Roman Blue Glass Bead Necklace String

Piriform body with flattened base, long, slender neck constricted at the base; inturned rim to mouth, iridescent surface. 17 grams, 11 cm



Ex Viviane Alioth. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Portrait head of a woman with an elaborate coiffure, with the hair at the back parted in the middle and the two strands folded over each other and then pulled to the front to form a looped horizontal layer, then parted in the middle of the forehead and drawn to the back of the head, thereby forming ripples; individual curls represented along the hairline up to the completely exposed ears; some modern infills to the forehead area above the left eye, both upper eyelids, both cheeks in the middle area, left nostril and the chin up to the lower lip; heavily cleaned. 16 kg, 34.5 cm



Acquired on the Parisian art market. with Bernard Tinivella, Saint-Ouen. 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.12464-228803. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

The coiffure is known as 'Scheitelzopf hairstyle' or 'reverse plait'. The closest parallel for this hairstyle is a portrait bust in the Palazzo dei Conservatori (inv. no. 2767), which corresponds in every detail, including the various decorative curls. The same type of hairstyle, albeit with variations in the details (decorative curls and position of the hair loop), is found on a few other portraits of women that were dated to the Period of Gallienus by Marianne Bergmann. Some of the portraits in this typologically related group are likely to be private portraits. Nonetheless, the question must be raised as to whether the portrait shows a member of the imperial family. Hereby physiognomic features and especially imperial coin portraits need to be taken into account. In this context, it is important to note that both eyeballs were reworked, whereby the iris was completely erased. Furthermore, there are pick marks on the eyebrows, eyelids, nose, cheeks, mouth and chin (partly filled in modern times). If these were intentional changes made in the context of the practice of Damnatio memoriae, they would indicate that a lady from the imperial family was represented. The neck has been prepared for insertion into a sculpture.

The bowl with a wide flat bottom and convex sides; the inside with incised concentric circles; flat handle with raised edges and hooked finial for suspension. 483 grams, 39.5 cm



German private collection, Mr O., collecting in the 1950s-1960s; thence by descent. with Bonhams, London, 7 July 2016, lot 191 (£3,000-5,000). Accompanied by an academic report by Dr Raffaele D’Amato. Accompanied by copies of the relevant Bonhams printed catalogue pages (full page). This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11735-201189. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

This vessel was part of Roman and provincial bronze instrumentum domesticum, i.e. culinary or domestic utility ware. Such cooking vessels are rare: some are found in central and northern Italy, in Pannonia, Germany and in Britain. The Aylesford Pan, today in the British Museum (inventory no.1886.1112.1), is one of the most important finds. This specimen (Eggers type 130), probably pre-Caesarian or Caesarian, was found in a grave together with a Celtic bucket and a jug.