Roman Bronze S-Shaped Plate Brooch

Barrel-shaped type with weathered surface. 11.9 grams, 26 mm



Acquired in London or Japan, early 1980s. Property of a London, UK, gentleman.

Hollow-formed, no handle, but the rear bulging tubular part of the basin may have served as such; body in the shape of a comic theater mask with large open mouth; filling-hole on forehead, knit eyebrows with jolly expression and large open mouth functioning as a wick-hole; crown of foliage and fruits; flat raised oval base. 38 grams, 67 mm



From the collection of Mr W.A. Stewart, Director of School of Arts and Crafts, Cairo, 1919-1929. Acquired Christie's, London, Antiquities, Works of Art and Important Renaissance Bronzes, Plaquettes and Limoges Enamels, 8 July 1981, no.126 (part). From a private Wiltshire, UK, collection. Accompanied by a copy of the relevant Christie's catalogue page.

Lamps with figurines first appeared in the Hellenistic period, possibly originating in Athens, since the 2nd century B.C. Found in all parts of the Mediterranean basin, they were particularly popular during the 1st and 2nd centuries A.D. The Silenus face types were linked to the Bacchic cult. The crown of leaves and fruit across the forehead alludes to Bacchus or one of his followers.

Piriform in profile with a narrow neck and flared mouth with a chamfered rim, dimple base. 945 grams, 29.5 cm high



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.