Roman Blue Glass Bead Necklace String

Modelled in the round as a belted torso and legs with tiered tasselled robes and bare feet. 128 grams, 10 cm



UK art market, 1981. Private collection, London, UK.

Adonis was the offspring of an incestuous union between Smyrna and Cinyras. As an infant, he was given by Venus (Aphrodite) to Persephone for protection, but later became an object of desire for both, resulting in a decision by Zeus that he would spend four months with Persephone, four months with Venus and four months with whomever he wished. According to mythological traditions, Adonis was killed by a wild boar during a hunt - either sent by Artemis, or Ares in disguise. Aphrodite pleaded for Adonis' life with Zeus, who allowed the youth to spend half of each year with her and half in the underworld.

With chord and pin (now detached) at the head, D-section bow with lateral spurs, collar and swept foot with notched detailing, bulb finial, catch to the reverse. 26.6 grams, 54 mm



Ex important German collection, 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

This type of fibula, common in Pannonia, was typically worn in men's clothing. It closed the paenula on the chest, arranged horizontally. Naturally, it could also be worn with military attire.

A truly exceptional and imposing fragment, rendered with remarkable naturalism, the forefinger extended and gently bent, the thumb positioned for grip, and the remaining fingers elegantly curled inward, possibly from a life-sized statue of an emperor, magistrate or a general; presented on a custom-made display stand, the thumb and forefinger sympathetically restored. 4.75 kg total, 45 cm including stand



Ex Frits Phillips, Eindhoven, Netherlands, before 1980. Private European collection, 1980s. Private collection, London. 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.12907-242493.

During the height of the Roman Empire, monumental bronze statues were not simply works of art; they were instruments of authority and prestige. By the 2nd and 3rd centuries A.D., Rome possessed the wealth and technical mastery to produce over life-sized figures in hollow bronze, a medium that required immense skill and resources. These statues were intended to impress and endure, often commemorating emperors, generals, and gods in a scale that placed them beyond the ordinary realm of mortals. Such bronzes were used to dominate public spaces and convey imperial power. In forums, baths, and temples, the towering images of rulers reminded citizens of Rome’s strength and the divine favour said to rest upon its leaders. The famous equestrian statue of Marcus Aurelius in Rome is perhaps the best surviving example of this tradition; its imposing scale and lifelike rendering conveyed both the emperor’s authority and his humanity. Another renowned piece, the fragments of the colossal bronze statue of Constantine the Great, once stood in the heart of the capital and would have dwarfed viewers, embodying the emperor’s near-divine status. Even earlier examples, like the Bronze of Germanicus or the over life-sized bronzes of emperors found at sites such as Herculaneum, illustrate how these works were strategically placed to broadcast messages of victory and control. Bronze was the perfect medium for such statements. Its ability to hold fine details gave these figures a vivid presence, while the sheer scale was designed to inspire awe. These statues were not simply commemorative; they were a visual language of power, cast in metal to endure beyond the individual and the age in which they were created.