FRENCH, LATE 18TH/ EARLY 19TH CENTURYAFTER THE ANTIQUE | Bust of Antinous

Overall the condition of the bust is very good with minor dirt and wear to the surface consistent with age. There are two small filled inclusions or restored chips at the top of the nose; a further one to the upper edge of the top lip; and another to the proper right eyeball. There are a few very minor chips, including to the edges of the eyelids. There are minor chips and abrasions including to the edges of the bust. There are minor surface scratches including to the chest and upper back. There are possible areas of natural inclusions to the chest where the surface has slight texture. There is natural veining to the marble consistent with the material. The socle may be associated or cleaned. The column is in good condition with minor dirt and wear. There is a small area of restoration to the upper edge. There are chips and abrasions in particular at the edges of the white marble base. A corner of the white marble base is lost and the underside of another corner is lost. Dirt residues to the surface.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Antinous was the male lover of the Roman Emperor Hadrian (AD 76-138). Celebrated throughout history for his good looks, Antinous has subsequently become a symbol of same sex love. This superbly carved marble bust combines the allure of the biographical portrait with an idealised classical representation of male beauty in the form of Antinous. Its remarkable presence is only enhanced by the tragic story of the Hadrian’s intense love for his favourite who mysteriously drowned in the Nile in AD 130, plunging the Emperor into prolonged mourning.

In the Roman world the concept of homosexuality was different to how it is understood today. Same sex love found its precedent in Greek culture, in which relations between a younger and older man were seen as a valuable experience, almost a rite of passage. Such relationships had strict parameters however, with the older man assuming the role of the erastes (active partner) and the younger man the eromenos (passive partner). Upon reaching adulthood, the relationship would cease and any diversion from the norm was taboo.

In Rome, there was no clear distinction between heterosexual and homosexual love. The crucial point was that the Roman man must be dominant. The relationship between Hadrian and Antinous, the Grecian youth from the city of Bythinion-Claudiopolis in modern Turkey, must be viewed within this context. Relatively little is known about Antinous’ life, aside from the fact that Hadrian toured Asia Minor in AD 123 and may have been introduced to the youth at that time. Antinous was in Hadrian’s retinue by AD 130 and is recorded in a poem by the Alexandrian Greek Pankrates who describes the Emperor’s vanquishing of the Marousian Lion in the Libyan desert.

Shortly after this event, Antinous tragically drowned in the Nile in mysterious circumstances. Many theories have surrounded his death, including forced suicide by jealous courtiers and ritual sacrifice, though Hadrian maintained it was an accident. Whatever the explanation behind his death, at 19 Antinous was becoming a man, and so his relationship with the Emperor was untenable. The effect of Antinous’ death was profound, Hadrian established a city in Egypt, Antinoopolis, in honour of the youth, and even encouraged his veneration as a god.



The present bust compares closely with another, of comparable dimensions, in the Louvre (inv. no. MA 1086), catalogued as French, 18th century. The superbly carved and drilled hair in the present marble, with voluminous projecting curls, is particularly close to the Louvre bust. The comparison substantiates a dating to the 18th-century. The Louvre bust is believed to have been carved after a Roman marble in the Prado (inv. no. E00060). The model follows a type, of which the exemplar is arguably the statue of Antinous found at Delphi (Delphi Museum inv. no. 1718); the majority of the Roman marbles are believed to date to circa AD 130-132. The present rare bust of Antinous is in excellent condition, with a beautifully carved and polished surface.