Alexander the Great

1

ALEXANDER THE GREAT

2 CATALOGUE Edited by: Gian Piero C. G. Milani Texts by: Fayez Barakat, Gian Piero C. G. Milani Curated by: Katharine Vann

Publication date: 18.01.22 Published by: HANNA BELLA PUBLISHING www.barakatgallery.eu COPYRIGHT © BARAKAT GALLERY TEXTS © THE AUTHORS All rights reserved. No part of this book may be reproduced in any form of electronic or mechanical means including storage by information or retrieval systems without written permission of the authors except in the case of brief quotations embodied in critical articles or reviews.

All our artefacts are guaranteed to be genuine and a certificate of authenticity is included with each item.

3

London

58 Brook St, Mayfair London, W1K 5DT +44 (0) 20 7493 7778 info@barakatgallery.eu www.barakatgallery.eu

Seoul

58-4, Samcheong-ro, Jongno-gu, Seoul, Korea +82 02 730 1949 barakat@barakat.kr www.barakat.kr Los Angeles 941 N La Cienega Blvd Los Angeles CA 90069 +1 310 859 8408 contact@barakatgallery.com www.barakatgallery.com

4

CONTENTS

Foreword

7

Portraits of Alexander

9

The Art of Alexander

25

Coins

33

Jewllery

63

5

6

Preface

Alexander the Great, son of Philip II of Macedon, is one of the most important and fascinating figures in the Ancient World. Born on July 20th, 356 BC, he was as a youth an astute (if somewhat headstrong) student, and was schooled by various famous teachers, notably Aristotle.

By the time of his death at the age of 32, he had personally supervised one of the largest landbased military expeditions of all time, and had conquered the whole of the then known world from Asia Minor across the whole of Persia, Anatolia, Syria, Phoenicia, Judea, Gaza, Egypt, Mesopotamia, Bactria, parts of India, Afghanistan and Pakistan. A legend in his own lifetime, he became known as much for his excesses and cruelty as his extraordinary military prowess but was nonetheless a comparatively fair and temperate man. Perhaps due to his supposed descent from Achilles and Heracles, he became essentially deified in the eyes of the Greeks of the Hellenistic period, who celebrated him extensively in their artistic production. Later on he was much admired also by the Romans, who had a fascination with his military campaigns and tactics.

This catalogue provides a glimpse into the world of Alexander. We move from his portraiture, presenting two extraordinary portraits of the ruler. We then look at the coinage in his name, analysing the fine political narrative embedded in his coins. Moving on, we contemplate the wider artistic achievements of the Hellenistic period with a selection of artworks. Finally, we present a collection of jewellery realised with the coinage of Alexander, ever popular with the many who still today want to feel associated with one of the most extraordinary characters in human history.

Fayez Barakat President

7

8

P O RT R A I T S O F ALEXANDER

Hellenistic Marble Head of Alexander the Great - PF.6135

9

10

This piece is carved in the Hellenistic style, with intense naturalism and careful attention to detail. While the body is absent, it would undoubtedly have been diaphanously clad in the flowing robes, ceremonial weapons and celebratory insignia that tend to characterize representations of this god king. The sculpture itself shows Alexander as a boy on the edge of adulthood; at this point in his life (16-18) he was acting regent of Macedon, his father being away on military campaigns that would lead to his own death in 336 BC. His campaigns against rebellious sectors of Greece were the first evidence of his military genius. The face, while evidently young, is determined, with set lips, a jutting chin and intense, well-modelled eyes. The hair is short yet extravagantly curly. There is a general softness about the features that is a bloom likely lost during his ten year campaign across North Africa and Asia.

Dating this piece is problematic, as early collectors often accumulated pieces with little thought for provenance. The styling, as stated above, is certainly Hellenistic, although it is possibly later, such as a Roman copy of a Greek original (which were often made in bronze, and melted down at a later date; marble statues tended to survive much better).

Regardless of age, however, this is a striking, well-mounted and beautifully presented piece of classical artwork that would be at home in any collection.

Hellenistic Marble Head of Alexander the Great - LK.016 Circa: 300 BC to 100 BC Dimensions: 6.25″ (15.9cm) high

11

12

13

14

This gorgeous sculpture of a Youth head is but a fragment of a large, full-figure sculpture that most likely decorated an ancient Greek temple or shrine in the Holy Land.

Under Greek occupation, the Jews of Israel and their religious beliefs were vehemently suppressed. Following the Bar Kochba uprising of 132-135 A.D., the city of Jerusalem was almost entirely rebuilt, including a temple dedicated to Jupiter on the site of the Temple Mount, and renamed Aelia Capitolina. This bust of a Youth, representing Alexander, the King of Kings, may have been a sculptural ornament decorating such a temple. While the Jews formally revolted as a community against Roman occupation on several occasions, individuals often issued their own objections in less formal, more discreet manners. The broken nose on the gorgeous face of this sculpture may be one such objection, voiced centuries ago, whose cry for justice still rings true. The artistic depiction of the human form by the Greeks clearly contradicted the tenants of the Torah.

However, instead of revolting against Greek and Roman rule and inciting their wrath, an ancient protestor may have defaced this sculpture in accordance with the second commandment. Thus, this sculpture is not merely a beautiful work of Classical art, but also may be an important cultural relic documenting the struggles of the Jewish people under Roman occupation.

Hellenistic Marble Head of Alexander the Great - PF.6135 Circa: 300 BC to 200 BC Dimensions: 6″ (15.2cm) high

15

16

T H E A RT O F ALEXANDER

A Roman Marble Bacchus Torso - PH.0202

17

18

19 The surface of this gorgeous marble sculpture has been covered with a thick encrusted patina. The forms of the encrustation indicate that the work was submerged underwater for a significant portion of its history. Parts of the surface, in fact, seem to be carved from a coral reef. Some of the most important works of Ancient Greek art have been found underwater, including the famed Riace warriors. From the positioning of his limbs, we can tell that this young man was originally standing with his weight resting on his right leg. His left thigh projects slightly forward and his left shoulder is slightly lower than his right. In a typical Hellenistic fashion, the artist has chosen to represent this man in a moment of repose. Was this work once placed atop a seaside cliff, only to tumble into the waves during a natural disaster or perhaps a period of civil unrest. In some cases, works of art have been buried underwater when ancient vessels transporting commercial merchandize crashed at the bottom of the sea. Is it possible that this work was in the midst of being transported from the sculptor’s studio to the residence of a faraway patron? Resurrected from the deep, this magnificent sculpture is a testament to the creativity and innovation of the Hellenistic era.

Hellenistic Marble Torso of a Man - X.0397 Circa: Hellenistic Marble Torso of a Man Dimensions: 33″ (83.8cm) high

20

21

22

23

Throughout classical history the worship of Bacchus (Dionysus in Greek) was widespread, for he was believed to rule over mankind’s less inhibited nature. In Athens, great dramatic festivals were celebrated in his honor, and Alexander the Great spread the cult of Dionysus as far east as India. This splendid Roman work draws on centuries of visual and mythological tradition, and it’s clearly inspired by an earlier Hellenistic sculptural type. The god is depicted with an animal skin draped across his left shoulder and a bounty of grapes and other fruit in tow. The bounty and youthful musculature recall the prosperity and health of being young.

A Roman Marble Bacchus Torso - PH.0202 Circa: 100 AD to 300 AD Dimensions: 20″ (50.8cm) high

24

25

26

27

This small, round gold applique depicts a bust of Zeus Ammon slightly turned to the left.

His hair is parted down the middle. Curls cover his forehead and flow into the spiraling ram horns of Amun. Yet, he also has the long beard and stoical features of Zeus. This gorgeous applique was once likely a central element in a piece of jewelry. Although it was crafted in Alexandria, it may have been intended for a far away port where this deity was also worshipped.

Hellenistic Gold Applique Depicting Zeus Ammon - LO.630 Circa: 300 BC to 100 BC Dimensions: 1.3″ (3.3cm) high

28

29

A finely moulded Hellenistic terracotta head of a youthful man. His hair is worn in closely cropped curls, parted down the middle, and held by a fillet. Hellenistic portraits of this type are reminiscent of Alexander the Great. These finely moulded figures, often highly decorated, rose in popularity during the 4th and 3rd centuries B.C. Common themes include fashionable women, gods and godesses, heroic athletes, and bacchanalian merriment.

A Hellenistic Terracotta Head of a Young Man - MD.46 Circa: 4th Century BC Dimensions: 2.375″ (6.0cm) high

30

31

32

COINS

Macedonian Silver Tetradrachm of Alexander the Great - C.6458

33

34

On the obverse of the gold coinage of Alexander we see Athena, wearing a Corinthian helmet.

Athena is famously found on the coinage of Athens, a city of which she was the protectress.

Her appearance on Macedonian coinage is of high interest, as it points out how she was not only regarded as the protector of cities but of royal families as well, especially in Macedonia, where temples reported to have existed since the 4th century B.C. She was worshipped by the Macedonian kings as a warrior goddess - protector of their armies as well as themselves - that would lead them to victory in the battlefield. The goddess’ head was chosen by Alexander the Great to adorn the obverse side of his gold coins, which were widely circulated throughout the ancient world even after his death. Athena wears a crested Corinthian helmet, which may have been chosen as an allusion to Alexander’s position as head of the Corinthian League and his hegemony over Greece. Athena’s helmet is pushed backward, with the eye holes and nose piece at the top of her head. In combat, the helmet would be pushed forward, covering the soldier’s face. The fact that she is not ready for combat clearly indicates that she had already been victorious.

On the reverse, Nike (Victory) wears a diadem (headband) and long chiton (tunic). Alexander’s Nike may have been based on the Nike of the coins of Olympia, where she symbolized victory at the games held there. Another possibility, as with Athena, is that Nike was modelled after statuary at the Athenian Acropolis, in this case the small gold Nike statues there.

In her right hand, Nike holds a laurel wreath, which is a symbol of victory. In her left hand, with most of these coins, she holds what some scholars interpret as a stylis (part of the stern of a Greek ship), others a ship’s mast. In either case, the stylis/stern likely alludes to Greece’s great naval victory over Persia at the Battle of Salamis c. 480 BC, one of the epochal moments in history, allowing Greece to continue its embryonic experimentation with democracy, individualism, rationalism, and the separation between political and religious authority. Some scholars, on the other hand, have interpreted the stylis to refer to Alexander’s naval victory over the fleet of Tyre in 332 BC, but this is less likely because it requires Alexander to have begun minting staters of his own type four years after his ascension.

Obverse: Head of Athena Wearing a Crested Corinthian Helme Reverse: Nike Standing Facing Left Holding a Wreath and a Styli Macedonian Gold Stater of King Alexander the Great - C.4267 Circa: 336 BCE to 323 CE Country of origin: Minted in Macedonia (Amphipolis)

35

36

Obverse: Head of Athena Wearing a Crested Corinthian Helme Reverse: Nike Standing Facing Left Holding a Wreath and a Styli Macedonian Gold Stater of King Alexander the Great - C.2269 Circa: 336 BCE to 323 CE

37

38

Obverse: Head of Athena Wearing a Crested Corinthian Helme Reverse: Nike Standing Facing Left Holding a Wreath and a Styli

Macedonian Gold Stater of King Alexander the Great - C. 2270 Circa: 336 BCE to 323 CE

39

Obverse: Head of Athena Wearing a Crested Corinthian Helme Reverse: Nike Standing Facing Left Holding a Wreath and a Styli Macedonian Gold Stater of King Alexander the Great - C. 4286 Circa: 336 BCE to 323 CE

40

41 The obverse of the silver coinage of Alexander shows a head of Herakles, decorated with the leonte, the lion skin he won after having won against the Nemean Lion in the first of his mythical twelve labours. The choice of Heracles as a subject for coinage is interesting for many reasons. Firstly, it is clearly an allusion to the claim Alexander made to be a direct descendent of Heracles. Secondly, Heracles was a Panhellenic hero, a figure in which the whole of the Greek world could identify. It is thus a figure of high symbolical value and well suited as iconographical choice as Alexander claimed the leadership of the entirety of the Greek people. Finally, at the beginning of his reign Alexander chose probably Heracles as a warrior hero to be associated with coinage made to pay his soldiers.

The reverse shows Zeus seated on a throne, holding an eagle in the right hand and a sceptre in his left. The choice of Zeus is interesting on one side as it denotes continuity with traditional Macedonian coinage: Zeus had been chosen by Philip (Alexander’s father) for his staters. On the other side the father of the gods clearly embodies the concept of leadership of the Greek states that the Macedonians had assumed.

Obverse: Alexander in the Guise of Hercules Reverse: Zeus Seated Holding an Eagles and Scepter Silver Drachm of King Alexander the Great - C.7493 Circa: 336 BC to 323 BC

42

Macedonian Silver Drachm of Alexander the Great - LC.467 Circa: 336 BC to 323 BC

43

44

Macedonian Silver Drachm of Alexander the Great - LC.227 Circa: 336 BC to 323 BC

45

46

47

Obverse: Head of Herakles Facing to the Right Reverse: Zeus Seated Holding an Eagles and Scepter Macedonian Silver Tetradrachm of Alexander the Great - C.6458 Circa: 336 BC to 323 BC Origin: Minted in Babylon

48

Obverse: Head of Herakles Facing to the Right Reverse: Zeus Seated Holding an Eagles and Scepter Macedonian Silver Tetradrachm of Alexander the Great - C.6140 Circa: 336 BC to 323 BC Origin: Minted in Macedonia

49

50

Obverse: Head of Herakles Facing to the Right Reverse: Zeus Seated Holding an Eagles and Scepter Macedonian Silver Tetradrachm of Alexander the Great - C.4964 Circa: 320 BC to 317 BC Origin: Macedonia (Amphipolis)

51

52

Obverse: Head of Herakles Facing to the Right Reverse: Zeus Seated Holding an Eagles and Scepter Macedonian Silver Tetradrachm of Alexander the Great - C.3288 Circa: 317 BC to 311 BC Origin: Minted in Babylon

53

54

Obverse: Head of Herakles Facing to the Right Reverse: Zeus Seated Holding an Eagles and Scepter Macedonian Silver Tetradrachm of Alexander the Great - C.3282 Circa: 317 BC to 311 BC Origin: Minted in Babylon

55

56

57

Obverse: Head of Herakles Facing to the Right Reverse: Zeus Seated Holding an Eagles and Scepter

Macedonian Silver Tetradrachm of Alexander the Great - C.3244 Circa: 336 BC to 323 BC Origin: Minted in Macedonia (Amphipolis)

58

Macedonian Silver Tetradrachm of Alexander the Great - C.3229 Circa: 336 BCE to 323 CE Origin: Minted in Salamis

59

60

Obverse: Head of Herakles Facing to the Right Reverse: Zeus Seated Holding an Eagles and Scepter Macedonian Silver Tetradrachm of Alexander the Great - C.4180 Circa: 330 BC to 320 BC Origin: Minted in Byblos

61

62

J E W E L L E RY 63

Gold Necklace Featuring a Silver Coin of Alexander the Great - FJ.5228

64

This genuine Ancient Greek gold coin has been mounted in a modern 18 Karat white gold pendant with diamonds weighting a total of 0.18 Carats.

Diamond Studded 18 Karat White Gold Pendant Featuring a Gold Stater of Alexander the Great - FJ.7319 Circa: 336 BC to 323 BC

65

66

Both the gold setting and the gold coin date to the Classical Revival period, evoking the ancient style.

Gold Ring Featuring a Gold Coin of Alexander the Great - FJ.7176 Circa: 1700 AD to 1800 AD

67

68

This genuine ancient silver coin of Alexander the Great has been mounted in a modern 18 karat gold necklace set with 24 radiant, fully-cut diamonds and 6 brilliant blue sapphires.

Gold Necklace Featuring a Silver Coin of Alexander the Great - FJ.5228 Circa: 336 BC to 323 BC

69

70

71

The image of one of history’s most celebrated generals, Alexander the Great, graces the front of this coin.

Gold Ring with Silver Drachm of King Alexander the Great - FJ.7138 Circa: 336 BC to 323 BC

72

Mounted in an 18 karat gold ring.

Silver Coin of King Alexander the Great - FJ.5153 Circa: 336 BC to 323 BC

73

74

This genuine Ancient Greek silver coin has been mounted in a modern 18 Karat gold ring.

This genuine Ancient Greek silver coin has been mounted in a modern 18 Karat gold ring. - FJ.7318 Circa: 336 BC to 323 BC

75

76

These Ancient Coins Have Been Set in a Pair Modern 18 Karat Gold Earrings.

Pair of Gold Earrings Featuring Two Silver Coins of King Alexander the Great - FJ.6722 Circa: Pair of Gold Earrings Featuring Two Silver Coins of King Alexander the Great

77

78

Silver Coin of King Alexander the Great of Macedonia - FJ.3359 Circa: 336 BC to 323 BC

79

80

81

All our artefacts are guaranteed to be genuine and a certificate of authenticity is included with each item.

All items are offered for sale.

For Enquiries: info@barakatgallery.eu

Instagram @barakat_london

Facebook @barakatcollection

Pinterest Barakat Gallery

Twitter @Barakat_London

82

London

58 Brook St, Mayfair London, W1K 5DT +44 (0) 20 7493 7778 info@barakatgallery.eu www.barakatgallery.eu

Seoul

58-4, Samcheong-ro, Jongno-gu, Seoul, Korea +82 02 730 1949 barakat@barakat.kr www.barakat.kr

Los Angeles 941 N La Cienega Blvd Los Angeles CA 90069 +1 310 859 8408 contact@barakatgallery.com www.barakatgallery.com