Not currently on display at the V&A

Hercules (formerly known as Pompey the Younger)

Plaque
ca. 1750 - ca. 1800 (made)
Artist/Maker
Place of origin

The head of a beardless youth is depicted in profile facing right with a club behind him, with a Greek inscription, 'Gnaios'. The subject is ultimately derived from an ancient beryl intaglio depicting the young Hercules, which is now in the British Museum (inv. no. 1867, 0507.318). This was often reproduced in the 18th and 19th centuries, in both engravings and in sculpted forms. It is inscribed with the name of the carver, Gnaios, who was later confused with Gnaeus or Cnaeus Pompeius (75-45 BCE), known as Pompey the Younger. For this reason the subject of the gem was thought to be Pompey the Younger, who was himself on occasion confused with his father, known as Pompey the Great, sometimes portrayed as Hercules with his club. It was later realized that the name Gnaios was in fact the signature of the artist, rather than the name of the subject, and that the club did indeed refer to the subject as Hercules. The present ivory seems likely to be based on an engraving, rather than on a gem. It is interesting and puzzling that the vertical format of the gem and of the engraved versions was changed to the more horizontal shape seen here. Possibly this was because it was designed to be set onto a piece of furniture or smaller cabinet. The neo-classical style suggests this ivory was probably made in Italy in the second half of the 18th century. A similar ivory version (though oval in shape0 is in a private collection in Dieppe (December 2017).


Object details

Categories
Object type
TitleHercules (formerly known as Pompey the Younger) (generic title)
Materials and techniques
Ivory
Brief description
Plaque relief, ivory, Hercules (formerly known as Cnaeus Pompey), unknown artist, probably Italy, ca. 1750-1800
Physical description
The head of a classical beardless youth is shown in profile, facing right depicting Hercules. He has short curly hair and is cleanshaven. A club is shown behind him carved in low relief. A Greek inscription underneath.
Dimensions
  • Height: 6cm
  • Width: 8.2cm
Marks and inscriptions
'GNAIOS' [in Greek lettering]
Credit line
Given by Professor J. Hull Grundy and Mrs. Ann Hull Grundy
Object history
Given by Professor J. Hull Grundy and Mrs. Ann Hull Grundy, in 1978.
Subjects depicted
Summary
The head of a beardless youth is depicted in profile facing right with a club behind him, with a Greek inscription, 'Gnaios'. The subject is ultimately derived from an ancient beryl intaglio depicting the young Hercules, which is now in the British Museum (inv. no. 1867, 0507.318). This was often reproduced in the 18th and 19th centuries, in both engravings and in sculpted forms. It is inscribed with the name of the carver, Gnaios, who was later confused with Gnaeus or Cnaeus Pompeius (75-45 BCE), known as Pompey the Younger. For this reason the subject of the gem was thought to be Pompey the Younger, who was himself on occasion confused with his father, known as Pompey the Great, sometimes portrayed as Hercules with his club. It was later realized that the name Gnaios was in fact the signature of the artist, rather than the name of the subject, and that the club did indeed refer to the subject as Hercules. The present ivory seems likely to be based on an engraving, rather than on a gem. It is interesting and puzzling that the vertical format of the gem and of the engraved versions was changed to the more horizontal shape seen here. Possibly this was because it was designed to be set onto a piece of furniture or smaller cabinet. The neo-classical style suggests this ivory was probably made in Italy in the second half of the 18th century. A similar ivory version (though oval in shape0 is in a private collection in Dieppe (December 2017).
Bibliographic references
  • Antonio Francesco Gori, Dactyliotheca Smithiana gemmarum ectypa et Antonii Francisci Gorii ennarationes complectens, Venice, 1767, pl. XXIII K. Lapatin, 'The Getty Gnaios. A Love Story', Journal of the History of Collections, 2021, note 28.
  • Philipp von Stosch, Pierre antiques gravees sur lesquelles les graveurs ont mis leurs nom, Amsterdam, 1724, pl. 23
  • Domenico Augusto Bracci, Commentaria de antquis scalptoribus qui sua nomina inciderunt in gemmis et cammeis:cum pluribus monumentis antiquitatis ineditis statuis, anaglyphis, gemmis, Firenze 1786, pl. XXXIX
  • Zazoff, Peter and Hilde, Gemmensammler und Gemmenforscher, Munich, 1983, pl. 31, fig. 2
  • Trusted, Marjorie, Baroque & Later Ivories, Victoria & Albert Museum, London, 2013, cat. no. 306, pp. 310, 11
Collection
Accession number
A.116-1978

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Record createdJune 24, 2009
Record URL
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