Nero Iulius (Brother of Caligula)  Photo Used with Permisssion of Gregory Sears




Portrait of a girl
Roman, Early Imperial Period, A.D. 15–40

Place of Manufacture: Rome, Lazio, Italy
Height: 22.5 cm (8 7/8 in.)
Marble
This under life-sized portrait, which was made to be fitted into a complete statue, presents a little girl with full cheeks and a small mouth drawn in at the corners. A double row of curls runs above the girl's forehead, a new fashion of the time of Tiberius (emperor A.D. 14-37). A braid also rises from the center of the girl's forehead to the crown of her head, an arrangement seen primarily in portrayals of children.

Her hair is parted in the middle and carried in waves to the sides of the head, covering all but the lobes of the ears. The shorter locks at the front terminate in little curls on either side of the forehead. A braid is laid along the top of the head from forehead to crown. The hair at the back is unfinished.

The base of the neck has been worked for insertion. The end of the nose is broken off, and the right side of the forehead has been slightly injured. Stains or discoloration remain on the face, perhaps from an iron object.

Museum of Fine Arts, Boston  (Educational Guidelines Only)

Nero- Palatine Find


Gaius Caesar

Augustus Prima Porta!!


Claudius- Malta


Claudius - Malta

Portrait of Augustus
Roman, Imperial Period, Julio-Claudian, about mid-1st century A.D.

Height: 54.4 cm (21 7/16 in.)
Diorite or "probably basalt" (according to L. D. Caskey's later studies)

Classification: Sculpture

The tip of the nose has been restored; the edges of the ears are chipped; and the surface is somewhat pitted, cracked, and worn, but not unpleasingly so.
In a a letter to the museum, R. Delbrueck first identified the subject as Augustus, "a replica of the bronze bust in the Vatican Library." This seems to have been accepted by L.D. Caskey in his notes for a revision of the 1925 catalogue. He was never really satisfied with the thought that the portrait might be Caius Caesar (Caligula, A.D. 37-41).
As Mr. Caskey pointed out in his catalogue, the form of the bust is Julio-Claudian. The provenance indicated the piece was very likely in the Rome area in antiquity. Presumably the material was selected to give the portrait the appearance of antiqued bronze. Style gives no indication whether the bust was carved in Egypt and brought to ancient Rome or made in Italy from an imported block of stone, as there is nothing Egyptian about the presentation. The carving is of good, but not exceptional, Julio-Claudian quality, of the type found in funerary portraits of private persons from the Rome area about the middle of the first century A.D. 
Museum of Fine Arts, Boston (Educational Use Only)

Julio-Claudian couple
Roman
Imperial Period, Julio-Claudian
Mid-1st century A.D.
Sardonyx, cameo
Heigth x width: 4.3 x 4.8 cm (1 11/16 x 1 7/8 in.)
30
Museum of Fine Arts, Boston (Educational Use Only)




Statue of Augustus- Berlin- Educational Use Only




Military Statue 1st Century A.D.- Fernbank Exhibition Atlanta, GA. 


Augustus and Livia (Ny Glyptotek Copenhagen)

Julius Caesar



Augustus (Wein)  


Tiberius- Ephesus

Sotheby's Sets New World Record for Sculture at $28.6M

Property from the Albright-Knox Art Gallery, Buffalo, New York. A Bronze Figure of Artemis and the Stag, Late Hellenistic/early Roman Imperial, circa 1st century B.C./1st century A.D. Est. $5/7 million. Sold for $28,600,000. World Record for a Sculpture at Auction. world record for an Antiquity at Auction. Image ©Sotheby’s.

NEW YORK.- Today at Sotheby’s, in a hushed and standing-room only salesroom, auction history was made when an exquisite bronze figure of Artemis and the Stag, circa 1st Century B.C./1st Century A.D., sold for $28,600,000, immediately becoming the most expensive sculpture ever sold at auction. “She deserved it!” said Richard M. Keresey, Worldwide Director of Sotheby’s Antiquities Department. That outstanding price also eclipsed the previous record for an Antiquity at auction and quadrupled the pre-sale high estimate of $7 million. When auctioneer Hugh Hildesley opened the bidding at $4.1 million, two bidders immediately began battling for the masterpiece. It appeared that the sculpture was going to sell for just over $12 million when a new bidder, seated in the rear of the salesroom, entered the contest. The bidding continued for a total of more than 10 minutes, in $100,000 increments, before the masterpiece was sold to Giuseppe Eskenazi, the premiere connoisseur of Chinese Art, who was bidding on behalf of a private European collector. The rare bronze, which had been consigned by the Albright Knox Art Gallery in Buffalo, New York, was included in a sale of Antiquities which brought a total of $47,194,020 (est. $8.3/12.1 million), the highest total ever for an Antiquities sale. “Artemis is certainly the greatest work of art that I have ever sold,” commented Mr. Keresey. “But she is also much more than that. She is among the most beautiful works of art surviving from antiquity.” Following the auction, Mr. Eskenazi commented, “This is certainly one of the finest, if not the finest, bronze or any sculpture that I have seen in my 50-year career. “On the world scale, it is certainly at the top. It is the height of bronze casting; it is of the highest quality, and it is exceptionally refined. It is comparable to any other sculpture of this size and quality in any museum or any private collection anywhere. I am very proud to be associated with it.” Among the very finest large classical bronze sculptures and the most splendid to appear on the market in memory, the rare bronze figure of Artemis and the Stag is remarkable for its beauty, size, excellent state of preservation, and most notably, its dramatic capture of the split-second moment when the Greek goddess of the hunt has just let fly her arrow. The elegant sculptural group features Artemis standing on a quadrangular base with a stag to her left. Wearing elaborately laced sandals and short chiton with drapery billowing at the sides, the goddess’ extended left hand would have held a bow that is now missing. The exquisite detail of this work is apparent in her face: silver-overlaid eyes, incised irises, recessed pupils and her ears pierced for earrings. Artemis and the Stag was the highlight of today’s sale of Antiquities, which was an overwhelming success totalling $47,194,020, the highest total ever for sale in this category. The sale was 97.5 % sold by lot and 99.9% sold by value, with 88.8% of the lots exceeding their high estimate. Other highlights from the afternoon include an Elamite Copper Figure of a Horned Hero, Proto-Literate Period, circa 3000-2800, which commanded $3,176,000 (lot 80, est. $150,000/250,000); a Marble Funerary Portrait Statue of a Roman Poet, Late Republican/Augustan, circa 50 B.C./A.D. 14, which brought $2,056,000 (lot 70, est. $125/175,000); and a Sumerian Alabaster Figure of a Worshipper, Early Dynastic III, circa 2800-2550 B.C., which realized $1,720,000 (lot 81, est. $300/500,000).

Augustus with Cross- Ephesus




Nero

Claudius- Ephesus


Out of two cornucopia sprout four portraits in symmetry: left, the Emperor Claudius and his spouse Agrippina the Younger; opposite them, Germanicus and his wife Agrippina the Elder, the rulers parents-in-law. The year 49 A. D. saw the beginning of Claudius fourth marriage and great hope was being placed in Agrippina the Younger, here represented as Cybele, the goddess of fertility, to provide the drastic change for the better which was so desperately needed after the murder of Messalina. It is possible that the stone is thus an official marriage gift to the imperial couple, for at this point nobody could suspect that the installation of this domineering and scheming woman as Augusta and the adoption of her son Nero as future emperor would have such disastrous consequences for both Claudius and the state. The unknown master carved the representation from the five alternately dark and light layers of the stone with great virtuosity. He achieves an increased transparency of the material by cutting layers that in places are of unparalleled thinness (minimum 2 mm).  (Educational use Only- Kunsthistorisches Museum Vienna



In the upper row, Augustus is posed and dressed as Jupiter and holds a sceptre and augur staff. On his right is Roma, the patroness of the city. Between their heads is a capricorn, the personal constellation of Augustus. To the left of the throne are allegorical figures: Oecumene (the inhabited Earth), Oceanus (the rivers of the world), and Italia with cornucopia and two boys. Next to Roma stands Augustus great nephew, Germanicus, as well as his step-son and successor to the throne, Tiberius, who is shown descending from a war chariot driven by Victoria. The lower scene shows the erection of a victory monument. Surrounding it are Roman soldiers and the defeated barbarians. The whole scene depicts the victory of the Romans over the Dalmatians. In January 6, 10 A. D., Tiberius, the supreme military commander of the Roman troops, entered Rome. As victor he stands before his Emperor. The cameo was first documented in 1246 as part of an inventory of the Cloister Saint Sernin in Toulouse. At the beginning of the 17th century, it came into Habsburg possession through a purchase of Rudolph IIs. The Vienna collection of gems is one of the three most important in the world today; as far as the so-called . (Educational Use Only-Kunsthistorisches Museum Vienna


At the centre of the bowl Triptolemus is conducting a sacrifice, presented to him by children. His gaze is raised to the goddess Ceres, who is sitting to the right above. Below her is the snake-drawn chariot in which the Hero according to Greek mythology brought grain to mankind at the behest of the goddess. The scene is framed by allegorical figures: to the right of the chariot and at the left above are the four seasons (Horae), Caelus looks down from the heavens, and below is the earth goddess Tellus. The central figures were believed to represent members of the imperial house (among them Claudius?). (Educational Use Only)Kunsthistorisches Museum Vienna







Drusus Senior, brother of Emperor Tiberius
Roman
Early Imperial Period, Augustan
about 18 B.C.
Marble, from Mt. Pentelikon near Athens
41 x 17 cm (16 1/8 x 6 11/16 in.)
Museum of Fine Arts, Boston (Educational Guidelines Only)

Germanicus
Roman
Imperial Period, Late Augustan
A.D. 4–14
Sardonyx, cameo
Length: 3 cm ( 1 3/16 in.)
23
Museum of Fine Arts, Boston  (Educational Guidelines Only)



Tiberius
Roman
Early Imperial Period, Julio-Claudian
A.D. 14–37
Layered carnelian, cameo
Height: 2.6 cm (1 in.)
24
Museum of Fine Arts, Boston (Educational Use only)

Montemartini, Julia, Augustus' daughter  (Indianaedu) Educational use only 



Portrait head of the Emperor Augustus, ca. 14–37; Julio-Claudian
Roman
Marble; H. 12 in. (30.5 cm)
Rogers Fund, 1907 (07.286.115) (educational use only)


Claudian Period- (educational Purposes Only)


Julio-Claudians from Tripoli


Augustus- (educational Use Only)
Ara Pacis- Julio Claudians at thier finest- (Indianaedu) Educational use only


Livia- (Educational Use Only)

Vatican, Julio-Claudian child from theatre at Caere (indianaedu) Educational use only.  Look in the backround, veiled portrait of Caligula?





Caligula- (Getty) Educational use only.


Agrippina- (Getty) Educational use only 


Germancius (Educational Purposes Only)


Claudius- (Educational use only)


Caligula- (Educational Use Only)

Caligula Polychromy- (Educational Use Only)



Agrippina Glyptotek- Educational Use Only
 
Olympia, Emperor Claudius (indianaedu) Educational use only

 Nero Iulius is very important for understanding the physigonomy and hairstyle of Caligula.  Also Drusus Iulius and most portraits of them are rare,  This is why the identification of a Caligulan piece in the round are even more difficult to identify, because of familial assimilation with Germanicus, Tiberius and Drusus Iulius and Nero Iulius (Caligula's brothers).  Coinage plays a key role in identification of portraiture in the round because of the legends that are on the coins,  J. Geranio 



Syria, Seleukis and Pieria. Antioch. Gaius Caligula and Agrippina I. 37-41 AD. AR
  Tetradrachm (14.22 gm). Year 2 (37/38 AD). Laureate head of Caligula right / Draped
  bust of Agrippina I right; pellet behind. RPC 4166; BMC Galatia, etc. pg. 171, 164.
  Good Fine, attractively toned, light abrasions on obverse. Rare  As far as I know there are no Alexandrian Tedradrahm's from Eygpt of Gaius.  This coin is quite rare in this condition.  (CNGCOINS)  




signed by "Tullius Romanus, soldier"
found in the substructures of the south front of the domus Tiberiana, the imperial residence on the Palatine
Credits: Rodolfo Lanciani, The Ruins and Excavations of Ancient Rome, 1897, fig. 55, (vroma.org)p. 148 


made for a senior Roman officer; so-called "Sword of Tiberius"; from Mainz
London, British Museum. Credits: Barbara McManus, 1999
Keywords: imperial politics, imperial symbolism (vroma.org)


showing Tiberius ceding military victory in Alpine campaign of 16/15 BCE to Augustus
Augustus is seated on throne in pose of Jupiter; his shield says FELICITAS TIBERI; Tiberius hands him a Victory statuette while Mars Ultor and Victory look on
London, British Museum. Credits: Barbara McManus, 2001
Keywords: imperial politics, imperial symbolism. (vroma.org)


London, British Museum. Credits: Barbara McManus, 2001
Keywords: imperial politics, imperial symbolism. B Mcmanus (vroma.org)



KINGS of THRACE. Rhoemetalkes I & Augustus. 11 BC-12 AD. Æ 23mm (9.18 g). Conjoined heads of Rhoemetalkes and his queen Pythodoris right / Bare head of Augustus right; long-necked vase before. RPC 1712; SNG Copenhagen 1190. VF, green patina.  (Coin used with permission of Joe Geranio)