptian statuary in general. Our elegant statue rests on a rectangular base with rounded front corners. Two narrow, elegant feet are represented in a very realistic fashion. Particular care was taken to represent and individualise the long toes. Deliberately, the space between each toe is very deeply carved, refecting the sculptor’s desire for realism. The heels are straight and strong, while the ankles are lightly outlined. Between both feet, the sculptor deliberately left a bit of stone, most likely to stabilise the work.

The lower hem of the woman’s garment is visible at the bottom of her leg. It is probably a sheath dress, tight and presumably translucent, which seems to cover her entirely, although its lines are only visible on the upper parts of our statue’s body.

Her calves are salient and her tibias very prominent. Her knees, rather square, connect her lower legs with her round, well proportioned thighs. Her legs are sculpted one in front of the other, the right leg in line with her body and the left leg in front. The triangle of her pubic area is simply outlined, masked by the garment that covers it. Subtle shapes make it possible to guess at ample hips, also

concealed beneath the thin fabric of the dress, giving her sensual curves. Her stomach is represented by a slight abdominal swell, with a very lifelike, deeply carved navel in the middle.

These voluptuous curves, shaped with great fnesse, contrast with the upper part of the sculpture, a reinterpretation of Egyptian models based on an 18th century understanding of them. The upper restored part starts at the right wrist, follows the line of the arm along the fank and goes under the folded left arm and up to the back of the head (see ill. 1).

Ill. 1. Georg Zoëga, Egyptian feminine fgure in green basalt, 1789, drawing in pencil, pen and brown ink, 23.3 x 18.5 cm. Thorvaldsen’s Museum, Copenhagen, inv. no. D1197.

After her rather wide pelvis, her torso thus lengthens and narrows as it goes up towards her chest. At the end of her right arm, sculpted along her body, her fsted hand is holding a piece of cloth. Her left arm is folded under her chest, the hand holding what seems to be the handle of a sistrum. Her round, spherical breasts are almost geometrised. Her shoulders are quite broad and muscular, as are her arms, which also display well shaped muscles. Her thick neck is voluminous, while a deep dimple denotes the space between her collar bones. Almond-shaped eyes, with eyelids etched through deep incisions, give character to her delicate featured face. The lines of her brows have rather particular shapes, starting at the bridge of her nose and ending at each temple. Her straight, wide nose with large nostrils ends at a shallow dimple above her mouth. Her upper lip is wavy, while her lower lip is relatively thick. Their corners, deeply carved and thus quite visible, are slightly lifted and give the impression that the statue is smiling. These features complete a round face with full cheeks. Beneath her mouth, a small, round, recessed chin disrupts the extreme roundness of her face.

Her face is framed by large ears that stick out through her wig. She is wearing the traditional tripartite headdress, with lappets that are thinner than the norm. The top of it is adorned with a curious feature: a lotus, which juts out over her forehead. Her back, well conserved, dates back to the Ptolemaic Period. Slightly less detailed, the sculpture displays a superb silhouette and a dorsal pillar, anchored in the base at her feet and coming to

an end at her head. It constitutes a vertical support and bears neither hieroglyph nor inscription. The dorsal pillar was introduced during the New Kingdom and became a common occurrence from the Dynasty XXVI.

REDISCOVERY OF A PTOLEMAIC STATUE

This sublime statue with its mysterious, fascinating past, forgotten for about two centuries, now yields a wealth of secrets. It reappeared before our very eyes through the recent discovery of an 18th century drawing fortunately made by the meticulous Danish researcher Georg Zoëga (ill. 1), as well as the expertise of Professor Olivier Perdu. Dated to the Roman period until very recently, it so happens that our sculpture is an original Egyptian work from the Ptolemaic Period, the upper part of which was restored in the 18th century, as shown by the aforementioned discovered drawing.

The elegance of the sculpture, crafted with fnesse and a light touch, the strongly pronounced small of the back, the slight swell of the abdomen, the carefully represented navel and, especially, the long dorsal pillar and the statue’s feet are all stylistic features emblematic of the Ptolemaic Period, which made it possible to date our statue. These characteristics can thus be found in a very similar work sold by Christie’s in December 2010 (ill. 2) and a superb feminine statue conserved in Vienna (ill. 3). The shapes are similar in all three statues, with prominent buttocks and voluptuous legs with knees

of a protruding oblong shape, rather particular and characteristic of Ptolemaic productions. Finally, the salient material between the two ankles is, yet again, a particularity of sculpture in the round in that period. These elements enable us to assert that the lower part of our statue was indisputably made in the 3rd century BC.

In parallel, the upper part of the statue, restored in the 18th century, was crafted with an Egyptianizing intent, with a view to imitating the Egyptian productions of the Roman period. However, some physical characteristics such as the shape of the face, the prominent breasts, the muscles of the arms and shoulders and the stylised lotus over the forehead are pure fantasy. That mix of styles gives it a unique and enigmatic beauty.

According to a publication and drawing from the 18th century (ill. 4), the sculpture was found in the gardens of Hadrian’s Villa among many other Egyptian works. The attribute held in the right hand of our Ptolemaic feminine fgure — a bit of cloth instead of the usual sceptre — is similar to the one visible in two larger than life granite statues currently conserved at the Vatican Museums. One is a Ptolemaic work of Arsinoe II (ill. 5), sister and wife of Ptolemy II, while the other is a Roman copy of Arsinoe II based on the original Ptolemaic statue (ill. 6). Both works were reportedly brought to Rome by Emperor Hadrian himself. They were found in Villa Verospi in 1710, in what was once the Egyptian pavilion of the imperial Gardens of Sallust in Rome. In the original work, the right arm was replaced by another sculpted from the same stone as that of the copy. It thus seems very likely that the same artist or workshop created the arms of the original and the copy, and the reason the usual sceptre was replaced by a piece of cloth is rather obvious: it was undoubtedly inspired by another statue. The fact it was an attribute displayed in examples from the XVIII and XIX Dynasties, particularly for royal feminine efgies, lends itself to that hypothesis.

In our statue, the folded left hand seems to be holding the handle of what is most likely a sistrum. That attribute is present in both of the Vatican’s examples, and the original Ptolemaic work could very well have been the model for our superb greywacke statue, or, on the contrary, have been inspired by it.

Ill. 2. Egyptian queen, red granite, late Ptolemaic Period, ca. 1st century BC. Christie’s New York, “Antiquitiesincludingproperty fromthecollectionofMaxPalevsky”, 9 December 2010, lot 35. Ill. 3. Feminine torso, early Ptolemaic Period, ca. 270-250 BC, diorite, H.: 65 cm. Kunsthistorisches Museum, Ägyptische Sammlung, Vienna, inv. no. 5809.

Our feminine statue is sculpted from stone that is quite typical of ancient Egyptian productions: greywacke, a smooth, strongly bonded, very fne grained stone that allows for a perfect polish. It is mainly dark coloured. An especially common colour is grey with dark green hues, highly prized in Egypt. There was thus a sizeable deposit along Wadi Hammamat, in the vicinity of Thebes, which was exploited from the Old Kingdom until the Roman period. The reason for the stone’s popularity resides in its colour, similar to that of bronze. Moreover, Emperor Hadrian had a particular penchant for it, as several greywacke statues were found during the

digs carried out at his villa, including a very lovely female sphinx head conserved at the Brooklyn Museum (ill. 7). The greywacke used to restore the statue in the 18th century is very similar to the original stone, but it is possible to diferentiate the grain, which is much denser for the upper part. A very deep dark green in colour, the stone has brown marks that are characteristic of the material, while on the swathe of fabric between the legs, small, light green marks attest to the work’s age and diferent journeys. They make up a ravishing patina that gives our Ptolemaic feminine fgure an almost polychrome nature, at least in a green palette. The polish accentuates these diferent hues, as well as the quality of the material itself. The masterful polish also enabled the artist who created our magnifcent work to showcase their qualities as a sculptor, while simultaneously enhancing the particularly voluptuous shape of the feminine body.

Ill. 4. Giustiniana Gräfn Wynne Rosenberg-Orsini, Alticchiero, pl. XX, 1787.

Ill. 5. Colossal statue of Queen Arsinoe II, Ptolemaic Period, reign of Ptolemy II Philadelphus (285/282-246 BC), pink granite, H.: 270 cm. Musei Vaticani, MV.22681.0.0.

Ill. 6. Colossal statue of Queen Arsinoe II, Roman Period, 40 BC, pink granite, H.: 270 cm, . Musei Vaticani, MV.22683.0.0.

Our sublime Ptolemaic statue is a rare object, in both the quality of its execution and its extraordinary history. Several sources mention our Egyptian feminine statue and its incredible past. It was, thus, at Hadrian’s Villa in Tivoli, near Rome. It was one of the 68 Egyptian and Egyptianizing antiquities that were found there. The link between our sculpture and Hadrian’s Villa is strengthened by the existence of two other statues at the Vatican Museums. The Roman emperor developed a particular taste for Egyptian works after making two journeys to Egypt, frst in AD 117 and then in AD 130-131. It was during the second trip that Antinous, his lover, mysteriously drowned in the Nile. Deeply saddened by his loss, when Hadrian returned to Rome, he set in motion the construction of the Canopus, an architectural complex built around a canal and designed to evoke the Egyptian city of Alexandria, as well as the Serapeum, a temple dedicated to the Egyptian god Serapis. Emperor Hadrian and his wife Sabina were associated with Serapis and Isis. The emperor had many antique

sculptures placed in the architectural complexes, including portraits of Antinous in Egyptian garb, a dozen fgures of the goddess Isis and many more sculptures of Egyptian deities and pharaohs.

The sculpture was unearthed from the ruins of the villa in the 18th century and immediately acquired by Filippo Farsetti (1703-1774), a Venetian aristocrat and major patron and collector. He is said to have bought it between 1766 and 1769 on a trip to Rome, the purpose of which was to attentively monitor the digs taking place at Hadrian’s Villa. The work was not sent to his villa, but exhibited among the multitude of precious objects he amassed in Palazzo di San Luca, his Venetian residence, open to artists and researchers and visited by Goethe, Winckelmann and Canova, just to mention a few. It was then the only sculpture of Hadrian’s Villa to be privately owned. The other Tivoli works are to be found in the collections of the Vatican, Capitoline Museums, Louvre, Hermitage Museum, British Museum and Staatliche Museen zu Berlin, as well as in other signifcant international collections.

The work then came to Angelo Querini (1721-1796), as mentioned by Giustiniana Wynne, Countess Rosenberg Orsini, widow of the Austrian ambassador in Venice, in her 1787 publication Alticchiero, an inventory of the furniture in the eponymous villa located near Padua, Italy, which belonged to Angelo Querini. The latter, from one of the oldest noble families in Venice as well as a great patron of the arts, inherited the family

Ill. 7. Head from a Female Sphinx, Middle Kingdom, Dynasty XII, ca. 1876 1842 BC, chlorite, H.: 39 cm. Brooklyn Museum, New York, inv. no. 56.85.

palace in Venice and the Alticchiero property in 1765. Querini’s Alticchiero residence had a library that housed the classics as well as philosophical, agricultural and theological works. The sculpture collection was made up of ancient and modern busts of philosophers, while the ancient and classical works were mainly arranged around the garden, named “Canopus” in reference to Emperor Hadrian. Our sculpture, then identifed as the goddess Isis, is described on pages 46-47 (ill. 8), with an accompanying drawing (Plate XX – ill. 4). The accurate drawing of the statue is accompanied by a scale which proves that the size of the sculpture matches with our statue. It was mentioned in two unpublished inventories of the Farsetti collection. The frst, compiled before 1778, catalogued the object under the title “marble fgures” and describes it as a “Egyptian fgure of a woman, in basalt stone”. The second inventory, dated 1778, describes it in exactly the same way and has an annotation that completes the description, indicating that the work was “given to His Eminence Angelo Querini in exchange for a marble bust of Pietro Aretino”. It thus seems clear that the statue became the property of the cousin and heir of Filippo Farsetti, Daniele Farsetti, and that, between the second inventory in 1778 and the publication of Alticchiero in 1787, he gave the Roman statue to Angelo Querini for a marble bust of Aretino.

During the summer of 1789, a Danish researcher, Georg Zoëga, visited Angelo Querini’s Villa Alticchiero and produced quite a few notes and

drawings, currently conserved at the Royal Danish Library in Copenhagen. They were published by Daniela Picchi in 2010. In the transcript of one of Zoëga’s writings in which he describes four Egyptian objects he was able to see at Villa Alticchiero, object no. 4 is described as an “Egyptian feminine fgure made of green basalt”. He also gives the height of the statue, specifes that it was found at Hadrian’s Villa and gives the reference of plate XX in Rosenberg Orsini’s publication. Again, there is absolutely no question that the statue described is our Ptolemaic queen. Zoëga even added that “the upper part has been restored” and paired his note with a drawing (ill. 1). The drawing, similar to the 1787 engraving, shows the statue without its two porphyry bases, but with an essential detail: a line that divides the work in two, thus specifying that the upper part is “modern” while the lower part is ancient. According to Zoëga, it dated back to the Ptolemaic Period. It is this very document that enables us to state that the sculpture was actually

Ill. 8. Giustiniana Gräfn Wynne Rosenberg-Orsini, Alticchiero, 1787, pp. 46-47.

misread from the time of its rediscovery, as it was actually Ptolemaic, with the upper part restored in the 18th century at the latest, or at least before 1787, the year of the drawing. Maybe the restoration was done before that time?

We have only scarce information regarding the sculpture’s ownership in the 19th and 20th centuries. The English antique dealer and collector Charles Townley (1737-1805) wrote to Querini about his collection in the 1780s. In 1804, Sir John Stepney wrote to Townley regarding the collection and praised the statue of a queen, which he deemed vastly superior to all the other Egyptian antiquities. Ultimately, Townley did not purchase the Querini collection, which was thus dispersed soon after 1804. Some pieces were bought by a museum in Berlin in 1823.

The statue was probably acquired by the art collector and enthusiast Thomas Hope (17691831), who was known to possess “an Egyptian Isis in green basalt, antique”. It was very likely exhibited in the Egyptian Room of his London residence in Duchess Street in 1824 (ill. 9).

More recently, it belonged to an English private collector residing at Harrington House, 4 Clarendon Crescent, Leamington Spa in Warwickshire, England. In May 2000, the contents of the house were sold at auction by Christie’s (ill. 10). The sales catalogue described our statue (no. 460) as being from the end of the 19th or beginning of the 20th century - a copy of an original dating back to the 3rd century BC. It then found its way to the private collection of the Tomasso brothers in the north of England (or English private collection?). It was presented to the Fitzwilliam Museum in Cambridge for its “Roman Egyptomania” exhibition from 2004 to 2005 (ill. 11).

It is very captivating to see the new discovery that can be made from the singular revelation of a drawing that hereby challenged previous dating and attribution of a sculpture. As researchers and historians we are pleased to have been able to rightfully restore a sculpture’s original identity.

Ill. 9. C. M. Westmacott, British galleries of painting and sculpture, 1824, p. 216.

Ill.

Exhibition:

Roman Egyptomania, The Fitzwilliam Museum, Cambridge, 24 September 2004 - 8 May 2005.

Publications:

- G. G. W. Rosenberg Orsini, Alticchiero, 1787, Padua, p. 46.

- L. Lanzi, Viaggio del 1793 per lo stato Veneto e Venezia stessa (“1793 travels through Veneto and Venice itself”), 1793, Florence.

- C. A. Marini, Della verità dei fatti di cui si è conservata memoria nell’iscrizione a S. Giovanni di Salvore presso a Pirano. Dissertazione apologetica con annotazioni (“On the truth of the facts recorded in the inscription to S. Giovanni di Salvore in Pirano”), 1794, Venice.

- C. Molloy Westmacott, British galleries of Painting and Sculpture, 1824, London, p. 216.

- C. Dolzani, “Cimeli egiziani del Museo Civico di Padova I” (“Egyptian antiquities at Museo Civico di Padova I”), Bollettino del Museo Civico di Padova, LVII, 1968, p. 9.

- A. Roullet, The Egyptian and Egyptianizing monuments of Imperial Rome, 1972, Leiden, Brill.

pp. 180-182.

- C. Dolzani, “Presenze di origine egiziana nell’ambiente aquileiese e nell’alto adriatico” (“Egyptian vestiges in the vicinity of Aquileia and the northern Adriatic”) in Aquileia e l’Oriente Mediterraneo [...], 24 aprile - 1 maggio 1976, 1977, Udine, p. 131.

- E. D’Amicone, “Itinerarionellecollezioniegiziedel Veneto”(“ItinerarythroughtheEgyptiancollections in Veneto”) in S. Curto and A. Roccati, Tesori dei

11. Sally-Ann Ashton, Roman Egyptomania (cat. The Fitzwilliam Museum, Cambridge, September 2004 – May 2005), 2004, Golden House Publications,

Ill. 10. Christie’s London, “ The contents of Harrington House, Leamington Spa”, 4 May 2000, lot 460.

Faraoni, 1984, Milan, p. 84.

- E. D’Amicone, “Antico Egitto e Collezionismo veneto e veneziano” (“Ancient Egypt and Venetan and Venetian collecting”) in Venezia e l’archeologia, 1990, Rome, p. 24.

- E. Varin, “Notessurladispersiondequelquesobjets égyptiens provenant de la villa Quirini à Alticchiéro” (“Notes on the dispersion of some Egyptian objects from Quirini Villa in Alticchiero”) in Revue d’égyptologie, 2002, 53, pp. 220–221, Pl. XXVIII.

- J.-M. Humbert, Michael Pantazzi and Christiane Ziegler (ed.), Égyptomania : l’Égypte dans l’art occidental (“Egyptomania: Egypt in western art”), 1994, Paris, gathering of national museums.

- S.-A. Ashton, Roman Egyptomania (cat. The Fitzwilliam Museum, Cambridge, September 2004 – May 2005), 2004, Golden House, pp. 180-182.

- L. Vedovato, Villa Farsetti nella Storia (“Villa Farsetti through history”), II, Venice, 2004, pp. 24, 65, 142 n. 153.

- Con gli occhi di Canova: la Collezione Farsetti del Museo Ermitage (“With the eyes of Canova: the Hermitage Museum’s Farsetti Collection” - Cat. Massa, Doge’s Palace, 30 April –21 August 2005), 2005, Pontedera, pp. 31, 42.

- D. Picchi, Alleoriginidell’Egittologia:leantichità egiziane di Bologna e di Venezia da un inedito di GeorgZoëga(“RetracingtheoriginsofEgyptology: the Egyptian antiquities of Bologna and Venice from unpublished works by Georg Zoëga”), 2010, Editrice la Mandragora, p. 103.

TORSO OF HERCULES

ROMAN, 1 ST - 2 ND CENTURY AD

MARBLE

PROVENANCE:

IN THE COLLECTION OF GIOVANNI B. DELLA PORTA (1542-1597), CASA DELLI HEREDI, ITALY. ACQUIRED BY THE BORGHESE FAMILY IN 1609, STANZA DI DIOGENE, VIL LA BORGHESE.

MENTIONED BY GIACOMO MANILLI IN 1650, THEN BY DOMENICO MONTELAT ICI IN 1700. IN THE COLLECTION OF LUDWIG MOND (1839-1909), THE POPLARS, LOND ON. PASSED BY INHERITANCE INTO THE COLLECTION OF HIS SON ALFRED MOR ITZ MOND (1868-1930), 1 ST BARON MELCHETT, MELCHET COURT, UNITED KINGDOM.

PROBABLY SOLD BY SOTHEBY’S LONDON, “ CATALOGUE OF THE MELCHETT COLLECTION OF PAINTINGS, DRAWINGS AND ANTIQUITIES”, 24 MAY 1951, LOT 26 (?). THEN IN AN ENGLISH PRIVATE COLLECTION.

SOLD BY BONHAMS LONDON, “ FINE ENGLISH AND CONTINENTAL FURNITURE, WORKS OF ART AND TAPESTRIES”, 1 JULY 2003, LOT 15. THEN IN THE COLLECTION OF INTERIOR DESIGNER MARK GILLETTE, UNITED KINGDOM.

This magnifcent marble torso represents the famous Greek hero Hercules. The young man is portrayed in heroic nudity, mid-action, his body describing a rather singular twist. His left leg is folded, the weight of his body resting on his knee, while his right leg is extended backwards. The toes of his left foot are thus resting on the ground.

His hips are twisted to the right, in opposition with his shoulders, making his bust twist and the hero’s muscles stand out. Each muscle is exquisitely formed: his abdomen and pectorals are prominent, bisected by a shallow, vertical line leading to a navel sculpted in an extremely lifelike manner. His neck is tense and his collarbones detailed, while

HEIGHT: 49 CM.

WIDTH: 29 CM.

DEPTH: 16 CM.

his shoulders are contracted. Additionally, their position indicates that his arms were most likely raised. His thighs are bulging and the diferent muscles that form them can easily be identifed, as with his calves. His back was also crafted in a very lifelike way: his shoulder blades are prominent and his spine emphasised by salient dorsal muscles. This particular position makes all the hero’s muscles stand out, giving an impression of tension and extreme efort. Our sculpture is thus a perfect illustration of the care taken by the artists of the time to shape fesh, and their desire to glorify the heroes of mythology by giving them an athletic physique. Glorifying the human body through its muscles also served to showcase the full range of the mastery possessed by the artisan behind the sculpture. Finally, a tree trunk remains by the right leg, an element generally used as a support to stabilise the sculpture as a whole.

Our torso of Hercules is sculpted from marble with a delicate brown patina and very light traces of concretions, both marks of the passing of time.

The marble, a very pure white, has deep red veins that mark Hercules’ left leg and ribs on the left side, lending our work a great refnement and, above all, a unique character.

Our superb statue was part of a larger group representing the hero Hercules capturing the Ceryneian hind. As the son of Zeus and one of his mistresses, the mortal Alcmene, he was targeted by the jealous Hera, lawful wife of the king of the gods. To avenge herself, she drove him insane and forced him to kill his wife and two sons. Seeking atonement for his crimes, Hercules went to serve his enemy, King Eurystheus, who entrusted him with the renowned 12 labours. One of his tasks was capturing the Ceryneian hind. According to legend, in Greece, there were fve hinds with golden horns and bronze hooves. As they were famed to be strong and swift, the goddess Artemis decided to capture them to hitch them up to her chariot. Only one of them escaped, and, thereafter, became solely dedicated to the goddess. To honour Eurystheus’ request and capture the animal without harming it, so as not to draw Artemis’ ire, Hercules hunted the hind for an entire year. When the animal was exhausted, he sent an arrow between the bone and tendon of its leg, without spilling so much as a single drop of blood. He brought the animal to Eurystheus and thus completed his third labour. Our sculpture represented the moment our hero was pinning the animal to the ground with his knee to hold it still and tie it up. The subject, quite frequently depicted, attests to the popularity of mythological subjects

Ill. 1. Hercules and the Ceryneian hind, Roman, 1 st century AD, bronze. Museo Archeologico Regionale, Palermo, inv. no. 8364. Ill. 2. Hercules, Roman, 100 BC – AD 1, bronze, H.: 12.7 cm. British Museum, London, inv. no. 1873,0820.5.

among the artists of antiquity, as well as portrayals showcasing athletic bodies. There are, for instance, examples in bronze (ill. 1-2), high-reliefs in marble (ill. 3) and mosaics (ill. 4).

his left hand. As Giovanni Battista della Porta was a renowned restorer at that time, it is possible to hypothesise that he was the one who reinterpreted our antique fgure.

Ill. 3. Hercules and the Ceryneian hind, Roman, 1 st century AD, marble, H.: 40 cm. Staatliche Kunstsammlungen, Dresden, inv. no. 044.

Ill. 4. Mosaic of Hercules, Roman, AD 170-180,

Our sculpture is also extremely precious due to its history, as its provenance can be traced to the 16th century. Our Hercules is from the collection of the Italian sculptor Giovanni Battista della Porta. Born in 1542, he belonged to the renowned line of the della Portas, Italian sculptors who were active throughout the 16th century. He was the nephew of Tommaso della Porta, who granted him access to the major works of the time such as the Villa d’Este in Tivoli and introduced him to patrons such as the Farnese and Borghese families. At that time, our sculpture had already been restored. In 1893, H. Graeven thus described it as “Ercole que amazza doi leoni della medema grandezza”. Our sculpture then depicted Hercules fghting two lions. He was pinning one of them, already dead, beneath his knee while he grasped the mane of the other with

Our sculpture then joined one of the most prestigious art collections in the world, that of the Borghese family. Our Hercules was acquired by Pope Paul V (Camillo Borghese) in 1609 with the rest of the collection of della Porta family. It was then placed in the Stanza di Diogene in Villa Borghese and was frst mentioned by Giacomo Manilli in 1650, who wrote: “passata la Porta, si vede un gruppo mezzano d’Hercole, che uccide il Leone Nemeo”. The second mention dates back to 1700, when Domenico Montelatici wrote, in his description of Villa Borghese: “dall’altra banda continuano due piccoli gruppi antichi di marmo, posti da i lati della terza porta, il primo de quali esprime Hercole, fgurati nella Selua Nemea, che piegando un ginocchio sopra un Leone di già morto ne tiene con la sinistra un altro per l’orecchia, e con la destra gli tira un colpo per ucciderlo”. Finally, the sculpture was drawn by the artist Carlo Calderi between 1710 and 1730, which enables us to visualise the group along with the restored part. A study is currently conserved at the British Museum in London, while the fnal drawing is at Eton College, near Windsor (ill. 5-6).

Our Hercules was then added to the collection of Ludwig Mond (1839-1909) and his wife, Frida.

marble and terracotta. Musée d’Art et d’Archéologie, Valence, inv. no. 980.1.1.

A chemist and industrialist who acquired British nationality later in life, he and Frida were passionate about art in all its forms and had a defnite impact on British cultural life as patrons. Their London residence, The Poplars, was a manor richly decorated with antique sculptures, paintings and furniture, including our work. Also a lover of Italy, at the beginning of the 20th century, he acquired Palazzo Zuccari, near Piazza di Spagna in Rome. The couple passed their passion for art onto their two sons. The elder, Robert, became

an Egyptologist and bequeathed more than 250 Egyptian pieces to the British Museum upon his death in 1938. The younger, Alfred, inherited his parents’ collection, including our sculpture. Alfred Moritz Mond (1868-1930) was named 1st Baron Melchett in 1928 and settled at his residence, Melchet Court, in Hampshire in 1911. His collection thus included many antique pieces, both Greek and Roman, which Eugénie Strong inventoried in 1928. She mentioned our statue as number 17, “Heracles and Two Lions”, and paired its description with a photograph (ill. 7). The collection was ultimately dispersed over several auctions. C. Vermeule and D. von Bothmer thus supposed that our sculpture was sold by Sotheby’s London in 1951 as lot 26. It probably joined an English private collection before being sold again at Bonhams in 2003, its restorations completely removed, leaving only the antique part. It was fnally acquired by Mark Gillette, a London based interior designer.

Ill. 5. Study by Carlo Calderi, 1710-1730. British Museum, London, inv. no. 2013,5015.3.67.

Ill. 6. Final drawing by Carlo Calderi, 1710-1730. Eton College, Windsor, inv. no. ECL-Bm.3:23-2012.

Ill. 7. Our restored sculpture in the Melchett collection, 1928.

Publications:

- G. Manilli, VillaBorghese,FuoridiPortaPinciana (“Villa Borghese, outside Porta Pinciana”), Italy, 1650, p. 96-97.

- D. Montelatici, Villa Borghese, Fuori di Porta Pinciana(“VillaBorghese,outsidePortaPinciana”), Italy, 1700, p. 274.

- Study by Carlo Calderi, 1710-1730, British Museum, London, inv. no. 2013,5015.3.67.

- Final drawing by Carlo Calderi, 1710-1730, Eton College, Windsor, inv. no. ECL-Bm.3:23-2012.

- H. Graeven, La Raccolta di Antichità di Giovanni Battista della Porta (“The antiques collection of Giovanni Battista della Porta”) in Bullettino dell’Imperiale Istituto Archeologico Germanico (“Bulletin of the Imperial German Archaeological Institute”), Vol. VIII, 1893, p. 240, no. 41.

- E. Strong, Catalogue of the Greek & Roman antiques in the possession of the Right Honourable Lord Melchett, Oxford, 1928, p. 24, no. 17, pl. 27.

- C. Vermeule and D. von Bothmer, “Notes on a New Edition of Michaelis: Ancient Marbles in Great Britain. Part Two” in American Journal of Archaeology, Vol. 60, Chicago, 1956, p. 337-338.

- A. Coliva, I Borghese e l’antico (“The Borgheses and the antique”), Milan, 2011, p. 183.

TORSO

PROVENANCE:

IN THE COLLECTION OF MR SELLO, LOCARNO, SWITZERLAND, FROM THE 1 970S. THEN IN THE COLLECTION OF PINO DONATI, LUGANO, FROM THE 1980S. PASSED DOWN IN THE COLLECTION OF HIS SON, STEFANO DONATI. THEN IN THE PRIVATE COLLECTION OF MR R. L., BELGIUM, ACQUIRED I N 2003.

This imposing marble fragment represents a man draped in fabric. He is depicted wearing a thin tunic covered by a thicker toga, the outft of choice for Roman citizens for several decades. The artist’s great virtuosity is apparent in the shaping of the draped fabrics and the play of the superposed materials. The tunic, in the thinnest fabric, is etched with delicate, lightly carved folds, and is perfectly moulded to our fgure’s body, particularly over his lower abdomen. In contrast with the lightness of the tunic, the toga is thicker and has long, deeply carved folds. A frst swathe of fabric commonly known as the umbo originally fell from the left shoulder. Here, it crosses the torso diagonally and its end is secured by a horizontal swathe of fabric called balteus. It covers the right hip and crosses

under the right sleeve, part of which remains in the form of some wide fabric. The right leg is covered by an ample sinus, which falls from the left shoulder to just above the knee before going up behind the arm. The sculpting of the diferent layers of drapery is absolutely spectacular. The toga is thus etched with folds of varying depths. The balteus, the thickest, is thus the swathe with the most deeply etched folds, giving an incredibly realistic impression of volume. Likewise, the umbo seems to fall heavily over the body, while covering the balteus, creating a play of superposition and a stunning illusion of weight. Finally, the sinus displays fewer folds, perfectly hugging the curves of our fgure’s body and making it possible to see the forward movement of the slightly folded right leg. The use of a drill and the diferent

HEIGHT: 100 CM.

WIDTH: 45 CM.

DEPTH: 42 CM.

thicknesses of the folds in the fabric thus create a unique play of shadow and light, each individually sculpted fold bringing the whole sculpture to life in a realistic manner. The back was worked more summarily, some narrow folds following the line of the back of the left shoulder and meeting up with the right leg.

This work thus showcases a high quality of execution. Sculpted from white marble with a delicate golden patina, the sculptor was able to imbue the stone with the suppleness of the drapery and the weight of the swathes of fabric, each skilfully arranged in relation to the rest. Finally, there are some traces of concretion, a testament to the passing of time.

The toga was the quintessential garment of the Roman Empire. Made of thick wool, it was primarily masculine and worn by citizens, generally over a tunic. In The Aeneid, Virgil thus wrote: “the Romans, masters of the world, a people of citizens in togas”, referring to the garment as a symbol of that people of free citizens, living at peace and governed by laws. More than a simple garment, the toga was a status symbol and badge of belonging to the civitas romana, as slaves and foreigners were not permitted to wear it. There were several versions, the colours and fabrics varying depending on the context. The toga pulla, in black, was worn as a sign of mourning, while the toga candida, bleached with chalk, showed that its wearer was a candidate in the elections. Children and future citizens also

wore a special garment called the toga praetexta until adolescence. The arrangement of the swathes of fabric was extremely codifed, which is very well illustrated in the statuary art of the period.

Our work is a perfect example of this. The portrayal of togatus, or fgures wearing togas, thus remained constant over the centuries. Gorgeous examples

Ill. 1. Togatus, Roman, 1st century AD, marble, H.: 183 cm. The MET, New York, inv. no. 04.15.

Ill. 2. Togatus, Roman, 1st century AD, marble, H.: 177 cm. Musée du Louvre, Paris, inv. no. Ma 1823.

Ill. 3. Togatus, Roman, 2nd century AD, marble, H.: 200 cm. Musée du Louvre, Paris, inv. no. Ma 3522.

Ill. 4. Togatus Barberini, Roman, 1st century BC, marble, H.: 165 cm. Centrale Montemartini, Rome, inv. no. MC 2392. Ill. 5. Augustus, Roman, 10 BC, marble, H.: 207 cm. Museo Nazionale Romano, Rome.

of togatus conserved in various international museums thus have swathes of fabric arranged in a way that is almost identical to ours (ill. 1-4). The proof that togas were more than a simple garment is the portrayal of Emperor Augustus himself wearing it (ill. 5). Our sculpture is thus a striking example of the Romans’ desire to use the garment as a sign of Roman culture and citizenship, but also, to display the social status of the patron. Our sculpture was thus probably commissioned by a wealthy citizen of the Roman Empire.

Our sculpture was frst in the collection of Mr Sello, a resident of Locarno, Switzerland. It was then added to the collection of the art trader Pino Donati, and then to that of his son, Stefano Donati, before joining a Belgian private collection.

SARCOPHAGUS WITH THE “GATES OF HADES”

ROMAN, 2 ND - 3 RD CENTURY AD

MARBLE

HEIGHT: 69 CM.

LENGHT: 216 CM.

DEPTH: 68.5 CM.

PROVENANCE:

FORMERLY IN THE COLLECTION OF SIR JOHN CHARLES ROBINSON (1824-1 913), C.B AND F.S.A, NEWTON MANOR, SWANAGE, DORSET, ACQUIRED BETWEEN 1852 AND 1869. SOLD BY HENRY DUKE & SON, THE NEWTON MANOR COLLECTION, SWANAGE, DORSET, 1-4 SEPTEMBER 1913, LOT 503.

ACQUIRED BY A MEMBER OF THE ROOTES FAMILY, RAMSBURY MANOR, WILT SHIRE. IN THE COLLECTION OF LADY MARIAN ROOTES, THROUGH INHERITANCE, U NTIL 2012. DUKE’S FINE ART, THE ROOTES COLLECTION, 28 SEPTEMBER 2012, LOT 987.

This monumental marble sarcophagus, rectangular in shape, displays extremely lavish, meticulous relief decoration on one side. In the middle of the front panel, a miniature temple is represented. Its triangular tympanum is adorned with a laurel crown from which delicate ribbons stream. The thick horizontal cornice and raking cornices are individually carved while the roof is decorated with two acroteria, showcasing the attention to detail. The pediment is supported by two futed pilasters adorned with capitals of the composite order,

combining the acanthus leaves of the Corinthian order with the delicate volutes of the Ionic order. The thick bases of both columns stand on a small platform, which elevate them, reinforcing the impression of monumentality conveyed by the miniature temple and recalling the buildings constructed at that time. Between the pilasters stand double doors, one of which is mysteriously ajar. The door frame is sculpted in relief, while the doors are more lightly carved, giving quite a realistic impression of depth. The lower parts of the doors

are adorned with lion heads holding rings in their mouths while the upper parts are decorated with trophies. All these features add to the impression of realism and demonstrate the artist’s desire to recreate the actual appearance of the temples built at the time in the marble. This attention to detail is even visible in the very discreet representation of the stones used for the construction of the temple, the edges of which are delicately carved and still visible between the pilasters and the doorposts of the double doors. On either side of the miniature temple is a massive laurel wreath, the narrow leaves of which are individually sculpted. The irregular edges and round fruit sticking out of the branches give an impression of thickness. The ends of the leafy branches are elegantly tied with ribbons, the ends of which fall delicately. Once again, there is great attention to detail. The sculptor played with the textures, creating folds that give an impression of thickness and a spectacular depiction of the diferent materials.

Finally, the composition is framed by two pilasters, taking up the motif of the supports of the miniature temple and giving the composition a sense of unity. Both the side faces of the sarcophagus are plainly decorated with circular shields, while the back is devoid of ornamentation, indicating that it was probably placed in a larger architectural complex or along a wall.

separation between the worlds of the living and the dead. The representation of these “gates of Hades”, the doorway of the famous god of the underworld, thus has several meanings and has been used to decorate various funerary objects over the centuries. The double doors, or gates, could be sculpted closed, ajar or thrown open. In some cases, the doors also represent the entrance of the tomb and, by extension, the way to the world of the dead. The deceased are thus sometimes portrayed next to them, illustrating their souls arriving in the afterlife, as in the example conserved at the Ny Carlsberg Glyptotek in Copenhagen (ill. 1). Other examples depict only the doors, symbolising simply the separation between the worlds of the living and the dead. Gorgeous examples are thus conserved in Rome and Saint Petersburg (ill. 2-4).

The iconography used for this sarcophagus, rich in symbolism, shows the desire of the artists of the time to concretely represent a rite of passage and the

Ill. 1. Urn inscribed for Sextus Allidius Symphorus, Roman, 2nd century AD, marble, H.: 41 cm. Ny Carlsberg Glyptotek, Copenhagen, inv. no. 862.

Ill. 2. Sarcophagus with the “gates of Hades”, Roman, 2nd century AD, marble, W.: 205 cm. Museo Nazionale Romano, Rome, inv. no. 72838.

Finally, these doors are sometimes linked to mythological tales, wherein characters such as Hercules, Cerberus and Protesilaus leave the underworld by the slightly open door. These are the kinds of scenes represented on sarcophagi currently exhibited in Rome and Velletri (ill. 5-6).

These “gates of Hades” were hugely successful from the 2nd century, when inhumation became widespread to the detriment of cremation. Our sarcophagus and the aforementioned examples attest to a certain codifcation of the double doored temple motif. The building was thus given particular attention by the sculptor: the architectural elements refect archaeological reality and the decoration on the panels is worthy of actual goldsmithing. In each example, the panels are very fnely and meticulously adorned with common funerary motifs. Our work is thus a perfect example of the production of sarcophagi from the 2nd century AD onwards, illustrating the importance Romans gave the graves of their dead.

The unique nature of our sarcophagus also stems from the charming anecdote of its rediscovery. In 2012, Duke’s Auction House in England sent an expert to the Rootes family house. William Edward Rootes (1894-1964), 1st Baron Rootes, was the founder of Rootes Motors, then the biggest English

Ill. 5. Sarcophagus with Hercules and Cerberus, Roman, 2nd century AD, marble, W.: 240 cm. Centrale Montemartini, Musei Capitolini, Rome, inv. no. S.1394.

Ill. 3. Sarcophagus with the “gates of Hades”, Roman, 3rd century AD, marble, W.: 229 cm. Villa Riva, Genzano di Roma, inv. no. 45.

Ill. 4. Sarcophagus with slightly open doors, Roman, 3rd century AD, marble, H.: 131 cm. The State Hermitage Museum, Saint Petersburg, inv. no. 3086.

Ill. 6. Side face of the Velletri sarcophagus, Roman, 2 nd century AD, marble, W.: 260 cm. Museo Civico Archeologico Oreste Nardini, Velletri.

car manufacturer. He worked for personages such as the Duke of Windsor and Sir Winston Churchill. Upon his death in 1964, his son, William Geofrey Rootes, headed the company. In 1946, the Rootes’ son married Marian Slater, with whom he enhanced the art collection he had inherited from his father (ill. 7). When she died, the collection was put up for sale. The expert assigned by Duke’s then discovered our sarcophagus, abandoned in the garden for almost a hundred years and partly covered in thick vegetation. The irony of the situation resides in the fact that, after some research, he discovered that the object had been sold nearly a century before, in 1913, by his own auction house (ill. 8). Before being placed in the Rootes family house, our sarcophagus was in the collection of Sir John Charles Robinson (1824-1913). An English painter and sculptor, he was mainly known as the curator of the South Kensington Museum, now known as the Victoria and Albert Museum. He was also named Queen Victoria’s ‘Surveyor’ and put in charge of the royal collections from 1880 to 1891. Our sarcophagus was exhibited in his residence of Newton Manor in Dorset until his collection was dispersed.

Ill. 7. Marian Rootes.

Ill. 8. Henry Duke & Son, The Newton Manor Collection, Swanage, Dorset, 1-4 September 1913, lot 503.

TORSO OF A DIOSCURI

ROMAN, 1 ST CENTURY AD

MARBLE

PROVENANCE:

FORMER COLLECTION OF MARTIN ANTOINE RYERSON (1856-1932)

OFFERED TO THE ART INSTITUTE OF CHICAGO IN 1897. IN THEIR COLLECTION UNTIL NOW.

This male torso depicts a Dioscuri in a frontal position. He is represented standing, in a contrapposto position. His right leg is bent while the weight of his body rests on the left. His pelvis and right shoulder are angled downwards while his back is slightly curved. The body thus forms an “S” emphasizing his nude heroic fgure. The abdomen is gently outlined displaying his fexed abdominals. A faint line is drawn down from his chest to the top of his navel. His lower abdomen slightly protrudes. The fexed pectoral muscles are hidden by his drapery, only the sides of each muscle visible to the eye. On each side of his waist, a pronounced concave reveals his contracted obliques and ribs but also a hint of his muscular shoulders.

This torso of Dioscuri is represented with thick muscular thighs. His incomplete legs stop just

below his knees, which are represented in realistic detail with each crevice highlighted, an attestation to the artist`s craftsmanship.

Attached to his left knee is a remnant of marble, most likely a decorative base ofering support. His left hip has a small fragment attached as well, representing a horse harness clutched at his side.

This torso of Dioscuri is now missing its head, a testament of the passage of time. As most depictions, it is presumed that the head would be decorated with a somber gaze and luscious curls framing his face. The torso`s absent right arm would be posed raising a sword. His left arm is bent at his side accentuating his robust bicep that is decorated with a single mortise and two long incisions. His left arm comes to an end just above his wrist with the left hand absent. Although the torso`s back is covered

HEIGHT: 79 CM.

WIDTH: 41 CM.

DEPTH: 21.5 CM.

by his elegant drapery, hints of his backside appear on the sides. The back of his bent right thigh reveals his fexed hamstring and muscular buttock. He is wearing a beautiful drapery held by a fbula on the right shoulder and which falls upon his chest, over his back, and down to his ankles. The sophisticated drapery is decorated with realistic folds sticking to Dioscuri`s body. The marble is aged with a beautiful patina mixed with colors of white and light brown. Within the precious stone; streaks of grey decorate the body thus fnely detailing and underling his athletic physique.

The Dioscuri were the twin-half-brothers Castor and Pollux in Greek and Roman mythology. Accounts of the brothers` births vary as they were said to be born from an egg like their sister Helen of Troy and Clytemnestra. Being the patrons of sailors, they succored shipwrecked sailors and received sacrifces for favorable winds. They were the children of the mortal Leda and either Zeus, the king of the gods, or Tyndareus, Leda’s mortal husband and the king of Lacedaemon. To share their immortality with one another, Pollux requested Zeus to transform both twins into the constellation Gemini, later deemed their Latin epithet. Both brothers were fne horsemen and usually represented wearing a chlamys and leading a horse. The two most important examples of that iconography are the two sculptures of the Piazza del Campidoglio in Rome (ill. 1). Other examples can be found in Paris and Berlin (ill. 2-3). Their cult was introduced in Rome around 484 BC where a

temple dedicated to their name was later built in the Roman Forum.

The sculpture was part of the collection of Martin A. Ryerson, an American lawyer, businessman, philanthropist and art collector (ill. 4). He served on the Board of Trustees of the Rockefeller Foundation, and as honorary President of the Art Institute of Chicago. He collected sculptures and paintings of important artists such as Renoir and Monet. At his death, his art collection was donated to the Art Institute of Chicago, including our torso (ill. 5).

Ill. 1. Dioscuri, Roman, 1st century AD, marble, H.: 580m. Piazza del Campidoglio, Rome.

Ill. 2. Dioscuri, Roman, 2nd half of the 2nd century AD, marble, H.: 143 cm. Musée du Louvre, Paris, inv. no. Ma 300.

Ill. 3. Dioscuri, Roman, 1st half of the 1st century AD, marble, H.: 135 cm. Antikensammlung, Berlin, inv. no. Sk 530.

Ill. 4. Louis Betts, Portrait de Martin A. Ryerson, 1913. Art Institute, Chicago, inv. no. 1933.1183.

Ill. 5. The torso housed in the Art Institute of Chicago.

HEAD OF A CAPITOLINE APHRODITE

ROMAN, EASTERN MEDITERRANEAN, 2 ND CENTURY AD

MARBLE

LIPS RESTORED.

PROVENANCE:

SOTHEBY’S LONDON, “ ANTIQUITIES”, 11 DECEMBER 1989, LOT 113 (CATALOGUED AS “APOLLO OF THE ANZIO TYPE”).

FRANÇOIS DE RICQLÈS, DROUOT, PARIS, 23 APRIL 2001, LOT 722 (AS “THE GOD APOLLO”). THEN FORMER PRIVATE COLLECTION.

This elegant marble head represents the goddess of love and beauty, Aphrodite. Represented from the front, she is slightly larger than life, her gaze remote. Her cheeks are full with high cheekbones, while her large, round eyes animate her face. The delicate eyelids are slightly lowered over pupils etched with a drill, a stylistic trait characteristic of the 2nd century AD. Her brow line is thin and lends her gaze a singular force and presence. Her straight nose sits above two full lips, slightly parted, the corners also etched with drill holes, accentuating the play

of depth and almost giving us the impression the goddess is whispering something to us. The delicacy of her features and her gaze give our goddess a certain majesty, emphasised by her exceptional hairstyle. Her hair is parted down the centre, the thick locks curled on either side of her face and gathered together at the nape of her neck.

A thin band encircles the goddess’s curls, while the rest of her hair is gathered in a delicate knot on her crown. Her ears are completely hidden and two small, curly locks, having escaped her hairstyle,

HEIGHT: 32 CM.

WIDTH: 25 CM.

DEPTH: 21 CM.

dress her cheeks, showing the sculptor’s attention to detail and further adding to the preciousness of the work. The artist’s skill is also visible in the depiction of the locks, each individually sculpted and detailed through drill marks, creating a unique play of depth, shadow and light.

nude, emerging from her bath, hands covering her privates. As for our work, her hairstyle shows great attention to detail, with heavy locks gathered into a chignon on her crown, baring her neck and giving her a majestic carriage (ill. 1). The model was thus very widely copied. Magnifcent examples are currently conserved in Germany, in London and in the United States (ill. 2-4).

Ill.

Our head is sculpted from white marble and displays an original patina that gives it a slightly golden hue. Some traces of concretion can still be seen, particularly on her hair, a testament to the passing of time.

Our beautiful sculpture thus represents Aphrodite, goddess of love and beauty. Born from sea foam, she was one of the main goddesses of the Greek and Roman pantheons and was widely represented over the centuries. A symbol of elegance and delicacy, her hair was often styled in both a topknot and chignon, a characteristic feature of the Capitoline Aphrodite model. Our sculpture was inspired by the Greek sculptor Praxiteles’ work from the 5th century BC, which the Greeks and Romans emulated for centuries. The type known as the “Capitoline” Aphrodite depicts the goddess entirely

of Aphrodite, Roman, 2nd century AD, marble, H.: 32 cm. British Museum, London, inv. no. 1776,108.3.

Ill. 4. Head of the “Capitoline Aphrodite” type, Roman, 2nd century BC, marble, H.: 30 cm. MFA, Boston, inv. no. 99.351.

Our head passed through various private collections and was sold at auction on two occasions, entitled “Head of Apollo”, as Apollo was sometimes represented with feminine features similar to those of Aphrodite (ill. 5). It fnally ended up in a private collection before fnding its way to our collections.

Ill. 1. Capitoline Venus, Roman, 2nd century BC, marble, H.: 193 cm. Musei Capitolini, Rome.

Ill. 2. Head of Aphrodite, Roman, 2nd century AD, marble, H.: 12.5 cm. Antikenmuseum, Leipzig, inv. no. 99.078.

3. Head

Ill. 5. Sotheby’s London, Antiquities, 11 December 1989, lot 113.

PHALERA WITH MEDUSA

ROMAN, 1 ST CENTURY AD

CHALCEDONY

PROVENANCE:

IN A EUROPEAN COLLECTION FROM THE 19 TH CENTURY, BASED ON THE MOUNTING. THEN IN A FRENCH PRIVATE COLLECTION.

This magnifcent pendant, which dates back to the 19th century, is adorned with a chalcedony phalera from the Roman period representing Medusa. A fantastical creature from Greek mythology, she was one of the three Gorgons along with her sisters Euryale and Stheno. Here, Medusa is depicted with a round face, full cheeks and high, salient cheekbones. Her chin is slightly raised and above it is a mouth with full, slightly parted lips, the corners of which are turned down slightly, giving her a dramatic expression. Her nose is straight and strong and her brow line prominent, while her eyes are large and framed with fnely sculpted eyelids. The precision with which her features were carved

and the expressiveness they convey are striking. The muscles of her forehead are thus etched, giving the impression that Medusa is frowning, ready to petrify her enemies, while the muscles around her mouth emphasise her serious, hostile expression. The artist’s skill can also be seen in the representation of our creature’s hair. All the individually sculpted locks are also fnely carved through wavy lines, as though every single strand was depicted. They frame her face and hide her ears, giving an astonishing impression of volume and realism. Her hair shelters two small snakes, one in profle and the other seen from above. Again, there is great attention to detail: the eyes, nostrils, mouths and even scales of both

SET IN A NECKLACE IN THE 19 TH CENTURY.

CAMEO - HEIGHT: 4 CM.

WIDTH: 3.5 CM.

DEPTH: 2.5 CM.

animals are delicately carved. Finally, both snakes are surmounted with two small, folded wings, each feather of which is, once again, individually sculpted, illustrating the exceptional quality of the work carried out for this stone.

Our Medusa is carved from a semi-precious stone known as chalcedony. Its name, from the Greek kalkêdôn, refers to a city in Asia Minor, one of the regions where it was much sought after in antiquity. With hues ranging from white to light blue, chalcedony is used by artists to make cameos, intaglios, seals, amulets and other small precious objects. As for our pendant, the material is particularly popular for representations of Medusa, as the bluish colour recalls the pale, translucent complexion of the dead. Chalcedony is a relatively difcult stone to cut, which confrms that the artist’s work is absolutely exceptional. The degree of precision in carrying out details such as the hair, snakes, wings and various facial features make of our pendant a very precious object, attesting to the development of glyptic art under the Roman Empire.

Known as a phalera, our pendant was originally a military decoration. The ornaments were thus worn on weapons or breastplates or attached to horses’ tack in triumphal parades. They signifed acts of bravery and rewarded soldiers who had distinguished themselves in combat (ill. 1-2).

As for our pendant, one of the subjects of choice for these kinds of objects was the representation of one

of the best known creatures of Greek mythology: Medusa. The daughter of two marine deities, Phorcys and Ceto, she was the granddaughter of the primordial deity Gaia, “mother of the Titans”. Unlike her two sisters, Medusa was a mortal. Hesiod then Ovid wrote that once, Medusa was a beautiful young woman. Poseidon fell in love with her and took her in a temple dedicated to Athena. The latter, to punish Medusa for such an ofence, transformed her into a winged, grimacing monster, with snakes for hair and a gaze that petrifed anyone who met it. Medusa plays an important role in the legend of Perseus, in which, aided by Athena, the young hero arms himself with a shield as refective as a mirror to elude the creature’s gaze and slit her throat. Perseus then honours Athena by giving her Medusa’s head, which adorned her shield thereafter, terrorising her foes.

Ill. 1. Reconstitution of phaleras, Lauersfort treasure, 1st century AD. Ill. 2. Bust of Trajan with spots for phaleras, Roman, 1st-2nd century AD, chalcedony, H.: 9 cm. Antikensammlung, Berlin, inv. no. 1979.5.

Terrifying masks of Medusa thus became subjects of predilection in Greek and Roman art, particularly in glyptics. From a monstrous creature with frightening features, her face became considerably softer in the Roman period, and she took on the appearance of a young woman whose eyes and hair alone distinguished her from other deities and mythological creatures (ill. 3). Various phalerae adorned with such a Medusa are currently conserved in public and private collections (ill. 4-7).

Our cameo representing Medusa was in a European collection from at least the 19th century. Our semi-precious stone was set in a pendant made of 18 carat yellow gold, probably in about 1880. Medusa was then framed with two large, slightly unfurled wings, each feather of which is delicately carved. The wings and Medusa’s face are framed with entangled snakes, the bodies enhanced with green enamel and the eyes subtly represented in red. White enamel animates the ensemble, while delicate, fne, teardrop shaped pearls hang around Medusa’s face. Finally, beautiful square and rectangular rubies fnish of the decoration of the mounting, creating a complex, incredibly elegant pendant. It is not uncommon to see antique intaglios and cameos from centuries ago in pendants or rings, which shows the extent to which antique glyptics impressed collectors from all eras (ill. 8).

Ill.

Ill. 3. Various depictions of Medusa in R. E. Raspe and J. Tassie, A Descriptive Catalogue of a General Collection of Ancient and Modern Engraved Gems, London, 1791, pl. L. Ill. 4. Phalera with Medusa, Roman, 1st century AD, chalcedony, H.: 5.8 cm. Guy Ladrière collection, Paris.

5. Phalera with Medusa, Roman, 2 nd century AD, chalcedony, H.: 4.2 cm. Musée des Beaux Arts, Lyon, inv. no. SN 256. Ill. 6. Phalera with Medusa, Roman, 2nd century AD, chalcedony, H.: 3.8 cm. BnF, Paris, inv. no. Camée.171.

Ill. 7. Phalera with Medusa, Roman, 1st century BC, chalcedony, H.: 4 cm. Ex-Marlborough collection.

Ill. 8. Pendant with the Head of Medusa, 1885-1890, chalcedony, enamelled gold, diamonds, rubies and one pearl, H.: 12 cm. National Gallery of Art, Washington, inv. no. 1942.9.306.

YOUNG BACCHUS

ROMAN, 1 ST - 2 ND CENTURY AD

PROVENANCE:

IN A EUROPEAN COLLECTION FROM THE END OF THE 19 TH OR THE BEGINNING OF THE 20 TH CENTURY, BASED ON THE OLD RESTORATION TECHNIQUES. FORMERLY IN AN ENGLISH PRIVATE COLLECTION, PROBABLY ACQUIRED AT THE BEGINNING OF THE 20 TH CENTURY.

THEN PASSED DOWN AS AN HEIRLOOM IN THE FRENCH PRIVATE COLLECTIO N OF MRS P. T. FOR MORE THAN 20 YEARS.

This beautifully made sculpture represents the young Greek god Dionysus, known to the Romans as Bacchus. The god of wine, vines, immoderation and festivals, Bacchus is represented in the frst fush of youth. Sculpted in heroic nudity, the young teenager is standing, right leg extended back slightly, supporting the weight of his body, while his left leg is in front, subtly bent. His legs are plump and shapely, his calves prominent and his feet big, recalling the morphology of young children. Each toe was individually sculpted, showcasing the artist’s know how. The wide hips lead up to a round stomach. His torso is slightly tilted, creating a slight twist in his hips and shoulders, as well as folds of

fesh at his waist. His abdomen is prominent and his pectoral muscles fnely sculpted, while his shoulders are broad. His spine is visible beneath the skin of his back and follows the line of the contrapposto to feshy buttocks, the ensemble depicting a plump young Bacchus with a childish physique. It seems that his still intact left arm originally held one of the god’s main attributes, the thyrsus. The wooden sceptre was covered in ivy and vines and generally topped with a pinecone. It was wielded by Bacchus, but also by his typical suite made up of maenads and satyrs, and was a symbol of prosperity and fertility. All that is left of his right arm is the shoulder, the position of which suggests it was bent,

MARBLE

HEIGHT: 80 CM.

WIDTH: 32 CM.

DEPTH: 26 CM.

with his hand probably holding a bunch of grapes or a kantharos, a large, two handled goblet that the god used for drinking wine.

Finally, our young Bacchus is wearing an animal skin tied over his chest by the legs and covering his back. The drapery, known as a nebris, is the characteristic garment of the Dionysian suiteIt was generally made from a deer hide, but could also take the form of a panther pelt or goat hide, as these were all animals closely linked to the cult of Bacchus. It is sculpted realistically, as the artist managed to convey an impression of the material and thickness of the skin by representing layers of fur and thick folds where there are superposed layers, hugging the god’s muscles.

Our young Bacchus is leaning against a tree trunk, a feature traditionally used as a support to stabilise works. It is realistically depicted, with knots bringing the wood to life. A hoof from the nebris has survived at the top of the trunk, the skin delicately covering the support.

Finally, we can imagine that the head, now gone, depicted Bacchus with childish features. His long hair would have been gathered into a low chignon, some of which remains on the nape of his neck.

Our sculpture is carved from gorgeous white marble and the gold and brown hued patina attests to the passing of time. It is set into a modern base that was probably added in the 18th or 19th century. Our sculpture has a certain aura from having survived centuries to stand in the light of the present day. The subject represented was greatly appreciated in

Ill.

Greek and Roman art. Bacchus was the god of wine and inebriation, known for his immoderation and euphoria. He was the son of Zeus and his mistress, the mortal Semele, who died before his birth. The young god was then brought up by Silenus and the nymphs of Nysa. Known to symbolise excess, he was generally accompanied by his Dionysian suite made up of satyrs, bacchantes and wild animals such as panthers and goats. These represent the wild desires exacerbated by wine. Over the centuries and particularly under Hadrian’s reign, the representations of the god fourished. Sometimes elderly, sometimes young and athletic, sometimes a child with a chubby body, he is generally depicted wearing an animal skin, crowned in ivy and vines, holding a glass of wine. Gorgeous examples taking up the iconography visible in our sculpture are conserved in various international museums (ill. 1-6).

Ill. 1. Young Dionysus, Roman, 1st half of the 2nd century AD, marble, H.: 194 cm. Musée du Louvre, Paris, inv. no. Ma 87. Ill. 2. Young Dionysus, Roman, end of the 1st-beginning of the 2nd century AD, marble, H.: 66 cm. Antikensammlung, Berlin, inv. no. SK 93.

3. Child Dionysus, Roman, 1st - 2nd century AD, marble, H.: 64 cm. Antikensammlung, Berlin, inv. no. SK 92.

Ill. 4. Young Dionysus, Roman, end of the 1 st century AD, bronze, H.: 47 cm. British Museum, London, inv. no. 1977,0217.1.

Ill. 5. Child Dionysus, Roman, 1st century AD, marble, H.: 99 cm. British Museum, London, inv. no. 1888,0308.1.

Ill. 6. Young Dionysus, Roman, 2nd century AD, marble, H.: 91 cm. British Museum, London, inv. no. 1805,0703.21.

Judging by the old restoration techniques, our sculpture was acquired at the beginning of the 20th century where it found its place in a family collection in England. By descent, it stayed in the same family.

HEAD OF A YOUNG MAN

PROVENANCE:

FORMERLY WITH THE ART DEALER ERNEST BRUMMER (1891-1964), PARIS, FROM AT LEAST 16 MAY 1940.

THEN IN A FRENCH PRIVATE COLLECTION.

This precious marble head represents a young man. Devoid of any attribute or hairstyle detail that could help identify him, all his beauty is concentrated in the delicate features of his youthful face. He is depicted beardless and his round cheeks and slightly upturned chin give him a calm, peaceful expression. His lips are full, his mouth small and the corners of his lips and opening of his mouth very lightly etched, as though he were ofering a discreet smile. His nose is narrow and dovetails with thin eyebrows. The exquisitely sculpted contours of his almond-shaped eyes give him a gentle, peaceful expression. His ears were left free while his hair must have been made up of small, individually sculpted curls. Finally, our head is carried by a narrow neck that is moving in a very particular way. His head seems to be turned to the left, creating a

twist of the neck and giving us quite a spectacular impression of realism. Our piece is thus precious in both its details and precisely executed facial features, as well as in the gorgeous patina covering the stone. Sculpted from a lovely marble that was originally almost translucent, the material has, over the centuries, taken on a beautiful ochre hue, giving it a unique aura. Our sculpture was ftted to a pretty, green marble base from at least the 20th century.

Hellenistic art, which reached its height in the 2nd and 1st centuries BC, is characterised by a focus on realism, as well as movement and fexibility in the diferent poses, contrary to earlier classical Greek art. Sculptures are also characterised by fne features, oval faces and small eyes, which are slightly sunken compared to the eyebrows, giving a

HEIGHT: 15 CM.

WIDTH: 8 CM.

DEPTH: 9 CM.

soft, dreamy expression, as in our example. These characteristics can also be found in a truly lovely series of small Greek heads currently conserved in the United States, and in another sculpture currently in a private collection (ill. 1-4). Likewise, the Antikensammlung in Berlin has two gorgeous examples, one masculine and one feminine (ill. 5-6). Both display these iconographic characteristics, which can also be found in our delicate face, particularly the twist of the neck, which creates a rather spectacular sense of movement that was dear to the artists of the Hellenistic period.

Our delicate masculine head was in the collection of the Parisian art dealer Ernest Brummer (1891-1964, ill. 7). Ernest studied music and art history at the Sorbonne and the École du Louvre, where he mingled with renowned fgures such as Salomon Reinach. He was the brother of Joseph and Imre, also traders, with whom he partnered to open an antique shop at 3, Boulevard Raspail, called Brummer Frères — Brummer Curiosités. Ernest travelled widely, purchasing countless works of art over the years. During the First World War, he decided to stay in Paris, unlike his brothers, who left for the United States to open a second shop in New York. Ernest fnally joined his brothers a little after the beginning of the Second World War. After Joseph died in 1947, the collection was gradually scattered through auctions. Our head was photographed in the Parisian gallery on 16 May 1940 (ill. 8). It then found its place in a French private collection.

Ill.

Ill.

Ill. 1. Head of a youth, Hellenistic, 3 rd century BC, marble, H.: 14.5 cm. The MET, New York, inv. no. 10.210.23.

2. Head of a youth, Greek, 4th century BC, marble, H.: 6 cm. The MET, New York, inv. no. 14.130.11.

3. Head of a female satyr, Hellenistic, 3 rd or 2nd century BC, marble, H.: 7 cm. The MET, New York, inv. no. 24.97.90.

Ill. 4. Head of a young man, Greek, 3rd or 2nd century BC, marble, H.: 7.5 cm. Private collection.

Ill. 5. Head of a young man, Hellenistic, 1 st century BC, marble, H.: 11.5 cm. Antikensammlung, Berlin, inv. no. Sk 558.

Ill. 6. Young woman, Aphrodite (?), Hellenistic, 1 st century BC, marble, H.: 21 cm. Antikensammlung, Berlin, inv. no. Sk 613.

Ill. 7. Ernest Brummer (1891-1964).

Ill. 8. Brummer Frères – Brummer Curiosités, Paris, 16 May 1940.

STATUETTE OF HARPOCRATES

EGYPTIAN, LATE PERIOD, CIRCA 664-332 BC

PROVENANCE:

IN A EUROPEAN COLLECTION FROM THE 19 TH CENTURY, JUDGING BY THE BASING TECHNIQUE AND PATINA.

THEN IN THE FRENCH PRIVATE COLLECTION OF MR R., 17 TH ARRONDISSEMENT, PARIS, AND PASSED DOWN AS AN HEIRLOOM.

Our delicate bronze statuette represents the young god Horus the Child, also known as Harpocrates (from Har- Horus and -pokhrat child). He is represented standing, entirely nude, his left leg forward in the act of walking. His young body is shaped with care, with long legs, a narrow pelvis and an absolutely exquisite waist. His shoulders are wider, left arm lying along his body and left hand fsted, while his right arm is folded, bringing his index to his mouth in an almost childlike gesture. Although his hands are closed, each fnger was individually sculpted, showing attention to detail. His face was crafted with great fnesse. His cheeks are round and full and his full lipped mouth quirked

in a subtle smile. His very narrow bridged nose is framed by two small, almond-shaped eyes and surmounted with two discreet eyebrows. He is wearing a cap with a chiselled motif that leaves his ears uncovered. A uraeus representing a snake, the symbol of divinity and royalty, adorns his forehead, while the animal’s tail extends over the top of his head. The sidelock of youth has escaped his cap on the right side. His hair is represented by thin incisions in a braid pattern and ends in a delicate curl falling in front of his right shoulder. Finally, the chest of our young deity is adorned with a fnely sculpted double chained necklace ending in a pendant or amulet. The clasp

BRONZE

HEIGHT: 15 CM.

WIDTH: 4.5 CM.

DEPTH: 6 CM.

at the back has two rectangular ends. The attention to detail, particularly noticeable in the face, attests to the sculptor’s skill and desire to recreate childlike traits in the bronze, as well as the mischievous attitude intrinsic to Harpocrates. A certain aura also emanates from it due to the material used. Bronze, an alloy of copper and tin, was one of the most prized materials in the Egyptian world, mainly due to its solidity. Our Harpocrates displays an original green hued patina, symbolic of the passing of time.

Child, or Harpocrates, son of Osiris and Isis. The very embodiment of a royal child with attributes such as the uraeus, he was also the symbol of the newborn morning sun. He was said to have healing powers and worshipped as a protector, particularly for children. In iconographic terms, Harpocrates is easily recognisable with his childish features, sidelock and index lifted to his lips. These elements can thus be found in sculptures conserved in various international museums (ill. 1-3). Some variants represent the young god with diferent headpieces - the Chicago example (ill. 4), for instance, in which Harpocrates is wearing the crown of Lower Egypt (deshret). In other cases, Harpocrates is represented on the lap of Isis, his mother, suckling (ill. 5).

Ill. 1. Harpocrates, Egyptian, Late Period, bronze, H.: 19.7 cm. Walters Art Museum, Baltimore, inv. no. 54.1983.

Ill. 2. Harpocrates, Egyptian, Late Period, bronze, H.: 15 cm. British Museum, London, inv. no. EA64487.

Ill. 3. Harpocrates, Egyptian, Late or Ptolemaic Period, bronze, H.: 14.5 cm. Musée Rodin, Paris, inv. no. Co.774.

Harpocrates was a well known deity in the Egyptian pantheon, who was then adopted by the Greeks and Romans. There is evidence of his cult from the Third Intermediate Period (ca. 1070-664 BC). It developed over the centuries. When it was frst established, Harpocrates was initially associated with Khonsu the Child, before becoming a deity in his own right and taking the name of Horus the

Ill. 4. Statuette of the God Harpocrates, Egyptian, Late Period, bronze, H.: 9.1 cm. Art Institute, Chicago, inv. no. 1892.154.

Ill. 5. Isis breastfeeding, Egyptian, Late Period, H.: 56.2 cm. Musée du Louvre, Paris, inv. no. N 5022.

Just like our sculpture, these statuettes were generally private orders deposited in sanctuaries dedicated to the young god to obtain his protection.

Harpocrates’ popularity in the Egyptian world is thus undeniable, but his cult continued to fourish under the Roman Empire. It would be interpreted diferently and often linked to mystery cults, but his iconography, and particularly his characteristic gesture, endured.

Our sculpture of Harpocrates was mounted on a rectangular, red marble base with pretty, white veins. This assembly, as well as the lovely green patina tinting the bronze, attests that our sculpture was in a European collection from the 19th century. It then joined a French collection — Mr R.’s, an art connoisseur living in the 17th arrondissement of Paris — and was passed down as an heirloom.

HEAD OF HERMES PROPYLAIOS

ROMAN, 1 ST - 2 ND CENTURY AD

PROVENANCE:

FORMER EUROPEAN COLLECTION SINCE THE 18 TH CENTURY BASED ON THE RESTORATIONS TECHNIQUE

FORMERLY IN THE COLLECTION OF MICHAEL AND HELEN KINGSHOTT, ENGL AND.

This superb sculpture is a bust of the Greek god Hermes. He is the messenger of the gods, particularly Zeus, but also the god of travellers and the guardian of roads and crossroads. The Latins knew him as Mercury.

In our sculpture, the god is represented with a beard and a very sophisticated hairstyle. Three slightly overlapping rows of curls adorn his forehead, with the uppermost consisting of locks twisted in opposite directions. The rest of his hair is left down, simply held back by a thin band. At the back, his long hair is in a big, thick mass, slightly wavy, with locks depicted through deep, sinuous

lines. On either side of his face, one thick lock that has escaped from his band is tucked behind his ears, falls along his shoulders and fows in waves to the top of the god’s pectorals. These locks are also individually sculpted, with rather deep grooves, to make them all the more lifelike. His face, with its fne, elegant features, gives an impression of gentleness and serenity. His eyelids frame and draw attention to his eyes, surmounted with a fne brow line that goes on to form his fne nose. That nose further attests to the sculptor’s desire for realism, with its carved nostrils. Under the nose, a small dimple, subtle and delicate, shows

RESTORATIONS FROM THE 18 TH CENTURY.

HEIGHT: 19 CM.

WIDTH: 15 CM.

DEPTH: 10 CM.

the projection of his upper lip, which is covered by a moustache represented through very thin strands. His lower lip, small and fuller, is deftly sculpted and there is another dimple just below it. A deep crease between both lips gives the sculpture a parted mouth and thus conveys an impression of life. His cheeks, not very prominent, are also covered by a thick beard made up of thin strands. It covers the entirety of the lower part of the god’s face, spreads out in a thick mass and covers his neck. It is formed by thin, individual strands of hair, and as each strand falls, it ends in small coils. His ears, which are left free, are also represented in a very lifelike manner. Presenting a sizeable horizontal break, our bust was restored in the 18th century. The upper part is thus antique while the lower half is modern. This very skilful restoration work is barely perceptible to the uninformed eye. That was also made possible through the use of a marble very similar to that used for the antique part.

The god’s bust forms a shaft, four faces of which are fat and two truncated. On either side, a quadrangular tenon sticks out, seemingly part of a ftting. This particular shape is relatively common — it is the characteristic type of the herm, a name that incidentally derives from that of the god Hermes himself. In ancient Greece, these pillars were used to mark borders and crossroads, enabling travellers to fnd their way (ill. 1-2). The quadrangular shaft even served as the support for these inscriptions; maxims were engraved on them, as well as place names. As they had an apotropaic function, they

could also be placed in gymnasia and palaestra and outside temples. Originally, they were crowned with a representation of the god Hermes. However, over the centuries, other deities or even public fgures were widely represented thus. In Roman antiquity, these sculptures remained very popular and would come to have a purely decorative role. Placed in recesses, decorating public galleries and adorning private gardens, they mainly developed during the Imperial period. By having epigraphs inscribed upon them, Roman connoisseurs thus helped to perpetuate a secular tradition.

The original statue of the god Hermes Propylaios, meaning “in front of the door”, dates back to the 4th century with the Greek sculptor Alkamenes. It is a statuary type characterised by an elderly looking fgure with a long wavy beard and curls over his forehead. The type occurs frequently and we know

Ill. 1. Herm representing Dionysus, made in the style of the 5 th century BC, Roman, 1st-2nd century AD, marble, H.: 201 cm. British Museum, London, inv. no. 1805,0703.64.

Ill. 2. Hermes Propylaios, Roman, 1st-2nd century AD, marble. Arkeoloji Müzesi, Istanbul, inv. no. 1903.206.

several examples of it in museums across the world. This is particularly the case for very lovely examples in Berlin (ill. 3-4) and Paris (ill. 5), and a small bronze copy in New York (ill. 6).

attention to detail while working on the small piece, making it difcult to sculpt. The particularly fne grained antique marble also contributes to the delicacy and softness of this representation of Hermes’ head. Finally, a subtle, discreet patina attests to the passing of time.

Before joining our collections, this magnifcent head of Hermes was part of the English Kingshott collection. Accumulated by Michael and Helen Kingshott over a period of about 30 years, the collection is known for the fastidious selection of its works. It was made up of a wide variety of antique and neoclassical pieces, all chosen for their aesthetic qualities, typical of the works of the Grand Tour. This tradition, upheld by aristocracy in the 18th and 19th centuries, consisted in young people travelling to Greece and Italy to immerse themselves in the cultural heritage of classical antiquity and the Renaissance. It was not uncommon for them to bring back one or several works to decorate their country houses. This tradition was perpetuated by the Kingshott couple. All the pieces of the collection are imbued with an important history and a remarkably established provenance.

Our sculpture displays a splendid quality of execution. The very lifelike features, proportions and representation of the hair attest to the great technical mastery of the sculptor, who paid great

Ill. 3. Hermes Propylaios, Ephesus type, Greek, ca. 470 BC, marble, H.: 71 cm. Antikensammlung, Berlin, inv. no. Sk 104.

Ill. 4. Herm of Hermes Propylaios of the Pergamon type, Roman, 2nd century AD, marble, H.: 58.5 cm. Antikensammlung, Berlin, inv. no. Sk 107.

Ill. 5. Herm of Hermes Propylaios, Roman, 2nd century AD, marble, H.: 32 cm. Musée du Louvre, Paris, inv. no. Ma 915.

Ill. 6. Herm of Hermes Propylaios, Roman, 1st-2nd century AD, H.: 7.3 cm. The MET, New York, inv. no. 97.22.13.

Words by Antoinette Schneider - Rose-Aimée Tixier - Rachel Baumgartner - Lillian Agar

Gladys & Ollivier Chenel

Photography by Adrien Chenel

Assistant photographer Vincent Lootens

Printed by Burlet Graphics

With the participation of Vincent Martagex, Kirsten Marson and Théophile Chenel.

Special thanks to Jörg Deterling and Olivier Perdu.

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Published in March 2023 In an edition of 1 000.