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拍品專文
Juno is depicted standing on an oval integral plinth with her right leg turned outward and bent at the knee. Her right arm is lowered, and her left is extended outward, likely once bent up at the elbow to hold a staff. She wears a high-belted tunic with buttoned sleeves, the belt knotted below her breasts. Over the tunic is a heavy mantle draped over her left shoulder and wrapped around her waist and legs, with the edges pulled up over the back of her head as a veil and with a thick diagonal gathering of folds across her hips. On her head, surmounting her wavy, center-parted hair, is a high crescentic stephane. She has unarticulated eyes with thick upper lids beneath angular brows that merge with the sides of her slender nose. The full, voluptuous lips are slightly parted.
This Roman version of Juno is likely based on a Hellenistic prototype. For a related example, referred to as the Chiaramonti type, see the marble in the Vatican Museums, no. 133 in A. Kossatz-Deissmann, “Hera,” LIMC, vol. IV, and another, also in the Vatican, no. 210 in E. La Rocca, “Iuno,” LIMC, vol. V.
Vincent (1886-1967) and Olga (1906-2000) Diniacopoulos were dealers, restorers and collectors whose influence reached across three continents during the mid 20th century. As N. Blumer notes (p. 12 in Finding Home: The Diniacopoulos Family and Collection), “Vincent and Olga Diniacopoulos set up multiple homes throughout their lives while also remaining on the move, travelling the world over and seeming to cross time periods to search for, assess, buy, and sell artefacts.” Vincent (born Vikentios) was an ethnic Greek who was born and raised in Constantinople. After the fall of the Ottoman Empire, Vincent emigrated to Cairo in the 1920s where he met Olga Nicolas, a member of the Egyptian Greek community. Together they ran an art gallery in the south of France and then later settled in Montreal in 1951, although they continued to make frequent trips back to Europe and the Middle East. This marble was photographed by Arakel Artinian (1892-1979) of the Venus Photo Studio in Cairo, likely prior to 1951. It was then purchased by Khalil Rabenou from the Diniacopouloses (operating under the name Monsieur et Madame D. Vincent) in 1958.
This Roman version of Juno is likely based on a Hellenistic prototype. For a related example, referred to as the Chiaramonti type, see the marble in the Vatican Museums, no. 133 in A. Kossatz-Deissmann, “Hera,” LIMC, vol. IV, and another, also in the Vatican, no. 210 in E. La Rocca, “Iuno,” LIMC, vol. V.
Vincent (1886-1967) and Olga (1906-2000) Diniacopoulos were dealers, restorers and collectors whose influence reached across three continents during the mid 20th century. As N. Blumer notes (p. 12 in Finding Home: The Diniacopoulos Family and Collection), “Vincent and Olga Diniacopoulos set up multiple homes throughout their lives while also remaining on the move, travelling the world over and seeming to cross time periods to search for, assess, buy, and sell artefacts.” Vincent (born Vikentios) was an ethnic Greek who was born and raised in Constantinople. After the fall of the Ottoman Empire, Vincent emigrated to Cairo in the 1920s where he met Olga Nicolas, a member of the Egyptian Greek community. Together they ran an art gallery in the south of France and then later settled in Montreal in 1951, although they continued to make frequent trips back to Europe and the Middle East. This marble was photographed by Arakel Artinian (1892-1979) of the Venus Photo Studio in Cairo, likely prior to 1951. It was then purchased by Khalil Rabenou from the Diniacopouloses (operating under the name Monsieur et Madame D. Vincent) in 1958.