Ca. 3rd century AD.A gold finger ring with a circular hoop and large oval-shaped bezel, set with a red jasper intaglio depicting a left-facing portrait of Emperor Caracalla. Caracalla, born Marcus Aurelius Severus Antoninus on April 4, AD 188, ascended to the imperial throne in AD 198 alongside his father Septimius Severus. Notorious for his ruthlessness, Caracalla is perhaps best remembered for the edict of AD 212, known as the Constitutio Antoniniana, which granted Roman citizenship to all free inhabitants of the empire. His reign was marked by a mix of military achievements and internal strife, ultimately ending in his assassination on April 8, AD 217, during a campaign against the Parthians. Size: D: 17.12mm / US: 6 3/4 / UK: N; 9.5g Provenance: Property of a London Ancient Art Gallery; formerly in the famous Alison Barker collection, a retired London barrister; acquired between early 1960s to 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
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Antike Römische Republik und Römisches Kaiserreich - 4 antike Denare, davon 3 x Röm. Republik 2./1.Jh.v.Chr. und 1 x Römisches Kaiserreich. Dabei z.B. 1 x Römische Republik - Denar 2.Jh.v.Chr., P. Aelius Paetus, Av: Behelmter Romakopf mit Flügelhelm, Rv: Dioskuren mit Lanzen, P PAETV(S), im Abschnitt ROMA, ss, berieben, Tönung, Kratzer, Schrötlingsoberfläche partiell leicht aufgeplatzt, 3,88g Ag rau. 1 x Röm. Kaiserreich - Denar 1./2.Jh.n.Chr., Kaiser Traian, Av: IMP TRAIANO AVG GER DAC PM TR P, Traiansbüste n.r., Rv: COS V PP SPQR OPTIMO PRINC, Roma sitzend mit Victoriola, s-ss, berieben, Kratzer, Tönung, 2,94g Ag rau.| Ancient Roman Republic and Roman Empire - 4 ancient denarii, of which 3 x Roman Republic 2nd/1st century BC and 1 x Roman Empire. Including e.g. 1 x Roman Republic - denarius 2nd century BC, P. Aelius Paetus, Obv: Helmeted Roman head with winged helmet, Rv: Dioscuri with lances, P PAETV(S), in section ROMA, VF, rubbed, toning, scratches, partially slightly cracked surface, 3.88g Ag rough. 1 x Roman Empire - denarius 1st/2nd century AD, Emperor Traian, Av: IMP TRAIANO AVG GER DAC PM TR P, bust of Traian n.r., Rv: COS V PP SPQR OPTIMO PRINC, Roma seated with Victoriola, F-VF, rubbed, scratches, toning, 2.94g Ag rau.
![An ancient Roman iridescent glass bottle, 1st - 3rd C CE, 8 cm [Purchased from Ancient Art, The Vale, London]](https://cdn.globalauctionplatform.com/ff84713f-54a5-40b4-8023-b0fa00d796e7/d7c3d672-b52b-4e6b-82e1-b1010115aab7/468x382.jpg)
Large group of foreign currency. 156 coins from the following countries: the Republic of Liberia, Canada, Russia, Mexico, the United Kingdom, French Polynesia, Germany, France, Iran, South Africa, Sweden, Vietnam, Norway, Italy, Australia, Luxembourg, Japan, the Netherlands, and one ancient Roman coin. Also included are 15 tokens and one Canadian $2 bill.br/>Condition:The currency in this lot has not been professionally graded. They likely have signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting the currency prior to purchase. If you would like additional photos, please specify; we will not provide photos of all currency in this lot.
History, Ancient – Weigall (Arthur E. P. Brome), The Life and Times of Cleopatra, Queen of Egypt, A study in the Origin of the Roman Empire, New York, Putnam, 1st edn., 1914, small 8vo, xix + 410pp, 5 fold out maps, frontis and 10 plates, also genealogy of the house of Ptolemy, gilt portrait profile to red boards, gilt titles; Budge (C. A. Wallis, Lit.D.) The Book of the Dead, The Papyrus of Ani in the British Museum, London, Longman, 1895, large 4to, 377pp, bound half Morocco over green boards, gilt lines and spine titles (2)
First Legion - Ancient Greeks Series, comprising: Model No' AG026 Macedonian Phalanx Standard Bearer, Model No. AG057 - Greek Hoplite with Raised Sword, Model No. AG059 - Greek Hoplite with Bandaged Head and Dory, Model No. AG063 - Greek Hoplite Standing with Dory, Model No. AG065 - Greek Hoplite Standing with Dory and Shield Curtain & Glory of Rome Series Model No. ROM206 - Imperial Roman Legio XXX G.M.V. Aquilifer. Mint overall, contained in near Mint set boxes. [6]
Benedetto BOSCHETTI (1820 - 1860). Vesta / Hestia.Höhe: 28 cm. Ohne Sockel. Bronze. Manchmal fehlgedeutet als Badende mit Schale. Vesta war eine Göttin der altitalienischen, insbesondere der römischen Religion. Sie war die keusche Hüterin des heiligen Feuers, als Göttin von Heim und Herd in ihrer Rolle vergleichbar mit der Göttin Hestia in der griechischen Religion. Siehe Fotos. Versand kann organisiert werden.Benedetto BOSCHETTI (1820 - 1860). Vesta/Hestia.Height: 28 cm. Without base. Bronze. Sometimes misinterpreted as a bather with a bowl. Vesta was a goddess of ancient Italian, especially Roman, religion. She was the chaste guardian of the sacred fire, as goddess of home and hearth comparable in her role to the goddess Hestia in the Greek religion. See photos. Shipping can be organised
Low relief bronze wall plaque depicting a king with sword upraised flanked by men in ancient Roman and Middle Eastern garb with swords and shields raised in honor. The background depicts a Roman or Grecian-style building with a tympanum and tower with what appears to be a man kneeling to a god or king figure. There is also a line of gentlemen holding what appear to be scrolls. Illegible signature inscribed to lower left corner. Round metal hook to back. Dimensions: 11"W x 7.5"HCondition: Age related wear.
Ca. AD 100-300.A nice solid oval-shaped carnelian intaglio in a Roman gold ring, tapering from the bezel, the band is hoop-shaped. Carnelian was one of the favourite stones used to enrich Roman jewellery. The name Carnelian derives from the Latin word carneus, which means fleshy, a reference to its pink-orange colour. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:17.93mm / US: 7 3/4 / UK: P; Weight: 14g Provenance: Private London collection of Ancient Art; previously with a London art dealer; acquired from a Japanese collection (1970-2010).
Ca. AD 200-400.A beautiful gold finger ring with a circular band formed of coiled beaded wires, flared shoulders, and a round bezel with blue glass inlay encircled by a coiled crown setting. Excellent condition; the item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. It also comes with a gemological and historical report by an independent specialist Anna Rogers. To find out more about Roman rings and jewellery production in general, see Higgins, R. (1980). Greek and Roman jewellery. London: Methuen. Size: D:17.53mm / US: 7 1/4 / UK: O; Weight: 4g Provenance: From the collection of a gentleman based in London; formerly in a private collection (Eastern Europe) acquired in 1975; Published: Christie's, London, 14 April 2011, lot 361.
Ca. AD 100.A realistically modelled bronze eagle figurine, standing on a base, long wings folded, the wingtips crossed, feather detailing to the body. An Aquila (eagle) was a prominent symbol used in ancient Rome, especially as the standard of a Roman legion. Size: 70mm x 30mm; Weight: 130g Provenance: Private UK collection; acquired on the Belgian art market.
4th Cent. BC till 3th Cent. AC Ancient Egyptian Greco-Roman period sarcophagus mask in wood with remains of the polychromy with certificate || OUD-EGYPTE - GRIEKS-ROMEINSE PERIODE (ca 332 BC tot ca 300) sarcofaagmasker in hout met restanten van de originele polychromie - hoogte : 20,5 cm met certificaat
A MONUMENTAL SCHIST FIGURE OF THE GODDESS HARITI, ANCIENT REGION OF GANDHARA 犍陀羅片岩浮雕鬼子母與般闍迦像Kushan empire, 2nd-3rd century AD. Wearing a long kaftan, trousers, and a heavily pleated shawl, Hariti's jewelry is comprised of anklets, rows of bracelets, earrings hanging from her elongated lobes, and necklaces with a large central torque decorated with rosettes. She wears a circular crown topped with a square structure carved with lotus-petal panels in relief above a foliate fillet on top of her finely incised waving hair, and in her two arms she holds four plump nude children, two beneath each breast with one breast covered and the other exposed.Provenance: Sotheby's London, 17 October, 1996, sale LN6645, lot 111. Kenneth P. Jackson, United Kingdom, acquired from at the above sale for a hammer price of GBP 50,000, equivalent to a purchase price of GBP 56,500 or EUR 163,000 (converted and adjusted for inflation at the time of writing). Condition: Condition commensurate with age and presenting remarkably well overall. Expected old wear, weathering and erosion as a result of extensive exposure to the elements across a time period of almost two millennia. Obvious losses, structural cracks, some of which show old fills, remnants of soil encrustations from burial.Weight: >250 kg Dimensions: Height 171 cm (excl. base) and 186 cm (incl. base) With a modern metal base. (2)This figure of Hariti, the Buddhist mother goddess, illustrates the unique amalgamation of cross-cultural influences present in ancient Gandhara. It also bears a distinct and early Hellenistic element almost never found in other sculptures from this period and region.Other figures of Hariti from the High Gandhara period are dressed in heavy robes in the classical manner, like the statue of the seated Hariti in the British Museum, registration number 1886,0611.1 (fig. 1). However, the present lot depicts Hariti in a kaftan, trousers, and a shawl, a concise style of clothing that exemplifies the Scythian influence on the Gandhara people during their rule of the neighboring region of eastern Iran in the 2nd and 3rd centuries AD. The Scythian style of clothing is known in detail from depictions along the palace walls of Apadana (fig. 2) from the Achaemenid period as well as from terracotta figures from the 2nd century AD.Even more remarkable is the flagrant early Hellenistic influence clearly visible in Hariti's headdress. The unusual yet characteristic iconography of it links Hariti directly to the Greek goddess Tyche, daughter of Zeus, and suggests she was a rare example of religious syncretism as a direct result of the Hellenistic period in the far east. The headdress of the present Hariti exemplifies this fact unlike most other depictions of the goddess.Tyche, the goddess of fate, became a prominent figure in the Greek pantheon under Alexander the Great. It was during Alexander's rule that Tyche came to embody the whims of fate. Her importance within the Greek pantheon is clear and can be seen in sculptures like the colossal head of Tyche next to Zeus and Apollo in Nemrut Dagi (fig. 3).Tyche's mural crown (fig. 4) identifies her as the protectorate of cities and links the founding of Sparta to the goddess's headdress according to S.B. Matheson (see The Goddess Tyche, Yale University Art Gallery Bulletin, 1994). Her iconography changed very little over the centuries during early Roman rule and even later depictions of the goddess in Constantinople's Hippodrome (fig. 5). The crown of the present Hariti with its two rows resembling lotus petals, is carved upright and straight, much like the walls of Tyche's fortress headdress. While much of it is worn away, Hariti's crown is topped by square carvings that closely resemble the crenelated battlement of Tyche's headdress.Historians have documented various examples of syncretism between Hellenistic cultures in the Far-East and Buddhism from the 5th century BC to the 4th century AD. This sculpture of Hariti, however, offers an even more unique example of not only cultural syncretism, but also religious syncretism as well. The story of Hariti itself involves the conversion of the goddess to Buddhism. One version of Hariti's story follows that Hariti had no children. Desperate to have children of her own, the goddess stole children from the locals and raised them as her own. The Buddha, aware of the suffering mothers of the lost children, took back one of the children from Hariti in secret. Amid her grief over the lost child, the Buddha came to her and taught the goddess empathy, showing her the sorrow of mothers from whom she took the children. Hariti subsequently converts to Buddhism, but her foreign origin and nature remains documented by the syncretism seen in the present sculpture.Literature comparison:Compare a related Gandharan relief of the goddess Hariti seated and holding a child, 61 cm high, dated 101-300 AD, in the Art Institute of Chicago, reference number 2016.58. Compare a related figure of Hariti with children, 132 cm high, dated to the 2nd century AD, in the Government Museum and Art Gallery, Chandigarh, accession number 1625. Compare a related large schist figure of Hariti with children from the Swat Valley in Gandhara, 125 cm high, dated 2nd-4th century, published by M Akira in Gandharan Art and Bamiyan Site, Tokyo, 2006, pp.114, nr. 86.Auction result comparison: Type: Related Auction: Bonhams London, 22 October 2019, lot 144 Price: GBP 187,562 or approx. EUR 282,000 converted and adjusted for inflation at the time of writing Description: A schist figure of Hariti, circa 2nd century Expert remark: Note the similar rosettes which appear on the face and headdress of this figure of Hariti and appear on the torque of the present lot. Note the size (95 cm). 犍陀羅片岩浮雕鬼子母與般闍迦像貴霜帝國，西元二至三世紀。鬼子母身著長袍、褲子和披著披肩；佩戴手鐲、耳環，飾有玫瑰花項鍊與叫連，她還戴著一頂圓形葉狀王冠，刻有蓮瓣，波浪捲髮。她雙手抱著四個孩童，胸前還有四個孩子。 來源：倫敦蘇富比1996 年10 月17 日，拍賣LN6645，拍品111；英國Kenneth P. Jackson在上述拍賣中以50,000 英鎊的落槌價購得，相當於購買價56,500 英鎊或163,000 歐元（換算後的價格，在撰寫本文時已根據通貨膨脹進行了調整）。 品相：狀況良好。有磨損、風化和侵蝕，明顯的缺損、結構裂縫，其中一些有填充物、埋藏時土壤結殼的殘留物。 重量：250 公斤 尺寸：高 171 厘米 (不含底座) 與 186 厘米 (含底座) 現代金屬支架. (2)文獻比較: 比較一件相近的西元101-300年犍陀羅鬼子母與般闍迦浮雕像，高61 厘米，收藏於芝加哥藝術博物館，館藏編號2016.58。比較一件相近的二世紀鬼子母與般闍迦像，132 厘米 高，收藏於昌迪加爾政府博物館和美術館，館藏編號1625。比較一件相近的二至四世紀犍陀羅斯瓦特谷鬼子母與般闍迦像，高125 厘米，出版於Akira，《Gandharan Art and Bamiyan Site》，東京，2006年，頁114，編號86。 拍賣比較： 形制：相近 拍賣：倫敦邦翰斯，2019年10月22日，lot 144 價格：GBP 187,562（相當今日EUR 282,000） 描述：約二世紀片岩浮雕鬼子母與般闍迦像 專家註釋：請注意類似的玫瑰花結出現在鬼子母的臉部和頭飾上。請注意 尺寸 (95 厘米)。
A MONUMENTAL AND HIGHLY IMPORTANT SANDSTONE FIGURE OF BUDDHA, PRE-ANGKOR PERIODMekong Delta, present-day Cambodia and Vietnam, 6th-7th century. Superbly carved standing with each foot on a separate lotus dais, wearing a diaphanous sanghati, the folds elegantly draped over his left shoulder and elbow, gathered at the ankles. The serene face sensitively drawn with heavy-lidded eyes, the sinuous lids and round pupils neatly incised, gently arched brows, and full lips, flanked by long pendulous earlobes, the hair arranged in snail-shell curls surmounted by a tall ushnisha. Provenance: From a notable collector in London, United Kingdom.Condition: Magnificent condition, commensurate with age. Extensive wear, encrustations, losses, signs of weathering and erosion, minor nicks, cracks and scratches. Fine, naturally grown patina overall. Dimensions: Height of figure excluding base and tang: 146.5 cm. Height of figure including tang, but excluding base: 190 cm. Height including base: 196 cm.The youthful-looking Buddha presents an elegant image that acts as a metaphor for his spiritual perfection. He stands on two lotus flowers, which probably identifies him as one of the esoteric Buddhas, depicted in Nirvana or another of the heavenly realms. This is the serene eternal state of one who is removed from the passage of time and the emotional issues of the human sphere. He has caused the lotuses to bloom and as they support his weightless form, they symbolize his purity of thought.The earliest stone sculptures of the region were created in the Mekong Delta, now shared by Cambodia and Vietnam, where Indian trading communities introduced their own Buddhist and Hindu beliefs. Contacts with regions to the north and China were also strengthened by trade. This Buddha retains elements of form that are associated with India while the two lotuses, rather than one, on which he stands indicate a Chinese influence. His appearance has been transformed by the introduction of a purely regional aesthetic, however. Separated from the South Asian sangha (religious establishment), local devotees came to see the Buddhist faith as their own and consequently endorsed their beliefs with images resembling themselves.Buddhism had reached Southeast Asia by the 1st century AD, largely thanks to its popularity amongst Indian merchants who established trading communities around the Mekong Delta. They initially sourced gold in the region but found other rare commodities such as ivory, gemstones, minerals and fine woods for markets both at home and further west. As a result, the Mekong Delta became part of a wider trading network linking the China Seas with the Roman Empire. There are epigraphical accounts describing the journeys on merchant ships of Buddhist missionaries from southern India and Sri Lanka, but the earliest visual record of stone sculptures indicates that evangelists from northern India and possibly Gandhara and China were also active in the region.International trading predated the establishment of diplomatic links between the rulers of the Mekong Delta with China in the 3rd century and various Indian kings in the 4th century. Indian and to a lesser extent Chinese culture gradually infiltrated the region's hierarchy and while the higher echelons were attracted to the Buddhist and Hindu faiths, the vast majority of the people maintained their traditional beliefs.A number of cities linked by canals existed in the Delta region, including the extensive sites of Oc Eo, Phnom Da, and Angkor Borei, which may have been autonomous principalities or part of a confederation. Along with the adjacent Phnom Da, Angkor Borei was a notable ritual center; its influence outlived the eclipse of Funan, perhaps through association with an ancestral cult. Buddhism and Hinduism had a unifying effect to some extent but within the region, devotees only adopted those aspects of the Indian faiths that were relevant to their needs; these probably varied from place to place. It is possible that the Buddha and Hindu gods were honored with temples and statues, emulating those of India, in order to bolster the political or social status of their Southeast Asian adherents.Expert's note: A detailed academic commentary on the present lot, elaborating on the history and art of Funan as well as the evolution of Buddhist images in the Mekong Delta, and showing many further comparisons to examples in private and public collections, is available upon request..To receive a PDF copy of this academic dossier, please refer to the department.Literature comparison: Compare a closely related sandstone figure of the Buddha preaching, attributed to Southern Cambodia and dated to the late 7th century, 94 cm high, in the collection of the Musee Guimet, reference number MG18891, and exhibited in the Metropolitan Museum of Art, Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century, April 14, 2014-July 27, 2014, cat. no. 44. Compare a related sandstone figure of Avalokiteshvara, also standing on two lotus flowers, attributed to Southern Vietnam and dated second half of the 7th to early 8th century, 188 cm high, in the collection of the Musee Guimet, reference number MA5063, and illustrated ibid., cat. no. 137. Compare a closely related wood figure of Buddha, dated c. 6th century, in the Museum of Vietnamese History, Ho Chi Minh City, illustrated by Nancy Tingley, Arts of Ancient Viet Nam: From River Plain to Open Sea, Houston, 2009. Compare a closely related sandstone figure of Buddha, dated to the 7th century, 98.2 cm high, in the National Museum of Cambodia, inventory number Ka.1589.Auction result comparison: Type: Related Auction: Christie's New York, 20 March 2012, lot 151 Price: USD 338,500 or approx. EUR 423,500 converted and adjusted for inflation at the time of writing Description: A sandstone figure of Buddha Shakyamuni, Khmer, Angkor Borei, 9th century Expert remark: Note that this figure is slightly later and considerably smaller (82.6 cm) than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 17 March 2015, lot 35 Price: USD 413,000 or approx. EUR 500,000 converted and adjusted for inflation at the time of writing Description: An important stone figure of Buddha, Thailand, Dvaravati period, 8th century Expert remark: Note that this figure is attributed to Dvaravati, around 600 miles northwest of the Mekong Delta. While Buddhist sculpture of the pre-Angkor period sometimes shares characteristics with contemporaneous Dvaravati art, the present figure's slightly attenuated proportions mark a departure, imbuing the Buddha with a lithe, uplifted quality. Note the slightly smaller size (111.7 cm).Due to length restriction on the platform, this entry is shortened. For full description please visit www.zacke.at.
Walking cane dated C1918.The handle is etched with the symbol of The Staff of Asclepius--a snake and staff, which is the symbol of the medical or physician’s profession. A silver plaque is inserted on the top is engraved ‘Dr.W.E.Ross’. The handle unscrews to reveal a compartment, which holds a silver pill dispenser. This has a twist top to reveal a small slot for pill dispensing. This may not be the original but is a good fit and appropriate to the date being hallmarked for Birmingham 1919 with makers mark W.V.& S for William Vale and Sons. The cane has a plain silver collar mounted on a slim rosewood shaft and has a replaced ferrule. Apart from two closed age and stress faults in the handle all in overall good condition. Length 35 1/4"(897cm) Handle 2 1/8"(540mm) Circ.4 1/8"(104mm) Pill dispenser (included) L.2 5/8"(620mm). Point of interest. Many "medical" organisations use a symbol of a short rod entwined by two snakes and topped by a pair of wings, which is actually the caduceus or magic wand of the Greek god Hermes (Roman Mercury), messenger of the gods, inventor of (magical) incantations, conductor of the dead and protector of merchants and thieves. (See symbol right).It is derived from the Greek karykeion = "herald's staff", itself based on the word "eruko" meaning restrain, controlProfessional and patient centered organizations, together with most medical Associations around the world including the World Health Organization, use the "correct" and traditional symbol of medicine, the staff of Asclepius. (See symbol left) This has a single serpent encircling the staff, classically a rough-hewn knotty tree limb. Asclepius (an ancient Greek physician deified as the god of medicine) is traditionally depicted as a bearded man wearing a robe holding a staff with his sacred single serpent coiled around it,
ENAMEL INSECT PENDANT WATCH, CIRCA 1865Realistically modelled as a scarab, with fine engraved detail throughout and applied legs to the reverse, the spring-loaded enamelled wings opening to reveal a circular dial with Roman numerals, outer minute markers, blued steel hands, mounted in gold, with cabochon ruby eyes, suspended from a fancy-link chain, with winding key, some enamel loss, lengths: pendant 4.7cm, chain 65.5cm, Footnotes:Pocket and fob watches have taken many shapes forms since their conception. In the 16th century there was a trend for unusually shaped watches and clocks shaped like books, animals, insects, flora, fauna and even skulls (Death's head watches). In the late 17th century, with the invention of waistcoats, the pocket watch evolved into its 'typical' flattened circular form. However, in the mid-late 19th century, a taste for the novelty returned and various whimsical designs began to appear. As a sacred symbol and talisman in Ancient Egyptian culture, 'Scarab amulets' became increasingly popular as expeditions to Egypt brought a wealth of visual culture to jewellery designers and casemakers. In ancient Egyptian religion, the sun god Ra was said to roll across the sky each day, and as such the scarab beetle was a symbol for the heavenly cycle, and the concepts of rebirth and regeneration.Please note, this lot has VAT at a preferential rate of 5% on the Hammer Price and VAT at the prevailing rate on Buyer's Premium.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Rhodian terracotta goddess Circa 6th-late 5th century B.C.21.5cm highFootnotes:Provenance:Raphaël Collin (1850-1916) collection, Paris.The Senator William A. Clark (1839-1925) Collection, acquired from the above in 1911. Bequeathed to the Corcoran Gallery of Art, Washington D.C., 1925. Deaccessioned and gifted to the American University Museum at the Katzen Arts Center, Washington D.C., 2014.with Sands of Time Ancient Art, Washington D.C., 2021. Published: R. Collin, Collection of Antique Grecian, Egyptian and Etruscan Statuettes, Vases, Tanagras, Etc., Paris, 1911, p. 1, no. 3.Original Clark Catalogue, Part II, p. 234, no. 3. The Illustrated Handbook of the W.A. Clark Collection, The Corcoran Gallery of Art, Washington D.C., 1928, p. 99, no. 2506 (and in the 1932 edition of the same name).Exhibited: Corcoran Gallery of Art, Washington D.C., 'The William A. Clark Collection,' 26 April-16 July 1978.For the type cf. R.A. Higgins, Catalogue of the Terracottas in the Department of Greek and Roman Antiquities British Museum, Oxford, 1969, p. 62, pl. 21, nos. 110 & 111.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Egyptian limestone statue of Sekhemankhptah Old Kingdom, 5th Dynasty, circa 2389-2255 B.C.Statue: 121cm high x 51cm wide x 40cm deep; plinth: 91cm x 71cm x 61cmFootnotes:Provenance:Tomb G7152 at Giza, excavated by George A. Reisner and the Harvard University-Boston Museum of Fine Arts Expedition, during the digging season of 1926-1927.This statue is referenced in Reisner's diary entry of 29 January 1927 (vol. 20, p. 667): 'uncovered the two seated statues at door of G 7152, and a broken standing statue at north side of door, fallen in several pieces'.Vincent (1886-1967) and Olga (1906-2000) Diniacopoulos collection, Canada, acquired from the Khawam Brothers, Cairo and likely brought to Canada in 1951.Property from a Canadian Private Collection, a portion of the proceeds intended for the benefit of Concordia University, Montreal; Sotheby's, New York, 5 June 1999, lot 25.Private collection, New York, acquired at the above sale, until 2018.Published: La Presse, Montreal, 15 May 1954 (illus.).V. and O. Diniacopoulos, Collection Monsieur et Madame D., Vincent et Fils, Valleyfield, 1954, p. 5, no. 6.R. Belle-Isle, Exposition d'art antique, Chambly, Quebec, 1965, p.5.J.E. Francis and G.W.M. Harrison, Life and Death in Ancient Egypt, The Diniacopoulos Collection, Montreal, 2004, p.59, fig. 5.6.J.M. Fossey and J.E. Francis, The Diniacopoulos Collection in Quebec: Greek and Roman Antiquities, Montreal, 2004, p. 22, fig. 1.4 for a photograph of Vincent and Olga unboxing pieces including Sekhemankhptah at the Séminaire de Valleyfield in 1955.Exhibited: Séminaire de Valleyfield, Quebec, Diniacopoulos Collection, from 1954. Ecole Gérard Filion, Chambly, Exposition d'art antique, 1965.The tomb of Sekhemankhptah is dicussed in the following publications:G.A. Reisner, A History of the Giza Necropolis I, Cambridge, 1942, pp. 210, 312. W.H. Smith, A History of Egyptian Sculpture and Painting in the Old Kingdom, London, 1946, p.200 (recording the decoration of the interior of the offering-room of the tomb: 'The east wall retains a fragment of an agricultural scene, and the north wall is decorated with scenes showing the care of cattle. The west wall has a presentation of animals').B. Porter & R.L.B. Moss, Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings 3: Memphis, 1974, p. 191.A. Bedawy, The Tombs of Iteti, Sekhem'ankh-Ptah and Kaemnofret at Giza, Berkeley, 1976, pp.15-24, figs. 18-24, pls. 14-23, including detailed description of the decoration of the tomb and drawings of such. Sekhemankhptah's titles are listed on p.22.N. Strudwick, The Administration of Egypt in the Old Kingdom: The Highest Titles and Their Holders, London, 1985, pp.134-5. V.G. Callender, 'A Contribution to the Burial of Women in the Old Kingdom', in F. Coppens (ed.), Abusir and Saqqara in the year 2001. Proceedings of the Symposium, Prague, September 2001, Archiv Orientálni 70, no. 3, 2002, p. 303, no. 15.Sekhemankhptah was a highly important Egyptian official during the 5th Dynasty of the Old Kingdom. His mastaba tomb is located southeast of Khufu's pyramid in Giza, one of 'the most important necropolises for Egyptian royalty and the upper echelons of officialdom during the Old Kingdom' (P. Der Manuelian, 'Excavating the Old Kingdom, the Giza Necropolis and Other Mastaba Fields', in Egyptian Art in the Age of the Pyramids, New York, 1999, p. 139). It was excavated in 1926 by George Reisner, and the hieroglyphic texts on the interior demonstrate the pre-eminent role Sekhemankhptah played in the royal court. Sekhemankhptah is named as 'Count; Sole companion of Pharaoh; Chief judge, vizier; Staff of the people; Mouth of all the people of Pe; Royal chamberlain; Privy to the secret; Overseer of the scribes of the documents of the king; Scribe of the documents of the king; Overseer of all the works of the king; Overseer of the embalming house of Pharaoh; Overseer of the embalming house'. These titles suggest that Sekhemankhptah was second only to the king himself. His wife, Bwnefer, is named as 'Real royal daughter', suggesting she was the daughter of a Pharaoh (Reisner refers to Sekhemankptah as 'husband of a princess'). They had two children, a son named Seshemnefer and a daughter named Meritites.The extraordinary, monumental, size of this statue, highly unusual for a non-royal sculpture, is further testament to Sekhemankhptah's high status. It is also an exceedingly rare example of an unfinished Old Kingdom sculpture of a non-royal personage, which offers a fascinating insight to the technique and skill of the earliest sculptors of Pharaonic Egypt. Sekhemankhptah retains original chisel marks, and the carving of the wig and kilt are clearly unfinished. The surface has also not been polished to the typical degree. It has been suggested that the figure was coated in plaster, with the finer details rendered in paint, though it seems more likely that the statue was placed in front of the tomb prior to being finished (as no traces of plaster or pigment remain). The group of statuettes of King Menkaura of the 4th Dynasty at the Museum of Fine Arts, Boston (acc. no. 11.732), each in varying degrees of completion, further elucidate how these figures were finished after being installed in their final locations. Artists began by hammering out the approximate shape of the statue from a large block of stone, before refining details of the head and limbs with chisels in a series of stages of increasing refinement. After this carving and refining, rubbing stones and powdered abrasive were used to polish the surface, before an inscription was added to identify the owner. These last stages had not been completed before work on this statue of Sekhemankhptah seems to have ceased.The Diniacopoulos Collection of Ancient ArtVincent and Olga Diniacopoulos amassed one of the largest and most impressive private collections of antiquities in Canada during the 20th Century, of almost unparalleled breadth and quality. Vincent Diniacopoulos (1886-1967) was born in Constantinople to a Greek family, and was enamoured by the ancient world from childhood. From the 1920s he was participating in archaeological digs across the Middle East and undertaking art restoration, living between Paris and Cairo. His wife Hélène Olga Nicholas (1906-2000), was also Greek, and was born in Cairo. After moving to Paris in 1923 she studied archaeology at the Louvre and Sorbonne and met and married Vincent. In the late 1920s and 1930s the couple travelled extensively throughout the Middle East and Egypt, building their collection of antiquities as well as acquiring objects for major institutions including the British Museum, Louvre and Metropolitan Museum. During these formative years, they built up an extensive collection including ancient Egyptian, Babylonian, Assyrian, Hittite, Cypriot, Greek and Roman objects, ranging from sculpture and coins to ceramics, glassware and bronzes.For further information on this lot please visit Bonhams.com
A large Rhodian terracotta female protome Circa 5th Century B.C.28cm highFootnotes:Provenance:Raphaël Collin (1850-1916) collection, Paris.The Senator William A. Clark (1839-1925) Collection, acquired from the above in 1911. Bequeathed to the Corcoran Gallery of Art, Washington D.C., 1925. Deaccessioned and gifted to the American University Museum at the Katzen Arts Center, Washington D.C., 2014.with Sands of Time Ancient Art, Washington D.C., 2021. Published: R. Collin, Collection of Antique Grecian, Egyptian and Etruscan Statuettes, Vases, Tanagras, Etc., Paris, 1911, p. 5, no. 43. Original Clark Catalogue, Part II, p. 237, no. 43. The Illustrated Handbook of the W.A. Clark Collection, The Corcoran Gallery of Art, Washington D.C., 1928, p. 104, no. 2546. (and in the 1932 edition of the same name).Exhibited: Corcoran Gallery of Art, Washington D.C., 'The William A. Clark Collection,' 26 April-16 July 1978.For the type, see R.A. Higgins, Catalogue of the Terracottas in the Department of Greek and Roman Antiquities British Museum, Oxford, 1969, p. 89, pl. 41, no.237.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Roman bronze hinged mirror Circa 1st-2nd Century A.D.11.5cm diam., 16.5cm incl. handlesFootnotes:Provenance:Private collection, Germany.with Archea Ancient Art, Amsterdam.Private collection, the Netherlands, acquired from the above 6 October 2015.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Coptic textile fragment with Pyrrhic dancers Circa 4th-6th Century A.D.35.5cm x 36.5cm; 54cm x 44cm framedFootnotes:Provenance:Private collection, Amsterdam, formed in the 1980s.Anonymous sale; De Zwaan, Amsterdam, 7th November 2022, lot 1928.Acquired by the present owner at the above sale.Cf. E. Dauterman Maguire, Weavings from Roman, Byzantine and Islamic Egypt, Illinois, 1999, pp. 110-113, B15-B17 for similar depictions of dancing clothed maenads and scarved males holding shields, who are identified as Pyrrhic dancers (an ancient dance associated with victory in warfare). The amphorae and vine-leaf borders on this fragment emphasises the Bacchic theme. Maguire also highlights the 'antiquizing Egyptian presentation in profile with their shoulders turned forward' (p. 92).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Boeotian terracotta standing female figure Circa 425-400 B.C.26cm highFootnotes:Provenance:Raphaël Collin (1850-1916) collection, Paris.The Senator William A. Clark (1839-1925) Collection, acquired from the above in 1911. Bequeathed to the Corcoran Gallery of Art, Washington D.C., 1925. Deaccessioned and gifted to the American University Museum at the Katzen Arts Center, Washington D.C., 2014.with Sands of Time Ancient Art, Washington D.C., 2021. Published: R. Collin, Collection of Antique Grecian, Egyptian and Etruscan Statuettes, Vases, Tanagras, Etc., Paris, 1911, p. 5, no. 38.Original Clark Catalogue, Part II, p. 237, no. 38. The Illustrated Handbook of the W.A. Clark Collection, The Corcoran Gallery of Art, Washington D.C., 1928, p. 104, no. 2541 (and in the 1932 edition of the same name).Exhibited: Corcoran Gallery of Art, Washington D.C., 'The William A. Clark Collection,' 26 April-16 July 1978.For the type see R.A. Higgins, Catalogue of the Terracottas in the Department of Greek and Roman Antiquities British Museum, Oxford, 1969, p. 225, pl. 117, nos. 846 & 847.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A large Roman bronze twin-pronged implement Circa 1st- 2nd Century A.D.64.7cm highFootnotes:Provenance:Richard Toman collection, U.S.A., acquired in the 1960s.Estate of William Nicholas Roos (1930-2010), New York and Fort Lauderdale, U.S.A.with Rupert Wace Ancient Art, 2011.Musée d'Art Classique de Mougins, France, acquired from the above, March 2011.Anonymous sale; Bonhams, London, 28 November 2018, lot 77.Exhibited:Mougins, Musée d'Art Classique de Mougins, June 2011-2018.For further information on this lot please visit Bonhams.com
A Gallo-Roman blue glass Hofheim cup with wheel-cut bands Circa 1st Century A.D.6.1cm high, 8.2cm diam.Footnotes:Provenance:Louis-Gabriel Bellon (1819-1899) collection, France; and thence by descent; with labels reading '[.]75' and '460'.Les Antiques de Louis-Gabriel Bellon; Jack-Philippe Ruellan, Vannes, France, 4 April 2009, lot 209.Property from a Princely Collection, acquired at the above sale.For another 'Hofheim Cup' of similar colour with two engraved bands and a production area of Italy or northwestern Europe, cf. A. Antonaras, Fire and Sand, Ancient Glass in the Princetown University Art Museum, 2012, p.108, no. 134.For further information on this lot please visit Bonhams.com
A Rhodian terracotta enthroned goddess Circa 5th Century B.C.20cm highFootnotes:Provenance:Raphaël Collin (1850-1916) collection, Paris.The Senator William A. Clark (1839-1925) Collection, acquired from the above in 1911. Bequeathed to the Corcoran Gallery of Art, Washington D.C., 1925. Deaccessioned and gifted to the American University Museum at the Katzen Arts Center, Washington D.C., 2014.with Sands of Time Ancient Art, Washington D.C., 2021. Published: R. Collin, Collection of Antique Grecian, Egyptian and Etruscan Statuettes, Vases, Tanagras, Etc., Paris, 1911, p. 4, no. 34. Original Clark Catalogue, Part II, p. 236, no. 34. The Illustrated Handbook of the W.A. Clark Collection, The Corcoran Gallery of Art, Washington D.C., 1928, p. 103, no. 2537 (and in the 1932 edition of the same name).Exhibited: Corcoran Gallery of Art, Washington D.C., 'The William A. Clark Collection,' 26 April-16 July 1978.For shared characteristics such as the drapery, hair, and throne with footstool cf. R.A. Higgins, Catalogue of the Terracottas in the Department of Greek and Roman Antiquities British Museum, Oxford, 1969, p.65-67, pl. 23 and 24, nos. 127-132.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Four Roman cameos and a Roman glass intaglio Circa 2nd-3rd Century A.D.Comprising two agate cameos of Medusa heads and another two of Eros leaning on extinguished torches, together with a glass intaglio, all set in later gold mounts, 12mm-15mm highFootnotes:Provenance:Private collection, UK, formed 1970s-1990s.with Rupert Wace Ancient Art, London, 2011.For further information on this lot please visit Bonhams.com
Eleven Greek and Roman terracotta heads and a black-glazed roundel Circa 5th Century B.C-1st Century A.D. Heads: 2.8-6.3cm high, roundel: 7cm diam. (12)Footnotes:Provenance:Raphaël Collin (1850-1916) collection, Paris.The Senator William A. Clark (1839-1925) Collection, acquired from the above in 1911. Bequeathed to the Corcoran Gallery of Art, Washington D.C., 1925. Deaccessioned and gifted to the American University Museum at the Katzen Arts Center, Washington D.C., 2014.with Sands of Time Ancient Art, Washington D.C., 2021. Published: R. Collin, Collection of Antique Grecian, Egyptian and Etruscan Statuettes, Vases, Tanagras, Etc., Paris, 1911, p. 3, no. 23; p. 8, no. 63; p. 16, no. 124; p. 19, no. 145.Original Clark Catalogue, Part II, p. 236, no. 23; p. 239, no. 63; p. 244, no. 124; p. 246, no. 145. The Illustrated Handbook of the W.A. Clark Collection, The Corcoran Gallery of Art, Washington D.C., 1928, p. 103, no. 2526; p. 107, no. 2566; p. 115, no. 2627; p. 119, no. 2648 (and in the 1932 edition of the same name as no. 2548).Exhibited: Corcoran Gallery of Art, Washington D.C., 'The William A. Clark Collection,' 26 April-16 July 1978.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Roman colourless glass flask with wheel-cut bands Circa 4th-5th Century A.D.27cm high Footnotes:Provenance:with Christopher Sheppard, London. Mrs Traudi and Professor Peter Plesch collection (AGv 27), acquired from the above April 1992.The Plesch Collection of Ancient Glass; Christie's, London, 28 April 2009, lot 5. Property from a Princely Collection, acquired at the above sale.For further information on this lot please visit Bonhams.com
A Greek terracotta figure of a dancer Circa 4th-1st Century B.C. 11.2cm highFootnotes:Provenance:Raphaël Collin (1850-1916) collection, Paris.The Senator William A. Clark (1839-1925) Collection, acquired from the above in 1911. Bequeathed to the Corcoran Gallery of Art, Washington D.C., 1925. Deaccessioned and gifted to the American University Museum at the Katzen Arts Center, Washington D.C., 2014.with Sands of Time Ancient Art, Washington D.C., 2021. Published: R. Collin, Collection of Antique Grecian, Egyptian and Etruscan Statuettes, Vases, Tanagras, Etc., Paris, 1911, p. 8 no. 60.Original Clark Catalogue, Part II, p. 239, no. 60. The Illustrated Handbook of the W.A. Clark Collection, The Corcoran Gallery of Art, Washington D.C., 1928, p. 107, no. 2563 (and in the 1932 edition of the same name).Exhibited: Corcoran Gallery of Art, Washington D.C., 'The William A. Clark Collection,' 26 April-16 July 1978.For two other examples of terracotta's in similar drapery see R.A. Higgins, Catalogue of the Terracottas in the Department of Greek and Roman Antiquities British Museum, Oxford, 1969, p. 236, pl. 128 no. 883 and R.A. Higgins, Greek Terracottas, London, 1967, p. 119, pl. 57E.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Two late 19th century Italian micromosaic papier presseone depicting the Coliseum, the other Pliny's Doves, both of shaped barbed oval form, the former with an oval view of the ancient Roman arena, the latter with the bowl on a rectangular plinth, 2cm high, 10cm wide and 6.5cm deep, the later 1.8cm high, 9.5cm wide and 6.5cm deep (2)For further information on this lot please visit Bonhams.com
Circa 222-235 A.D. A contemporary pair of clay coin dies used to manufacture coin forgeries, the working faces depicting a gold aureus or silver denarius of Emperor Severus Alexander, with incuse and reversed legends; each counterfeit die with inscribed numbering to verso [(((( LXIIII = 64]; accompanied by a clay crucible excavated at the same time with inked inscription to the underside: 'Arch.-Nr. / 6612-1975', another object that would have been required in the casting process of manufacturing of fake coins. Cf. Poey d’Avant F., ‘Roman Coin Moulds’, in The Numismatic Chronicle (1838-1842), June, 1838 – April, 1839, Vol. 1 (June, 1838–April, 1839), pp.147-165, fig.1, p.165, for similar; Hall, J., Goodburn Brown, D., ‘Faking it – the evidence for counterfeiting coins in Roman London’ in The London Archaelogist, summer 2015, pp.123-127, fig.3-4-5. Exhibited in 'Monetary History of 2600 Years, Monetary Values Yesterday and Today', Library Faculty of Kamp-Linfurt, Stadsparkasse Duisburg, January 1994. 86.86 grams total, 44-58 mm (1 3/4 - 2 1/4 in.).In a private collection of Roman objects since 1975. Accompanied by a copy of a letter and schedule addressed to the Director of the Library Faculty of Kamp-Linfurt, a branch of Stadsparkasse Duisburg regarding the loan of the forger's die and crucible for exhibition, dated 13 December 1993.Towards the end of the 2nd century and the early 3rd century A.D. the quality of Roman coinage began to be altered. Probably from the beginning of the reign of Severus Alexander, forgers were tacitly allowed by the Roman government to issue counterfeit coins. There are many ancient coins of this emperor that appear to have been cast in moulds. Most of these moulds would have been employed by forgers, and the dies were normally destroyed quickly after use in an effort to dispose of the evidence. [3]
1st century A.D. Irregular terracotta fragment with horizontal rib and high-relief palmette motif to the obverse; old inked collector's inscription 'Roman Brick' to one side; remains of light-coloured pigment; vertical mounting rib to reverse; mounted on a custom-made display stand. Cf. architectural fragments of similar style and proportions in the Antiquarium of the Case Romane del Celio, Rome. 1.38 kg total, 21 cm high including stand (8 1/4 in.).Private collection of Katherine Carson, Delaware, acquired in the 1930s and thence by descent to great-nephew before sale by Ms Carson. This artefact was part of a large collection of curios, a photo of which is in the Dover Post (8 October 1975, p.3) when in the ownership of Alan Hunn of Delaware. Previously offered at auction by Artemis Gallery, 14 February 2010, lot 30 (unsold lot with pre-sale estimate of 2,000 – 3,000 USD). Ex Sands of Time Ancient Art Gallery, Washington D.C. U.S.A., January 2012, item number RT903. [No Reserve]
Circa 2nd-4th century A.D. Modelled in relief with openwork elements, stylised detailing to both figures; hollow reverse. Cf. Mille, B., 'The Casting Techniques of Antique South Arabian Large Bronze Statues,' in Jett, P., McCarthy, B. and Douglas, J.G. (eds.), Scientific Research on Ancient Asian Metallurgy: Proceedings of Fifth Forbes Symposium at the Freer Gallery of Art, Washington, Smithsonian Institution, 28-29/10/2010, Washington, 2012, pp.225-247, fig.5, for similar images. 182 grams, 10.2 cm high (4 in.).Acquired 1990s-early 2000s. East Anglian private collection.Hollow cast bronze images of Eros riding a lion are linked to the Eastern Levant and have been found for example in Tamna, probably a Roman import. The importance of long-distance contacts within the Eastern Mediterranean areas was rapidly reflected in provincial artistic styles, probably as soon as in Hellenistic times, at the beginning of the third century B.C., possibly even earlier. The unquestionable Greek influence led a number of scholars to define three main styles for the bronzes discovered in the eastern Roman provinces: a local type and iconography locally produced, Greek or Roman imports, and Oriental, Hellenistic, or Roman style, locally produced.
20th century A.D. or earlier. Composed of multiple strands of coin-shaped glass bead necklaces, interspersed with spacer beads; some examples with iridescent surfaces; cut from ancient Roman glass. 141 grams total, 64-72 cm long (25 1/4 - 28 3/8 in.).UK gallery, early 2000s. [18, No Reserve]
Circa 2nd century A.D. Standing with its left foreleg raised, the head held high and turned slightly left with a full, fleshy dewlap cascading to the brisket; the tail looping over the rump, with its end adhering to the left flank; wide-open eyes and flaring nostrils; accompanied by a custom-made display stand. Cf. similar statuette in the Leo Mildenberg collection in Kozloff, A.P., Animals in Ancient Art, from the Leo Mildenberg Collection, Mainz, 1981, no.62. 106 grams, 72 mm wide (207 grams total, 91 mm high including stand) (2 3/4 in. (3 5/8 in.)).Acquired from Charles Ede Ltd., London, UK, in 2004. From the collection of a South West London, UK, collector.After the Roman annexation of Egypt, Egyptian cults such as that of the Apis bull were syncretised, becoming part of a distinctively Egyptian form of Roman polytheism. Representations of prancing Apis bulls, turned either left or right, have been found throughout the Roman empire. Various parallels can be found in the Cincinnati Art Museum (inv.1956.13), in Walters Art Gallery (inv.54.1565) and in the British Museum. [No Reserve]
2nd-3rd century A.D. The upper part of a Beneficiarius dedicatory spear or sceptre, comprising a circular-section shaft with an ivy leaf finial, a crescent (lunula) below and the point with triple acorn-shaped spheres; the lower end of the shaft square-section and with a rosette for attaching it to the wooden part, engraved with X-motifs and circumferential lines. Cf. Klein M. J., ‘Votivwaffen aus einem Mars-Heiligtum bei. Mainz’, in JRMES,10 (1999), pp. 87–94, fig.1 and 9, for similar votive spearheads; Kovács, P., ‘Beneficiarius Lances and Ring-Pommel Swords in Pannonia’, in Limes XIX, Procedings of the XIXth International Congress of Roman Frontier Studies, Pécs, 2005, pp. 955–70, fig.5 (similar spear represented on the Altar of Müllendorf); D’Amato, R., Sumner, G., Arms and Armour of the Imperial Roman Soldier: From Marius to Commodus, 112 BC-AD 192, London, 2009, fig.258, p.179, for similar specimen; Gaiu, C., ‘The Beneficiarius spearhead from Arcobadara’ in Journal of ancient Art and Archaeology, No.1.3/2014, pp.22-30. 62 grams, 49 cm (19 1/4 in.).Found Cambridgeshire, UK. Accompanied by an academic report by Dr Raffaele D’Amato.The beneficiarii, within the Roman army, were soldiers exempted from menial duties and acting as orderlies of senior officers; they were also charged with particular duties by governors and generals. Their distinctive insignia were decorated spears, often with a point shaped like an ivy leaf. The military stela from Perinth depicting a 3rd century beneficiarius shows a very similar spear, mounted over a particular structure on the midshaft of the spear.
A large lacquered cut section mined in Greece, probably recycled material mined in ancient Roman times. 574 grams, 23 cm (9 in.).From Greece. Mineral Imports, London, UK. Gregory, Bottley & Lloyd (Gregory's).Also known as Lapis Lacedaemonius and Porfido Verde Antico, a type of green porphyry quarried in Greece. Spartan basalt is a form of andesite or volcanic rock known today only from a single source in the village of Krokees on the Peloponnese in Greece. In addition, ancient sources mention a quarry of Lapis Lacedaemonius in Taygetus. [No Reserve]
Roman Period, 30 B.C.-323 A.D. Carved and painted hooded cobra with sun-disc. Cf. Kalloniatis, F., The Egyptian Collection at Norwich Castle Museum, Oxford, 2019, pp.303-304, pl.61 no.383, for two very similar examples. 20.1 grams, 10.5 cm (4 1/8 in.).Christopher Martin, Ancient & Oriental, London, UK. Ex James Brenchley, Sherborne, UK. Private collection of Mr T.H., Norfolk, UK. Accompanied by a previous dealer's certificate of authenticity and invoice.
Circa 4th-6th century A.D. Comprising a spherical body with shank and pierced knop finial; old collector's label with inked 'ancient Roman / 1st cent. / Exe. minster'. Cf. similar (but not identical) steelyard weight in the Metropolitan Museum of Art, accession no.00.13.8. 351 grams, 10.4 cm (4 1/8 in.).From a North London, UK, collection. Ex Simmons Gallery, London E11, UK.The weight was inserted inside the shaft of a steelyard arm, calibrated on three or more sides with lines and Roman numerals, each providing different scales of pondera (weights). [No Reserve]
1st-4th century A.D. The group comprising: a bronze handle or a furniture mount with ribbed body and looped terminals; a lead disc with Roman numerals 'VII' in two lines; a whetstone and two moulded stone fragments. 118 grams total, 23-88 mm (7/8 - 3 1/2 in.).Found Nottinghamshire, UK. Acquired from Ancient & Oriental in 2003. Property of a Nottinghamshire gentleman. [5, No Reserve]
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