MODERN, CLASSICAL-STYLE
MODERN, CLASSICAL-STYLE
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This lot will be removed to Christie’s Park Royal.… Read more
MODERN, CLASSICAL-STYLE

EMPEROR CARACALLA

Details
MODERN, CLASSICAL-STYLE
EMPEROR CARACALLA
Porphyry portrait head; after the antique; on a green marble base
20 ¾ in. (52.5 cm.) high, overall
Special Notice
This lot will be removed to Christie’s Park Royal. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage and our fees for storage are set out in the table below - these will apply whether the lot remains with Christie’s or is removed elsewhere. Please call Christie’s Client Service 24 hours in advance to book a collection time at Christie’s Park Royal. All collections from Christie’s Park Royal will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

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Adrian Hume-Sayer
Adrian Hume-Sayer

Lot Essay

History seems to have a bitter-sweet love affair Caracalla, Roman Emperor from 198 to 217 AD. He is described in the Historia Augusta as having had an evil mode of life: 'He was hated by his household and detested in every camp save that of the Praetorian Guard' (C. Scarre,Chronicle of the Roman Emperors, London, 1998, pp. 138-146). Having infamously ordered the murder of his own brother Geta and bloody massacres of Roman citizens, he is also remembered for the architectural splendour of the Baths of Caracalla in Rome, his military victories in Germany and against the Parthians, and his Antonine Constitution, which granted Roman citizenship to nearly all freemen throughout the Empire.

Caracalla has two distinct eras of portrait types, as a boy emperor 198-209 and as a sole emperor 212-217. This example, which represents him with square and heavy features and his trademark frowning brow, falls into the second category, and finds close parallels to antique versions in the Museo Nazionale, Naples and the British Museum, London.

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