Comprising three full and one partial octagon, each with two concentric rhombuses distinguished by different shades of yellow, white and light red, each with a central red dot; the border above with a band of red triangles; mounted on a reinforced backing board.

PROVENANCE:
Acquired 1970s-1996.
Property of a North American collector.
London collection, 2016.

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.11920-207410.

LITERATURE:
Cf. Piccirillo, M., Alliata, E., Umm Al-Rasas Mayfa’Ah, I, Gli Scavi del complesso di Santo Stefano, Jerusalem, 1994, pp.75,92; Miller, S., The Mosaics of Tiberias and Hammat Tiberias during the Roman, Byzantine and Early Islamic Periods, Jerusalem, II Vol., 2011, pl.11 nos.3, 4, 5; pl.17 no.6, pl.18, pl.26 no.8, pl.27 no.6, pl.28 no.8, pl.29, nos.5-6, pl.33, nos.6, 7, for similar patterns.

FOOTNOTES:
The use of abstract and geometric motifs characterises the mosaic art of the Levant under the domination of Byzantium. Close ties can be identified between these rhomboidal figures with those of some of the famous Lebanese mosaics of Beit el Dine, or the mosaics of Tiberias and Hammat, which represent the last expression of Roman art in that area before the Islamic conquest.