Bronze Roman Coin and Framed Limited Edition Print

Carved in fine-grained marble, the head depicting a matron of the patrician class with angular features, pronounced cheekbones and a softly wrinkled brow; her lips finely curved and gently closed, the heavy-lidded eyes incised with irises and drilled pupils, lending an expression of composed attentiveness; the hair parted centrally, arranged in thick curls drawn behind the prominent ears, coiled into a low chignon at the nape and continued as a braided tail over the crown, a coiffure closely associated with the mid-3rd century A.D.; attached to an antique bust, some restoration. 49 kg, 76.5 cm high



French private collection, 18th century. with Mercier & Cie, Lille, France, 6 October 2019, no.199. Private collection, Europe. Accompanied by a copy of French passport no.217723, dated 27 February 2020. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12674-236274. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

The present work exhibits a distinctive coiffure that gained prominence among aristocratic Roman women during the mid-3rd century A.D., most notably under the empresses Furia Sabinia Tranquillina, consort of Gordian III, and Otacilia Severa, wife of Philippus Arabs. This elaborate arrangement - central parting, voluminous curls, and a braided crown - is a key chronological indicator, allowing the portrait to be securely dated to this period. The head is mounted on an 18th century bust inscribed 'IVLIA MAESA'. While this identification reflects an earlier attribution, current stylistic analysis suggests a slightly later date, aligning the portrait more plausibly with the generation following Julia Maesa’s death in A.D. 224/225.

Clad in a symmetrically incised late Roman toga, which was originally painted; the right hand covered by the robe and resting against his chest, the now lost left hand probably held a rank symbol or a scroll; short hair, cut according to the style of the Tetrarchy, wide eyes and pronounced lips; beard extended under the chin and on the throat; crepida sandal of Greek typology still visible on the right foot. 700+ kg, 206 cm including base

Fine condition. An impressive museum-quality display piece.

Acquired by L.H., Munich, Germany, prior to 1982. with H.v.C., Munich, Germany, in 1982, forming a central part of their family collection during the 1980s. Thence by descent to his son, C.M., Switzerland. Accompanied by a copy of a German cultural export licence. Accompanied by an academic report by Dr Raffaele D’Amato. Accompanied by a geological report No. TL3253 by geology consultant Dr R. L. Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12089-211955. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

This statue of a Roman magistrate represents a high-ranking citizen with political and ritual responsibilities. The stylised facial features date it to the period of the Tetrachy under the Emperor Diocletian (284-305 A.D.), when representation of the human form began to show a concern for geometry and symmetry. A similar style can be seen in official portraits of Diocletian, Galerius, Constantinus Chlorus, and Maximianus Herculius. Despite the stylisation typical of the era, however, the sculptor of this lot has taken pains to add personal details, such as the dimpled chin and creased forehead. Its powerful resemblance to Imperial portraiture stems from the desire of magistrates to emulate emperors in the way they represented themselves. This is a piece of outstanding quality, and unlike other Late Roman sculptures, in which a portrait head is often attached to an earlier body, it appears to have been created as a whole. It shows exceptional attention to detail, including in the magistrate’s beautifully carved footwear. It is likely to represent an official of an Eastern Empire city, either in Greece or Illyria.

Aqua glass drum-shaped jar with waisted rim and pontil base; cracked and one piece absent. 34 grams, 68 mm high



Audrey Davies, Astarte Gallery, London, UK, 1986. Ex private UK collection. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.