Roman Bronze Statuette of Eros

From a Greek original, wearing a crown of leaves and corymbs, hair falling in straight lines underneath the diadem; full beard composed of four rows of thick tufts with drilled holes; slightly open mouth with a fleshy lower lip; low cheekbones and hollow cheeks; large almond-shaped eyes with lachrymal duct; mounted on a custom-made display stand. 15.8 kg total, 48 cm high including stand



Ex private French collection, early 1960s. Acquired by the current owner in 2011. Accompanied by an academic report by Dr Marina Mattei and Dr Laura Maria Vigna. Accompanied by a copy of a French cultural passport no.129940. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12086-213624.

The head finds comparable parallels with a series of herms representing philosophers, lyricists and the god Hermes, deriving from Greek originals of the 5th century B.C. The reworking of these typologies in a cultured environment is due to the diffusion of sculptures linked to the idea of speculative otium and withdrawal into the bucolic world of which Dionysus was guardian and protector. The typology of the representation associates him with the concept of continuous rebirth and fertility of nature, typical of Dionysus Lenaeus.

Modelled in the round, Venus standing nude with hands raised to dress her hair; dorsal pillar pierced at shoulder height for suspension. 4.9 grams, 40 mm



From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.

The iconography of Venus Anadyomene was one of the most commonly used images of the goddess in classical sculpture, and was still popular during the late Roman Empire. The best example of this is the Louvre Venus Anadyomene (Ma 3537) of the 4th century A.D., found in the 19th century at Saint George de la Montagne near Bordeaux, inside a rich aristocratic house and coming from Aphrodisias, an ancient place of statuary production for export.

With a hollow-form hoop expanding at the shoulders, raised bezel set with a dark blue nicolo intaglio engraved with a pair of birds, one standing and the other stooped to pick something from the ground with its beak. 5.75 grams, 25.12 mm overall, 14.69 x 18.30 mm internal diameter (approximate size British J, USA 4 3/4, Europe 8.69, Japan 8)



From the collection of late AB, London, UK, 1990s. Accompanied by a previous catalogue information slip.

The type of ring (type II, variant I of Ruseva-Slokoska classification) is characterised by the ellipsoid hoop, rounded on the outside, widening to a horizontal triangular shape. The nicolo was often employed in rings of the 2nd-3rd century A.D.