Phoenix Ancient Art 2006 - Crystal I

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 1

8.8.2006

14:28

Page 2

INTRODUCTION

Brochure_BiennalesParis_AN

In its ongoing quest to distinguish the merely excellent from the utterly sublime, Phoenix Ancient Art is proud to present Phoenicia, a series of publications designed to showcase the finest works of art from ancient Western civilization.

This catalogue, the inaugural volume of the series, presents a carefully selected group of twelve objects that are nothing less than extraordinary. Each piece represents the distillation of centuries of artistic output, embodying the refinement of craft and culture in their purest, rarest forms. These exceptional works, once the treasures of celebrated collectors such as Charles Gillet and the Baroness Cecile de Rothschild, are breathtaking in their character and quality—offering an unparalleled glimpse at the glories of the past.

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 3

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 4

01 MYTHOLOGICAL HERO WESTERN ASIATIC, CA. 2200–2000 B.C. BLACK CHLORITE AND WHITE LIMESTONE HEIGHT: 11.7 CM (4 7/16 IN)

This extraordinary chlorite figure is most likely a representation of the «scarred man» ; a Near Eastern demon often represented as a bearded male covered in scales with a large, inlaid gash across his face. The striking statuette is one from a unique group of six such pieces found together in a village southeast of Shiraz ; one went to the Musée du Louvre, Paris, one to the Azizbeghlou collection, and four to the Foroughi collection. Each figure is composed of separately carved parts connected by tenons, and this one comprises three such sections: head with torso, skirt, and legs.

Despite its small size, this mythical creature possesses numerous, carefully modeled and incised details that help it achieve both power and monumentality through its strength of presence and unflinching masculinity. The figure’s centrally parted, long, combed strands of hair are held in place by a fillet. His large, fully rimmed eyes are set in a commanding stare below a thick, straight, lowrelief brow. The limestone inlay of the left eye remains; its pupil would have been inlaid in chlorite to further accentuate the striking gaze. The long, broad nose is framed by naso-labial wrinkles that extend to the corners of the wide, horizontal mouth. Full lips are tightly compressed in a rather severe expression due to the two small holes drilled into the center of the upper and lower lips; these may have held a tie to bind the mouth, symbolically silencing the figure as a protective and precautionary gesture. A semicircular beard covers his cheeks and chin, completely obscuring the neck. The beard is patterned with the same rows of square, lizard-like scales that cover the entire body except for the face and hands ; the feet are missing. The musculature of the chest and arms is convincingly volumetric and well rounded, and the body’s shape is compact and strong.

This work, like the others from the cache, displays exaggerated musculature that is completely covered in scales and a face that is divided by a deep, diagonal scar. All except one hold an empty cylindrical jar under one arm, as is the case here. An additional drilled depression in this figure’s clenched left fist suggests that it once held an attribute, perhaps a staff or spear. Round holes in the flared skirt appear to be connected to a belt by evenly carved vertical grooves. Archaeologists hypothesize that these holes may have been inlaid, perhaps depicting jewels or seals suspended from the belt by strings.

Because they were fully finished in the round and not found in a tomb, we may conclude that these figures were not made as funerary objects or to be placed in a niche.

Careful attention to details such as the prominent facial scar, the bulging muscles, the scaly body, and the coiffed hair suggests an iconography that was already well developed by the late third millennium B.C. With its heavy beard and lack of a moustache, the face resembles that of the famous Mohenjo-Daro statue from the Harappan civilization in the Indus Valley, also datable to the end of the third millennium B.C. In Bactria, the slightly earlier development of composite seated statues in black chlorite with white limestone heads provides a connection to the tradition of polychrome statuary so prevalent in Near Eastern art ; stylistically, however, those works differ sharply from this one. Therefore, in style, composition, and overall form, the singular group of «scarred man» statuettes—to which this wonderful example undoubtedly belongs—is without close parallel.

Provenance: Heidi Vollmoeller, Zürich, 1969 Bibliography: Amiet, P. «Antiquities of Bactria and Outer Iran in the Louvre Collection,» in Bactria: An Ancient Oasis Civilization from the Sands of Afghanistan, Erizzo, 1988, pp. 159–180, fig. 20c.

Ghirshman, R. «Notes Iraniennes XII, Statuettes Archaiques du Fars (Iran),» Artibus Asiae vol. XXVI, 1963, pp. 151–160.

Nagel, W. «Frühe Grossplastik und die Hochkulturkunst am Erythräischen Meer,» Berliner Jahrbuch für vor- und frügeschichte, 1968, pl. XVIII, figs. 1–2.

Orthmann, W. Der Alte Orient, Propyläen Kunstgeschichte, Berlin, 1975, no. 227.

Sotheby’s, New York, 5 June, 1999, no. 74

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 5

1:1

8.8.2006

14:28

Page 6

01

Detail

Brochure_BiennalesParis_AN

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 7

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 8

02 DOUBLE RAM VESSEL 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)

A remarkably sensitive example of the highest level of Mesopotamian stonework, this vessel is intact and in an excellent state of preservation ; traces of black paint are still visible on the heads of the rams. The object was carved from a single block of stone and pierced through with four holes, which were perhaps used to suspend it by means of a string.

The container is charmingly composed of two rams in repose, seated with their legs folded beneath their bodies.

The animals hold their proud heads aloft and turn their alert gaze toward the viewer. They are worked completely in the round and not a single detail is spared: the rendering of the muzzles is satisfyingly realistic, and the other well-modeled features include almond-shaped eyes, slits marking the nostrils and the mouth, and powerfully twisted horns. The sculptor rendered the beasts’ palpably thick wool with undulating vertical lines that are very evenly and precisely carved ; he also suggested the musculature that lay beneath this luxurious fleece, creating subtle volumes that exude a sense of reserved strength.

The rams carry on their backs a small, rectangular block that is hollowed out and evenly divided into two compartments by an interior wall. The contents of these compartments are unknown, but their modest size indicates that they must have contained small amounts of a precious luxury good such as pomade, perfume, or some other cosmetic.

A cross hatched line that runs along the vessel’s bottom edge represents the ground.

Carved stone objects such as this one, which take the shape of miniature vases carried on the backs of animals, represent a known form in the Mesopotamian repertoire and first appeared in Near Eastern art at the end of the fourth millennium B.C. Bulls were depicted most often, while birds and rams are seen less frequently. In the following millennium, the typology of these objects became more varied. Examples came to include rectangular containers that were divided into two or four chambers and supported between one and four animal figures, usually seated.

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

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

Bibliography: «Ancient Art, Gifts from the N. Schimmel Collection», The Metropolitan Museum of Art Bulletin, Spring, 1992, vol. XLIX, p. 11.

Behm-Blancke, M. R. Das Tierbild in der altmesopotamischen Rundplastik, 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.

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 9

1:1

8.8.2006

14:28

Page 10

02

Detail

Brochure_BiennalesParis_AN

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 11

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 12

03 LARGE SPOUTED CUP CYCLADIC, EARLY CYCLADIC II, KEROS-SYROS CULTURE, 2700–2200 B.C. MARBLE, HEIGHT: 11 CM (4 3/8 IN), WIDTH: 20.2 CM (8 1/16 IN)

Described as a «masterwork of marble vase-making» by Pat Getz-Preziosi (see Published in 1), this graceful and unusually large vessel is modeled with consummate skill and care—its walls are so finely carved as to be translucent, with a thickness never surpassing three millimeters.

«There is, however, among the standard spouted bowls, as there is with all types made in substantial quantity, a fairly wide disparity in the degree of their refinement.

Perhaps the finest of all known examples, its quality able to be fully appreciated because of its superior state of preservation, is an unusually large and deep privately owned vessel». (see Published in 2) The proportions and contours are perfectly harmonious ; the clean, sweeping lines of the design, along with the wonderfully tactile texture of the warm, fine-grained marble, lend the cup an almost sensual aspect. The form is simple but carved with remarkable precision: the hemispheric body is provided with an attachment that is modeled as a pouring spout ; opposite the spout, there is a delicate horizontal lug handle ; the base is rounded and does not provide a level resting surface. 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: some rare examples that retain traces of pigments may have been used to grind and mix powders, but the presence of the spout and the deep body seems to suggest that they were employed to transport liquids. Some archaeologists believe that these vessels may have been oil lamps with the wick placed in the spout.

Along with the famous «idols», stone vases are recognizable as a very characteristic product of Cycladic sculpture.

Contrary to what is generally believed, the stone working industry of the Cyclades did not use exclusively white marble, even for the carving of vessels. Objects crafted from other stones such as steatite, gray marble, schist, and so on are known, even if marble was the material used most often. During the third millennium B.C., metal tools were relatively rare on the Cycladic Islands ; therefore, it is most probable that these beautifully carved objects were created exclusively with the help of tools made from other, harder stones. Taking into account the traces of different tool marks visible on the surface of this vessel, we can assume that the maker used emery (found on the island of Naxos) as an abrasive, obsidian from Melos for incisions, and pumice stone or beach sand to polish the cup. It is even possible to speculate that the precise symmetry and regularity of certain vessel shapes owed their execution to a very simple compass and/or a type of rudimentary potter’s wheel, which would have been used to hollow out the vessels.

Provenance: Marie Laforêt, 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. 109–112, 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 1987–25 September 1988.

Bibliography: Marangou, L. ed. Cycladic Culture, Naxos in the 3rd Millenium B.C., Athens, 1990, pp. 123–124, nos. 119–121.

Thimme, J. ed. Art and Culture of the Cyclades, Karlsruhe, 1977, p. 323–325, nos. 317–324.

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 13

8.8.2006

14:28

Page 14

03

Detail

Brochure_BiennalesParis_AN

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 15

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 16

04 QUEEN MUTNODJMET: «THE SCHIMMEL HEAD» EGYPTIAN, NEW KINGDOM, DYNASTY 18, REIGN OF HOREMHEB, 1319–1292 B.C., INDURATED LIMESTONE WITH CRYSTALLINE INCLUSIONS, HEIGHT: 25.6 CM (10 1/16 IN)

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

Mutnodjmet’s face is fleshy, full, and soft, with little pads under the eyes and at the corners of the mouth that give her a youthful aspect. Marked with a line, the prominent upper eyelids are heavy, folding over the lower ones at the outer corners. The canthi turn down markedly, accentuating her eyes’ almond shape.

At top, horizontal bands indicate the original presence of a vulture headdress that would have obscured the remainder of the queen’s head. The most voluminous type of female head garment, this was a tripartite creation worn by queens, goddesses, or queens appearing in the guise of goddesses. What survives here, however, is the entire sculpted face. Seen from slightly below, an ancient viewer’s vantage point, the mouth’s expression cannot truly be described as a smile. Rather, it is an expression of satisfaction, confidence, and repose. The eyes present a calmly alert gaze that reaches beyond and through us.

As hard as marble, the cream-colored indurated limestone bears light gray veins and small inclusions of clear rock crystal. It accepts a high polish that shows no grain. Here the stone was smoothed to slightly less than a high gloss, leaving a velvety soft, pearly surface that is remarkably fleshen in appearance. In a departure from tradition, the artists did not paint the entire surface ; instead, they allowed the unaltered stone’s natural pallor to represent the royal visage. This unusual attribute is shared by this fragment’s closest parallel, a limestone statue of the wife of the important general Nakhtmin inside the Egyptian Museum in Cairo.

Paint was used to good effect, however, to emphasize the queen’s elegant features. Black pigment is clearly apparent on the cosmetic lines that fully rim her eyes and extend back toward the tab of the headdress, where they meet the eyebrow lines. So as to better accept the mineral colors, the stone just below these lines has been lightly scored in a cross-hatched pattern. Traces of red ochre on the lips reveal they were originally painted red, while a black line in their crease heightens the shadow there, enhancing the mouth’s fullness. Within the creases of the forehead bands hide pigment traces, indicating that these were once red as well.

The quality of this work’s design and execution is unsurpassed in the Egyptian canon, and it can only have come from a royal workshop. Also, the scale of the face indicates that the complete sculpture was greater than lifesize and thus intended for prominent, public view. How can we know, however, whether this is the face of the queen, a goddess, or the queen appearing in a goddess’s guise ? The solution to the riddle lies in the face’s destruction.

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 17

8.8.2006

14:28

Page 18

04

Detail

Brochure_BiennalesParis_AN

To imbue a sculpture with life, at a dedication ceremony a flower was offered to its nose. Likewise, to destroy a sculpture’s living presence, it was necessary to break the nose. The face of Mutnodjmet shows that it was «killed» quite carefully and deliberately: a small, sharp tool was used to pick out the eyes without destroying their sockets and the seat of life—the nose—was obliterated so as to prevent the statue from taking breath. The presence of original paint and the close similarity in erosion patterns on the polished and broken surfaces suggest that this destruction and subsequent burial took place soon after the work was dedicated. The statue, it seems, did not sit out in the desert sun and wind long enough to lose its paint or for the carved surface to become pitted.

If the statue were a goddess dedicated in her temple, and thus a living vessel of the deity herself, it seems unlikely that a later generation would attack it, thus tempting her wrath. It is more plausible, therefore, that the sculpture originally represented the queen herself and was destroyed within her living memory.

There is evidence to suggest Mutnodjmet was the sister of Akhenaten’s favorite wife, Queen Nefertiti. Such an advantageous marriage would have been no doubt, politically expedient for Horemheb, a non-royal usurper of the throne.

As an opponent of the Aten cult and a champion of the cult of Amun, Horemheb surely made political enemies who, after his death, would have exacted revenge upon his images and those of his retinue. As queen from a royal lineage, Mutnodjmet was a potent symbol of Horemheb’s reign and a natural target for his enemies.

While we can never be certain of this object’s original meaning, its tremendous beauty is undeniable, and it ranks among the grandest achievements of Egyptian sculpture.

On the portrait of Nakhtmin’s wife, widely considered the most beautiful statue of a female in the Egyptian Museum, the lips have been largely destroyed. Indeed, the best surviving parallel for Mutnodjmet’s supremely sensuous mouth is the celebrated yellow jasper fragment of the lips of Queen Tiy inside The Metropolitan Museum of Art in New York ; one of the eminent icons of Egyptian art.

Larger than life-size sculptures of queens did not appear until the reign of Tiy’s husband, Amenhotep III, a generation before this work was made. After the New Kingdom, they were not seen again. Moreover, the graceful, sensuous style of the Amarna and post-Amarna periods vanished with the close of Dynasty 18: the high refinement, monumental scale, and ethereal beauty represented by this image of Queen Mutnodjmet would never again find its equal in the art of ancient Egypt.

Provenance: Norbert Schimmel, New York, 1981.

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

Bibliography: Hayes, W.C. The Scepter of Egypt: A Background for the Study of the Egyptian Antiquities in The Metropolitan Museum of Art, Part II, New York: Metropolitan Museum of Art, 1959, p.260, fig. 156, 26.7.1396.

Tiradritti, F. ed., Egyptian Treasures from the Egyptian Museum in Cairo, New York: Harry N. Abrams, Inc., 1999, p. 252-253, JE 31629 = CG779B. Vandier, J. Manuel d’archéologie égyptienne, tome III: Les grandes époques, La statuaire, Paris, 1958, pp. 388-389, pl. 124, 5.

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 19

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 20

05 ROYAL FIGURE PHOENICIAN, END OF THE 9TH–8TH CENTURY B.C. IVORY, HEIGHT: 15.2 CM (6 IN), LENGTH: 6.8 CM (2 11/16 IN)

This delicate plaque is of remarkable artistic quality ; despite the relief’s modest size, the figure is rendered with an elegance and precision that are all the more evident as the piece is practically intact, with the exception of some small cracks and chips on the edges.

Worked in the shape of a rectangular architectural niche, the object features two papyrus branches surmounted by a bud ; these frame a standing man who is represented frontally, although his sandaled feet are viewed in profile. He bends his arms, holding them before his stomach while crossing his hands in a somewhat unnatural position.

Elegantly dressed, the figure wears an ankle-length, short-sleeved tunic ornamented with curling fringe on the edges and hanging tassels on the hem. His hair, long and abundant, is styled in little curls that, beneath the bandeau, turn into ringlets that are clearly visible on his forehead. The beard is a work of incredible richness: flowing, twisted locks form a sort of thick, rectangular carpet that leaves only the mouth visible. The same sort of finesse characterizes 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 or Arslan Tash offer a very plausible solution: it may be a decorative element for a small piece of furniture such as a bed, chair, or throne. Indeed, the reverse of the piece shows a right-angled edge at the base with a gently swooping triangular shape just above, which would have been used to secure the object in place.

The art of ivory carving flourished in the ancient world for almost a thousand years, from the sixteenth to the seventh century B.C. Examples are preserved across the Near East, with some of the largest numbers recovered from the great Neo-Assyrian buildings at Nimrud in Iraq. The source of the ivory was the now-extinct Syrian elephant (Elephas maximus asurus Deraniyagala), the largest sub-species of the Asian elephant, which once wandered on the banks of the Euphrates. Ivory was also obtained from the tusks of two African species of elephants (Loxondonta Africana and Loxondonta Cyclotis), as well as imported from as far away as India.

Naturally, ivory was one of the most valuable and prized resources in the ancient world, sought after and controlled by kings. Stockpiles of tusks were found in an eighteenth century B.C. palace at Alalakh in northern Syria, and elephant hides and ivory were later recorded in the tribute records of the Neo-Assyrian Empire.

Stylistically, the art of this period was an eclectic mixture of ancient Near Eastern and Egyptian elements. Phoenician and Syrian carvers were particularly and strongly influenced by Egyptian iconography, which by the Iron Age had become thoroughly absorbed into their repertoire. We see evidence of this in both individual decorative motifs, such as the lotus blossoms and palmettes, and in the standard Egyptian profile/three quarter posture adopted in this extraordinary depiction of a royal figure.

The figure stands with clasped hands in a pose that is typical of Neo-Assyrian royal statuary. However, his posture is different than those models, which are generally represented in profile. Stylistically, it is necessary instead to compare this piece to Egyptianizing Phoenician ivories, which were worked in a much more supple, natural manner than the conventionally rigid Assyrian reliefs. The execution of this work is superb, with the hair and beard finely carved and deeply undercut and each lock of the fringed cloak terminating in a drilled curl. The combination of the rare, but canonical, subject matter and the high level of refinement in the carving make this one of the finest ivory plaques known.

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

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. 485–504 ; pp. 576–577, nos. 535–537.

Thureau-Dangin, F. et al., Arslan Tash, Paris, 1931, pp. 11–12, pl. XXXIII, no. 43.

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 21

1:1

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 22

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

This impressive and important bronze displays a sophisticated and cosmopolitan mix of elements from Greece and the Near East, the result of the steady exchange of goods and ideas throughout the Mediterranean during the formative years of early Western civilization. Here, the long, plaited tresses of hair down the back and the famous «Archaic smile» mark the birth of the kouros, the ideal male youth— the most famous genre of pre-Classical Greek sculpture.

One of the largest known Archaic Greek bronzes, this solidcast figure weighs 4.5 kilograms. Therefore, in addition to the sensitivity of artistic execution, the sheer quantity of valuable bronze provides evidence that the man represented in priest’s costume was someone wealthy enough to hire the best artists and to spare no expense in the commission.

The figure’s hair flows in neatly beaded rows over the shoulders, terminating in even, stylized curls midway down his back. Snail-curl bangs peer out from beneath the hat’s rolled brim. The cheeks are high and full, the chin and beard prominent. The wide, noble forehead bears arching eyebrows that frame large, almond shaped eyes with relief contours. These well-modeled features are signature characteristics of the mature Archaic style, along with full, bow-shaped lips that curve into a teasing smile, the meaning of which remains a much-debated mystery.

The statuette is complete ; the lower arms were made separately, either in bronze or another material. The patina is a deep green-black with some calcareous encrustation and very little corrosion.

This statuette is vigorously modeled with a strong sense of volume and dimension. The buttocks are indicated by a swelling at the back, but otherwise the garment largely obscures the elongated figure. The contours of the body beneath the robe are well rounded and wonderfully harmonious in proportion.

Clothed male figures from this period are very rare. The long, undecorated, Eastern costume with toes peeking out from under the hem, and the round, integral base are stylistic characteristics seen on female bronzes dedicated in sanctuaries on the islands of Samos and Milos. There are few surviving marble kore from eastern Greece—young women who, unlike their male counterparts, were clothed.

The figure’s peaked hat, with its curled brim, is unique.

Although Persian soldiers wore peaked helmets with ear flaps, Hittite gods wore peaked decorated crowns, and Greek priests from the Geometric Period (seventh century B.C.) wore conical hats, nothing exactly like this high wizard’s hat survives from either Greek or Near Eastern art.

What is most tantalizing about this figure, and what makes it an important addition to the canon of Western art, however, lies not in its similarities to Near Eastern prototypes but in its differences. Although the costume may be borrowed, surely the essential spirit of the figure cannot be anything but Greek: a spark of wit in the smile, a vain preoccupation with hairstyle, a willingness to depart from accepted artistic convention. This may even be an attempt at an individual portrait. Here, depicted in exotic costume, is a Greek ; indeed, one of the most orientalizing Greek figures known, in a work of art that is nevertheless culturally distinct from the Eastern world. The figure is a startling reminder that much of Western civilization was once borrowed from great empires to the east and south.

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 23

8.8.2006

14:28

Page 24

06

Detail

Brochure_BiennalesParis_AN

Bibliography: For the famous bronze kore from the Heraion in the Samos Museum (B 1441), see: O’Neill, J. P., ed. Greek Art of the Aegean Islands, New York, 1979, no. 151.

On Archaic Greek bronzes, see: Boardman, J. Greek Sculpture of the Archaic Period, London, 1978, 1991.

Padgett, J. M. The Centaur’s Smile: The Human Animal in Early Greek Art, New Haven, 2003.

Richter, G. M. A. Korai: Archaic Greek Maidens, London, 1968, figs.

183–193 ; Kouroi: Archaic Greek Youths, London, 1960.

For Anatolian parallels, see: Akurgal, E. The Art of the Hittites, New York, 1962, pls. 106–107, 126–127.

Merhav R. Urartu, A Metalworking Center in The First Millennium B.C.E., Jerusalem, 1991, p. 167, n. 3–4 ; p. 277, n. 1 ; for the helmets, see p. 123 ss.

On Archaic Phrygian sculpture, see: Prayon F. Phrygische Plastik, Tübingen, 1987.

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 25

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 26

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

The Gillet Rider is arguably the finest small archaic bronze known to have survived from antiquity. The statuette represents one of the most desirable subjects of Greek art and is indeed complete and in an excellent state of preservation, with an olive green patina marked by traces of reddish earth tones: the most sought after patina on small archaic Greek bronzes.

Part of an equestrian group that would have included his mount, the figure most likely functioned as a votive and would have been dedicated in a sanctuary to commemorate a victory in a horse race, perhaps even an Olympic triumph. At Olympia, the tradition of such dedications by a horse-owning aristocracy extends back to the Geometric period, and horse and rider figures have been found there dating to the eighth century B.C. The standard race was run over six stades, just under 1200 meters. These contests were as dangerous as they were exciting, since they took place in the hippodrome after the chariot events, which resulted in the ground being churned up and rutted. In ancient Greece owning a horse, a costly animal to purchase and to keep, was a status symbol that only wealthy individuals could afford. Dedications of horses and their riders are well established in the Archaic period, and votives such as those on the Athenian Acropolis, like the renowned Rampin Horseman, come to mind.

The youthful rider is nude, positioned with his arms drawn back to hold the reins of the horse upon which he originally sat. His oval face is finely modeled and a fillet holds his long hair in place. Ringlets of delicate, spiraling curls frame his forehead, and his shoulder-length hair hangs down in straight locks decorated by regular notches that give the appearance of long braids. The young man’s pose is animated and lively as he holds his bent, almost folded arms in front of his lower abdomen, splaying his legs outward. The legs themselves are sturdy, with fully developed thigh and calf muscles leading down to exquisitely detailed feet on which the ankle, the muscles on the top of the foot, and the joints of the toes are well articulated.

His left hand holds the reins while his right grasps the handle of what would have been a baton or whip. Any evidence of stirrups and or a saddle are absent, since the Greeks rode bareback.

This figure is justly numbered among the masterworks of Archaic Greek bronzes. By the late Archaic period, circa 520-485 B.C., Greek sculptors had attained a full knowledge of the structure of the human form, and the formulas for representing it that were developed over more than a century had been combined into a harmonious whole. The Gillet Rider’s subtle, elegant proportions are characterized by the distinct musculature of his torso, both front and back, and the gracefully positioned arms and legs. A bronze statuette of a kouros from Naxos, now in Berlin, can be compared to this work both chronologically and stylistically. It shares the same fine modeling, particularly in the detailed treatment of the face, which is animated with a slight «Archaic smile,» a well-known convention that imbues works of this period with a lifelike appearance.

Although of a slightly earlier date, around 530 B.C., the famous marble kouros from Anavysos, with its rounded, bulging muscles, also shares certain affinities with the Gillet Rider. The use of smooth, undulating contours to represent musculature is present in both of these masterpieces, and details of the head and face are similar in several respects. The hair, shorter in length and no longer a rigid mass as in earlier Archaic sculpture, flows down from the top of the head, curving slightly at the nape of the neck before resting on the upper shoulders. Seen in profile, the faces share the same straight nose line, pursed lips formed in a upturned Archaic smile, and prominent chin, which together create an aura of restraint and composure that is a hallmark of the human figure in early Greek art.

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 27

1:1

8.8.2006

14:28

Page 28

07

Detail

Brochure_BiennalesParis_AN

Provenance: Charles Gillet, Lausanne, 1950.

Bibliography: Anderson, J. K. Ancient Greek Horsemanship, Berkeley: University of California Press, 1961.

Broneer, O. «Excavations on the North Slope of the Acropolis, 1937,» Hesperia 7, 1938, pp. 161–263.

Comstock, M. B. and C. C. Vermeule, Greek, Etruscan, and Roman Bronzes in the Museum of Fine Arts, Boston, Greenwich, Conn.: New York Graphic Society, 1971, nos. 32–34.

Eaverly, M. A. Archaic Greek Equestrian Sculpture, Ann Arbor: University of Michigan Press, 1996.

Harris, H. A. Sport in Greece and Rome, Ithaca: Cornell University Press, 1972, pp. 161–83.

Padgett, J. M. et. al., The Centaur’s Smile: The Human Animal in Early Greek Art. Princeton: Princeton University Art Museum/New Haven: Yale University Press, 2003, no.50.

Payne, H. and G. Mackworth-Young, Archaic Marble Sculpture from the Acropolis. 2nd ed., London: Cresset Press, 1950.

Richter, G. M. A. Kouroi: Archaic Greek Youths, London: Phaidon, 1960, nos. 136, 142-43, 175, figs. 395–98, 400–40, 515–17.

Ridder, A. de, Catalogue des bronzes trouvés sur l’Acropole d’Athenes, Paris: A. Fontemoing, 1896, figs. 259–60.

Rolley, C. Greek Bronzes, trans. Roger Howell, London: Sotheby’s Publications/Chesterman Publications, 1986, no. 110.

True, M. and K. Hamma. A Passion for Antiquities: Ancient Art from the Collection 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 Ancient Greece, Athens: Ministry of Culture/National Hellenic Committee, 1989, no. 32.

Wangenheim, C. F. von, Archaische Bronzepferde in Rundplastik und Relief, Bonn: Habelt, 1988, no. 1, pl.1.

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 29

8.8.2006

14:28

Page 30

07

Detail

Brochure_BiennalesParis_AN

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 31

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 32

08 CULT FIGURE OF A GODDESS GREEK, ARCHAIC PERIOD, CA. 510–490 B.C. CERAMIC, HEIGHT: 35.5 CM (14 IN)

The large diadem crowning this bust of a female figure marks it as the representation of a divinity, most likely Persephone, the daughter of Demeter and Zeus who was also called Kore («daughter» or «maiden») by the Greeks.

The diadem would have been painted to simulate gold or bronze. This identification is supported by numerous ceramic busts of the goddess that were dedicated in sanctuaries to Demeter and Persephone in the Western Greek colonies located in South Italy and Sicily. However, there are no known terracotta busts that exhibit the same mastery of modeling and high aesthetic quality illustrated by this example.

Nearly life-size, the work is composed of large fragments with some areas of plaster fill ; parts are missing at the left and right shoulder. Pierced holes near the bottom border allowed for the attachment of drapery. The bust is made up of the shoulders and upper torso of a female figure. The neck is long and slender, and the elegant, ovalshaped face is that of an idealized young woman. Her head is finely modeled and detailed: the eyes are wide and almond shaped, slanting upward above prominent cheekbones ; the shapely mouth is set in a deep «Archaic smile» ; and the chin, cheeks, and nose are strongly rendered. Together these qualities instill her with a lively countenance.

Above the forehead and framing the face, the hair hangs in wavy, stylized locks ; on top, that encircled by the diadem is smooth ; and at the back, two large braids extend from the fillet downward to the center of the shoulders.

Stylistically both the face and the hair of the forehead possess certain affinities with the series of Archaic korai dedicated on the Athenian Acropolis, particularly the marble example known as Acropolis 675, which dates to around 520–510 B.C. Seen frontally, the two works exhibit oval faces that narrow from high cheekbones down to the chin, and similar, almond-shaped eyes that slant upward ; treatment of the wavy locks on the forehead is also similar, as is that of the hair surrounded by the diadem.

The sculptor’s sensitivity to his subject is extraordinary, and it is this wonderfully nuanced attention to detail that brings the young goddess to life. The ridged, wavy hair is carefully applied, providing a welcome contrast in depth and texture from smooth skin to elaborate coiffure. The large, exotic eyes achieve their mysterious gaze from their meticulous modeling: underneath high, elegantly arching brows, they are shallowly set in their sockets, giving the realistic impression of an arresting, wide-eyed stare.

The prominent nose is straight and slightly rounded at the tip ; this, along with the slightly cleft chin, manages to strengthen the idealized feminine features, infusing them with a sense of character. Even a seemingly trivial detail such as the modeling of the ears displays an astonishing degree of anatomical awareness, as does the treatment of the smile, which manages to convincingly engage the muscles of the lower half of the face.

Both Demeter and Persephone were highly regarded in Greece, South Italy, and Sicily, for they were associated with the fertility of crops, particularly wheat. The myth surrounding the two goddesses was first mentioned in the Homeric Hymn to Demeter, which is related to what may have been their most important cult. The most famous story surrounding Persephone tells of her abduction by Hades, the brother of Zeus and king of the underworld, who carried her off when she was picking flowers in a meadow, taking her to his realm below. Demeter’s search for her daughter proved fruitless and caused her to neglect her normal duties, causing crops to fail and vegetation to wither throughout the world. Humankind would have starved were it not for the intervention of Zeus, who when all other efforts failed, sent Hermes to bring about Persephone’s release. Hades complied, but not before tricking the maiden into eating some seeds of pomegranate, an act that symbolically consummated their relationship ; consequently she was required to spend part of the year with her husband in the underworld and part with her mother

Brochure_BiennalesParis_AN

8.8.2006

14:28

Page 33

8.8.2006

14:29

Page 34

08

Detail

Brochure_BiennalesParis_AN

in the upper world. In South Italy, Persephone was honored at Locri Epizephyrii, where the cult stressed her wedding and her important role in the rite of marriage and the realm of women, including the protection of children. In Sicily, Persephone’s wedding and the gathering of flowers that preceded her abduction were celebrated in the Locrian colony of Hipponium. She was often worshipped in association with Demeter during the Thesmophoria, a particularly important festival that honored the two goddesses and was celebrated by women throughout the Greek world.

This bust’s high level of artistic quality and its connections with the ritually significant figure of Persephone suggest that it was probably a cult statue dedicated to the goddess. The nearly life-size scale and various details of construction help support this hypothesis: the truncated shape suggests that it was placed atop a support, probably of wood or plaster, modeled to approximate the height and proportions of a female body. The bust and support were then «dressed» in a long chiton, much like a modern-day mannequin. The numerous holes drilled along the bottom would have been used to help secure the clothing by sewing the fabric onto the terracotta. Parallels for such a composite work exist in acrolithic statues, in which the head and limbs were carved of stone while the rest of the body was made of other, often perishable, materials such as wood or ivory.

The forearms, which are well preserved, were made separately and are also drilled with two small holes on either side of the elbows for the attachment of the sleeves. They are long and slender, with elegant, exquisitely modeled hands. The hands and fingers have been reattached and are original to the piece. The arms are hollow and probably slid into place over the wooden framework of the body ; once draped in clothing, they would have completed the impression of a life-size female figure with outstretched arms. There are ample traces of white paint, the same that would have covered the bust in imitation of a milky white feminine complexion. The delicate hands are posed in a gesture of offering: the fingers of the right would have curled around the stem of a flower, while the left is open with palm upward and probably would have held a small container or votive gift.

One can imagine the full effect of the original cult figure, with its incredibly lifelike features, the details of the diadem, hair, and face fully painted, along with one slender arm outstretched and holding a flower, while wearing an elegantly pleated chiton. It certainly would have been an image worthy of worship and devotion.

Provenance: American private collection.

Exhibited: J. Paul Getty Museum, Los Angeles, 1988–1996.

Bibliography: Richter, G. M. A. Korai: Archaic Greek Maidens, London, 1968, pp. 79–80, no. 123, figs. 394–397.

For Persephone, see: Lexicon Iconographicum Mythologiae Classicae 8 (1997), p. 959, nos. 25–32 ; Gantz, T. Early Greek Myth: A Guide to Literary and Artistic Sources, Baltimore, 1993, pp. 64–68.

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. 159–161.

Caratelli, G. P., ed. The Western Greeks: Classical Civilization in the Western 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 Magna Graecia, 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: Migrations of Myth and Cult,» in Bennett, M. and A. Paul, Magna Graecia: Greek Art from South Italy and Sicily, exhibition catalog of the Cleveland Museum of Art and the Tampa Museum of Art, Cleveland, 2002, pp. 82–97.

Simon, E. Die Götter der Griechen, Darmstadt, 1985, pp. 91–117.

Simon, E. Homo Necans, Berkeley, 1983, pp. 248–297.

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 35

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 36

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

Masterpieces of metalworking, Thracian rhyta possess an elegance and artistic quality that were largely unequaled in the Classical period. This intact, extraordinarily wellpreserved rhyton is a rare and spectacular example of the type, of which there are few in existence. Used as drinking cups for wine, rhyta are typically characterized by a horn shape that ends in a protome (head) or forepart of an animal or mythical beast, usually a lion, horse, bull, griffin, or sphinx. Finds from burial tumuli demonstrate that the Thracian ruling classes had exquisite taste in silver and gold drinking sets. In burials of the fifth and especially the fourth century B.C., bronze objects were largely replaced by those of gold or silver, testifying to the increased use of luxury goods at around that time. Such objects help to confirm the first literary allusion to the Thracian kings’ wealth, which appears in the Iliad, when Homer mentions a beautiful cup offered as a gift to Priam, who subsequently presented it to Achilles as part of the ransom for Hector’s body: he [Priam] weighed and carried out ten full talents of gold, and brought forth two shining tripods, and four cauldrons, and brought out a goblet of surpassing loveliness that the men of Thrace had given him when he went to them with a message, but now the old man spared not even this in his halls (24.232–36).

The most striking of Thracian metal vessels, rhyta have their origin in the art and culture of the Near East, and of Persia in particular. While the horn shape of this example is Persian in inspiration, it is decorated with motifs from the Greek artistic repertoire and ably demonstrates the influence these two civilizations had upon Thracian art.

Along the upper edge, at the lip, is a border of beading and an egg-shaped pattern. Below this are three bands of engraved and gilt ornament: elegantly curved lotus blossoms set between palmettes ; an undulating branch of ivy with heart-shaped leaves, interspersed with bunches of ivy berries ; and a guilloche (chain) pattern. All of these bands are separated by narrow, gilt fillets embossed with small circles. Covered with gold, the floral patterns are effectively highlighted against the less luminous silver background, and the lotus blossoms are additionally decorated with finely engraved lines and dots. Such details in gold upon silver are characteristic of Thracian metalwork, demonstrating its love of brilliance and splendor.

The horn and lion protome are joined by a ring, and were worked separately. Vertical fluting on the body leads the viewer’s eye down to the lion’s head. The animal’s aggressive nature is conveyed by its features— wrinkled forehead and nose, rolled-up cheeks, snarling, open mouth, extended tongue, and menacing fangs. The face and mane are detailed with engraved lines, and punch marks indicate the lion’s eyes and details on the snout. The mane, eyes, part of the snout, and tongue are emphasized with gilding, which adds to the creature’s realistic modeling. The mouth surrounds a small, tubular hole through which the contents of the horn flowed, an action that gave this form of drinking vessel its name, since the term rhyton derives from the Greek word meaning «to run through.»

Thracian silver rhyta are rare, and only a small number comparable to this one are known. The oldest date to the end of the fifth century B.C., and others are from the Hellenistic period, the fourth century and later. Rhyta of this type, likely produced by Greek artists or under their influence, come from Thrace, Scythia, and regions bordering the Black Sea. The closest known parallel for this piece dates to the end of the fifth century B.C. and was found near Douvanli in central Bulgaria. Both works are similar in dimensions, proportions, decorative details, and techniques of production. The vertically fluted horn of the Douvanli rhyton terminates with a protome representing the forequarters of a galloping horse ; the lip is bordered by ovules and beading ; and the mouth is decorated with a band of gilt lotus blossoms and palmettes beneath which is a fillet of small embossed circles.

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 37

8.8.2006

14:29

Page 38

09

Detail

Brochure_BiennalesParis_AN

Provenance: Ex-American private collection.

European private collection, acquired in 1954.

Bibliography: Casson, S. Macedon, Thrace and Ilyyria: Their Relations to Greece from 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. Martin’s Press, 1977, pp. 78, 80–81.

Hoddinott, R. F. Bulgaria in Antiquity: An Archaeological Introduction, London: Benn, 1975.

Marazov, I. ed., Ancient Gold: The Wealth of the Thracians ; Treasures from the Republic of Bulgaria, New York: Harry N. Abrams, 1998, no. 124.

Musti, D. ed., L’oro dei Greci, Novara, Italy: Istituto geografico De Agostini, 1992, no. 138.1.

Venedikov, I. and Gerasimov, T.D. Thracian Art Treasures, Sofia: Bulgarski Houdozhnik, 1975, no. 162.

Venedikov, I. Thracian Treasures from Bulgaria, London: British Museum Publications, 1976, nos. 183, 543–45.

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 39

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 40

10 MIRROR WITH HELEN & PARIS GREEK, HELLENISTIC PERIOD, LATE 4TH CENTURY B.C. BRONZE, DIAMETER: 15.5 CM (6 1/8 IN)

This magnificent mirror, worked in extremely high relief, is among the finest known examples of Hellenistic metalwork. It is a box mirror ; a hand mirror consisting of two fitted bronze discs, one serving as the reflective surface, the other as a protective cover. The top part of the cover features repoussé decoration and the inside cover displays an engraved scene, while the mirror’s bottom is decoratively molded in a series of concentric circles. A hinge joined the two discs, and a suspension ring attached to the hinge would have allowed the closed mirror to be hung while not in use, transforming it into a piece of decorative sculpture to adorn the walls of private living quarters. When vertically mounted, the object would also have taken full advantage of the play of light and shadow, showing off the relief work to great effect.

On the cover, a border of incised concentric circles frames one of the most famous subjects in all mythology ; the romance between Paris and Helen, which sparked the beginning 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 the Trojan prince, Paris is depicted as a shepherd, indicated by the presence of the mournful-looking dog lying at his feet.

Seated to the left while leaning back on his right arm and resting his left arm lightly on his thigh, Paris is fully clothed as an Eastern foreigner in a short tunic and long leggings. He wears short boots and sports a Phrygian cap set rakishly over his prettily curled, shoulder-length hair. His costume clings to his body in the Hellenistic sculptural tradition of «wet» drapery, and the slightly effeminate impression—typical of Greek stereotypes of the East—is further reinforced by the delicate rosettes that cover his clothing.

Paris looks to the right toward Helen, who is seated before him, balancing the composition. She is dressed in an elaborately pleated and draped floor-length tunic, or chiton, gathered at the shoulders, and a cloak covers her legs and back. The masterful handling of the fabric is apparent in the tissue-like cloth of the chiton that seems to cling to her form, as opposed to the heavier, crisper draping of the cloak. She rests her weight on her left arm and holds up a corner of the cloak in her right hand, catching Paris’s eye in a typical erotic gesture that coyly suggests both exposure and concealment. The couple is accompanied by a pudgy Eros, whose wings are spread to symbolize their union. He stands in the center and turns toward Paris, touching him on the shoulder with an outstretched arm as if in reassurance.

The interior of the lid is adorned with an equally intricate, incised scene that undoubtedly takes its origin from comedy or satire, theatrical genres that were popular in the fourth century B.C. The image represents a small sanctuary situated in a grotto framed by numerous stacked rocks and boulders. A similar treatment of a cave appears on the interior cover of a box mirror in Berlin where the stacked rocks simultaneously form a stage and a frame (Berlin 8148).

On the left, a satyr wearing a loose apron and an ivy garland is about to place a small platter of food offerings (perhaps a cake, a loaf of bread, and an egg) on a wreathed altar. Kneeling on a rock behind him is another ithyphallic satyr, nude but for tall boots, with a sack hanging from his shoulder. Thanksgiving offerings, including crowns, garlands, small pictures, and votive tablets known as pinakes are suspended from the branches in front of him and lay on the ground below. Both satyrs are quite hirsute, with numerous short, incised lines indicating the hair on their chests, arms, and stomachs. The standing satyr’s legs are completely covered in hair as if he were wearing pants made of fur, but he has short boots on his feet, indicating

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 41

8.8.2006

14:29

Page 42

10

Detail

Brochure_BiennalesParis_AN

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

Box mirrors were first produced during the second half of the fifth century B.C. The second half of the fourth century saw their rise in popularity and the beginning of a richer treatment of the lid, including the presence of an engraved interior scene, a detail that the earliest examples lack. This interior scene is often silvered, as it is here, to help accentuate the delicate and highly detailed composition.

These mirrors represent some of the finest examples of Hellenistic bronze work, both for the masterful draftsmanship exhibited by the engraving and the repoussé lids, which were hammered and chased separately, then attached to the cover by means of solder. Most engraved box mirrors emerged from workshops in Corinth ; their marriage of repoussé technique and incised decoration united the prominent tradition of Corinthian bronze work with that of painting from the neighboring city of Sikyon.

Provenance: European art market, acquired in 1998.

Bibliography: Greifenhagen, A. «Ein verlorenes Werk korintischer Toreutik ?»

Mitteilungen desdeutschen archäologischen Instituts, Abteilung Rom 54, 1939, pp. 245–251 ss, pl. 54–56.

Lexicon Iconographicum Mythologiae Classicae (LIMC), Zürich, 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. 176–181, pl. LXVIII–LXIX. Mitten, D. G. and S. F. Doeringer. Master Bronzes from the Classical World, Mayence/Rhin, 1968, pp. 114–115, nos. 111–112.

Rolley, C. Les bronzes grecs, Fribourg, 1983, pp. 162–176 and p. 239, n. 283.

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 43

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 44

11 HEAD OF HERACLES WEARING THE LEONTE GREEK, HELLENISTIC PERIOD, 3RD – 2ND CENTURY B.C. BRONZE, HEIGHT: 25.5 CM (10 IN), WIDTH: 27 CM (10 5/8 IN)

One of the most beautiful representations of Heracles in existence, this work is marked as a masterpiece by its quality, virtuoso technique, proportions, and remarkable state of preservation. The object, which was probably used as an appliqué, most likely refers to the first of Heracles’ Twelve Labors, his killing of the Nemean Lion.

The massive head is intact, and the dark brown surface of the metal is largely covered in a beautiful, deep green patina. The piece is composed of three main elements that were cast separately using the lost wax process and soldered together: the hero’s head ; the lion skin, or leonte, framing his face ; and the beast’s paws, which are knotted, scarflike, under the chin. The sculptor rendered all the details of the head and pelt through wonderfully robust, yet sensitive, modeling and minutely detailed coldwork, displaying his exceptional skill at creating different textures through the use of ridges, incisions, alternating volumes, and undulating surfaces.

The typology of the face corresponds to that of numerous images of heroes and fighters from the Greek canon: Heracles is represented as an adult male in the prime of life, and his strong features reflect his role as a warrior.

His visage is framed by short, tightly curled hair and a trim beard arranged in thick, curled locks that are almost exuberant in their three-dimensionality and modeling. A long, drooping moustache hangs to either side of the small mouth, and the full bottom lip lends a somewhat petulant expression. The nose is heavy, broad, and slightly flattened. The small, deep-set eyes, which were originally inlaid, stare out forcefully from beneath incised, arched eyebrows. Crow’s-feet at the corner of the eyes and wrinkles on the heavy, furrowed brow exude a toughness that is undercut by a sense of weariness, giving the face wonderful emotional depth.

The rendering of the leonte is perhaps the most remarkable one known from all such depictions of the hero: the nearly closed eyes and the wide, frowning muzzle seem to reproduce the animal’s grimace of pain in his deadly combat with Heracles. Extensive, meticulous stippling reproduces the effect of the lion’s coat while loose, flowing locks indicate the mane. Even the paws are carefully differentiated from each other (bottom from top) and sculpted with great realism.

The exact nature of the support to which this appliqué was fixed is uncertain: it may have been dedicated in a sanctuary or attached to a large bronze krater, a vessel for mixing wine and water. The back of the piece has a slightly concave profile, which suggests that the support would not have been straight, but curved ; there are even traces of the lead that would have been used as solder.

During the Hellenistic and Roman periods, busts like this one were often used to decorate circular elements including roundels and phalerae (metal medallions affixed to harnesses) 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 of portraying the hero with the features of an athlete, specifically a boxer. Starting with the development of verism—a move away from purely idealized portrayals towards more naturalistic, lifelike works—the influence of sculptures like the Olympian Boxer (Athens National Museum, Athens ; 6439) and the Heracles Epitrapezios (Museo Nazionale, Rome ; 2828) can clearly be seen in this appliqué. However, the best parallels for this head are works from the second century B.C. such as the bearded male figures from the Pergamon Altar (Pergamon Museum, Berlin) or the figure of Menelaos from the Pasquino Group (Piazza di Pasquino, Rome).

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 45

8.8.2006

14:29

Page 46

11

Detail

Brochure_BiennalesParis_AN

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

Bibliography: Andreae, B. Skultpur des Hellenismus, Munich, 2001, pp. 139–155.

Bothmer, D. von, Glories of the Past: Ancient Art from the Shelby White and Leon Levy Collection, New York, 1990, no. 140.

Dreyfus, R. and E. Schraudolph, eds. Pergamon: The Telephos Freize from the Great Altar, San Francisco/Berlin, 1996, vol. I, pp. 60–61, no. 5, panel 12 ; pp. 86–88, no. 21. figs. 7–8.

Lexicon Iconographicum Mythologiae Classicae (LIMC), Zurich, 1981–99, vol. IV, nos. 115–125, 216–221, 462–471, 574–582, 639, 650–653.

Ridgeway, B.S. Fourth-Century Styles in Greek Sculpture, Madison, Wisconsin, 1997, pls. 68–69 ; Hellenistic Sculpture III: The Styles of ca. 100–31 B.C., Madison, Wisconsin, 2002, pls. 29, 33a-b, 34.

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 47

8.8.2006

14:29

Page 48

11

Detail

Brochure_BiennalesParis_AN

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 49

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 50

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

The Sassanid King Shapur II is represented by a cast bronze torso which originally belonged to a composite statue that showed him majestically enthroned, his finely articulated hands resting on a sword (cast separately and now lost).

He wears a high, crenellated, tripartite crown with ribbons attached at the back. His forehead is encircled by a diadem adorned with two rows of pearl beads. His luxurious hair is rendered in massed ranks of stylized curls that flow widely out and down onto his shoulders, symmetrically framing the long, thin face.

Shapur is dressed in a tight-fitting, long-sleeved tunic marked by sinuous rills ; over this, he wears a belt and halter, both double-beaded with pearls and clasped at the waist with a large circular medallion bordered with the same gems. He is richly outfitted in large bead-and-pearl earrings, pearl bracelets, and a heavy pearl necklace with two round jeweled pendants, one intact, the other preserving traces of a sun disc.

An expression of impassive authority is conveyed by the large, slightly bulbous, almond-shaped, fully-rimmed eyes with incised circular pupils ; a sculpted natural brow connecting with a long, straight nose ; and a tiny, thin-lipped mouth. The carefully worked beard closely follows the contours of the chin, while the large, wavy moustache extends horizontally the width of the face.

The Sassanids were a Persian dynasty originating in Fars, who established a powerful empire that extended throughout 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 King Shapur I’s victory in A.D. 260 over the Roman emperor Valerian, who was taken prisoner along with several thousand of his soldiers.

Comparison with similar stepped, crenellated crowns on coin portraits supports the identification of this bust as that of Shapur II (reigned A.D. 309-379) whose glorious seventy year tenure fortunately had a Roman eyewitness, the historian Ammianus Marcellinus, an officer in the army of Emperor Julian the Apostate. The beaded halter did not become part of royal dress until the reign of Shapur II, and thus becomes a helpful dating criterion, as well.

The seventh century Islamic conquest of Iran and the subsequent proscription against sculpture ended a figural tradition of nearly four millennia. This bust of Shapur II therefore, represents the final incarnation of figural sculpture from a sub-continent extending from the Byzantine Empire to the Hindu states, and it is interesting to note its shared characteristics with each of those neighboring traditions. Like Late Antique sculpture from Palmyra through Anatolia and on through the West, the face is dominated by over-large, staring eyes. Stances are utterly frontal and symmetrical ; faces and bodies are elongated.

In northern Indian sculpture of the Kushan period, which was contemporaneous with Shapur II’s reign, we find a similar approach toward the elucidation of form. Volumes are not described through the modeling of tendon and joint.

Instead, externally applied decorations such as pearl beads or sinuous garments provide volume and structure to the object. Indeed, the sculptor paid careful attention to the surface of this work. The intricate incisions on the beard are markedly distinct from deeper lines in the hair which in turn differ from broad channels on the clothing ; this is partially due to a new awareness of texture brought on by cultural contact with the West, particularly Rome.

Although military in nature, the connection resulted in the exposure of Sassanian artists to Classical styles and traditions, and vice versa. While the more hieratic, stylized influence of Sassanian art can be seen in contemporary

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 51

8.8.2006

14:29

Page 52

12

Detail

Brochure_BiennalesParis_AN

Late Antique portraiture, the ripples of cloth on our bust of Shapur II are similarly derived from the Hellenistic tradition of ÂŤwetÂť drapery. However, instead of imparting the movement of a classical sculpture, the surface has become a palette for drafting the form. The sculpture seems to have a structural exoskeleton, and this is the source of its vigor and energy. Every carefully conceived detail, from the lofty gaze to the strict frontal pose, was deliberately chosen to create an impression of power. The idealized calm of the face, paired with the richness of his dress and imposing posture, portrays a king of divine grandeur ; one whose authority and majesty are translated into this striking bronze.

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 dem Iranischen Nationalmuseum in Teheran, Milan, 2000, p. 278, n. 151.

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 53

8.8.2006

14:29

Page 54

Selection of Objects Ali Aboutaam Hicham Aboutaam Project Manager Hélène Yubero Research Bibiane Choi and Brenno Bottini Graphic Concept Olivier Stempfel Fornerod soma-creative.com Photography Maggie Nimkin Hughes Dubois N°1/10/11 Special thanks to Dr. Aaron J. Paul Printing Imprimerie Médecine & Hygiène © Phoenix Ancient Art S.A.

In New-York Hicham Aboutaam Bibiane Choi Electrum, Exclusive Agent for Phoenix Ancient Art S.A. 47 East 66th Street@Madison Avenue New York, NY 10021 Tel: +1 212 288 7518 Fax: +1 212 288 7121 Email: info@phoenixancientart.com www.phoenixancientart.com

In Geneva Ali Aboutaam Michael C. Hedqvist Phoenix Ancient Art S.A. 6 rue Verdaine 1204 Geneva, Switzerland Tel: +4122 318 80 10 Fax: +4122 310 03 88 Email: paa@phoenixancientart.com www.phoenixancientart.com

Credits and Contacts

Brochure_BiennalesParis_AN

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 55

Brochure_BiennalesParis_AN

8.8.2006

14:29

Page 56