Original Antique Roman Rosette Engraving #26, Campo Vaccino
€ 220
Original antique · The actual sheet photographed · Certificate of authenticity on request · Sold unframed · Worldwide shipping from € 15 (rates)
Sheet size
34.5 × 22.3 cm (13.6 × 8.8 in)
Reference
BG-13675-84
What the condition grades mean
Excellent
Bright and clean, with no faults worth mentioning.
Very good
Only light signs of age, such as faint toning.
Good
Normal signs of age for a sheet of this period: toning, some foxing, small marks or neat old repairs.
Fair
Clear faults such as staining, tears or repairs, priced to match.
Every fault we see is written in the condition note, and the whole sheet is shown uncropped in the photos.
Condition
Good, given age. The sheet overall a little browned. General age-related toning and/or occasional minor defects from handling. Please study scan carefully.
About this sheet
This elegant engraving from the late 18th century features a rosette, an ornamental design resembling a stylized rose, which has been a recurring motif in architectural design through the ages. Titled "Rosone Antico nel Tempio di Giove Statore in Campo Vaccino," the piece translates to "Ancient Rosette in the Temple of Jupiter Stator in the Campo Vaccino," linking it to the Roman Forum's sacred grounds, known historically as Campo Vaccino.
The artwork showcases the rosette in exquisite detail, with each petal and leaf carefully etched to create a harmonious pattern that radiates from the central hub. The depth and texture are rendered through masterful shading, conveying a three-dimensional quality that seems to lift the design off the page.
The use of light and shadow is particularly noteworthy, lending the image a lifelike quality that is both dramatic and delicate. Such prints served not only as decorative guides but also as records of architectural heritage, capturing the grandeur of Rome's ancient edifices and their enduring influence on neoclassical design.
More about the artist:
The maker of the print is Carlo Antonini. He was active in the late 18th century, a period known for its interest in classical antiquity and the neoclassical style in art and architecture. Antonini produced works that were reflective of this interest, creating prints that could serve as references for artisans, architects, and designers who sought to incorporate classical motifs into their work.
His book of architectural ornaments, as suggested by the title of the print, would have been a collection of designs that were intended to be used as guides for creating decorative elements in the neoclassical style, often inspired by ancient Roman and Greek art and architecture. These resources were invaluable for the dissemination of the neoclassical aesthetic across Europe, influencing the decorative arts, architecture, and even furniture design.
