Late Roman Bronze Bracelet

Ellipsoid in plan with intaglio profile female bust. 0.41 grams, 9 mm



From the collection of a London, UK, gentleman, 1970s onwards. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Based on similarities with coins and sculptures, the gemstone could date to the Late Hellenistic or Early Roman period. These similarities can be seen in the strongly marked lines of the dress, the pronounced shape of the mouth, and the squareness of the nose.

A truly exceptional and imposing fragment, rendered with remarkable naturalism, the forefinger extended and gently bent, the thumb positioned for grip, and the remaining fingers elegantly curled inward, possibly from a life-sized statue of an emperor, magistrate or a general; presented on a custom-made display stand, the thumb and forefinger sympathetically restored. 4.75 kg total, 45 cm including stand



Ex Frits Phillips, Eindhoven, Netherlands, before 1980. Private European collection, 1980s. Private collection, London. 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 a search certificate number no.12907-242493.

During the height of the Roman Empire, monumental bronze statues were not simply works of art; they were instruments of authority and prestige. By the 2nd and 3rd centuries A.D., Rome possessed the wealth and technical mastery to produce over life-sized figures in hollow bronze, a medium that required immense skill and resources. These statues were intended to impress and endure, often commemorating emperors, generals, and gods in a scale that placed them beyond the ordinary realm of mortals. Such bronzes were used to dominate public spaces and convey imperial power. In forums, baths, and temples, the towering images of rulers reminded citizens of Rome’s strength and the divine favour said to rest upon its leaders. The famous equestrian statue of Marcus Aurelius in Rome is perhaps the best surviving example of this tradition; its imposing scale and lifelike rendering conveyed both the emperor’s authority and his humanity. Another renowned piece, the fragments of the colossal bronze statue of Constantine the Great, once stood in the heart of the capital and would have dwarfed viewers, embodying the emperor’s near-divine status. Even earlier examples, like the Bronze of Germanicus or the over life-sized bronzes of emperors found at sites such as Herculaneum, illustrate how these works were strategically placed to broadcast messages of victory and control. Bronze was the perfect medium for such statements. Its ability to hold fine details gave these figures a vivid presence, while the sheer scale was designed to inspire awe. These statues were not simply commemorative; they were a visual language of power, cast in metal to endure beyond the individual and the age in which they were created.

Hollow-formed, no handle, but the rear bulging tubular part of the basin may have served as such; body in the shape of a comic theater mask with large open mouth; filling-hole on forehead, knit eyebrows with jolly expression and large open mouth functioning as a wick-hole; crown of foliage and fruits; flat raised oval base. 38 grams, 67 mm



From the collection of Mr W.A. Stewart, Director of School of Arts and Crafts, Cairo, 1919-1929. Acquired Christie's, London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, no.126 (part). From a private Wiltshire, UK, collection. Accompanied by a copy of the relevant Christie's catalogue page.

Lamps with figurines first appeared in the Hellenistic period, possibly originating in Athens, since the 2nd century B.C. Found in all parts of the Mediterranean basin, they were particularly popular during the 1st and 2nd centuries A.D. The Silenus face types were linked to the Bacchic cult. The crown of leaves and fruit across the forehead alludes to Bacchus or one of his followers.