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A ROMAN MARBLE TORSO OF HERCULES
A ROMAN MARBLE TORSO OF HERCULES
A ROMAN MARBLE TORSO OF HERCULES
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THE PROPERTY OF AN IMPORTANT AMERICAN COLLECTION
A ROMAN MARBLE TORSO OF HERCULES

CIRCA 1ST-2ND CENTURY A.D.

Details
A ROMAN MARBLE TORSO OF HERCULES
CIRCA 1ST-2ND CENTURY A.D.
Depicted over-lifesized, the muscular hero superbly modelled, standing in contrapposto, originally supporting his weight primarily on his right leg, the left leg projecting slightly forward and out to his left with the knee bent, his hips thrust slightly to his left, creating a gently curving medial line and slightly compressing his right side, with strong pectorals, the nipples delineated, a well-defined epigastric arch and abdominal muscles, and pronounced iliac crests, wearing the Nemean lionskin over his left shoulder, the lion's head at his hip, with a single paw descending further down his leg, with deep undercutting where the lionskin meets his body, the left arm originally separately made and joined to a deep mortise at the shoulder, preserving two supports along the right side
52 in. (132.1 cm.) high
Provenance
Private Collection, France
with Bruce McAlpine, London
with Galerie Nefer, Zurich, 1993
Private Collection, United States
The Property of an American Private Collector; Christie's, New York, 8 June 2004, lot 64

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Lot Essay

HERAKLES, THE GREATEST GREEK HERO

Herakles (Hercules to the Romans) was the son of Zeus and the mortal Alkmene, the wife of king Amphitryon of Thebes. As his name suggests, his mythology is closely tied with the goddess Hera, Zeus’s wife. When Hera learned of her husband’s infidelity with Alkmene, she set out to plague the child at every stage of his life, beginning with his birth. As Alkmene was about to give birth, Zeus proclaimed that the first male child born on that day would be destined to become a king. Hearing her husband’s boast, Hera rushed to Argos and persuaded the birth goddess Eleithyia to hasten the birth of Nikippe’s child to ensure the distinction would not go to Alkmene’s child. Her son Eurystheus was born first, and would become the ruler of Argos. He would go on to play a major role in the life of the hero. Alkmene meanwhile, fearful of Hera’s rage, abandoned the infant Herakles. The god Hermes rescued the infant and put him to the breast of the sleeping Hera. Herakles was able to drink enough of the divine milk before the goddess awoke and flung him away that his immortality was assured. Thus the child was endowed with divine strength. Intent on Herakles’s destruction, Hera sent two serpents to his crib, but the infant grabbed one in each hand and choked them to death.

As a young man Herakles wandered the countryside armed with a club made from a huge olive tree that he pulled from the ground. On one adventure he encountered the ambassadors from Orchomenos who were on their way to collect the annual tribute of one hundred cattle from the city of Thebes. Herakles cut off their noses and ears and sent them back with these as the tribute. The consequence was that Orchomenos sent an army against Thebes, which Herakles single-handedly defeated, thus freeing the Thebans from their oppressors. Kreon, the King of Thebes, gave his daughter Megara to him in gratitude. The couple lived happily for several years until Hera drove him to madness. In a fit of rage he unwittingly killed his own children. Seeking purification for this horrible deed, Herakles sought the Delphic Oracle, who instructed that after completing a period of servitude to Eurystheus, now king of Mycenae, his father would grant him immortality. The king, fearful of the hero’s strength, sent him on a series of tasks, each ultimately designed to bring about his death.

THE TWELVE LABORS

Despite of the danger of each task, Herakles successfully completed each one. First Eurystheus sent him to kill an enormous lion sent by Hera to ravage the countryside around Nemea. Impervious to weapons, the hero wrestled the beast and used its own claws to flay it. Hereafter he wears the pelt as a cloak, sometimes with the lion’s head positioned over his own, with the paws knotted at his chest.
Next up was the Hydra, another invincible beast, a many-headed serpent that was terrorizing the town of Lerna. Whenever a head was cut off, two others would instantly grow in its place. Hera sent a giant crab to hinder Herakles, which he promptly flung to the heavens. To defeat the Hydra, the hero’s companion Iolaos seared the wounds with burning stakes as soon as Herakles cut off the heads, which ultimately proved successful.
The Third Labor was the capture of the golden-horned deer of Keryneia, who lured hunters in pursuit into the mountains where they would die of exhaustion. Herakles was able to capture the deer alive as it swam across a river.
Next Eurystheus sent him to capture the giant Erymanthian Boar, which was devastating the countryside. Herakles captured it by driving it into deep snow.
The Stymphalian Birds were a nasty flock which preyed on men and fouled the area. Herakles was able to scare them away by making a tremendous noise with a bronze rattle made for him by the god Hephaistos.
Augeias, the King of Elis, kept his cattle in a stable that became so filthy it was causing a pestilence throughout the countryside. Eurystheus commanded Herakles to clean the stables, but he only was allowed one day to complete the task. By changing the course of the rivers Alpheios and Peneios, he was able to flush out the stables within the allotted time.
Herakles was next sent to Thrace, where the cruel King Diomedes would feed unsuspecting visitors to his horses. The hero tricked the King, and fed him to his own horses, and so distracted, he was able to capture the herd. Next up, he was sent to Crete where he captured a mad bull that was ravaging the island.
His Ninth Labor was to capture the belt of the Amazon Queen Hyppolyte, given to her by her father Ares. During the battle, the hero falls in love with her just at the moment that he kills her.
Geryon, the triple-bodied monster on the island of Erytheia far to the west, maintained a herd of cattle famed for their beauty. Herakles dispatched Geryon’s herdsman and his two-headed dog, and then killed the monster with poison-tipped arrows.
The Eleventh Labor concerns the Apples of the Hesperides, which grew in a hidden garden inhabited by three nymphs, the daughters of Hesperos. To find the garden he was directed to Nereus, the old man of the sea, who Herakles forced to reveal the garden's location. The tree that bore the golden fruit was a wedding present to Hera, and it was guarded by a serpent that never closed its eyes. One version of the story has it that the Titan Atlas volunteered to get the apples if Herakles would take his place holding up the earth. Atlas returned with the apples but decided, having experienced his freedom, that Herakles should forever take his place. The hero pretended to agree but asked the Titan to hold the earth for a moment while he fetched a pillow for his shoulders. Herakles of course fled with the apples in hand.
The final Labor was the capture of Kerberos, the triple-headed hound of Hades. For this he had to descend into the Underworld. Without the aid of weapons, as proscribed, he was able to complete the Labor by chaining the beast and dragging it to the world of the living.
Now freed from Eurystheus, Herakles set off on many other works and deeds that were popular subjects among Greek and Roman artists. The most notable of these was a brief stint as crewmember of the Argonaut, his enslavement to the Lydian Queen Omphale, who was said to have coerced him into cross-dressing, and his incidental but important role in the Trojan War, when the poisoned arrows that he bestowed to his friend Philoctetes were retrieved by Odysseus and Diomedes as a pre-requisite for the Greeks' defeating the Trojans. On one adventure Herakles met Deianeira, daughter of King Oineus of Kalydon, who was given to him in marriage. In another fit of rage, the hero killed a servant, and once again he set off, with Deianeira, to purify himself. The two encountered the centaur Nessos standing on the bank of a river. Nessos offered to carry Deianeira across. When the centaur began to violate her, Herakles shot him with one of his poison arrows. The dying Nessos tricked Deianeira into believing that she could bind their love forever as long as Herakles wore a garment stained with his blood. When she later gave him the blood-stained cloak, his body began to burn with an unquenchable fire. The hero built himself a pyre, and finally Zeus sent a cloud to carry his son up to Olympos. (See J.P. Uhlenbrock, Herakles, Passage of the Hero throught 1000 Years of Classical Art, New York, 1986; and J. Boardman, et al., “Herakles,” in Lexicon Iconographicum Mythologiae Classicae, IV, Zurich and Munich, 1988).
A COLOSSAL ROMAN MARBLE TORSO
The splendid torso presented here example is a rare and original depiction of the hero from the Roman period, not known from any other surviving examples in the round but surely based on or inspired by a Greek sculpture of the Late Classical Period. As Boardman informs (p. 792, op. cit.), "The 4th century witnessed the creation of the greatest number of sculptural types of Herakles, many of them copied and adapted in later periods." It likely depicts the hero standing at rest following the completion of the Labors.

Closest to our marble in terms of the treatment of the muscular body is a version of the Albertini Herakles in the Museo Nazionale, Rome (no. 289 in Boardman, op. cit.), but here the lionskin is draped over the left arm rather than the shoulder. This type is known in several surviving versions, and Boardman informs (op. cit., p. 792) that it "can be dated around 385 B.C. It is attested almost simultaneously in South Italy and Attica."

Closer still to our marble is a depiction of a statue of Herakles on an Apulian red-figured column-krater in the Metropolitan Museum of Art (no. 271 in Boardman, op. cit.) where a sculptor attends to the finishing touches by applying color to the lionskin. Here the skin is worn over the shoulder, but the left arm clutches the drapery, the hand emerging. On the vase the hero is extending his right arm, the hand resting on his club, which is supported on a separate plinth. Despite the differences in the treatment of the lionskin, this is likely the original pose of our marble.

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