Roman Agate Scarab Engraved with the Goddess Fortuna Mounted in a Gold Ring

Discoid in plan with stub heart-shaped nozzle, loop handle with ribbing to outer face, shoulder with low-relief wreath detailing, discus with stag running right; ropework bands to underside of nozzle, base marked off with two circular grooves, impressed 'C' to centre. 81 grams, 10.3 cm



From a Scottish gentleman’s collection, Glasgow, formed from the early 2000s.

Hollow-formed with flange rim and stepped bezel, inset intaglio profile bust of Athena in crested helmet; sinistrograde legend to bottom edge 'ΚΡΑΤΙΜΠ*'; supplied with a museum-quality impression. 20.80 grams, 33.33 mm overall, 22.23 mm internal diameter (approximate size British Z, USA 12 1/2, Europe 28.77, Japan 27)



with Bertolami Fine Arts, London, Auction 66, no.481. Private collection, England. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13121-249538.

Carved in the half-round with undercuts to the curly hair, fleshy facial features; attachment ring to reverse. 2.02 kg, 17.5 cm



Acquired on the French art market, 13 November 2022. Private collection, England. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13086-249672.

The finely sculpted head represents a young child, probably intended as Eros (Cupid). Such depictions were produced in numerous variations to illustrate the stages of childhood and the capacity of children to undertake meaningful or symbolic actions. The softly modelled features and gentle expression recall the celebrated work of Boethos', The Boy Strangling the Goose, as well as the widespread images of Eros and the Erotes found throughout Graeco-Roman sculpture and painting. In Graeco-Roman art, representations of children occupied an important and evolving role. Initially, youthful figures were portrayed as miniature adults, but from the 4th century BC onwards - particularly during the Hellenistic and Roman periods - artists began to study children’s anatomy more closely, reproducing their characteristic proportions and expressions with naturalistic sensitivity. The figure of Eros, the constant companion of Aphrodite, became the quintessential model of the child in ancient art, identifiable by his traditional attributes of wings and bow. As evidenced by numerous statuettes and wall paintings unearthed at Pompeii, scenes of childhood were among the most popular subjects for adorning the gardens and interiors of wealthy Roman villas. These figures appear in lively and varied activities - playing, working, performing, or interacting with animals such as birds, hares, and dolphins - celebrating both the charm and vitality of early life within an idealised artistic vision.