Null Lorenzo Roccheggiani,
Italian fl.1804-1817-

Prints of Roman, Greek, Etrusc…

Description

Lorenzo Roccheggiani, Italian fl.1804-1817- Prints of Roman, Greek, Etruscan and Egyptian Antiquities; engravings on paper, each signed 'Roccheggiani' (within the plate), each 18 x 29.9 cm., ten (10), (mounted/unframed). Provenance: Private Collection, UK. Note: The Wellcome Collection describes how 'Roccheggiani designed and executed etchings in which lost antiquities shown in ancient bas-reliefs etc. were reconstructed as if they were the originals. They are shown together with other antiquities that had survived in museums or in private collections (often exported from Rome and thus no longer available there)'.

144

Lorenzo Roccheggiani, Italian fl.1804-1817- Prints of Roman, Greek, Etruscan and Egyptian Antiquities; engravings on paper, each signed 'Roccheggiani' (within the plate), each 18 x 29.9 cm., ten (10), (mounted/unframed). Provenance: Private Collection, UK. Note: The Wellcome Collection describes how 'Roccheggiani designed and executed etchings in which lost antiquities shown in ancient bas-reliefs etc. were reconstructed as if they were the originals. They are shown together with other antiquities that had survived in museums or in private collections (often exported from Rome and thus no longer available there)'.

Auction is over for this lot. See the results

You may also like

Estim. 23 000 - 24 000 GBP

Sculpture of Barbarian; Rome; I-II century A.D. Marble. It presents flaws caused by the passage of time. Measurements: 63 x 16 x 15 cm. The standing figure is dressed in a long tunic and pants, suggesting that it is a barbarian. The head, neck, upper part of the bust and hands are missing, which were made separately, probably of white marble. The forearms rest on the thighs; the hands may have been bound, although similar figures sometimes hold a ladle. The right leg is crossed over the left. Aesthetically it has similarities with the Barbarian prisoner Thusnelda, Loggia dei Lanzi, FlorenceEarly 2nd century. Discovered in Rome, in 1541 already part of the Capranica della Valle collection in Rome. Since 1584 in the Villa Medici in Rome, in Florence since 1787. In the Loggia since 1789. The inspiration for this sculpture probably comes from the series of bound captive dice that decorated the Forum of Trajan. 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 the 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.

Estim. 700 - 800 GBP

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.

Estim. 3 500 - 4 000 GBP

Male head. Late Roman Empire, 2nd-3rd century AD. Marble stone. Measurements: 36 x 19 x 20 cm. The protagonist of this sculpture, a middle-aged man, looks at the viewer in a calm attitude. His eyes completely open, expectant and directed to a concrete point, reveal the restlessness of the character and stand out for their naturalistic character. The detail in its execution, especially reflected in the individualized hair and the expressive firmness of his face, demonstrate the skillful ability of an artist fully trained in sculptural instruction. The Lower Roman Empire or Late Roman Empire is the historical period extending from the rise of Diocletian to power in 284 to the end of the Western Roman Empire in 476. It succeeds the High Roman Empire begun by Caesar Augustus in 27 BC. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed the 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.

Estim. 1 400 - 1 500 GBP

Ram's head patera handle; Rome, I-II AD. Bronze. It shows mineral deposits and part of the right horn is missing. Measurements: 17 x 7 x 3 cm. Cast bronze handle from ancient Rome, very fine and well preserved, which may have belonged to a patera. The handle is modeled in the form of a fluted column shaft, which ends in a ram's head with horns in the form of scrolls. The facial features of the animal are depicted in a naturalistic manner, with fine details such as the texture of the carefully incised wool. The base of the handle, where it would join the body of the vessel, is a curved sheet of metal with symmetrical protrusions, decorated with a vegetal design in relief. The Romans brought two important innovations to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed the 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. Mineral deposits are present and part of the right horn is missing.

Online payments are secured by Ingenico and encrypted transactions.

Each lot has been authenticated and appraised by an Auction House.

Consult our FAQ or contact us

Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.

More about Drouot

Drouot certified auction houses

Contacts

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]