Ancient Art, Antiquities, Books, Natural History & Coins

Depicted lying on a riverbed, leaning on his right side, his aged face framed by a rich, flowing beard, his wavy hair held back by a taenia; his body, naked and corpulent, is covered only by a light cloak wrapping his legs; his left hand is stretched forward, his right hand resting on a vase pouring water from the river; the figure stands out against a smooth, semicircular cut wall; mounted on an old collection marble base. 13 kg, 44.5 cm wide

With evidence of break along outer edges suggesting the fragment was once part of a larger composition or fountain. Areas of old glue remnants to the broken edge. The marble is stable, with age staining to the entire surface; minor chips throughout but generally in very good condition.

Previously in an old European collection, probably from the 18th/19th century, based on the old collection marble base and mounting technique. Private collection, France. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no. 13239-251810.

The representations of river or sea divinities usually depicted them in the same position, with naked torso wrapped only in a wide cloak, and usually bearded. The sculpture bears similarities with the sculpture of a river divinity, in the Archaeological Museum of Napoli (inv. 5977), from Rome and belonging to the Farnese Collection, from the second half of the 2nd century A.D.

Carved in the round bust depicting a faun or centaur with a youthful face; the hair falling in exuberant curls over the goat-like ears, the mouth parted in laughter, the eyes set beneath a stern brow; on an integral pedestal base with repair to reverse. 21.4 kg, 45 cm high



Private collection, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13392-259012.

Monumental marble centaurs were excavated together at Hadrian's Villa in December 1736. Pope Clement XIII secured them for the Capitoline Museum, where they remain to this day. Bronze reproductions of the famous centaurs were very much in vogue amongst the Grand Tour travellers of the 18th century.

Rectangular scene with ledge to lower edge; high-relief carved scene depicting a standing male in loosely draped toga, holding the upper edge of a papyrus scroll; beside him, a small boy in similar attire holding the lower two corners of the document; legend in seriffed Roman capitals 'VICTORIAE / AVGVSTO / RE[...]' (to Victoria, to Augustus, ...). 127 kg total including stand, 87.5 cm high



Private collection, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13393-259011.

The relief recalls the images of the Propaganda Augusti, diffused by Julius Caesar Octavian after his victory over Marcus Antonius and Cleopatra at Actium. The aged man and the boy represent the old and new Roman world meeting in the Principate created by Augustus.

Comprising a round-section hoop with foliate decoration on the shoulders, oval setting with a beaded border and gadrooned underside, set with a dark carnelian intaglio depicting a warrior hero, in heroic nudity, resting after the battle; such images usually referring to the god Ares or heroes like Achilles or Theseus; supplied with a museum-quality impression. 4.66 grams, 23.39 mm overall, 17.88 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14)



Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13394-257950.

Intaglio engraved with satyr playing aulos behind a tall column with statue on the top, a woman in long robe and satyr standing in front of an altar; set into a later gold ring with hoop formed from three round-section wires holding an oval bezel; supplied with a museum-quality impression. 9.36 grams, 25.97 mm overall, 19.15 mm internal diameter (approximate size British N, USA 6 1/2, Europe 13.72, Japan 13)



Private collection, Europe. Acquired on the English art market.

Black stone intaglio featuring a kneeling satyr before a grapevine, holding a large goblet in his right hand and a thyrsus in the crook of his left arm, a wine amphora behind him; set in a gold ring; supplied with a museum-quality impression. 2.51 grams, 22.29 mm overall, 19.70 mm internal diameter (approximate size British R 1/2, USA 8 3/4, Europe 19.38, Japan 18)



Acquired on the European art market.

Oval banded agate intaglio engraved with Eros riding a hippocamp through the waves and wielding a whip in his hand; set in a later gold ring with openwork shoulders. 4.57 grams, 25.29 mm overall, 17.36 mm internal diameter (approximate size British N 1/2, USA 6 3/4, Europe 14.35, Japan 13)



Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13348-257957.

The term hippocampus originates in the Renaissance, from Julius Caesar Arantius. He originated the term from the Greek word for seahorse (hippos [‘horse’] and kampos [‘sea monster’]). Arantius published his description of the hippocampus in 1587, in the first chapter of his work titled De Humano Foetu Liber.

Vibrant red intaglio featuring the god of war striding left, carrying a spear with one hand and the other holding a trophy resting upon his shoulder; the reverse of the intaglio engraved with the word ‘ADYNAIE’, probably the name of the original owner; set in a modern gold ring; supplied with a museum-quality impression. 5.75 grams, 22.89 mm overall, 18.13 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14)



Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13336-257953.

The moniker 'Mars Gradivus' is often translated as 'Marching Mars' from the Latin 'gradus' meaning step or march.

Narrow hoop forked at the shoulders and supporting an oval open-backed setting with a slightly convex orange carnelian intaglio depicting the head of Papposilenus facing, wearing a wreath on his bald head, long beard and open mouth; supplied with a museum-quality impression. 3.31 grams, 21.59 mm overall, 18.67 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15)

There is a stable internal fissure within the intaglio.

Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13317-257960.

The image, derived from Graeco-Roman mythology, represents Papposilenus, a semi-bestial figure with a round face dominated by a thick, unkempt beard and a completely bald head. The subject depicted is the eldest Silenus (the meaning of his name) and the wisest of Dionysus’s retinue; indeed, the infant Dionysus was entrusted to his care.

D-section hoop with widening lozenge-shaped shoulders supporting two discoid bezels; one with orange stone intaglio of three winged erotes, two engaged in a wrestling competition; a mirror image in gold below. 16.07 grams, 29.75 mm overall, 17.58 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14)



Private collection, Europe. Acquired on the English art market.

D-section hoop and an oval bezel set with a grey banded agate cameo featuring a mature man in three-quarter view facing left, furrowed brow and short-cropped curly hair. 4.69 grams, 27.33 mm overall, 18.81 mm internal diameter (approximate size British Q 1/2, USA 8 1/2, Europe 18.12, Japan 17)



Acquired on the European art market.

Hollow-formed with pie-dish bezel and inset cameo. 3.17 grams, 21.26 mm overall, 17.72 mm internal diameter (approximate size British L, USA 5 3/4, Europe 11.24, Japan 10)



Private collection, Europe. Acquired on the English art market.

The cameo is Italian and carved in the classical style of the 2nd century AD, although it dates to the 18th century. Her hair is tied back, and she is wearing a double-banded diadem. The agate displays a deep umber hue, with the bust depicted in light bluish white with highlights of light caramel. In the late 18th century, interest in the classical world became exponentially high, and demand became great for objects from or relating to the ancient world. The high-carat gold ring dates to the late 18th century; there is a small dent to the shoulder of the band.