Torso of a Soldier with Chlamys.

- Masterpiece! -

- Museum Parallels -

- Published -

Ancient Roman, 2nd century AD.

Marble.

71.2 cm height.

PROVENANCE:

- Gorny & Mosch, Munich, Auktion 137, December 15, 2004, lot 144.
- Fortuna Fine Art, Ltd., New York, 2009.
- Private collection, New York (USA), acquired from the previous one, on May 12, 2011.

CONDITION: Good state of conservation, without restorations.

PUBLICATION:

- Fortuna Fine Art. After Twenty Years. New York. p. 12, no. 15.

BIBLIOGRAPHY:

- BIANCHI, R. Roma: l’arte al centro del potere (dalle origini al II secolo d.C.). RCS. 2005.
- FRIEDLAND, E.A.; SOBOCINSKI, M.G.; GAZDA, E.K. (eds). The Oxford Handbook of Roman Sculpture. Oxford University Press. 2015.
- KLEINER, Diana E. Roman sculpture. Yale University Press. 1992.
- KOUSSER, Rachel M. Hellenistic and Roman Ideal Sculpture: The Allure of the Classical. Cambridge University Press. 2008.
- OLSON, K. Masculinity and Dress in Roman Antiquity. Routledge. 2020.

DESCRIPTION:

Torso of a life-size round sculpture, carved in marble, representing a male character. He wears trousers, a leather cuirass, and a chlamys, an unusual combination found only in representations of high-ranking soldiers on historical reliefs from the times of Trajan and Antoninus Pius (fig. 1), in the first half of the 2nd century. AD

The sculptural work is magnificent, although the most delicate parts of the work have been lost, such as the head and hands. The folds of the chlamyd are heavy, very expressive, and curve parallel over the chest and in a V-shape towards the knees, giving the figure a monumentality, a solemn and heroic air typical of the character represented. This prominence of the garment, as well as the work of the folds, can be found in contemporary works that represent mythical or real heroes (fig. 2). Perhaps the reference for this way of representing the chlamys, falling vertically and completely hiding the body, are certain Greek representations of the god Hermes, of which Roman copies are preserved (fig. 3).

On the other hand, the arrangement of the upper part of the cloak, which falls on the chest, forming differentiated folds in this area, is an expressive resource that can be found in other portraits of the period, both full-length, breaking with the excessive uniformity of the front, like a bust, where this resource takes on special relevance due to the composition itself, becoming in fact an ornamental element (fig. 4).

The breastplate is hidden under the cloak, although it appears worked with care and detail, with great attention to volumetric play. Above the knee that is preserved, the fine trousers are wrinkled, accentuating the slight movement of the leg. The back of the sculpture presents only outlined volumes and an unpolished surface, which indicates that it is a work to be seen from the front, intended to be placed in front of a wall or in a niche or niche.

The Roman military commanders traditionally used the cuirass together with the chlamys, the latter garment already worn by the cavalry in Greece. However, the use of pants is much later. Although in the time of Cicero this garment was rejected by the Romans because it belonged to barbarians (it was identifying the Gauls), with the expansion of the Kingdom its use began to spread among the Roman troops for practical reasons, especially on the battlefields of the north. Some of the first evidence of the use of this garment by Roman soldiers can be found on Trajan's Column in Rome (fig. 5), which shows the emperor's triumph over the Dacians of present-day Romania. In this representation, as mentioned above, only the generals and prominent soldiers appear wearing them, while the common soldiers wear simpler socks that fit the leg. Over time, the military fashion spread to the rest of the Roman population, and by the end of the fourth century trousers had become so popular that the brother emperors Honorius and Arcadius issued an edict prohibiting their use not for aesthetic or cultural reasons, but for cultural reasons. to prevent civilians from wearing military attire, and thus easily distinguish one from the other in a time marked by social tensions.

PARALLELS:

Fig. 1 Detail of the plinth of the Column of Antoninus Pius with a scene of the emperor's funeral. Rome, AD 161, marble. Vatican Museums, inv. 5115.

Fig. 2 Hero sculpture with chlamys and shield at his feet. Roman Kingdom, c. 1-160 AD, marble. British Museum, London, inv. 1868.0620.16.

Fig. 3 Statue of Hermes with chlamys. Roman copy of the s. I AD from a Greek original in bronze from the s. V BC, marble. Museo Nazionale Romano di Palazzo Altemps, Rome, inv. 8583.

Fig. 4 Bust portrait of Emperor Lucio Vero. Roman Kingdom, c. 161-170 AD, marble. British Museum, London, inv. 1805.0703.103.

Fig. 5 Detail of the relief of Trajan's Column with the emperor addressing his troops. Rome, AD 113, marble.



Notes:

The piece includes authenticity certificate.
The piece includes Spanish Export License (Passport for European Union) - If the piece is destined outside the European Union a substitution of the export permit should be requested. This process could take between 1 and 2 weeks.
#masterpieces

卖家故事

古代艺术画廊 - 位于巴塞罗那的考古学,拥有超过 15 年的经验。擅长古典艺术、埃及艺术、亚洲艺术和前哥伦布时期艺术。它保证其所有作品的真实性。它参加了西班牙最重要的艺术博览会,例如 Feriaarte,以及国外的博览会,BRAFA、Parcours des Mondes、Cultures Brussels。 所有作品均附有西班牙文化部颁发的出口许可证。 我们通过 DHL Express 或 Direct Art Transport 快速发货。
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Torso of a Soldier with Chlamys.

- Masterpiece! -

- Museum Parallels -

- Published -

Ancient Roman, 2nd century AD.

Marble.

71.2 cm height.

PROVENANCE:

- Gorny & Mosch, Munich, Auktion 137, December 15, 2004, lot 144.
- Fortuna Fine Art, Ltd., New York, 2009.
- Private collection, New York (USA), acquired from the previous one, on May 12, 2011.

CONDITION: Good state of conservation, without restorations.

PUBLICATION:

- Fortuna Fine Art. After Twenty Years. New York. p. 12, no. 15.

BIBLIOGRAPHY:

- BIANCHI, R. Roma: l’arte al centro del potere (dalle origini al II secolo d.C.). RCS. 2005.
- FRIEDLAND, E.A.; SOBOCINSKI, M.G.; GAZDA, E.K. (eds). The Oxford Handbook of Roman Sculpture. Oxford University Press. 2015.
- KLEINER, Diana E. Roman sculpture. Yale University Press. 1992.
- KOUSSER, Rachel M. Hellenistic and Roman Ideal Sculpture: The Allure of the Classical. Cambridge University Press. 2008.
- OLSON, K. Masculinity and Dress in Roman Antiquity. Routledge. 2020.

DESCRIPTION:

Torso of a life-size round sculpture, carved in marble, representing a male character. He wears trousers, a leather cuirass, and a chlamys, an unusual combination found only in representations of high-ranking soldiers on historical reliefs from the times of Trajan and Antoninus Pius (fig. 1), in the first half of the 2nd century. AD

The sculptural work is magnificent, although the most delicate parts of the work have been lost, such as the head and hands. The folds of the chlamyd are heavy, very expressive, and curve parallel over the chest and in a V-shape towards the knees, giving the figure a monumentality, a solemn and heroic air typical of the character represented. This prominence of the garment, as well as the work of the folds, can be found in contemporary works that represent mythical or real heroes (fig. 2). Perhaps the reference for this way of representing the chlamys, falling vertically and completely hiding the body, are certain Greek representations of the god Hermes, of which Roman copies are preserved (fig. 3).

On the other hand, the arrangement of the upper part of the cloak, which falls on the chest, forming differentiated folds in this area, is an expressive resource that can be found in other portraits of the period, both full-length, breaking with the excessive uniformity of the front, like a bust, where this resource takes on special relevance due to the composition itself, becoming in fact an ornamental element (fig. 4).

The breastplate is hidden under the cloak, although it appears worked with care and detail, with great attention to volumetric play. Above the knee that is preserved, the fine trousers are wrinkled, accentuating the slight movement of the leg. The back of the sculpture presents only outlined volumes and an unpolished surface, which indicates that it is a work to be seen from the front, intended to be placed in front of a wall or in a niche or niche.

The Roman military commanders traditionally used the cuirass together with the chlamys, the latter garment already worn by the cavalry in Greece. However, the use of pants is much later. Although in the time of Cicero this garment was rejected by the Romans because it belonged to barbarians (it was identifying the Gauls), with the expansion of the Kingdom its use began to spread among the Roman troops for practical reasons, especially on the battlefields of the north. Some of the first evidence of the use of this garment by Roman soldiers can be found on Trajan's Column in Rome (fig. 5), which shows the emperor's triumph over the Dacians of present-day Romania. In this representation, as mentioned above, only the generals and prominent soldiers appear wearing them, while the common soldiers wear simpler socks that fit the leg. Over time, the military fashion spread to the rest of the Roman population, and by the end of the fourth century trousers had become so popular that the brother emperors Honorius and Arcadius issued an edict prohibiting their use not for aesthetic or cultural reasons, but for cultural reasons. to prevent civilians from wearing military attire, and thus easily distinguish one from the other in a time marked by social tensions.

PARALLELS:

Fig. 1 Detail of the plinth of the Column of Antoninus Pius with a scene of the emperor's funeral. Rome, AD 161, marble. Vatican Museums, inv. 5115.

Fig. 2 Hero sculpture with chlamys and shield at his feet. Roman Kingdom, c. 1-160 AD, marble. British Museum, London, inv. 1868.0620.16.

Fig. 3 Statue of Hermes with chlamys. Roman copy of the s. I AD from a Greek original in bronze from the s. V BC, marble. Museo Nazionale Romano di Palazzo Altemps, Rome, inv. 8583.

Fig. 4 Bust portrait of Emperor Lucio Vero. Roman Kingdom, c. 161-170 AD, marble. British Museum, London, inv. 1805.0703.103.

Fig. 5 Detail of the relief of Trajan's Column with the emperor addressing his troops. Rome, AD 113, marble.



Notes:

The piece includes authenticity certificate.
The piece includes Spanish Export License (Passport for European Union) - If the piece is destined outside the European Union a substitution of the export permit should be requested. This process could take between 1 and 2 weeks.
#masterpieces

卖家故事

古代艺术画廊 - 位于巴塞罗那的考古学,拥有超过 15 年的经验。擅长古典艺术、埃及艺术、亚洲艺术和前哥伦布时期艺术。它保证其所有作品的真实性。它参加了西班牙最重要的艺术博览会,例如 Feriaarte,以及国外的博览会,BRAFA、Parcours des Mondes、Cultures Brussels。 所有作品均附有西班牙文化部颁发的出口许可证。 我们通过 DHL Express 或 Direct Art Transport 快速发货。
使用Google翻译翻译
文化
古罗马
Name of object
士兵躯干与斗篷。公元 2 世纪。高 71.2 厘米。已出版。西班牙出口许可证。
世纪/时段
2nd century AD
起源
私人收藏
国家
未知
材质
大理石
状态

2097 条评价 (760 过去的12个月)
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chrisgtv

Prachtig schilderij. Zo blij mee. Zeer nette verkoper en zeer snelle levering.

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SNLMOVR

perfect ! very fast and high quality delivery !

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All well! Thanks.

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Vendeur très professionnel, top +++×

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jean-phi

Photos trop contrastées pour bien percevoir les défauts, mais ces défauts étaient visibles pour autant. Le "Bon état" est trompeur. Sinon, envoi rapide et correctement emballé. Frais de port exagérés.

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Great communication, delivery and product. Came with a well made certificate of authenticity and good packaging. Overall very happy with the purchase! Delivery is a bit expensive, but I recommend it

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Magnifique témoin du passé, envoyé avec tous les justificatifs, impeccable. Encore une fois très satisfait, un grand merci

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Thank you for the Special offer and the fast shipping of this excellent piece of art!

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very good description of the object, very good price for this rare item,. Fast sending (has been at my place 2 days after buying!). Definitely would buy again.

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As described, perfect logistic

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Run999

great seller, everything came as should with certificate of authenticity

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Exceptionally well packaged, description aligned with positing received

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Really precious, but without sound...

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Painting well packed and rapidly sent!

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sempre grande rapidità e professionalità

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parfait bien reçu, merci

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Very satisfied with the small Greek Lekythos. As always (we have already bought several items from Bagot), the object was wrapped and sent immediately and with the greatest care.

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Perfect, excellent condition, good packaging, the parcel arrived without any problems… all is perfect as usual. Thank you very much and wait for an other nice piece like this one. Gilles.

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+++ Top vendeur professionnel comme d'habitude

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jean-phi

Embora o custo de transporte esteja acima da média foi, realmente, muito bem executado e em embalagem cuidada. Expeditos e profissionais. Recomendo

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Snel en correct en goed verpakt verzonden

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ankevanderwal

oggetto bellissimo, fedele alla descrizione, venditore affidabile

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Very nice piece and fast delivery

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2097 条评价 (760 过去的12个月)
  1. 754
  2. 6
  3. 0

All OK and with very fast shipping.

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chrisgtv