Lot 19
There is a reserve on this lot... Rome, Imperial period, ca. 2nd century CE. A splendid leaded bronze statuette of Silenus, the aged tutor and companion of the wine god Bacchus, stumbling forth with legs apart and his left leg slightly advanced. An animal hide kilt is knotted at his waist, covering his upper thighs yet splitting at the center to expose his genitalia. Beady eyes gazing forth beneath a wrinkled brow, the corpulent daimon is crowned by a wreath of ivy and berries that rest upon his bald pate as wavy tresses of a beard cascade from his chin, lying atop his bare chest just above a thick, garland necklace. His drunken visage features a broad nose with flared nostrils, sagging cheeks, and open, slack lips. Size: 1.7" L x 2" W x 7" H (4.3 cm x 5.1 cm x 17.8 cm); 9.5" H (24.1 cm) on included custom stand.
Satyrs and silenoi - half-goat, half-man figures known for their revelry - played a crucial role in the mythological retinue of Dionysus, the Greek god of wine (known as Bacchus in Roman mythology). This lively group of intoxicated followers symbolized the god's connection to ritual madness and the ecstatic rites that inspired the development of Greek tragedy in classical Athens. Silenus, a wise mentor and companion to Dionysus, is frequently depicted in art as an elderly satyr with a rotund belly, often riding a goat or donkey to support his drunken stupor. These whimsical portrayals of satyrs became a popular theme in sculpture, particularly from the Hellenistic period through the Roman Empire, reflecting ancient society's fascination with the pleasures and effects of wine.
Bronze statues and statuettes, such as this one, were commonly used to enhance Roman domestic settings, including gardens, where they were appreciated as symbols of luxury. Their placement in private spaces reflects a shift toward art designed for personal enjoyment rather than for public display or state purposes - a trend that became prominent during the late Greek and Roman eras.
Published: Jerome M. Eisenberg, "Art of the Ancient World" Vol. XXIV, 2013, no. 32.
Provenance: ex-Royal Athena Galleries, New York City, New York, USA; ex-London art market, 2011; ex-J.S. collection, Belgium, 1968 - 1972
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#190831
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Condition:
- Separately-cast arms now lost as shown. Chipping to toes on proper left foot and some minor surface wear, but otherwise excellent presentation with impressive remaining detail. Adhered to custom stand.
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