A ROMAN MARBLE TORSO OF NARCISSUS
PROPERTY FROM A EUROPEAN COLLECTION
A ROMAN MARBLE TORSO OF NARCISSUS

CIRCA 1ST CENTURY B.C.-1ST CENTURY A.D.

細節
A ROMAN MARBLE TORSO OF NARCISSUS
CIRCA 1ST CENTURY B.C.-1ST CENTURY A.D.
The youthful figure standing with his weight on his right leg, the left relaxed and slightly advanced, leaning to his left with his left shoulder raised and his arm lowered, presumably originally resting on a pillar, with a pronounced thrust of the hip to his right, the right arm akimbo, with the hand at the back and resting on his buttock, palm outward, the remains of a strut support on the back of the left thigh
26½ in. (67.3 cm.) high
來源
Mr. and Mrs. Raphael Salem, Cambridge, Massachusetts, 1950s.
Anonymous sale; Sotheby's, London, 4 April 1977, lot 198.
Anonymous sale; Sotheby's, New York, 17 December 1992, lot 71.
with Ariadne Galleries, New York, early 1990s.
出版
G.M.A. Hanfmann, Ancient Art in American Private Collections, Cambridge, 1954, no. 167, pl. XLIX.
展覽
Cambridge, Massachusetts, The Fogg Art Museum, Ancient Art in American Private Collections, 28 Dec 1954 - 15 Feb 1955.

榮譽呈獻

G. Max Bernheimer
G. Max Bernheimer

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拍品專文

Narcissus, the son of the river-god Kephisos and the nymph Leiriope, was prophesied a long life by the seer Teiresias, provided that he did not see himself. The youth was famed for his beauty, and many tried in vain to win his love. One rejected lover asked the gods for revenge, and this was fulfilled by Nemesis. While out hunting, Narcissus came to a spring for a drink, and when he saw his reflection in the water, he instantly fell in love with his own image. Unable to pull himself away, he died, either from exhaustion, unrequited love, or drowning. A narcissus flower grew at the spot where he met his death. See Rafn, "Narkissos" in LIMC.

The sculptural type, thought to be based on a Greek original of the late 5th century B.C. by a follower of Polykleitos, is known from numerous late Hellenistic and Roman copies, including an example at Holkham Hall, Norfolk, no. 171 in Beck, Bol, and Bückling, Polyklet, Der Bildhauer der griechischen Klassik and another in the Metropolitan Museum of Art, New York, in reverse, no. 169 in the same publication. The identification of the type as Narcissus has been questioned by some, but can be confirmed by a carnelian ring stone in Copenhagen (no. 54 in Rafn, op. cit.), which shows the youth standing at ease before a flowing spring, the name-sake flower already sprouting from the ground behind him.