Naples, Museo Archeologico Nazional, Inv. N° 6030, exhibited in Hall VIII. Exact origin unknown. Called the "Antinous Farnese," after the name of its first owner. «Un corps plus que nu, désarmé, d'une fraîcheur fragile de narcisse» (Marguerite Yourcenar, 1951)
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Naples, Museo Archeologico Nazionale, Inv. N° 6314, displayed in Room XXIX.Antinoos als Bacchus. Traced in the Farnese collection since 1644 and undisputed portrait of Antinous for a long time. However, since the end of the 19th century, the authenticity of the head has been questioned from time to time, and therefore the identity as Antinous. «Die Arbeit ist recht gut» (Lorents Dietrichson, 1884) «Il lavoro non ha molto preggio» (Arnold Ruesch, 1908)

Naples, Royal Palace of Capodimonte, Inv. N° AM 10512, exhibited. Renaissance bronze bust of Antinous by Guglielmo della Porta, formerly Collection Farnese.
New York

New York, Metropolitan Museum of Art, Inv. No. 1996.401, exhibited. Marble head. Unknown provenance. Presented in 1996 by Bronson Pinchot.

New York, The Metropolitan Museum of Art; Inv. N.: L.2007.2. Anonymous loan, exhibited in the Leon Levy and Shelby White Court. The fine head is almost certainly from a monumental statue. Characteristically, the head is turned slightly to the left and gazes downwards, his tousled hair hanging long in the back.

Olympia, Museum, Inv. Lambda 104 and 208, exhibited in Hall IX. Found piece-meal, mostly between 1879 and 1939 in Olympia. «The dreamily expressive face» (Athanasia Yalouris, 1994)


Padua, Museo del Liviano. From the Grimani collection.


Paris, Musée du Louvre, Inv. n° MA 238. Antinous as Dionysos, wearing an ivy crown. Grey marble, broken at the neck, but both parts are pertaining to the same portrait; the nose has been completed. Not exposed.

Paris, Musée du Louvre. Inv. N° MA433, not on exhibit.

Paris, Musée du Louvre. Inv. N° Ma 578. Statue of Antinous as Aristeos. Already ascertained in Rome at the beginning of the 17th century. Acquired in 1633 by the Cardinal of Richelieu [1585-1642] along with several other antiques, and displayed in the park of castle of Richelieu. The whole domain having been confiscated in 1792 by the French revolutionary government and the collections inventoried in 1800, this statue has been transported to Paris in 1801. Exhibited in the Louvre nearly continuously since 1802. «Cette statue d’Antinoüs est un chef d'œuvre depuis longtemps célèbre» (Théodore Pelloquet, alias Frédéric Bernard, 1856)

Paris, Musée du Louvre, Inv. N° Ma 1082, not on exhibit. Origin unknown. Traditionally called the "Ecouen Antinous," after the Ecouen Palace (north of Paris), where this bust stood until 1802.
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Paris, Musée du Louvre, Inv. N° Ma 1205, since 2004 exhibited in the “Salle du Manège”. Found near Frascati (Italy), approximately 1720. Called the "Antinous Mondragone," after the Villa Mondragone near Frascati, where this head was first exhibited.

Paris, Musée du Louvre, Inv. N° Ma 2243, on exhibit. The head is antique but does not belong to the statue. The statue, representing Hercules, is said to come from the Villa Hadriana ; the provenance of the head set on the statue is less certain. Confiscated in 1799 by the French from the Braschi collection, the statue was continuously exhibired in the Louvre until the late 1930’s. It then disappears in the reserves until 2004. «Une statue d’Antinoüs qui réuniroit la grâce voluptueuse de ses traits, le moelleux de ses contours à la vigueur et à la fermeté des formes d’Hercule, et qui seroit armée de la massue et de la peau de lion, deviendroit un monument très-précieux. Malheureusement il n’est guère possible de regarder comme une statue d’Antinoüs en Hercule jeune celle du Musée Royal, connue sous ce nom.» (Henri Laurent, Ennio-Quirino Visconti, 1816)

Paris, Musée du Louvre, Inv. N° Ma 1781, exhibited in the “Corridor Daru”. Found in Cyrene (Libya) in 1852. Not immediately recognized as Antinous, this statue is nowadays generally admitted as such. «La bouche trop molle, le nez un peu court, l’absence d’appel à la sculpture classique gênent l’identification avec les effigies les plus connues du jeune Bithynien» (Kate de Kersauzon, 1996)

Paris, Musée du Louvre, not on exhibit.Two fragments of a head of Antinous restored to form a bas-relief.

Paris, Louvre Museum. Much restored statuette (1,19 m high). The torso, being the sole antique part, has been supplemented by limbs and a head to reproduce the Capitoline Antinous. No longer exhibited. «Le torse est d’un travail très délicat» (Pierre Bouillon, 1827)

Paris, Cabinet des médailles de la Bibliothèque nationale de France. Attis wearing the Phrygian cup, Parian marble bust, 2nd century CE (Antinous?)

Petworth (Great Britain)

Petworth, Museum, exhibited since its acquisition in Rome in 1760. Antinous head on modern bust. «Calmer and less gloomy than he is usually depicted» (Adolf Michaelis, 1882)


Pisa, Muso dell'Opera del Duomo. Head of Antinous transformed into a portrait of a bearded saint by Nanni di Banco, florentine sculptor ( ca. 1375 -1421).

Port Sunlight (Great Britain)

Port Sunlight, Lady Lever Art Gallery, Inv. No. LLAG 14, exhibited nowadays in the middle of the North Rotunda. Found near Rome ca. 1794. Pietro Pierantoni restored arbitrarily its two forearms to give it the attributes of Ganymede, cupbearer of Zeus. Bought in 1796 by Thomas Hope (1769-1831). By descent, the statue reached Lord Francis Hope, who had it auctioned in 1917. It was then acquired by William Lever (1851-1925) for his newly-built gallery in Port Sunlight. «Très-belle statue, d'un dessin élégant, d'une bonne exécution, enfin très-bien modelée» (Frédéric de Clarac, 1851)

Pozzuoli (Italy)

Pozzuoli. The head was kept in the Antiquarium of Pozzuoli, which was severely damaged by the subsidence of the ground of the 2nd of March, 1970. This head, and other pieces from Pozzuoli, are now preserved in the National Archaeological Museum of Naples. «Un senso di estremo equilibrio compositivo» (Alfonso de Franciscis, 1963)
Rio de Janeiro

Rio de Janeiro, Museu Nacional de Belas Artes. Inv.Nº 3003, displayed in the room dedicated to the European Archaeology. Bust of Antinous as Bacchus, work of a roman sculptor in Paros marble, 50 x 58 x 25 cm. Found in 1878 during excavations conducted at the request of Teresa Cristina of Bourbon-Two Sicilies, Empress of Brazil, in her properties of Veio, near Rome. Presented by the Empress on the 20th July 1880 to the Imperial Academy of Fine Arts precursor of the National Museum of Fine Arts (MNBA). Restored twice, first in Rome at the Academy of San Lucca, later in Brazil by the sculptor Paulo Formaggini.