A Marble Figure of Apollo, Roman Imperial, probably Hadrianic, circa 130 A.D.

after a Greek original of circa 460 B.C., the god standing in a majestic attitude with his weight on the left leg, his right leg advanced and left arm raised, a strand of hair falling onto his right shoulder, his cloak draped over the support with long deeply carved folds, remains of his boot on the back of the left ankle.

Cardinal Ludovico Ludovisi (1595-1632), Villa Ludovisi, Rome
Don Rodolfo Boncompagni Ludovisi, Villa Ludovisi, at the Villa Borioni against the west wall of the grounds, not far from the Porta Salaria, Rome (to about 1880)
Baron de Somzée, Brussels (Brussels, Collections de Somzée, May 24th, 1904, no. 5)
Swiss Private Collection (Münzen und Medaillen, Basel, auction no. XXII, May 13th, 1961, no. 18, illus.)
Toledo Museum of Art, inv. no. 1961.20, purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey

"Treasures for Toledo," Toledo Museum of Art, Toledo, Ohio, December 1964-January 1965

Inventory of the Villa Ludovisi, January 28th, 1633, fol. 42, no. 198 (Beatrice Palma, in Museo Nazionale Romano. Le Sculture, vol. I,4: I Marmi Ludovisi, storia della collezione, Antonio Giuliano, ed., Rome, 1983, doc. no. 13, p. 77: "Un Apollo grande del naturale ignuda con l'impugnatura dell'arco in mano, un panno al fianco, piedistallo di muro")
Theodor Schreiber, Die Antiken Bildwerke der Villa Ludovisi in Rom, Leipzig, 1880, p. 215, no. 229
Adolf Furtwängler, Sammlung Somzée, Munich, 1897, p. 7, no. 6, pl. VI 
Fritz Muthmann, Hadrianische und antoninische Statuenstützen: Beiträge zur Geschichte der römischen Kopistentätigkeit, Freiburg, 1951, p. 48
Salomon Reinach, Répertoire de la statuaire greque et romaine, vol. II, Paris, 1909, p. 817, no. 7, illus.
"New Accessions," Toledo Museum of Art Museum News, new series, vol. 7, no. 4, Winter 1964, p. 82, illus.
Otto Wittmann, "Treasures at Toledo, Ohio," Apollo, vol. LXXXI, no. 35, January 1965, pp. 28-35, mentioned p. 29
Toledo Museum of Art, A Guide to the Collections, Toledo, 1966, n. p., illus.
Beatrice Palma, in Museo Nazionale Romano. Le Sculture, vol. I,6: I Marmi Ludovisi dispersi, Antonio Giuliano, ed., Rome, 1983, p. 60, no. II,24
Sandra E. Knudsen, et al., "Analysis of Classical Marble Sculptures in the Toledo Museum of Art," in Interdisciplinary Studies on Ancient Stone, London, 2002, p. 232, 234-235, 239, no. 3, fig. 4.

As shown. Surface weathered overall with multiple scratches and superficial chips. Proper left leg repaired under knee and across ankle. Support reattached, with multiple losses to drapery, visible in photograph. Front of top of drapery on support, including the fibula, reattached. All extremities once restored in marble.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present figure is first recorded in the inventory of the collection of Cardinal Ludovico Ludovisi dated January 28th, 1633. It is somewhat difficult to match this figure definitively with the generically described sculpture in the 1633 Ludovisi inventory, but it is almost certainly the figure of Apollo listed in the Bosco delle statue and described as holding a bow grip, a modern restoration. Adolf Furtwängler recorded the figure in 1877 and noted that the restored head had been made after the Apollo Belvedere. All of the modern restorations were removed by Baron de Somzée, who acquired this figure shortly thereafter among a larger group of sculpture from the Ludovisi collection (Palma, op. cit., 1983, vol. I,6, pp. 60-84, nos. II,25-40). Several of the best sculptures from this group were acquired by the Musées royaux d'Art et d'Histoire (J.-C. Balty, Sculpture Antique, vol. I, Brussels, 1990).

The style of the drapery, the soft finish of this figure, and the type of support are consistent with sculpture made under the reign of the emperor Hadrian (for similar supports see Muthmann, op. cit., 1951). Furtwängler posits that it is of the same type as the Delphi Antinous, now preserved at the Delphi Archaeological Museum (Manolis Andronicos et al., The Greek Museums, Athens, 1977, pp. 158, 178-179, no. 26, illus.); that type, however, does not feature locks of hair falling over the shoulders, as in the present example, and the Antinous is of a stockier, more athletic build. The scholarly entry written for Münzen und Medaillen's 1961 sale catalogue compares the proportions to those of the Stephanos Athlete at the Villa Albani (http://arachne.uni-koeln.de/item/objekt/27538; A. Linfert, in Forschungen zur Villa Albani. Katalog der antiken Bildwerke I, P.C Bol et al., eds., Berlin, 1988, pp. 89-93, no. 20, pls. 29-33) and of the Tiber Apollo at the Palazzo Massimo alle Terme (inv. no. 608; http://arachne.uni-koeln.de/item/objekt/16690). More recent scholarship identifies the present figure most closely with the Tiber Apollo (Palma, op. cit., and Knudsen, op. cit.).