Large Eastern Roman Gold Earrings

A Roman copy after a Hellenistic original, probably representing the goddess Demeter or Aphrodite sitting on a rock with her legs slightly parted, left hand resting on her lap and holding a pomegranate(?); the right arm stretched out to her side and holding a water jug that appears to have been reworked at a later time; dressed in a floor-length chiton with vertical folds and fastened under the breasts by a high belt; himation only covering the lower part of the body leaving her pleated dress clearly visible between her legs; her wavy hair with central parting and collected in a soft chignon at the nape of the neck; the face with schematic features with large eyes and raised eyelids, a small fleshy mouth and a prominent chin. 14.9 kg, 39 cm high



Ex Paris collection. French gallery, Paris, 1990-2000s. Accompanied by an academic report by Dr Marina Mattei and Dr Laura Maria Vigna. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11932-209624

The statuette seems to refer to the iconography of the goddess Demeter. Water, an element of purification, is a constant in the cult of this goddess, as is the fruit clutched in her left hand, most likely a pomegranate, an allusive attribute of nourishment and her relationship with Hades. The pomegranate links the iconography to the rape of Persephone, appearing among the funerary symbols as nourishment for the afterlife. Precise references and comparisons can be found with the terracotta statuette, found near Vetralla, in the National Etruscan Museum Rocca Albornoz of Viterbo and with the female bust of the sanctuary of Demeter of San Biagio in Agrigento, for the treatment of the hair and the facial features. The Demeter of Cnidus, a marble statue dated to 350 B.C., today in the British Museum, represents the goddess sitting on a throne wearing a long chiton and himation. The hairstyle with hair gathered in a low knot on the back of the head, however, references directly that of the Cnidian Aphrodite of Praxiteles. The statuette in question could be a copy of the Greek deity Demeter/Persephone created in Roman times, a period in which the cult overlaps with that of Ceres. In the early Imperial age there are examples of contamination of the iconography of Demeter/Persephone with Ceres, as attested among others by the statues of the Capitoline Museums inv. 231 and that of the Roman Theatre of Merida (Spain) in the National Museum of Roman Art, dated to the 1st century A.D.

D-section hoop and tall scaphoid bezel, intaglio design of an antelope. 10.82 grams, 26.08 mm overall, 15.94 mm internal diameter (approximate size British K, USA 5 1/4, Europe 9.95, Japan 9)



Ex old English collection. London art market, pre 2000. Property of a London, UK, gentleman.

Formed as a tablet-shaped stamp (signaculum), with raised border above and below containing an inscription in Latin in reverse over two lines, reading: 'Q[UINTI] POM [PONII] CRE [SCONII} ? / OCTAVIAN[I]' possibly translating to: 'Of Quintus Pomponius Cresconius Octavianus', this latter being the owner; with a large loop to verso. 92 grams, 64 mm



From an old private collection formed before 1985. Accompanied by a copy of a previous dealer's certificate of authenticity including provenance.

Used to stamp documents and a broad range of different materials and food, signacula came into use in the Roman res publica during the 2nd century B.C., becoming both popular and widely used in many areas of everyday life during the Imperial period. These signacula were not exclusively used in the sphere of economy and property administration, but also in public and private sphere, determining the identity of their owners. The bronze stamp - also definable as a tessera, like the wooden one - was an instrumentum vicarium (auxiliary tool) of the annulus signatorius (seal ring), but compared to the annulus, it was much stronger and more practical, capable of leaving a better recognisable imprint. By analogy, the press note of a wooden or terracotta stamp also had an important certifying function, but the object that produced it only lasted a limited time, while the signaculum ex aere (bronze stamp) lasted a lifetime.