117 - AN ICONIC AND MONUMENTAL ROMAN LIMESTONE RELIEF OF MEDUSA, THE DEADLY BEAUTY OF ANTIQUITY, SECOND HALF OF THE 2ND CENTURY AD

AN ICONIC AND MONUMENTAL ROMAN LIMESTONE RELIEF OF MEDUSA, THE DEADLY BEAUTY OF ANTIQUITY, SECOND HALF OF THE 2ND CENTURY AD Expert’s note: The extraordinary place occupied by Medusa in the classical mythology is reflected even in her name. While the great Greek gods were absorbed into Roman religion under Latin names – Zeus as Jupiter, Athena as Minerva, and others – Medusa crossed from the Greek into the Roman world essentially unchanged: Greek Medousa became Latin Medusa. Like Herakles, whose name survived in the closely related Latin form Hercules, she belonged to a shared mythological vocabulary that transcended the boundaries between Greece and Rome. Few figures of antiquity achieved an identity so immediate and enduring: the name Medusa, like her terrifying frontal image, required no translation, and only very few images of classical antiquity rival Medusa in their visual power and universal recognition. The Metropolitan Museum of Art devoted an entire exhibition to this remarkable phenomenon, aptly entitled Dangerous Beauty: Medusa in Classical Art. Over the centuries, the terrifying and grotesque Gorgon of early Greek art was transformed into an increasingly human and ultimately beautiful woman, without ever losing her deadly power. The present relief belongs firmly to this later tradition: the monstrous features have given way to an idealized female face, while the uncompromising frontal gaze still confronts the beholder directly. Beauty had replaced monstrosity, but the gaze alone remained a deadly weapon. Expressively carved as the head of Medusa, her rounded face with deeply set eyes beneath heavy brows, a broad nose, and full lips. Thick, disheveled locks frame the face, interspersed with serpents, a pair of wings emerging behind the upper part of the head, the feathers articulated in three rows. Further intertwined snake bodies are visible beneath the chin. A curling acanthus leaf is carved at the lower left beside the head. The relief was conceived as an architectural element, the terrifying image of the Gorgon serving an apotropaic function. Provenance: Found in Lebanon, according to the present inventory record. With Galerie Antike Kunst Socowi, Vienna, Austria. Sold at Kunst- und Antiquitätenmesse Wien (Art and Antiques Fair of Vienna), on 7th June 1992. The collection of Dr. Ewald Nowotny, Vienna, Austria, acquired from the above, collection inventory number A0051. A copy of an inventory record from the Dr. Nowotny collection, dated 1 November 2009, stating that the relief was found in Lebanon and that the acquisition was supervised by Dr. Gilbert Hamamciyan, proprietor of Antike Kunst Socowi, accompanies this lot. Condition: Very good condition, commensurate with age. Fragmentary as preserved, obvious losses, particularly along the outer edges, with old wear and weathering, scattered chips, abrasions, scattered encrustations and deposits. The central facial features and principal sculptural elements are remarkably well preserved. Weight: 69.5 kg Dimensions: Size 70 x 43.5 cm Auction result comparison: Type: Closely related Auction: Sotheby’s London, 3 July 2018, lot 43 Price: GBP 112,500 or approx. EUR 177,500 converted and adjusted for inflation at the time of writing Description: A fragmentary roman marble oscillum, circa 1st century A.D. Expert remark: Compare the closely related high-relief treatment, and head of Medusa emerging from a mass of writhing serpents and deeply carved hair. Note the different marble medium, the surrounding oak-leaf wreath, and the double-sided oscillum format. Note the much smaller size (47 x 45 cm). Auction result comparison: Type: Related Auction: Bonhams London, 6 October 2010, lot 159 Mid-Estimate: GBP 50,000 or approx. EUR 93,000 converted and adjusted for inflation at the time of writing Description: A Roman marble relief fragment, circa 3rd century A.D. Expert remark: Compare the related Roman dating and relief format, as well as the similarly bold, deeply carved treatment of a large head dominating the composition. Note the different marble medium, profile orientation of the head, and more complex figural composition. Note the much smaller size (51.5 x 30 cm) and that only half the head of Medusa has survived. Due to length restriction on Drouot this entry is shortened. For full description please visit www.zacke.at.