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Italian Grand Tour School of the 19th century after the model of Giuseppe Franchi

Auction Lot 18 (40009416)
Italian school of the Grand Tour of the 19th century according to the model of GIUSEPPE FRANCHI (Carrara 1731-1806).
"Lion".
Serpentine.
Presents some chipping.
Measurements: 36 x 41 x 16 cm.

Open live auction
Estimated Value : 3,000 - 5,000 €
Live auction: 10 Mar 2025
Live auction: 10 Mar 2025 15:30
Remaining time: 15 days 05:58:56
Processing lot please standby
Next bid: 2200

BID HISTORY

DESCRIPTION

Italian school of the Grand Tour of the 19th century according to the model of GIUSEPPE FRANCHI (Carrara 1731-1806).
"Lion".
Serpentine.
Presents some chipping.
Measurements: 36 x 41 x 16 cm.

Extraordinary carving representing a lion in serpentine. With its jaws ajar and expressive look denotes a defiant presence. The robust body is worked taking care of the right anatomy, giving an idea of classical proportion, according to the Renaissance period in which it is inspired. His mane is worked in long and dense chisels that frame the head. The strong claws underline the haughtiness of the carriage, in an attitude of embarking on the road. The lion is an emblem of power in heraldry and in the iconography of medieval bestiaries. Already in Greco-Roman times, seated lions symbolized victories over enemy peoples, such as the marble lion of the ancient Greek city of Cnidus. They were also defensive effigies of cities and temples. In Christian times, the lion also symbolizes the evangelist St. Mark, although in that case it is usually depicted winged (see as the emblem of Venice).
The term "Grand Tour", which appeared for the first time in Richard Lassels' "The Voyage d'Italie", was used to define the long journey through Europe, especially Italy, which was usually undertaken by young British aristocrats from the 17th century onwards, but especially throughout the 18th and 19th centuries. The purpose of the trip was for young people to become acquainted with the art and culture of France and Italy, to admire classical art at first hand, to learn or improve their knowledge of languages, and to establish contacts and relationships with the cultural and political elites of these countries. Travelers were often looking for pieces with which to start their own art collections, objects to take back to their places of residence as souvenirs. For this reason, workshops specialized in the replica of Roman pieces, both in bronze and marble, emerged, some of which acquired a great reputation.

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