Phoenix Ancient Art 2006 - Crystal I

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In its ongoing quest to distinguish the merely excellentfrom the utterly sublime, Phoenix Ancient Art is proud topresent Phoenicia, a series of publications designed toshowcase the finest works of art from ancient Westerncivilization.

This catalogue, the inaugural volume of the series, pres-ents a carefully selected group of twelve objects that arenothing less than extraordinary. Each piece represents thedistillation of centuries of artistic output, embodying therefinement of craft and culture in their purest, rarestforms. These exceptional works, once the treasures of celebrated collectors such as Charles Gillet and theBaroness Cecile de Rothschild, are breathtaking in theircharacter and qualityoffering an unparalleled glimpseat the glories of the past.


01

MYTHOLOGICAL HERO

This extraordinary chlorite figure is most likely a repre-sentation of the scarred man ; a Near Eastern demonoften represented as a bearded male covered in scaleswith a large, inlaid gash across his face. The striking stat-uette is one from a unique group of six such pieces foundtogether in a village southeast of Shiraz ; one went to theMuse du Louvre, Paris, one to the Azizbeghlou collection,and four to the Foroughi collection. Each figure is com-posed of separately carved parts connected by tenons, andthis one comprises three such sections: head with torso,skirt, and legs.

Despite its small size, this mythical creature possessesnumerous, carefully modeled and incised details that helpit achieve both power and monumentality through itsstrength of presence and unflinching masculinity. The fig-ures centrally parted, long, combed strands of hair areheld in place by a fillet. His large, fully rimmed eyes areset in a commanding stare below a thick, straight, low-relief brow. The limestone inlay of the left eye remains;its pupil would have been inlaid in chlorite to furtheraccentuate the striking gaze. The long, broad nose isframed by naso-labial wrinkles that extend to the cornersof the wide, horizontal mouth. Full lips are tightly com-pressed in a rather severe expression due to the two smallholes drilled into the center of the upper and lower lips;these may have held a tie to bind the mouth, symbolicallysilencing the figure as a protective and precautionary ges-ture. A semicircular beard covers his cheeks and chin, com-pletely obscuring the neck. The beard is patterned withthe same rows of square, lizard-like scales that cover theentire body except for the face and hands ; the feet aremissing. The musculature of the chest and arms is convinc-ingly volumetric and well rounded, and the bodys shape iscompact and strong.

This work, like the others from the cache, displays exag-gerated musculature that is completely covered in scalesand a face that is divided by a deep, diagonal scar. Allexcept one hold an empty cylindrical jar under one arm, asis the case here. An additional drilled depression in thisfigures clenched left fist suggests that it once held anattribute, perhaps a staff or spear. Round holes in theflared skirt appear to be connected to a belt by evenlycarved vertical grooves. Archaeologists hypothesize thatthese holes may have been inlaid, perhaps depicting jewelsor seals suspended from the belt by strings.

Because they were fully finished in the round and notfound in a tomb, we may conclude that these figures werenot made as funerary objects or to be placed in a niche.Careful attention to details such as the prominent facialscar, the bulging muscles, the scaly body, and the coiffedhair suggests an iconography that was already well devel-oped by the late third millennium B.C.

With its heavy beard and lack of a moustache, the faceresembles that of the famous Mohenjo-Daro statue fromthe Harappan civilization in the Indus Valley, also datableto the end of the third millennium B.C. In Bactria, theslightly earlier development of composite seated statuesin black chlorite with white limestone heads provides aconnection to the tradition of polychrome statuary so preva-lent in Near Eastern art ; stylistically, however, thoseworks differ sharply from this one. Therefore, in style,composition, and overall form, the singular group ofscarred man statuettesto which this wonderful exam-ple undoubtedly belongsis without close parallel.

Provenance:Heidi Vollmoeller, Zrich, 1969

Bibliography:Amiet, P. Antiquities of Bactria and Outer Iran in the Louvre Collection,in Bactria: An Ancient Oasis Civilization from the Sands ofAfghanistan, Erizzo, 1988, pp. 159180, fig. 20c.Ghirshman, R. Notes Iraniennes XII, Statuettes Archaiques du Fars (Iran),Artibus Asiae vol. XXVI, 1963, pp. 151160.Nagel, W. Frhe Grossplastik und die Hochkulturkunst am ErythrischenMeer, Berliner Jahrbuch fr vor- und frgeschichte, 1968, pl. XVIII,figs. 12.Orthmann, W. Der Alte Orient, Propylen Kunstgeschichte, Berlin,1975, no. 227. Sothebys, New York, 5 June, 1999, no. 74

WESTERN ASIATIC, CA. 22002000 B.C.BLACK CHLORITE AND WHITE LIMESTONEHEIGHT: 11.7 CM (4 7/16 IN)


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02

DOUBLE RAM VESSEL

A remarkably sensitive example of the highest level ofMesopotamian stonework, this vessel is intact and in anexcellent state of preservation ; traces of black paint arestill visible on the heads of the rams. The object wascarved from a single block of stone and pierced throughwith four holes, which were perhaps used to suspend it bymeans of a string.

The container is charmingly composed of two rams inrepose, seated with their legs folded beneath their bodies.The animals hold their proud heads aloft and turn theiralert gaze toward the viewer. They are worked completelyin the round and not a single detail is spared: the render-ing of the muzzles is satisfyingly realistic, and the otherwell-modeled features include almond-shaped eyes, slitsmarking the nostrils and the mouth, and powerfully twist-ed horns. The sculptor rendered the beasts palpably thickwool with undulating vertical lines that are very evenlyand precisely carved ; he also suggested the musculaturethat lay beneath this luxurious fleece, creating subtlevolumes that exude a sense of reserved strength.

The rams carry on their backs a small, rectangular blockthat is hollowed out and evenly divided into two compart-ments by an interior wall. The contents of these compart-ments are unknown, but their modest size indicates thatthey must have contained small amounts of a precious lux-ury good such as pomade, perfume, or some other cosmetic.A cross hatched line that runs along the vessels bottomedge represents the ground.

Carved stone objects such as this one, which take the shapeof miniature vases carried on the backs of animals, repre-sent a known form in the Mesopotamian repertoire andfirst appeared in Near Eastern art at the end of the fourthmillennium B.C. Bulls were depicted most often, whilebirds and rams are seen less frequently. In the followingmillennium, the typology of these objects became more var-ied. Examples came to include rectangular containers thatwere divided into two or four chambers and supportedbetween one and four animal figures, usually seated.

It must be mentioned that this vessel is of superior condi-tion to its best parallel. Originally from the same collec-tion, the two once formed a unique pair. Part of the N.Schimmel endowment, the other container can now befound in the Metropolitan Museum of Art, New York.

Provenance:Baronness Ccile de Rothschild, Paris, collected in the 1940s.

Bibliography:Ancient Art, Gifts from the N. Schimmel Collection, The MetropolitanMuseum of Art Bulletin, Spring, 1992, vol. XLIX, p. 11.Behm-Blancke, M. R. Das Tierbild in der altmesopotamischenRundplastik, Mayence/Rhin, 1979, p. 93, n. K67-68 (rams) ; p. 85, n. 161,pl. 28, n. 155a-b.Woolley, L. Ur Excavations vol. IV, The Early Period, Philadelphia,1955, p. 206, U.19426, pl. 31.

SUMERIAN, EARLY DYNASTIC III, 2600-2500 B.C.GYPSUM, HEIGHT: 8.9 CM (3 1/2 IN), LENGTH: 11.7 CM (4 5/8 IN)


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03

LARGE SPOUTED CUP

Described as a masterwork of marble vase-making by PatGetz-Preziosi (see Published in 1), this graceful and unusu-ally large vessel is modeled with consummate skill andcareits walls are so finely carved as to be translucent,with a thickness never surpassing three millimeters.There is, however, among the standard spouted bowls, asthere is with all types made in substantial quantity, a fair-ly wide disparity in the degree of their refinement.Perhaps the finest of all known examples, its quality ableto be fully appreciated because of its superior state ofpreservation, is an unusually large and deep privatelyowned vessel. (see Published in 2) The proportions andcontours are perfectly harmonious ; the clean, sweepinglines of the design, along with the wonderfully tactiletexture of the warm, fine-grained marble, lend the cup analmost sensual aspect. The form is simple but carved withremarkable precision: the hemispheric body is provided withan attachment that is modeled as a pouring spout ; oppositethe spout, there is a delicate horizontal lug handle ; thebase is rounded and does not provide a level resting sur-face. The vessel is complete, and, except for a small repair,in a perfect state of preservation.

The purpose of such spouted cups is still debated: somerare examples that retain traces of pigments may have beenused to grind and mix powders, but the presence of thespout and the deep body seems to suggest that they wereemployed to transport liquids. Some archaeologists believethat these vessels may have been oil lamps with the wickplaced in the spout.

Along with the famous idols, stone vases are recogniza-ble as a very characteristic product of Cycladic sculpture.Contrary to what is generally believed, the stone workingindustry of the Cyclades did not use exclusively white mar-ble, even for the carving of vessels. Objects crafted fromother stones such as steatite, gray marble, schist, and soon are known, even if marble was the material used mostoften. During the third millennium B.C., metal tools wererelatively rare on the Cycladic Islands ; therefore, it ismost probable that these beautifully carved objects werecreated exclusively with the help of tools made fromother, harder stones. Taking into account the traces of dif-ferent tool marks visible on the surface of this vessel, wecan assume that the maker used emery (found on the islandof Naxos) as an abrasive, obsidian from Melos for incisions,and pumice stone or beach sand to polish the cup. It is evenpossible to speculate that the precise symmetry and regu-larity of certain vessel shapes owed their execution to avery simple compass and/or a type of rudimentary potterswheel, which would have been used to hollow out the vessels.

Provenance: Marie Lafort, S.A., Geneva, 1980.

Published in:1. Getz-Preziosi, P. Early Cycladic Art in North American Collections,

Richmond, Virginia, 1987, p. 307, no. 129.2. Getz-Preziosi, P. Stone Vessels of the Cyclades in the Early Bronze

Age, University Park, Pennsylvania, 1996, pp. 109112, p. 274, no. F25,pl. 59, 61.

Exhibited:Virginia Museum of Fine Arts, Richmond, Virginia; Kimbell Art Museum,Fort Worth, Texas.California Palace of the Legion of Honor, San Francisco, California,10 November 198725 September 1988.

Bibliography:Marangou, L. ed. Cycladic Culture, Naxos in the 3rd Millenium B.C.,Athens, 1990, pp. 123124, nos. 119121.Thimme, J. ed. Art and Culture of the Cyclades, Karlsruhe, 1977,p. 323325, nos. 317324.

CYCLADIC, EARLY CYCLADIC II, KEROS-SYROS CULTURE,27002200 B.C.MARBLE, HEIGHT: 11 CM (4 3/8 IN), WIDTH: 20.2 CM (8 1/16 IN)


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04

QUEEN MUTNODJMET:THE SCHIMMEL HEAD

Part of a monumental sculpture representing the last queenof the 18th Dynasty, this fragment represents Mutnodjmet,the wife of Horemheb, who served as an officer under thePharaoh Akhenaten and a general under his successorsTutankhamun and Ay, and was then promoted by the priestsof Amun to reign as Pharaoh himself.

Mutnodjmets face is fleshy, full, and soft, with little padsunder the eyes and at the corners of the mouth that giveher a youthful aspect. Marked with a line, the prominentupper eyelids are heavy, folding over the lower ones at theouter corners. The canthi turn down markedly, accentuat-ing her eyes almond shape.

At top, horizontal bands indicate the original presence ofa vulture headdress that would have obscured the remain-der of the queens head. The most voluminous type offemale head garment, this was a tripartite creation worn byqueens, goddesses, or queens appearing in the guise ofgoddesses. What survives here, however, is the entiresculpted face. Seen from slightly below, an ancient view-ers vantage point, the mouths expression cannot truly bedescribed as a smile. Rather, it is an expression of satisfac-tion, confidence, and repose. The eyes present a calmlyalert gaze that reaches beyond and through us.

As hard as marble, the cream-colored indurated limestonebears light gray veins and small inclusions of clear rockcrystal. It accepts a high polish that shows no grain. Herethe stone was smoothed to slightly less than a high gloss,leaving a velvety soft, pearly surface that is remarkablyfleshen in appearance. In a departure from tradition, theartists did not paint the entire surface ; instead, theyallowed the unaltered stones natural pallor to repre-sent the royal visage. This unusual attribute is shared bythis fragments closest parallel, a limestone statue of thewife of the important general Nakhtmin inside the EgyptianMuseum in Cairo.

Paint was used to good effect, however, to emphasize thequeens elegant features. Black pigment is clearly appar-ent on the cosmetic lines that fully rim her eyes andextend back toward the tab of the headdress, where theymeet the eyebrow lines. So as to better accept the mineralcolors, the stone just below these lines has been lightlyscored in a cross-hatched pattern. Traces of red ochre onthe lips reveal they were originally painted red, while ablack line in their crease heightens the shadow there,enhancing the mouths fullness. Within the creases of theforehead bands hide pigment traces, indicating that thesewere once red as well.

The quality of this works design and execution is unsur-passed in the Egyptian canon, and it can only have comefrom a royal workshop. Also, the scale of the face indi-cates that the complete sculpture was greater than life-size and thus intended for prominent, public view. How canwe know, however, whether this is the face of the queen, agoddess, or the queen appearing in a goddesss guise ? Thesolution to the riddle lies in the faces destruction.

EGYPTIAN, NEW KINGDOM, DYNASTY 18, REIGN OF HOREMHEB,13191292 B.C., INDURATED LIMESTONE WITH CRYSTALLINEINCLUSIONS, HEIGHT: 25.6 CM (10 1/16 IN)


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To imbue a sculpture with life, at a dedication ceremony aflower was offered to its nose. Likewise, to destroy asculptures living presence, it was necessary to break thenose. The face of Mutnodjmet shows that it was killedquite carefully and deliberately: a small, sharp tool wasused to pick out the eyes without destroying their socketsand the seat of lifethe nosewas obliterated so as toprevent the statue from taking breath. The presence oforiginal paint and the close similarity in erosion patternson the polished and broken surfaces suggest that thisdestruction and subsequent burial took place soon afterthe work was dedicated. The statue, it seems, did not sit outin the desert sun and wind long enough to lose its paint orfor the carved surface to become pitted.

If the statue were a goddess dedicated in her temple, andthus a living vessel of the deity herself, it seems unlikelythat a later generation would attack it, thus tempting herwrath. It is more plausible, therefore, that the sculptureoriginally represented the queen herself and was destroyedwithin her living memory.

There is evidence to suggest Mutnodjmet was the sister ofAkhenatens favorite wife, Queen Nefertiti. Such an advan-tageous marriage would have been no doubt, politicallyexpedient for Horemheb, a non-royal usurper of the throne.As an opponent of the Aten cult and a champion of the cultof Amun, Horemheb surely made political enemies who,after his death, would have exacted revenge upon hisimages and those of his retinue. As queen from a royal lin-eage, Mutnodjmet was a potent symbol of Horemhebs reignand a natural target for his enemies.

While we can never be certain of this objects originalmeaning, its tremendous beauty is undeniable, and it ranksamong the grandest achievements of Egyptian sculpture.On the portrait of Nakhtmins wife, widely considered themost beautiful statue of a female in the Egyptian Museum,the lips have been largely destroyed. Indeed, the best sur-viving parallel for Mutnodjmets supremely sensuousmouth is the celebrated yellow jasper fragment of the lipsof Queen Tiy inside The Metropolitan Museum of Art in NewYork ; one of the eminent icons of Egyptian art.

Larger than life-size sculptures of queens did not appearuntil the reign of Tiys husband, Amenhotep III, a genera-tion before this work was made. After the New Kingdom,they were not seen again. Moreover, the graceful, sensu-ous style of the Amarna and post-Amarna periods vanishedwith the close of Dynasty 18: the high refinement, monumen-tal scale, and ethereal beauty represented by this image ofQueen Mutnodjmet would never again find its equal in theart of ancient Egypt.

Provenance:Norbert Schimmel, New York, 1981.

Published in:Hlscher, U. The Temple of the Eighteenth Dynasty: The Excavationsof Medinet Habu, Vol. II, (The University of Chicago Oriental InstitutePublications, vol. XLI) Chicago, 1939, p.106, pl. 50.

Bibliography:Hayes, W.C. The Scepter of Egypt: A Background for the Study of theEgyptian Antiquities in The Metropolitan Museum of Art, Part II, NewYork: Metropolitan Museum of Art, 1959, p.260, fig. 156, 26.7.1396.Tiradritti, F. ed., Egyptian Treasures from the Egyptian Museum inCairo, New York: Harry N. Abrams, Inc., 1999, p. 252-253, JE 31629 = CG779B.Vandier, J. Manuel darchologie gyptienne, tome III: Les grandes poques,La statuaire, Paris, 1958, pp. 388-389, pl. 124, 5.


05

ROYAL FIGURE

This delicate plaque is of remarkable artistic quality ;despite the reliefs modest size, the figure is renderedwith an elegance and precision that are all the more evi-dent as the piece is practically intact, with the exception ofsome small cracks and chips on the edges.

Worked in the shape of a rectangular architectural niche,the object features two papyrus branches surmounted by abud ; these frame a standing man who is representedfrontally, although his sandaled feet are viewed in pro-file. He bends his arms, holding them before his stomachwhile crossing his hands in a somewhat unnatural position.Elegantly dressed, the figure wears an ankle-length,short-sleeved tunic ornamented with curling fringe on theedges and hanging tassels on the hem. His hair, long andabundant, is styled in little curls that, beneath the ban-deau, turn into ringlets that are clearly visible on hisforehead. The beard is a work of incredible richness: flow-ing, twisted locks form a sort of thick, rectangular carpetthat leaves only the mouth visible. The same sort of finessecharacterizes the handling of the face, with its hollowed,outlined eyes, arching, incised brows, and upturned nose.

The exact purpose of this plaque is unknown, but other,similar reliefs from the sites of Fort Shalmaneser orArslan Tash offer a very plausible solution: it may be a dec-orative element for a small piece of furniture such as abed, chair, or throne. Indeed, the reverse of the piece showsa right-angled edge at the base with a gently swooping tri-angular shape just above, which would have been used tosecure the object in place.

The art of ivory carving flourished in the ancient worldfor almost a thousand years, from the sixteenth to the sev-enth century B.C. Examples are preserved across the NearEast, with some of the largest numbers recovered from thegreat Neo-Assyrian buildings at Nimrud in Iraq. The sourceof the ivory was the now-extinct Syrian elephant (Elephasmaximus asurus Deraniyagala), the largest sub-species ofthe Asian elephant, which once wandered on the banks ofthe Euphrates. Ivory was also obtained from the tusks oftwo African species of elephants (Loxondonta Africana andLoxondonta Cyclotis), as well as imported from as far awayas India.

Naturally, ivory was one of the most valuable and prizedresources in the ancient world, sought after and controlledby kings. Stockpiles of tusks were found in an eighteenthcentury B.C. palace at Alalakh in northern Syria, and ele-phant hides and ivory were later recorded in the tributerecords of the Neo-Assyrian Empire.

Stylistically, the art of this period was an eclectic mixtureof ancient Near Eastern and Egyptian elements. Phoenicianand Syrian carvers were particularly and strongly influ-enced by Egyptian iconography, which by the Iron Age hadbecome thoroughly absorbed into their repertoire. We seeevidence of this in both individual decorative motifs, suchas the lotus blossoms and palmettes, and in the standardEgyptian profile/three quarter posture adopted in thisextraordinary depiction of a royal figure.

The figure stands with clasped hands in a pose that is typi-cal of Neo-Assyrian royal statuary. However, his posture isdifferent than those models, which are generally repre-sented in profile. Stylistically, it is necessary instead tocompare this piece to Egyptianizing Phoenician ivories,which were worked in a much more supple, natural mannerthan the conventionally rigid Assyrian reliefs. The execu-tion of this work is superb, with the hair and beard finelycarved and deeply undercut and each lock of the fringedcloak terminating in a drilled curl. The combination of therare, but canonical, subject matter and the high level ofrefinement in the carving make this one of the finest ivoryplaques known.

Provenance:British private collection, acquired in the 1960s.

Bibliography: Barnett, R. D. Assyrian Sculpture in the British Museum, Toronto, 1975, pl. 12.Mallowan, M. E. L., Nimrud, New York, 1966, vol. II, pp. 485504 ; pp. 576577,nos. 535537.Thureau-Dangin, F. et al., Arslan Tash, Paris, 1931, pp. 1112, pl. XXXIII, no. 43.

PHOENICIAN, END OF THE 9TH8TH CENTURY B.C.IVORY, HEIGHT: 15.2 CM (6 IN), LENGTH: 6.8 CM (2 11/16 IN)


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PRIEST OR DIGNITARY

This impressive and important bronze displays a sophisticat-ed and cosmopolitan mix of elements from Greece and theNear East, the result of the steady exchange of goods andideas throughout the Mediterranean during the formativeyears of early Western civilization. Here, the long, plaitedtresses of hair down the back and the famous Archaicsmile mark the birth of the kouros, the ideal male youththe most famous genre of pre-Classical Greek sculpture.

One of the largest known Archaic Greek bronzes, this solid-cast figure weighs 4.5 kilograms. Therefore, in addition tothe sensitivity of artistic execution, the sheer quantity ofvaluable bronze provides evidence that the man represent-ed in priests costume was someone wealthy enough to hirethe best artists and to spare no expense in the commission.

The figures hair flows in neatly beaded rows over theshoulders, terminating in even, stylized curls midway downhis back. Snail-curl bangs peer out from beneath the hatsrolled brim. The cheeks are high and full, the chin andbeard prominent. The wide, noble forehead bears archingeyebrows that frame large, almond shaped eyes with reliefcontours. These well-modeled features are signaturecharacteristics of the mature Archaic style, along withfull, bow-shaped lips that curve into a teasing smile, themeaning of which remains a much-debated mystery.

The statuette is complete ; the lower arms were made sep-arately, either in bronze or another material. The patina isa deep green-black with some calcareous encrustation andvery little corrosion.

This statuette is vigorously modeled with a strong senseof volume and dimension. The buttocks are indicated by aswelling at the back, but otherwise the garment largelyobscures the elongated figure. The contours of the bodybeneath the robe are well rounded and wonderfully har-monious in proportion.

Clothed male figures from this period are very rare. Thelong, undecorated, Eastern costume with toes peeking outfrom under the hem, and the round, integral base are sty-listic characteristics seen on female bronzes dedicated insanctuaries on the islands of Samos and Milos. There arefew surviving marble kore from eastern Greeceyoungwomen who, unlike their male counterparts, were clothed.

The figures peaked hat, with its curled brim, is unique.Although Persian soldiers wore peaked helmets with earflaps, Hittite gods wore peaked decorated crowns, andGreek priests from the Geometric Period (seventh centuryB.C.) wore conical hats, nothing exactly like this high wiz-ards hat survives from either Greek or Near Eastern art.

What is most tantalizing about this figure, and what makesit an important addition to the canon of Western art, how-ever, lies not in its similarities to Near Eastern prototypesbut in its differences. Although the costume may be bor-rowed, surely the essential spirit of the figure cannot beanything but Greek: a spark of wit in the smile, a vain pre-occupation with hairstyle, a willingness to depart fromaccepted artistic convention. This may even be an attempt atan individual portrait. Here, depicted in exotic costume, isa Greek ; indeed, one of the most orientalizing Greek fig-ures known, in a work of art that is nevertheless cultur-ally distinct from the Eastern world. The figure is a star-tling reminder that much of Western civilization was onceborrowed from great empires to the east and south.

GREEK, ARCHAIC PERIOD, CA. 550-540 B.C.BRONZE, HEIGHT: 33.5 CM (13 3/16 IN)


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Bibliography:For the famous bronze kore from the Heraion in the Samos Museum(B 1441), see: ONeill, J. P., ed. Greek Art of the Aegean Islands, NewYork, 1979, no. 151.On Archaic Greek bronzes, see: Boardman, J. Greek Sculpture of theArchaic Period, London, 1978, 1991.Padgett, J. M. The Centaurs Smile: The Human Animal in Early GreekArt, New Haven, 2003.Richter, G. M. A. Korai: Archaic Greek Maidens, London, 1968, figs.183193 ; Kouroi: Archaic Greek Youths, London, 1960.For Anatolian parallels, see: Akurgal, E. The Art of the Hittites, NewYork, 1962, pls. 106107, 126127.Merhav R. Urartu, A Metalworking Center in The First MillenniumB.C.E., Jerusalem, 1991, p. 167, n. 34 ; p. 277, n. 1 ; for the helmets, seep. 123 ss.On Archaic Phrygian sculpture, see: Prayon F. Phrygische Plastik,Tbingen, 1987.


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THE GILLET RIDER

The Gillet Rider is arguably the finest small archaic bronzeknown to have survived from antiquity. The statuette repre-sents one of the most desirable subjects of Greek art andis indeed complete and in an excellent state of preserva-tion, with an olive green patina marked by traces of reddishearth tones: the most sought after patina on small archaicGreek bronzes.

Part of an equestrian group that would have included hismount, the figure most likely functioned as a votive andwould have been dedicated in a sanctuary to commemorate avictory in a horse race, perhaps even an Olympic triumph. AtOlympia, the tradition of such dedications by a horse-own-ing aristocracy extends back to the Geometric period, andhorse and rider figures have been found there dating tothe eighth century B.C. The standard race was run over sixstades, just under 1200 meters. These contests were asdangerous as they were exciting, since they took place inthe hippodrome after the chariot events, which resulted inthe ground being churned up and rutted. In ancient Greeceowning a horse, a costly animal to purchase and to keep,was a status symbol that only wealthy individuals couldafford. Dedications of horses and their riders are wellestablished in the Archaic period, and votives such as thoseon the Athenian Acropolis, like the renowned RampinHorseman, come to mind.

The youthful rider is nude, positioned with his arms drawnback to hold the reins of the horse upon which he original-ly sat. His oval face is finely modeled and a fillet holds hislong hair in place. Ringlets of delicate, spiraling curlsframe his forehead, and his shoulder-length hair hangsdown in straight locks decorated by regular notches thatgive the appearance of long braids. The young mans pose isanimated and lively as he holds his bent, almost foldedarms in front of his lower abdomen, splaying his legs out-ward. The legs themselves are sturdy, with fully devel-oped thigh and calf muscles leading down to exquisitelydetailed feet on which the ankle, the muscles on the top ofthe foot, and the joints of the toes are well articulated.His left hand holds the reins while his right grasps thehandle of what would have been a baton or whip. Any evi-dence of stirrups and or a saddle are absent, since theGreeks rode bareback.

This figure is justly numbered among the masterworks ofArchaic Greek bronzes. By the late Archaic period, circa520-485 B.C., Greek sculptors had attained a full knowl-edge of the structure of the human form, and the formulasfor representing it that were developed over more than acentury had been combined into a harmonious whole. TheGillet Riders subtle, elegant proportions are character-ized by the distinct musculature of his torso, both frontand back, and the gracefully positioned arms and legs. Abronze statuette of a kouros from Naxos, now in Berlin,can be compared to this work both chronologically and sty-listically. It shares the same fine modeling, particularly inthe detailed treatment of the face, which is animated witha slight Archaic smile, a well-known convention thatimbues works of this period with a lifelike appearance.

Although of a slightly earlier date, around 530 B.C., thefamous marble kouros from Anavysos, with its rounded,bulging muscles, also shares certain affinities with theGillet Rider. The use of smooth, undulating contours torepresent musculature is present in both of these master-pieces, and details of the head and face are similar in sev-eral respects. The hair, shorter in length and no longer arigid mass as in earlier Archaic sculpture, flows downfrom the top of the head, curving slightly at the nape ofthe neck before resting on the upper shoulders. Seen inprofile, the faces share the same straight nose line,pursed lips formed in a upturned Archaic smile, and promi-nent chin, which together create an aura of restraint andcomposure that is a hallmark of the human figure in earlyGreek art.

GREEK, FROM THE CYCLADIC ISLANDS, ARCHAIC PERIOD,CA. 520 B.C.BRONZE, HEIGHT: 14.6 CM (11 13/16 IN)


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Provenance: Charles Gillet, Lausanne, 1950.

Bibliography:Anderson, J. K. Ancient Greek Horsemanship, Berkeley: University ofCalifornia Press, 1961.Broneer, O. Excavations on the North Slope of the Acropolis, 1937,Hesperia 7, 1938, pp. 161263.Comstock, M. B. and C. C. Vermeule, Greek, Etruscan, and RomanBronzes in the Museum of Fine Arts, Boston, Greenwich, Conn.: NewYork Graphic Society, 1971, nos. 3234.Eaverly, M. A. Archaic Greek Equestrian Sculpture, Ann Arbor:University of Michigan Press, 1996.Harris, H. A. Sport in Greece and Rome, Ithaca: Cornell UniversityPress, 1972, pp. 16183.Padgett, J. M. et. al., The Centaurs Smile: The Human Animal in EarlyGreek Art.Princeton: Princeton University Art Museum/New Haven: YaleUniversity Press, 2003, no.50.Payne, H. and G. Mackworth-Young, Archaic Marble Sculpture fromthe Acropolis. 2nd ed., London: Cresset Press, 1950.Richter, G. M. A. Kouroi: Archaic Greek Youths, London: Phaidon, 1960,nos. 136, 142-43, 175, figs. 39598, 40040, 51517.Ridder, A. de, Catalogue des bronzes trouvs sur lAcropole dAthenes,Paris: A. Fontemoing, 1896, figs. 25960.Rolley, C. Greek Bronzes, trans. Roger Howell, London: SothebysPublications/Chesterman Publications, 1986, no. 110.True, M. and K. Hamma. A Passion for Antiquities: Ancient Art from theCollection of Barbara and Lawrence Fleischman, Malibu, Calif.: J.Paul Getty Museum/Cleveland: Cleveland Museum of Art, 1994, no. 14.Tzachou Alexandri, O. ed., Mind and Body: Athletic Contests in AncientGreece, Athens: Ministry of Culture/National Hellenic Committee,1989, no. 32.Wangenheim, C. F. von, Archaische Bronzepferde in Rundplastik undRelief, Bonn: Habelt, 1988, no. 1, pl.1.


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CULT FIGURE OF A GODDESS

The large diadem crowning this bust of a female figuremarks it as the representation of a divinity, most likelyPersephone, the daughter of Demeter and Zeus who wasalso called Kore (daughter or maiden) by the Greeks.The diadem would have been painted to simulate gold orbronze. This identification is supported by numerous ceram-ic busts of the goddess that were dedicated in sanctuariesto Demeter and Persephone in the Western Greek colonieslocated in South Italy and Sicily. However, there are noknown terracotta busts that exhibit the same mastery ofmodeling and high aesthetic quality illustrated by this example.

Nearly life-size, the work is composed of large fragmentswith some areas of plaster fill ; parts are missing at theleft and right shoulder. Pierced holes near the bottomborder allowed for the attachment of drapery. The bust ismade up of the shoulders and upper torso of a female fig-ure. The neck is long and slender, and the elegant, oval-shaped face is that of an idealized young woman. Her headis finely modeled and detailed: the eyes are wide and almondshaped, slanting upward above prominent cheekbones ; theshapely mouth is set in a deep Archaic smile ; and thechin, cheeks, and nose are strongly rendered. Togetherthese qualities instill her with a lively countenance.

Above the forehead and framing the face, the hair hangsin wavy, stylized locks ; on top, that encircled by the diademis smooth ; and at the back, two large braids extend fromthe fillet downward to the center of the shoulders.Stylistically both the face and the hair of the foreheadpossess certain affinities with the series of Archaic koraidedicated on the Athenian Acropolis, particularly the mar-ble example known as Acropolis 675, which dates to around520510 B.C. Seen frontally, the two works exhibit ovalfaces that narrow from high cheekbones down to the chin,and similar, almond-shaped eyes that slant upward ; treat-ment of the wavy locks on the forehead is also similar, asis that of the hair surrounded by the diadem.

The sculptors sensitivity to his subject is extraordinary,and it is this wonderfully nuanced attention to detail thatbrings the young goddess to life. The ridged, wavy hair iscarefully applied, providing a welcome contrast in depthand texture from smooth skin to elaborate coiffure. Thelarge, exotic eyes achieve their mysterious gaze from theirmeticulous modeling: underneath high, elegantly archingbrows, they are shallowly set in their sockets, giving therealistic impression of an arresting, wide-eyed stare.The prominent nose is straight and slightly rounded at thetip ; this, along with the slightly cleft chin, manages tostrengthen the idealized feminine features, infusing themwith a sense of character. Even a seemingly trivial detailsuch as the modeling of the ears displays an astonishingdegree of anatomical awareness, as does the treatment ofthe smile, which manages to convincingly engage the mus-cles of the lower half of the face.

Both Demeter and Persephone were highly regarded inGreece, South Italy, and Sicily, for they were associatedwith the fertility of crops, particularly wheat. The mythsurrounding the two goddesses was first mentioned in theHomeric Hymn to Demeter, which is related to what mayhave been their most important cult. The most famous storysurrounding Persephone tells of her abduction by Hades,the brother of Zeus and king of the underworld, who car-ried her off when she was picking flowers in a meadow, tak-ing her to his realm below. Demeters search for herdaughter proved fruitless and caused her to neglect hernormal duties, causing crops to fail and vegetation to with-er throughout the world. Humankind would have starvedwere it not for the intervention of Zeus, who when allother efforts failed, sent Hermes to bring aboutPersephones release. Hades complied, but not before trick-ing the maiden into eating some seeds of pomegranate, anact that symbolically consummated their relationship ; con-sequently she was required to spend part of the year withher husband in the underworld and part with her mother

GREEK, ARCHAIC PERIOD, CA. 510490 B.C.CERAMIC, HEIGHT: 35.5 CM (14 IN)


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in the upper world. In South Italy, Persephone was honoredat Locri Epizephyrii, where the cult stressed her weddingand her important role in the rite of marriage and therealm of women, including the protection of children. InSicily, Persephones wedding and the gathering of flowersthat preceded her abduction were celebrated in theLocrian colony of Hipponium. She was often worshipped inassociation with Demeter during the Thesmophoria, a partic-ularly important festival that honored the two goddessesand was celebrated by women throughout the Greek world.

This busts high level of artistic quality and its connec-tions with the ritually significant figure of Persephonesuggest that it was probably a cult statue dedicated to thegoddess. The nearly life-size scale and various details ofconstruction help support this hypothesis: the truncatedshape suggests that it was placed atop a support, probablyof wood or plaster, modeled to approximate the height andproportions of a female body. The bust and support werethen dressed in a long chiton, much like a modern-daymannequin. The numerous holes drilled along the bottomwould have been used to help secure the clothing bysewing the fabric onto the terracotta. Parallels for sucha composite work exist in acrolithic statues, in which thehead and limbs were carved of stone while the rest of thebody was made of other, often perishable, materials suchas wood or ivory.

The forearms, which are well preserved, were made sepa-rately and are also drilled with two small holes on eitherside of the elbows for the attachment of the sleeves. Theyare long and slender, with elegant, exquisitely modeledhands. The hands and fingers have been reattached and areoriginal to the piece. The arms are hollow and probablyslid into place over the wooden framework of the body ;once draped in clothing, they would have completed theimpression of a life-size female figure with outstretchedarms. There are ample traces of white paint, the same thatwould have covered the bust in imitation of a milky whitefeminine complexion. The delicate hands are posed in a ges-ture of offering: the fingers of the right would havecurled around the stem of a flower, while the left is openwith palm upward and probably would have held a smallcontainer or votive gift.

One can imagine the full effect of the original cult fig-ure, with its incredibly lifelike features, the details ofthe diadem, hair, and face fully painted, along with oneslender arm outstretched and holding a flower, whilewearing an elegantly pleated chiton. It certainly wouldhave been an image worthy of worship and devotion.

Provenance:American private collection.

Exhibited: J. Paul Getty Museum, Los Angeles, 19881996.

Bibliography:Richter, G. M. A. Korai: Archaic Greek Maidens, London, 1968, pp. 7980,no. 123, figs. 394397.For Persephone, see:Lexicon Iconographicum Mythologiae Classicae 8 (1997), p. 959, nos. 2532 ; Gantz, T. Early Greek Myth: A Guide to Literary and Artistic Sources,Baltimore, 1993, pp. 6468.Zuntz, G. Persephone, Oxford, 1971. For the cult of Demeter and Kore, see:Burkert, W. Greek Religion: Archaic and Classical, trans. J. Raffan,Cambridge, Massachusetts, 1985, pp. 159161.Caratelli, G. P., ed. The Western Greeks: Classical Civilization in theWestern Mediterranean, exhibition catalog of the Palazzo Grassi,Venice, 1996, pp. 411, 420, nos. 60, 178, also nos. 92 I, 95 IV, 174. Hinz, V. Der Kult von Demeter und Kore auf Sizilien und in der MagnaGraecia, Wiesbaden, 1998. Mylonas, G. E. Eleusis and the Eleusinian Mysteries, Princeton, 1974.Richardson, N. J. The Homeric Hymn to Demeter, Oxford, 1974.Shapiro, H. A. Demeter and Persephone in Western Greece: Migrationsof Myth and Cult, in Bennett, M. and A. Paul, Magna Graecia: GreekArt from South Italy and Sicily, exhibition catalog of the ClevelandMuseum of Art and the Tampa Museum of Art, Cleveland, 2002, pp. 8297. Simon, E. Die Gtter der Griechen, Darmstadt, 1985, pp. 91117.Simon, E. Homo Necans, Berkeley, 1983, pp. 248297.


09

RHYTON WITH LION PROTOME

Masterpieces of metalworking, Thracian rhyta possess anelegance and artistic quality that were largely unequaledin the Classical period. This intact, extraordinarily well-preserved rhyton is a rare and spectacular example of thetype, of which there are few in existence. Used as drinkingcups for wine, rhyta are typically characterized by a hornshape that ends in a protome (head) or forepart of an ani-mal or mythical beast, usually a lion, horse, bull, griffin,or sphinx. Finds from burial tumuli demonstrate that theThracian ruling classes had exquisite taste in silver andgold drinking sets. In burials of the fifth and especiallythe fourth century B.C., bronze objects were largelyreplaced by those of gold or silver, testifying to theincreased use of luxury goods at around that time. Suchobjects help to confirm the first literary allusion to theThracian kings wealth, which appears in the Iliad, whenHomer mentions a beautiful cup offered as a gift to Priam,who subsequently presented it to Achilles as part of theransom for Hectors body: he [Priam] weighed and carriedout ten full talents of gold, and brought forth two shin-ing tripods, and four cauldrons, and brought out a gobletof surpassing loveliness that the men of Thrace had givenhim when he went to them with a message, but now the oldman spared not even this in his halls (24.23236).

The most striking of Thracian metal vessels, rhyta havetheir origin in the art and culture of the Near East, and ofPersia in particular. While the horn shape of this exampleis Persian in inspiration, it is decorated with motifs fromthe Greek artistic repertoire and ably demonstrates theinfluence these two civilizations had upon Thracian art.Along the upper edge, at the lip, is a border of beading andan egg-shaped pattern. Below this are three bands ofengraved and gilt ornament: elegantly curved lotus blos-soms set between palmettes ; an undulating branch of ivywith heart-shaped leaves, interspersed with bunches of ivyberries ; and a guilloche (chain) pattern. All of these bandsare separated by narrow, gilt fillets embossed with smallcircles. Covered with gold, the floral patterns are effec-tively highlighted against the less luminous silver back-ground, and the lotus blossoms are additionally decoratedwith finely engraved lines and dots. Such details in goldupon silver are characteristic of Thracian metalwork,demonstrating its love of brilliance and splendor.

The horn and lion protome are joined by a ring, and wereworked separately. Vertical fluting on the body leads theviewers eye down to the lions head. The animals aggres-sive nature is conveyed by its features wrinkled fore-head and nose, rolled-up cheeks, snarling, open mouth,extended tongue, and menacing fangs. The face and maneare detailed with engraved lines, and punch marks indicatethe lions eyes and details on the snout. The mane, eyes,part of the snout, and tongue are emphasized with gilding,which adds to the creatures realistic modeling. The mouthsurrounds a small, tubular hole through which the con-tents of the horn flowed, an action that gave this form ofdrinking vessel its name, since the term rhyton derivesfrom the Greek word meaning to run through.

Thracian silver rhyta are rare, and only a small numbercomparable to this one are known. The oldest date to theend of the fifth century B.C., and others are from theHellenistic period, the fourth century and later. Rhyta ofthis type, likely produced by Greek artists or under theirinfluence, come from Thrace, Scythia, and regions border-ing the Black Sea. The closest known parallel for thispiece dates to the end of the fifth century B.C. and wasfound near Douvanli in central Bulgaria. Both works aresimilar in dimensions, proportions, decorative details, andtechniques of production. The vertically fluted horn ofthe Douvanli rhyton terminates with a protome represent-ing the forequarters of a galloping horse ; the lip is bor-dered by ovules and beading ; and the mouth is decoratedwith a band of gilt lotus blossoms and palmettes beneathwhich is a fillet of small embossed circles.

THRACIAN, CLASSICAL GREEK PERIOD, LATE 5TH - EARLY 4TH CENTURY B.C.GILT SILVER, HEIGHT: 20 CM (7 7/8 IN)


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Provenance: Ex-American private collection.European private collection, acquired in 1954.

Bibliography: Casson, S. Macedon, Thrace and Ilyyria: Their Relations to Greecefrom the Earliest Times down to the Time of Philip Son of Amyntas,London: Oxford University Press, 1926. Fol, A. and I. Marazov, Thrace and the Thracians, New York: St. MartinsPress, 1977, pp. 78, 8081. Hoddinott, R. F. Bulgaria in Antiquity: An Archaeological Introduction,London: Benn, 1975. Marazov, I. ed., Ancient Gold: The Wealth of the Thracians ; Treasuresfrom the Republic of Bulgaria, New York: Harry N. Abrams, 1998, no. 124.Musti, D. ed., Loro dei Greci, Novara, Italy: Istituto geografico DeAgostini, 1992, no. 138.1. Venedikov, I. and Gerasimov, T.D. Thracian Art Treasures, Sofia: BulgarskiHoudozhnik, 1975, no. 162. Venedikov, I. Thracian Treasures from Bulgaria, London: British MuseumPublications, 1976, nos. 183, 54345.


10

MIRROR WITH HELEN & PARIS

This magnificent mirror, worked in extremely high relief,is among the finest known examples of Hellenistic metal-work. It is a box mirror ; a hand mirror consisting of twofitted bronze discs, one serving as the reflective surface,the other as a protective cover. The top part of the coverfeatures repouss decoration and the inside cover displaysan engraved scene, while the mirrors bottom is decorative-ly molded in a series of concentric circles. A hinge joinedthe two discs, and a suspension ring attached to the hingewould have allowed the closed mirror to be hung while notin use, transforming it into a piece of decorative sculptureto adorn the walls of private living quarters. When verti-cally mounted, the object would also have taken fulladvantage of the play of light and shadow, showing off therelief work to great effect.

On the cover, a border of incised concentric circles framesone of the most famous subjects in all mythology ; theromance between Paris and Helen, which sparked the begin-ning of the Trojan War and thus the birth of Homeric poetry.

Both seated on boulders, Paris and Helen face each other.As is typical of fourth century B.C. portrayals of theTrojan prince, Paris is depicted as a shepherd, indicated bythe presence of the mournful-looking dog lying at his feet.Seated to the left while leaning back on his right arm andresting his left arm lightly on his thigh, Paris is fullyclothed as an Eastern foreigner in a short tunic and longleggings. He wears short boots and sports a Phrygian capset rakishly over his prettily curled, shoulder-lengthhair. His costume clings to his body in the Hellenisticsculptural tradition of wet drapery, and the slightlyeffeminate impressiontypical of Greek stereotypes of theEastis further reinforced by the delicate rosettes thatcover his clothing.

Paris looks to the right toward Helen, who is seatedbefore him, balancing the composition. She is dressed inan elaborately pleated and draped floor-length tunic, orchiton, gathered at the shoulders, and a cloak covers herlegs and back. The masterful handling of the fabric isapparent in the tissue-like cloth of the chiton that seemsto cling to her form, as opposed to the heavier, crisperdraping of the cloak. She rests her weight on her left armand holds up a corner of the cloak in her right hand, catch-ing Pariss eye in a typical erotic gesture that coyly sug-gests both exposure and concealment. The couple is accom-panied by a pudgy Eros, whose wings are spread to symbol-ize their union. He stands in the center and turns towardParis, touching him on the shoulder with an outstretchedarm as if in reassurance.

The interior of the lid is adorned with an equally intri-cate, incised scene that undoubtedly takes its origin fromcomedy or satire, theatrical genres that were popular inthe fourth century B.C. The image represents a small sanc-tuary situated in a grotto framed by numerous stackedrocks and boulders. A similar treatment of a cave appearson the interior cover of a box mirror in Berlin where thestacked rocks simultaneously form a stage and a frame(Berlin 8148).

On the left, a satyr wearing a loose apron and an ivy gar-land is about to place a small platter of food offerings(perhaps a cake, a loaf of bread, and an egg) on a wreathedaltar. Kneeling on a rock behind him is another ithyphallicsatyr, nude but for tall boots, with a sack hanging from hisshoulder. Thanksgiving offerings, including crowns, gar-lands, small pictures, and votive tablets known as pinakesare suspended from the branches in front of him and lay onthe ground below. Both satyrs are quite hirsute, withnumerous short, incised lines indicating the hair on theirchests, arms, and stomachs. The standing satyrs legs arecompletely covered in hair as if he were wearing pantsmade of fur, but he has short boots on his feet, indicating

GREEK, HELLENISTIC PERIOD, LATE 4TH CENTURY B.C.BRONZE, DIAMETER: 15.5 CM (6 1/8 IN)


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that the hairiness is part of a theatrical costume. The fig-ures mouths are open as if they are singing or reciting lines.

Box mirrors were first produced during the second half ofthe fifth century B.C. The second half of the fourth cen-tury saw their rise in popularity and the beginning of aricher treatment of the lid, including the presence of anengraved interior scene, a detail that the earliest exam-ples lack. This interior scene is often silvered, as it ishere, to help accentuate the delicate and highly detailedcomposition.

These mirrors represent some of the finest examples ofHellenistic bronze work, both for the masterful drafts-manship exhibited by the engraving and the repouss lids,which were hammered and chased separately, then attachedto the cover by means of solder. Most engraved box mirrorsemerged from workshops in Corinth ; their marriage ofrepouss technique and incised decoration united theprominent tradition of Corinthian bronze work with that ofpainting from the neighboring city of Sikyon.

Provenance:European art market, acquired in 1998.

Bibliography:Greifenhagen, A. Ein verlorenes Werk korintischer Toreutik ?Mitteilungen desdeutschen archologischen Instituts, Abteilung Rom54, 1939, pp. 245251 ss, pl. 5456.Lexicon Iconographicum Mythologiae Classicae (LIMC), Zrich, vol. I,1981, s. v. Alexandros ; vol. IV, 1988, s. v. Helene, p. 524, n. 135, pl. 315 ;vol. VII, 1992, s. v. Paris Iudicium ; vol. VIII Suppl, 1997, s. v. Silenoi.Lamb, W. Ancient Greek and Roman Bronzes, Chicago, 1969, pp. 176181,pl. LXVIIILXIX.Mitten, D. G. and S. F. Doeringer. Master Bronzes from the ClassicalWorld, Mayence/Rhin, 1968, pp. 114115, nos. 111112.Rolley, C. Les bronzes grecs, Fribourg, 1983, pp. 162176 and p. 239, n. 283.


11

HEAD OF HERACLES WEARINGTHE LEONTE

One of the most beautiful representations of Heracles inexistence, this work is marked as a masterpiece by its qual-ity, virtuoso technique, proportions, and remarkable stateof preservation. The object, which was probably used as anappliqu, most likely refers to the first of Heracles TwelveLabors, his killing of the Nemean Lion.

The massive head is intact, and the dark brown surface ofthe metal is largely covered in a beautiful, deep greenpatina. The piece is composed of three main elements thatwere cast separately using the lost wax process and sol-dered together: the heros head ; the lion skin, or leonte,framing his face ; and the beasts paws, which are knotted,scarflike, under the chin. The sculptor rendered all thedetails of the head and pelt through wonderfully robust,yet sensitive, modeling and minutely detailed coldwork,displaying his exceptional skill at creating different tex-tures through the use of ridges, incisions, alternating vol-umes, and undulating surfaces.

The typology of the face corresponds to that of numerousimages of heroes and fighters from the Greek canon:Heracles is represented as an adult male in the prime oflife, and his strong features reflect his role as a warrior.His visage is framed by short, tightly curled hair and a trimbeard arranged in thick, curled locks that are almost exu-berant in their three-dimensionality and modeling. A long,drooping moustache hangs to either side of the smallmouth, and the full bottom lip lends a somewhat petulantexpression. The nose is heavy, broad, and slightly flat-tened. The small, deep-set eyes, which were originallyinlaid, stare out forcefully from beneath incised, archedeyebrows. Crows-feet at the corner of the eyes and wrin-kles on the heavy, furrowed brow exude a toughness thatis undercut by a sense of weariness, giving the face won-derful emotional depth.

The rendering of the leonte is perhaps the most remark-able one known from all such depictions of the hero: thenearly closed eyes and the wide, frowning muzzle seem toreproduce the animals grimace of pain in his deadly combatwith Heracles. Extensive, meticulous stippling reproducesthe effect of the lions coat while loose, flowing locksindicate the mane. Even the paws are carefully differenti-ated from each other (bottom from top) and sculpted withgreat realism.

The exact nature of the support to which this appliqu wasfixed is uncertain: it may have been dedicated in a sanctuaryor attached to a large bronze krater, a vessel for mixingwine and water. The back of the piece has a slightly concaveprofile, which suggests that the support would not havebeen straight, but curved ; there are even traces of thelead that would have been used as solder.

During the Hellenistic and Roman periods, busts like thisone were often used to decorate circular elements includ-ing roundels and phalerae (metal medallions affixed toharnesses) or as attachments on handles of metal vessels.However, no other example of this size and quality is known.

Stylistically, this Heracles belongs to a long tradition ofportraying the hero with the features of an athlete,specifically a boxer. Starting with the development ofverisma move away from purely idealized portrayalstowards more naturalistic, lifelike worksthe influenceof sculptures like the Olympian Boxer (Athens NationalMuseum, Athens ; 6439) and the Heracles Epitrapezios(Museo Nazionale, Rome ; 2828) can clearly be seen in thisappliqu. However, the best parallels for this head areworks from the second century B.C. such as the beardedmale figures from the Pergamon Altar (Pergamon Museum,Berlin) or the figure of Menelaos from the PasquinoGroup (Piazza di Pasquino, Rome).

GREEK, HELLENISTIC PERIOD, 3RD 2ND CENTURY B.C.BRONZE, HEIGHT: 25.5 CM (10 IN), WIDTH: 27 CM (10 5/8 IN)


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Provenance: Ex-Swiss private collection, collected in the late 19th century.

Bibliography: Andreae, B. Skultpur des Hellenismus, Munich, 2001, pp. 139155. Bothmer, D. von, Glories of the Past: Ancient Art from the ShelbyWhite and Leon Levy Collection, New York, 1990, no. 140.Dreyfus, R. and E. Schraudolph, eds. Pergamon: The Telephos Freizefrom the Great Altar, San Francisco/Berlin, 1996, vol. I, pp. 6061, no. 5,panel 12 ; pp. 8688, no. 21. figs. 78.Lexicon Iconographicum Mythologiae Classicae (LIMC), Zurich, 198199,vol. IV, nos. 115125, 216221, 462471, 574582, 639, 650653. Ridgeway, B.S. Fourth-Century Styles in Greek Sculpture, Madison,Wisconsin, 1997, pls. 6869 ; Hellenistic Sculpture III: The Styles ofca. 10031 B.C., Madison, Wisconsin, 2002, pls. 29, 33a-b, 34.


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12

KING SHAPUR II

The Sassanid King Shapur II is represented by a cast bronzetorso which originally belonged to a composite statue thatshowed him majestically enthroned, his finely articulatedhands resting on a sword (cast separately and now lost).He wears a high, crenellated, tripartite crown with rib-bons attached at the back. His forehead is encircled by adiadem adorned with two rows of pearl beads. His luxuri-ous hair is rendered in massed ranks of stylized curls thatflow widely out and down onto his shoulders, symmetrical-ly framing the long, thin face.

Shapur is dressed in a tight-fitting, long-sleeved tunicmarked by sinuous rills ; over this, he wears a belt and hal-ter, both double-beaded with pearls and clasped at thewaist with a large circular medallion bordered with thesame gems. He is richly outfitted in large bead-and-pearlearrings, pearl bracelets, and a heavy pearl necklace withtwo round jeweled pendants, one intact, the other preser-ving traces of a sun disc.

An expression of impassive authority is conveyed by thelarge, slightly bulbous, almond-shaped, fully-rimmed eyeswith incised circular pupils ; a sculpted natural brow con-necting with a long, straight nose ; and a tiny, thin-lippedmouth. The carefully worked beard closely follows the con-tours of the chin, while the large, wavy moustache extendshorizontally the width of the face.

The Sassanids were a Persian dynasty originating in Fars,who established a powerful empire that extended through-out the Iranian plateau between A.D. 224-226 and A.D. 651,making their capital at Ctesiphon. In western chronicles,the most celebrated event in Sassanid history was KingShapur Is victory in A.D. 260 over the Roman emperorValerian, who was taken prisoner along with several thou-sand of his soldiers.

Comparison with similar stepped, crenellated crowns oncoin portraits supports the identification of this bust as thatof Shapur II (reigned A.D. 309-379) whose glorious seventyyear tenure fortunately had a Roman eyewitness, the histo-rian Ammianus Marcellinus, an officer in the army ofEmperor Julian the Apostate. The beaded halter did notbecome part of royal dress until the reign of Shapur II, andthus becomes a helpful dating criterion, as well.

The seventh century Islamic conquest of Iran and the sub-sequent proscription against sculpture ended a figuraltradition of nearly four millennia. This bust of Shapur IItherefore, represents the final incarnation of figuralsculpture from a sub-continent extending from theByzantine Empire to the Hindu states, and it is interestingto note its shared characteristics with each of thoseneighboring traditions. Like Late Antique sculpture fromPalmyra through Anatolia and on through the West, theface is dominated by over-large, staring eyes. Stances areutterly frontal and symmetrical ; faces and bodies areelongated.

In northern Indian sculpture of the Kushan period, whichwas contemporaneous with Shapur IIs reign, we find a simi-lar approach toward the elucidation of form. Volumes arenot described through the modeling of tendon and joint.Instead, externally applied decorations such as pearlbeads or sinuous garments provide volume and structure tothe object. Indeed, the sculptor paid careful attention tothe surface of this work. The intricate incisions on thebeard are markedly distinct from deeper lines in the hairwhich in turn differ from broad channels on the clothing ;this is partially due to a new awareness of texture broughton by cultural contact with the West, particularly Rome.Although military in nature, the connection resulted inthe exposure of Sassanian artists to Classical styles andtraditions, and vice versa. While the more hieratic, stylizedinfluence of Sassanian art can be seen in contemporary

SASSANIAN, 309-379 A.D.BRONZE, HEIGHT: 40 CM (15 3/4 IN), WIDTH: 30.4 CM (12 1/16 IN)


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Late Antique portraiture, the ripples of cloth on our bustof Shapur II are similarly derived from the Hellenistic tra-dition of wet drapery. However, instead of imparting themovement of a classical sculpture, the surface has becomea palette for drafting the form. The sculpture seems tohave a structural exoskeleton, and this is the source of itsvigor and energy. Every carefully conceived detail, fromthe lofty gaze to the strict frontal pose, was deliberatelychosen to create an impression of power. The idealizedcalm of the face, paired with the richness of his dress andimposing posture, portrays a king of divine grandeur ; onewhose authority and majesty are translated into this strikingbronze.

Provenance: Ex-private collection, U.A.E., 1968.

Bibliography:Ghirshman, R. Parthes et Sassanides, Paris, 1962, p. 119 ss.Seipel, W. ed., 7000 Jahre persische Kunst, Meisterwerke aus demIranischen Nationalmuseum in Teheran, Milan, 2000, p. 278, n. 151.


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/Description > /Namespace [ (Adobe) (Common) (1.0) ] /OtherNamespaces [ > /FormElements false /GenerateStructure false /IncludeBookmarks false /IncludeHyperlinks false /IncludeInteractive false /IncludeLayers false /IncludeProfiles false /MultimediaHandling /UseObjectSettings /Namespace [ (Adobe) (CreativeSuite) (2.0) ] /PDFXOutputIntentProfileSelector /DocumentCMYK /PreserveEditing true /UntaggedCMYKHandling /LeaveUntagged /UntaggedRGBHandling /UseDocumentProfile /UseDocumentBleed false >> ]>> setdistillerparams> setpagedevice

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Phoenix Ancient Art 2006 - Crystal I