CIRCA 2ND CENTURY A.D.

The young satyr is depicted with pointed ears, unruly curly hair crowned with a large garland of pine and a typical mischievous smile. His head is turned to his right and he gazes slightly down. The type is likely based on a Greek original of the 4th or 3rd century B.C. traditionally associated with the work of Praxiteles, Skopas or Lysippos, depicting a standing Pan playing the flute with his legs crossed (see p. 80 in B.S. Ridgeway, Hellenistic Sculpture I). E. Künzl argues (pp. 35-37 in “Eine antike Tonform aus Mogontiacum/Mainz,” Rivista di archeologia 9, 1985) that the type is attributed to an unknown master dated to the late 4th century B.C. and was often transformed into a satyr through the omission of horns, as seen here. The theme of a young satyr playing the flute was popular throughout the Roman era as attested by the number of extant copies. For a closely related full figure in the Louvre, see no. 216 in E. Simon, “Silenoi,” LIMC, vol. VIII. For a seated satyr playing the flute in Cambridge, see no. 83 in L. Budde and R. Nicholls, A Catalogue of the Greek and Roman Sculpture in the Fitzwilliam Museum Cambridge.
This satyr originally formed part of the collection of Edouard Sarasin (1843-1917). Sarasin was a scientist who worked alongside Thomas Tommasina to study radio wave activity, building on the theories previously explored by Heinrich Hertz and James Clerk Maxwell. Sarasin later served as the mayor of Le Grand-Saconnex and was also a member of the Geneva parliament.