A Marble Torso of the Capitoline Aphrodite, Roman Imperial, circa 1st/2nd Century A.D.

after a late Hellenistic Greek prototype ultimately inspired by the Aphrodite of Knidos, of slender form, standing in a graceful attitude with her weight on the left leg, a tress of her long wavy hair falling over the left shoulder.

acquired from Michel Dumez-Onof, London, June 1982

probably Amsterdams Historich Museum, 1970

Michel Dumez-Onof (Gallery), Ancient Works of Art, London, 1970, no. 2, illus.

Generally good and as shown. Surface repolished. Area below proper right knee repaired from two large and a few small fragments. Pubic area appears to have been restored in marble prior to re-polishing, which might explain how the join could be so well concealed. This opens up interesting possibilities as to what could have broken off from there.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Cf. M.B. Comstock and C.C.Vermeule, Sculpture in Stone, the Greek, Roman and Etruscan Collections in the Museum of Fine Arts Boston, pp. 108-109,no. 166. The authors write that in the “original of the Capitoline type, [the sculptor] Lysippos gave Aphrodite an elaborate topknot which was to be the joy of Hellenistic sculptors, whether they were portraying the goddess standing, crouching at her bath, or in more supine poses. He also put more flesh on the figure, to compensate for which the body was made longer. This suited the new canon of proportions which Lysippos had practiced in his statues of god, heroes, and athletes”.