2nd century A.D. A colossal Roman white marble head section copied from an original Greek Hellenistic model, roughly comprising the left half of the face of a mature male figure, showing naturalistic musculature around his eye and to his cheek, his face with a smooth over-all texture, albeit with a wrinkle at the corner of the eye and to the forehead; modelled with a full beard and shoulder-length hair; mounted on a custom-made display stand. See Aurenhammer, M. (ed.), Sculpture in Roman Asia Minor, Proceedings of the International Conference at Selçuk, 1st-3rd October 2013; D'Andria, F., Romeo, I. (ed.), Roman sculpture in Asia Minor : Proceedings of the International conference to celebrate the 50th anniversary of the Italian excavations at Hierapolis in Phrygia, held on May 24-26, 2007, in Cavallino (Lecce), JRA Supplementary series, 80, Portsmouth, RI: Journal of Roman Archaeology, 2011. 27.6 kg total, 60 cm high including stand (23 5/8 in.). From an old English collection. Ex Vermot and Associates, Paris, France, 2020, lot 32. From an important Paris gallery, France. Ex private Parisian collection. Accompanied by an academic report by Prof. Neritan Ceka. Accompanied by scholarly note TL05455 by Dr Ronald Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.114482-195296. The deepening of the strong scaling in the part under the chin, where the neck should continue, proves that the head was made separately, to be placed on a wooden body, in the form of sculptures called acroliths, where only the head and extremities were worked in marble. At a harmonious ratio of 1:8 between the height of the man's head and the whole body, the original height of the sculpture must have been about 4 meters. The chiselling technique, the detailing of the face and eyes, and the style of drilling of the hair and beard, affirms the portrait to have been copied from a Hellenistic model and realised in the first half of the 2nd century BC. The lack of detail to the eyeball with the line of the cornea and the pupil shows that the artist wanted to honour the Hellenistic original, but the common use of the drill for the deep lines of the chin and hair, place the sculpture in the Antonine period, similar to the colossal sculpture of Jupiter Otricoli in the Museo Pio Clementino at the Vatican.