Subasta Especial de Arte Colonial y Alta Época
62 cm high. Old Moldovan Collection, Skokie, Illinois. Provenance: AC Holland Gallery, Chicago, Illinois. Jonathan Piser, Chicago, Illinois, and Mexico, acquired by the former in the 1970s. First, left leg crossed over right, hands bound in front of him, and wearing boots, skirts, a short tunic tied by a belt, and a coat that falls on the back, there is no restoration. It is worth noting the high social position of this young man, since he wears a tunic with two spikes on each side of the shoulder. The position that the figure acquires is “”a dignified position compared to the other captives in a submission position. It has the same position as: Barbarian prisoner Thusnelda, Loggia dei Lanzi, FlorenceBeginning of the s. II A DDiscovered in Rome, in 1541 and 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 tied captive dice that decorated Trajan’s Forum. The campaign took nearly 50,000 Dacians as slaves and was commemorated in a triumphal column. There, the Dacians are represented submissively and serve as a symbol of the expansion and imperial power of Rome. The last king of Dacia, Decebalus, was an enemy of Rome. Related Works: A Related Figure at the Museum of Fine Arts, Boston, see: https://collections. mfa. org/objects/314531/captive-barbarian. See also Christie’s, London, 24 Oct 2013, No. 74. With export permit. The inspiration for this sculpture probably comes from the series of tied captive dice that decorated Trajan’s Forum. The campaign took nearly 50,000 Dacians as slaves and was commemorated in a triumphal column. There, the Dacians are represented submissively and serve as a symbol of the expansion and imperial power of Rome. The last king of Dacia, Decebalus, was an enemy of Rome. Related Works: A Related Figure at the Museum of Fine Arts, Boston, see: https://collections. mfa. org/objects/314531/captive-barbarian. See also Christie’s, London, 24 Oct 2013, No. 74. With export permit. The inspiration for this sculpture probably comes from the series of tied captive dice that decorated Trajan’s Forum. The campaign took nearly 50,000 Dacians as slaves and was commemorated in a triumphal column. There, the Dacians are represented submissively and serve as a symbol of the expansion and imperial power of Rome. The last king of Dacia, Decebalus, was an enemy of Rome. Related Works: A Related Figure at the Museum of Fine Arts, Boston, see: https://collections. mfa. org/objects/314531/captive-barbarian. See also Christie’s, London, 24 Oct 2013, No. 74. With export permit. the Dacians are depicted submissively and serve as a symbol of Rome’s expansion and imperial power. The last king of Dacia, Decebalus, was an enemy of Rome. Related Works: A Related Figure at the Museum of Fine Arts, Boston, see: https://collections. mfa. org/objects/314531/captive-barbarian. See also Christie’s, London, 24 Oct 2013, No. 74. With export permit. the Dacians are depicted submissively and serve as a symbol of Rome’s expansion and imperial power. The last king of Dacia, Decebalus, was an enemy of Rome. Related Works: A Related Figure at the Museum of Fine Arts, Boston, see: https://collections. mfa. org/objects/314531/captive-barbarian. See also Christie’s, London, 24 Oct 2013, No. 74. With export permit.
