Null RARE GREEK ICON SHOWING THE NATIVITY OF THE MOTHER OF GOD AND A MONASTERY

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Description

RARE GREEK ICON SHOWING THE NATIVITY OF THE MOTHER OF GOD AND A MONASTERY shortly after 1800 17.5 x 24.5 cm

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RARE GREEK ICON SHOWING THE NATIVITY OF THE MOTHER OF GOD AND A MONASTERY shortly after 1800 17.5 x 24.5 cm

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TRIPTYCH ICON of the Mother of God Hodigitria. In the first register on the two side panels, saints Constantine and Helena; in the second, saints George and Dimitri on horseback. Greek or Coptic school, 19th century. 31 x 19.5 cm. Expert : Maxime CHARRON

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ICON OF THE SIXTEEN FEASTS, 1790-1820 tempera on panel, 52.8x43.1 cm the icon shows the sixteen feasts of the Orthodox liturgical year, with the anastasis of Christ in the center, framed by representations of his life The work is accompanied by expertise on photograph Missing

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Bust of Sol Invictus; Rome, II-III centuries. Bronze. Presents mineral deposits, green and red patina and loss of rays. Measurements: 7 x 4, 5 x 3 cm. Rare Roman bronze bust of Sol Invictus. It represents the young sun god with a crown of seven rays (now disappeared) on his voluminous curls and a mantle buckled on the right shoulder. The Romans brought two important novelties to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed Greek models for much of their sculptural production, a base that in Rome would be combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Cato himself denounced the sacking and decoration of Rome with Hellenistic works, which he considered a dangerous influence on native culture, and deplored the Romans' applauding of statues from Corinth and Athens, while ridiculing the decorative terracotta tradition of ancient Roman temples. However, these oppositional reactions were in vain; Greek art had subdued Etruscan-Roman art in general, to the point that Greek statues were among the most coveted prizes of war, being displayed during the triumphal procession of the conquering generals. It shows mineral deposits, green and red patina and lightning loss.

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