STATUE OF APOLLO LYKEIOS White marble. Restoration to the back, at the level of the right arm and cleaning of the entire surface of the marble. Then repatination. H. 44.5 cm (without base) Base Kichizō Inagaki (1876-1951) Roman art, 2nd century Provenance Former Armand Trampitsch collection (1890-1970) Then by descent to Madame Trampitsch French private collection, Paris, acquired 07/02/2002 (purchase document) Restoration report by Maison André, Paris, 27/04/2004 Representation of Apollo according to the so-called "Lykeios" type, inspired by the famous original attributed to Praxiteles in the 4th century BC. The divinity is depicted as a naked young man, standing in a relaxed posture with his right hand resting on the top of his head (now missing), while his other arm (also missing) rested on a support (now missing). This elegant, slightly curved pose embodies youthful grace and post-combat repose, themes associated with Apollo in his role as god of light, music and self-control. The facial features are idealised, with wavy hair swept back in soft locks, tied into a low bun from which a few strands fall delicately to each shoulder. The work retains certain elements of the Praxitian canon: suppleness of the torso, marked hips, and a delicate modelling of the flesh. The attitude, both melancholic and refined, echoes the Apollonian function of protecting young men in ancient gymnasiums. Variations of this type are known from numerous Roman copies, such as our example, attesting to its enduring success in classical iconography. The statue has undergone a number of restorations over successive periods, and photographs from the late 19th and early 20th centuries show the first areas of restoration - the right side of the back and some parts of the face. The marble was cleaned, which explains its lack of patina, and then 'coloured' to restore the yellowed tone of the old patina. These intensive cleaning techniques already existed at the end of the 19th century and throughout the 20th - 'immaculate white' was the great aesthetic concept for antique marbles. Of course, more sinuous areas such as the hair strands still show deposits and concretions. Finally, other, later photographic prints (probably from the 70s and 80s) show a crack in the marble in the left armpit, which was filled in 2004 in the workshops of Maison André in Paris. Finally, as is the case with many Roman male sculptures, the penis is not the original one, but rather an old restoration. A Roman marble statue of Apollo in the so-called 'Lykeios' type on a Ichizo Inagaki base. 2nd century A.D. The god is shown as a nude youth, standing in a relaxed posture, with his right hand once resting atop his head (now missing), while the left arm (also lost) originally leaned upon a support, likewise absent. This elegant, slightly curved stance conveys youthful grace and post-combative repose-qualities associated with Apollo in his roles as god of light, music, and self-mastery. The facial features are idealized, framed by wavy hair drawn back and tied in a low chignon, with soft strands falling delicately onto each shoulder. The work retains characteristics of the Praxitelean canon: a supple torso, a pronounced hip, and a refined rendering of flesh. The pose, at once melancholic and serene, echoes Apollo's function as the protector of ephebes in the ancient gymnasium. Numerous Roman copies of this type are known, including the present example, attesting to its enduring success in classical iconography. The statue has undergone several restorations over time. Photographs from the late 19th to early 20th century allow us to identify the earliest restored areas, notably the right dorsal zone and certain facial elements. The marble was cleaned-resulting in the absence of deposit patina-and subsequently "toned" to give it a warm, yellowed hue. Such intensive cleaning methods were already common by the late 19th century, when an immaculate white finish was often considered an aesthetic ideal for ancient sculpture. Naturally, deeper or more textured areas, such as the hair, still retain traces of encrustation that survived this first intervention. Later photographic prints-likely from the 1970s-80s-clearly show a fissure under the left armpit, which was filled in 2004 by the Maison André workshops in Paris. Finally, as is frequently the case with Roman male statuary, the penis is not original but an early restoration.