Post-Classical Glass Paste Cameo of Saint Demetrius

A statuette of an acrobat on a round, drum-shaped base, standing on his hands, body arching slightly and legs together; wearing a loin cloth and cap decorated with floral pattern; eyes inlaid with silver. 162 grams, 12 cm high



Ex property of a Surrey collector; acquired in the early 1970s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13125-249637.

Acrobats in ancient Rome could perform at a number of venues; either in theatres, as 'gap fillers' between gladiatorial contests at the amphitheatre, at private parties or at impromptu street performances and fairs. A convivium was a dinner party with family, friends or associates. It was somewhat like a Greek symposium except that it was generally regarded as a chance to talk business or politics rather than philosophy and weighty matters. A commissatio was a wild drinking party. Prostitutes, jugglers, musicians, acrobats, actors and fire-eaters entertained guests at the banquets of wealthy Romans. From the descriptions given by Roman authors these banquets were lavish affairs with rose petals scattered on the floor, mechanical devices lowering acrobats and entertainers from the ceiling and slaves blew exotic scents into the room. The emperors also had special entertainment barges constructed on some of the ornamental lakes in the parks of Rome where acrobats entertained the guests.

A restrung necklace comprising carinated carnelian beads interspersed with sheet-gold beads of plain and granulated types, two tapering round-section beads with collars and domed finials, a central gold polygonal pendant with eight concave sides, polished oval garnet cabochon at the centre, granulated collar around base, raised tear-shaped cell to each corner also with granulated border, alternately set with enamel and garnet cabochons, a single applied bead between each; modern hook-and-eye clasp. 39.16 grams, 53 cm



Acquired in the mid-1980s to early 1990s. 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.13124-246808.

Likely representing Harpocrates, depicted frontally and wearing a draped full-length himation, the right arm raised and left arm bent at the elbow; mounted on a custom-made display stand. 7.55 kg total, 53.5 cm high including stand



Private collection, Hong Kong, acquired in the 1970s. Spanish art market. Acquired by the present owner from the above. 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.13040-248071.

The body of this statue was hollow-cast by the lost wax method; traces of solder within the arm sockets and around the neck indicate that the arms and head were cast separately. The position of the body and comparative images suggest the statue represents Harpocrates. Harpocrates, the son of Isis and Horus, was one of the most represented children, especially after the diffusion of his cult into the Roman Empire. He is usually depicted naked, but draped figures of the god were produced in the Hellenised east and spread throughout the Empire. Statues of Harpocrates were at the entrance of almost all temples, to indicate that in those places the gods should have been honoured with silence, or, according to Plutarch, men who had an imperfect knowledge of the divinity should only speak of it with respect.