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LOT 0719
Late Roman Terracotta Slipper Oil Lamp with Animal Head Handle
HOLY LAND, CIRCA 5TH-7TH CENTURY A.D.
4 1/8 in. (73 grams, 10.6 cm).
Handle to the rear with two large lateral projections, radiating ribs surrounding the filler hole, scroll motifs on the nozzle; low basal ring with scroll motifs. [No Reserve]
ProvenanceEx Ancient Art Shop, Windsor, UK, 1990s.
Ex private West County, UK, collection.
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AUCTIONS:
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LOT 0719
Late Roman Terracotta Slipper Oil Lamp with Animal Head Handle
Estimate £60 - 80€70 - 93 (for guidance only)$81 - 108 (for guidance only)
Opening Bid
£5 (EUR 6; USD 7) +BP*
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Roman Bronze Eagle Plate Brooch
2nd-3rd century A.D.Estimate: £60 - 80 (+bp*)
Opening Bid: £5
Formed as a standing eagle facing left, with notched detailing on the body and wings, a pin and catchplate on the reverse. 7 grams, 37 mm
From the private coin collection of a West London, UK, gentleman, formed since the mid 1980s. -
Roman Enamelled Bronze Plate Brooch
2nd-3rd century A.D.Estimate: £80 - 100 (+bp*)
Opening Bid: £5
Pelta-shaped with trefoil finial to the vertical lobe, recessed D-shaped cell with enamel fill, central roundel with enamel fill; integral box fitting to reverse housing the chord and pin, catch to lower end. 24 grams, 40 mm
Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of a Surrey, UK, gentleman. -
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Very Large Eastern Roman Blue Glass Bottle with Iridescence
2nd-3rd century A.D.Estimate: £2,000 - 3,000 (+bp*)
Opening Bid: £1,000
Piriform in profile with a narrow neck and flared mouth with a chamfered rim, dimple base. 949 grams, 29.1 cm
From the Xavier Guerrand-Hermès private collection. with Artcurial, Paris, 25 March 2014, no.39. Private collection, London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12959-245241.
On ancient glass, iridescence is the soft play of colour that develops as the surface ages and becomes silica-rich. Minute layers form over time and break light into shifting blues, greens and golds. It is not a modern finish but something time has drawn out of the material itself, so the pattern and palette are unique to each piece. Collectors prize good, stable iridescence because it lifts the form: ribs read more crisply, profiles glow, and simple vessels take on depth and movement. Museums now tend to preserve these surfaces rather than polish them away, recognising both their beauty and what they tell us about an object’s long life (though it is not, by itself, a dating test). For display, iridescent glass performs brilliantly under gentle, directional light, where the colours “turn” as the vessel is moved. Well-preserved, even iridescence of this quality is not common and adds materially to the presence and desirability of the piece.
