Ancient Art, Antiquities, Books, Natural History & Coins

Comprising seven oval intaglios with various motifs, including a winged horse, an Italic female profile bust, a zebu, a winged lion(?), a standing eagle, an advancing figure carrying an animal, a satyr or a man with lagobolon and grapebunch; supplied with a museum-quality impression. 3.8 grams total, 8-12 mm



UK private collection, acquired on the English market in the 2000s.

Discoid in plan with a high-relief plastic head of Cupid (Greek Eros). 0.42 grams, 8 mm



Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

The finely engraved head on the cameo represents a young child, probably intended as Eros (Cupid). Such depictions were produced in numerous variations to illustrate the stages of childhood and the capacity of children to undertake meaningful or symbolic actions. The high relief type appears to have been especially popular and was probably derived from metalwork, like the plaster medallion from Begram, Afghanistan.

Ellipsoid type with incuse design of Hercules standing under the tree of Hesperides, holding one of the apples; repaired; supplied with a museum-quality impression. 3.2 grams, 25 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

Tabular type with incuse design of Fortuna standing with a cornucopia and rudder, goddess Victory before her holding tainia, the tips of her wings visible; edge chipped; supplied with a museum-quality impression. 1.02 grams, 17 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

A group of carnelian intaglios found in the Snettisham Hoard, Norfolk, comprised subjects like Fortuna, Diana, Spes, a modius with corn, a bird and a dolphin, from the mid-2nd century A.D.

Domed body layered horizontally, an engraved figure of standing Hermes facing right, wearing a petasos and holding a caduceus. 2.44 grams, 16 mm



Old French collection, 1980s. UK private collection, acquired in the French art market.

Scaraboid type with incuse design to the underside of an elephant with stars above; supplied with a museum-quality impression. 3.04 grams, 17 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

The Romans first encountered elephants in Pyrrhos' army, and the representation of elephants in Roman art begins from this period. Victorious emperors like Caesar and Vespasian celebrated elephants on their coins. Apart from the celebration of elephants as ‘war machines’, the image of elephants was linked to other aspects in the Roman Imperial Period. Before becoming emperor, Elagabalus was one of the priests of Helios-Sun worship in Emesa. He had elephant depictions on his coins during his reign. The elephants raise their heads to the sun when the sun rises. Thus, the sun is represented on the gemstone together with the elephant.

Discoid in plan with a beaded rim and concentric rings, at the centre two draped busts, a male and a female, with faint remains of inscription surrounding; the other side polished and tinned. 130 grams, 91 mm



UK private collection before 2000. London collection, acquired on the UK art market.

The image on the back of the mirror depicts an imperial couple from the 4th century. The type of diadem worn by the male figure—clad in a paludamentum and cuirass—and the man's profile, suggest a depiction of Constantine and Fausta, or of Constantine and his mother Helena.

Modelled in the half-round with large eyes and hair arranged in orderly curls, applied silver panels to the eyes and enamel pupils, 57.3 grams, 64 mm



Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of a Surrey, UK, gentleman.

Hollow-formed with long neck, abundant thick hair and beard, broad mouth; probably intended to represent an emperor. 440 grams, 10 cm



Acquired by a Swiss family in the mid-1980s to late 1990s, thence by descent. Private collection, Switzerland, since the late 1990s.

The portrait seems to be a provincial bronze representing Hadrian, apparently aged around 30, recognisable from his incipient beard, moustache and distinctive physiognomy. However, the portrait is in an extremely provincial style, exemplified by the wide spacing of the eyes. The beard is lightly incised, and the highly stylised curls around the front of the head give way to simple incised locks on the back.

Large convex mount depicting the head of the god of wine, shown facing with rounded cheeks and staring eyes, large vine leaves with bunches of grapes framing his face; ferrous spike on the reverse. 103 grams, 61 mm



Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of a Surrey, UK, gentleman.

Swept in profile, comprising a horizontal crescentic panel to attach to the rim, with inlaid silver detailing, recurved cobra-shaped thumb pad, raised serpent to the outer face of the tapering handle, finial a mask of Bacchus or Pan, facing with volute scrolls to the brow and thick splayed beard; silver diadem and eyes. 110 grams, 14.2 cm



Private collection. with Christie's, London, 11 June 1997, no.97 (part). with Bonhams, 13 April 2000, no.198. Private collection, Europe. Accompanied by copies of the relevant Christie's and Bonhams catalogue pages. Accompanied by a copy of an Art Loss Register certificate. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12529-232161.

These handles, which formed a leafy plant element and an S- or T-shaped animal at the top, were usually attached to the belly of the bronze vessel by a human head. In our example, the broad head of the mask, with its broad moustache and beard, characterised by abundant hair, seems to hark back to the iconography of the Sileni or Pan.

Depicted as lar and modelled nude in a standing pose with the right hand resting on the handle of his club, left arms supporting the lionskin mantle; hair cut short and beard textured. 715 grams, 15.5 cm



Acquired on the UK art market, 1990s. Private collection, New York, USA. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13295-255447.

The position of our statuette, belonging to the typology of ‘resting’ Hercules, is unconventional, probably belonging to a more archaic period prototype (Reinach, 1897, p.211,7). By the late 300s or early 200s B.C., the depiction of Herakles wearing the lion's skin over his head had fallen out of favour in Greek art. A worshipper probably placed this statuette in a sanctuary as an offering to the deity, or in his house as a symbol of protection. The majority of small Heracles statuettes are ex-votos, and the donors were possibly herdsmen, considering his function as protector of the flocks. Statuettes of the god found in provinces like Gallia, Britannia, or Pannonia might have appealed to Italic soldiers serving further north and could easily have been carried with them on campaign