FREDERIK VAN VALCKENBORCH (ANTWERP 1566-1623 NUREMBERG)
FREDERIK VAN VALCKENBORCH (ANTWERP 1566-1623 NUREMBERG)
FREDERIK VAN VALCKENBORCH (ANTWERP 1566-1623 NUREMBERG)
A ROMAN MARBLE BUST OF ALEXANDER HELIOS
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A ROMAN MARBLE BUST OF ALEXANDER HELIOS

CIRCA 1ST CENTURY A.D.

Details
A ROMAN MARBLE BUST OF ALEXANDER HELIOS
CIRCA 1ST CENTURY A.D.
25 ¼ in. (64.2 cm.) high
Provenance
with art dealer Capponi, Rome, prior to 1897.
Private collection, Switzerland, acquired in the 1950s.
Art market, Paris.
Anonymous sale, Christie’s, London, 7 October 2010, lot 151.
Acquired by the present owner from the above, 2010.
Literature
P. Arndt and W. Amelung, Photographische Einzelaufnahmen antiker Sculpturen, Serie III, Munich, 1897, p. 37, no. 811.
Th. Schreiber, Studien über das Bildnis Alexanders des Grossen, Leipzig, 1903, pp. 149 and 162, no. V, fig. 17.
J. J. Bernoulli, Die erhaltenen Darstellungen Alexanders des Grossen; Ein Nachtrag zur griechischen Ikonographie, Munich, 1905, p. 72, no. 4.
H. P. L'Orange, Apotheosis in Ancient Portraiture, Oslo, 1947, p. 135, fn. 68.
K. Schauenburg, Helios: archäologisch-mythologische Studien über den antiken Sonnengott, Berlin, 1955, p. 62, no. 215.
D. Svenson, Darstellungen hellenistischer Könige mit Götterattributen, Frankfurt, 1995, p. 20.
J. Pollini, 'Roman Marble Sculpture', in M. Merrony (ed.), Mougins Museum of Classical Art, Mougins, 2011, p. 79, fig. 12.
V. Bougault, 'L'Antiquité au gout du jour', Connaissance des arts, July/August 2012, p. 112.
Les Étoiles de Mougins, January-March 2013, p. 8.
Mougins Info, February 2013, ill. front cover.
La Marche de l'Histoire, no. 4, February 2013, p. 20.
Egypte Ancienne, no. 8, May-July 2013, p. 69.
S. Davis, 'Museum Watch', France Today, November 2013, p. 15.
Ancient Warfare, vol. VI, issue 5, 2013, p. 8.
France Today, vol. 29, no. 4, June/July 2014, pp. 63 and 65.
'Musée d’Art Classique de Mougins Launches Virtual Interactive Museum – MACM 4D', 18 October 2016, blooloop.com.
'Mougins: l'Antiquité, c'est tous près', Nice Matin, 9 May 2018.
France Today, vol. 34, no. 3, April/May 2019, p. 44.
'Collecting stories: Christian Levett', 30 September 2019, christies.com (online).
R. Leung, 'From 4th-Century Greek Vases to Female Abstract Expressionism', larryslist.com (online).
Exhibited
Musée d'Art Classique de Mougins, 2011 - 2023 (Inv. no. MMoCA580).
Sale room notice
Please note that the provenance for this lot should read:
with art dealer Capponi, Rome, prior to 1897.
Baron Kuhlmann-Stumm collection at Schloss Ramholz, Germany.
Koller, Zurich, 3 December 2009, lot 1024.
Art market, Paris, acquired from the above.
Anonymous sale, Christie’s, London, 7 October 2010, lot 151.
Acquired by the present owner from the above, 2010.

Please note this lot will no longer be going to off-site storage post-sale.

Brought to you by

Claudio Corsi
Claudio Corsi Specialist, Head of Department

Lot Essay


The conqueror is here represented in his divinised form as the god Helios, with youthful face framed by thick wavy hair, with seven recesses over the top of the head for the insertion of bronze rays, wearing a chlamys fastened with a circular brooch at the shoulders, with three ears of wheat at the base of the bust.

Alexander the Great remains one of the most renowned ancient rulers, reigning over Macedonia from 336 B.C. His father, Philip II, is credited with Macedon’s rise to power, eventually conquering and unifying the entirety of Greece. The young Alexander acquired his father’s military prowess, and was tutored by Aristotle. He innately developed into a charismatic, discerning, and formidable leader. Upon Philip II’s assassination, Alexander secured his succession, and went about overseeing his father’s unfulfilled plans to conquer the Persian empire. His reign was primarily occupied by a stream of campaigns and victories in Persia, including over Egypt, where he founded the city of Alexandria in his name. Alexander’s expansive empire was heavily influenced by Greek culture, heralding the Hellenistic period, which continued until the emergence of the Roman Empire. Following his death in 323 B.C., Alexander’s biography and conquests took on a mythical quality. He was greatly admired by emperors and generals of Imperial Rome, and his image remained popular.

This bust is instantly identifiable by the leonine hair, centrally swept into the anastole. The crown of his head is encircled with seven drilled holes, into which now-missing bronze rays would have been inserted. The radiate crown is the defining attribute of the Greek sun-God Helios, who rode his chariot across the sky each day from east to west. Alexander was often depicted in the guise of Helios, and their images became increasingly conflated. The inclusion of three ears of wheat on this bust is unusual, and it has been suggested that they relate to the sun's promotion of agricultural growth (P. Arndt and W. Amelung, Photographische Einzelaufnahmen antiker Sculpturen, Serie III, Munich, 1897, p. 37, no. 811.). For a similar example, see the head of Alexander Helios in the Musei Capitolini (Inv. No. MC732).

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