Roman Marble Head of Apollo

A larger-than-life-size head belonged to a monumental marble statue of a youthful Apollo. The figure could have been fully draped in a long chiton and himation, or portrayed with a naked, athletic physique. Most likely, the god was depicted holding a kithara, though another possible attribute could have been a quiver. The head and neck are positioned straight, without any movement, and the facial expression is both solemn and benevolent. The face has an ideal oval shape, gently narrowing toward the chin, with symmetrical and well-proportioned features. Notable characteristics of the face include large, almond-shaped eyes and a delicate mouth with full lips, as well as the smooth, clear surfaces of the forehead and cheeks.
The complex hairstyle is notable: the long hair is parted in the middle above the forehead, the wavy locks on the sides, separated by deeply drilled grooves, cover the ears. The hair is pulled back and gathered at the nape in a broad mass that cascades down the neck. In Greek sculpture and painting of the Classical period, long, wavy hair parted in the middle and arranged in long strands on either side—often gathered into a bun at the nape, with corkscrew-like locks falling onto the shoulders—was a distinctive feature in the representations of deities and their priests, both male and female. Variants of this style include more intricate arrangements, such as the braids encircling the head of youthful Apollo in the statue of the Kassel type (the original of the mid-5th century B.C. attributed to Pheidias or Kalamis). Such hairstyles were later adopted for depictions of Roman gods. The hair of the Tiber Apollo, a marble statue from the Hadrianic-Antonine period (probably based on an earlier Augustan model), shares a similar complex structure.
Following his victory at Actium in 31 B.C., Augustus dedicated a temple to Apollo on the Palatine Hill in Rome to honor his patron god. The statue of Apollo by the 4th-century B.C. sculptor Skopas, along with statues of Leto and Artemis, stood within this temple. Another statue of the god was erected in front of the temple.
According to its depiction on the denarius of C. Antistius Vetus, struck in 16 B.C., the figure of Apollo was laureate, draped in a long chiton, holding a kithara, and performing a sacrifice over a garlanded altar. Excavations in the area of the Palatine temple uncovered several fragments of a colossal marble statue of the god. Notably, the side wavy strands of hair preserved on a severely damaged head (height: 44 cm) illustrate the arrangement typical of the Greek 5th century B.C. style.
The monumental head in question, created in the Roman Classicizing style, was undoubtedly part of an important cult statue. This is also supported by the band encircling the head, which has holes drilled to accommodate a metallic wreath of laurel leaves and berries—another attribute of Apollo. Possibly made of gold, this wreath would have been a valuable offering in the sanctuary of the god.

Surface weathered, encrustations; a few chips and dents; chin and eyebrows damaged; tip of nose broken off and restored.

Ex- K. J. Hewett (1919-1994), London; ex- Agatha (1924-2015) and Charles (1919-2003) Sadler, London, 1965-1968; Sotheby’s, London, 31 October 2003, lot 51; ex- private collection, California; Christie’s, New York, 4 June 2015,lot 84; Prestigious US private collection, New York

Sotheby’s, London, 31 October 2003, lot 51;
Christie’s, New York, 4 June 2015,lot 84

Scottsdale Art Week, Arizona, March 2025;
San Francisco Fall Show, California, November 2025

BOARDMAN J., Greek Sculpture: The Classical Period, London, 1992.
GIULIANO A. et al., Museo Nazionale Romano, Le sculture I, 1, Rome, 1979, pp. 208-213, no. 130. RIDGWAY B. S., Fifth Century Styles in Greek Sculpture, Princeton, 1981, pp. 184-185, 238.