Roman Alabaster Bowl

A set of copper-alloy balance scales composed of a hook and shaped bar suspending a link chain at each end, each single chain diverging into three shorter chains supporting a shallow dish. 93 grams, 20.2 cm wide



Acquired in the late 1990s-2000. Property of an East London gentleman.

A copper-alloy zoomorphic plate brooch, in the shape of a deer with two legs, a short tail and a complete antler, characterised by a series of transverse grooves, the body of the animal with the inscription 'FLAINA' in Latin letters; pin lugs and remains of ferrous pin to the reverse. 11.5 grams, 41 mm



Acquire in the 1990s. Ex Cambridgeshire, UK, collection.

Roman fibulae came in a variety of shapes and embellishments. In the Roman Empire, the fibula was both functional and decorative, as men and women wore it to fasten their aprons and cloaks. A similar function was performed by pins intended to hold heavy garments such as cloaks. This type of fibulae were probably produced in Pannonia, from where they were exported around the Empire. Another centre of production of deer fIbulae was probably Roman Britannia.

A skilfully carved life-size marble head of a female (possibly Artemis, a Muse or an Amazon) with centrally parted hair composed of wavy strands and tied in a ponytail at the back; serene facial expression, almond-shaped eyes and small mouth with slightly parted lips; some restoration; mounted on a custom-made display stand. 14 kg total, 38 cm high including stand



Ex private collection, Monaco, 1960s-1970s. Acquired from the Monaco Fine Arts on 4th November 1992. Private collection of Mr & Mrs Daniel, Monaco. Acquired by the present owner from David Aaron Gallery in 2019. 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 searcher certificate number no.11569-197722.

The youthful head seems to be based on the Greek Attic Artemis Colonna type of the 4th century B.C. The composition of the head is powerful with a serene countenance, its physiognomy replete with the idealised quality characteristic of Greek classical sculpture. This classic influence is best seen in the perfect almond- shaped eyes with their sharply carved lids as well as the smooth contour of the face. The rich handling of the coiffure and the smooth quality of the face can suggest a date sometime during the Hadrianic (117 to 138 A.D.) or early Antonine periods.