A ROMAN MARBLE PORTRAIT HEAD OF HERMARCHOS
A ROMAN MARBLE PORTRAIT HEAD OF HERMARCHOS
A ROMAN MARBLE PORTRAIT HEAD OF HERMARCHOS
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A ROMAN MARBLE PORTRAIT HEAD OF HERMARCHOS
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A ROMAN MARBLE PORTRAIT HEAD OF HERMARCHOS

CIRCA 1ST CENTURY B.C./A.D.

Details
A ROMAN MARBLE PORTRAIT HEAD OF HERMARCHOS
CIRCA 1ST CENTURY B.C./A.D.
15 1/2 in. (39.3 cm.) high
Provenance
Josef Mueller (1887-1977) collection, Solothurn, acquired prior to 1942.
Literature
G. Richter, The Portraits of the Greeks, Vol. 2, London, 1965, p. 205, no. 20, figs. 1316-1318.
H. Jucker, Kunst der Antike aus Privatbesitz Bern, Biel, Solothurn, Zentralbibliothek, 1967, p. 87, no. 228.
V. Kruse-Berdoldt, Kopienkritische Untersuchungen zu den Porträts des Epikur, Metrodor und Hermarch, Göttingen, 1975, p. 93.
H. Jucker and D. Willers, Gesichter. Griechische und römische Bildnisse aus Schweizer Besitz, exhibition catalogue, Bern, 1982, pp. 42-43, no. 13.
J-L. Zimmermann, Ancient Art from the Barbier-Mueller Museum, New York, 1991, p. 115, no. 39.
B. Zimmermann, Greek Tragedy: an Introduction, Baltimore and London, 1991, p. 115.
Musée Barbier-Mueller & Hazan (ed.), Le profane et le divin, arts de l’Antiquité. Fleurons du musée Barbier-Mueller, 2008, p. 372 (Inv. 204-21).
Exhibited
Bern, Bernischen Historischen Museum, Gesichter, griechische und römische Bildnisse aus Schweizer Besitz, 6 November 1982 - 6 February 1983.
Special notice
This lot has been imported from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

Brought to you by

Claudio Corsi
Claudio Corsi Specialist, Head of Department

Lot Essay

Hermarchos (circa 340- after 270 B.C.) of Mytilene was an Epicurean philosopher who came from a poor family. He most likely met Epicurus (342-270 B.C.) when the philosopher opened his school at Mytilene in circa 310 B.C. and Hermarchos became his pupil. Hermarchos later followed Epicurus to Athens and remained his close friend for around 40 years. After the death of his teacher, Hermarchos became his successor and took over the running of the school, taking on the title of headmaster and representative of the doctrine, as directed in Epicurus' will.

Epicureanism argued that pleasure was the central good in life. T. O'Keefe, in Epicureanism, 2010, pp. 107–115, explains that consequently, Epicurus advocated living in such a way as to derive the greatest amount of pleasure possible during one's lifetime, yet doing so moderately in order to avoid the problems incurred by overindulgence in such pleasure. Emphasis was placed on pleasures of the mind rather than on the physical. Unnecessary and artificially produced desires were to be suppressed. Since the political life could give rise to desires that could disturb virtue and one's peace of mind, such as a lust for power or a desire for fame, participation in politics was discouraged. All of Hermarchos' works are lost, except for a fragment, probably from his work Against Empedocles, from which we can infer that his works followed the same principles of Epicurus and were of a critical nature. In Seneca, Epistulae morales ad Lucilium., 52.4, Epicurus labels Hermarchos among those who do not strive for the truth out of their own initiative, but reach it with the help of others.

The identification of a portrait type of Hermarchos is secured by a small, inscribed bronze bust from Herculaneum, now in the National Museum, Naples, inv. no. 5466. Portraits of the philosopher show a distinct individuality. He is usually depicted with a long face, a full beard, short hair combed to the left, narrow set, slightly asymmetrical eyes, and a small, parted mouth, as with this example. This head likely comes from a seated portrait, assured by the one in the Museo Archeologico, Florence, inv. no. 70989, where he is shown with his right forearm raised, the left hand placed on his lap and the right leg in front of the other. The physiognomy in all the portraits of this type is consistent - of a man of about forty years of age with an attentive and sensitive expression. As G.M.A. Richter notes in The Portraits of the Greeks, 1984, p. 131, he has a rather bland expression - not a great personality like Epicurus, and not as serene as Metrodoros, but intelligent and inquisitive.

Solothurn-born Josef Mueller (1887-1977) was one of the most voracious and passionate collectors of his time. Aided by his impeccable taste and extraordinary eye, during his life he created an astonishing collection of Modern art, including artists like Cézanne, Matisse, Renoir, Picasso and Braques. Already in the 1920s he was part of a small group of connoisseurs who understood the importance of African art and started collecting it. His collection became the core of the Barbier-Mueller Museum in Geneva, which opened in May 1977, just three months after his death, thanks to the efforts of two other outstanding collectors, his daughter and his son-in-law: Monique and Jean Paul Barbier-Mueller.

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