Roman Bronze Horse Brooch

Mainly composed of black and brown beads with some facetted beads, the central feature composed of three large later beads; restrung. 23.2 grams, 37.7 cm



Acquired in the 1990s. Ex London, UK, collection.

Formed as a standing horse, the hind legs forming a crossbar, the forelegs forming a catchplate, and linear detailing to the mane. 8.88 grams, 35 mm



From the private coin collection of a West London, UK, gentleman, formed since the mid 1980s.

Piriform in profile with a narrow neck and flared mouth with a chamfered rim, dimple base. 949 grams, 29.1 cm



From the Xavier Guerrand-Hermès private collection. with Artcurial, Paris, 25 March 2014, no.39. 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.12959-245241.

On ancient glass, iridescence is the soft play of colour that develops as the surface ages and becomes silica-rich. Minute layers form over time and break light into shifting blues, greens and golds. It is not a modern finish but something time has drawn out of the material itself, so the pattern and palette are unique to each piece. Collectors prize good, stable iridescence because it lifts the form: ribs read more crisply, profiles glow, and simple vessels take on depth and movement. Museums now tend to preserve these surfaces rather than polish them away, recognising both their beauty and what they tell us about an object’s long life (though it is not, by itself, a dating test). For display, iridescent glass performs brilliantly under gentle, directional light, where the colours “turn” as the vessel is moved. Well-preserved, even iridescence of this quality is not common and adds materially to the presence and desirability of the piece.