Roman Bronze Strigil

With a solid ellipsoid hoop expanding at the shoulders from the mid 3rd century, with oval bezel set with a blue nicolo gemstone engraved with the figure of standing crowned god Apollo, depicted nude and holding a staff (or lyre?) in his raised right hand, gazing towards his raised left hand. 4.49 grams, 26.13 mm overall, 21.70 mm internal diameter (approximate size British L 1/2, USA 6, Europe 11.87, Japan 11)



From the private collection of the late A.B., London, UK; acquired before 1989. 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.12005-213036.

The god’s body is depicted in three-quarter view, whereas the head is in full profile. The casual posture of the figure on the gemstone is taken from the common iconography of the god. Apollo is frequently portrayed in this fashion, although often leaning against a small column.

Comprising a large edge section with impressed olive tree, with details of branches, fruit and foliage. 87 grams, 17 cm



Acquired 1960s-1990s. From the late Alison Barker collection, a retired London barrister.

The representation of an olive tree on this sigillata is not casual. In the early Imperial period the export of the Adriatic olive oil, following the amber road, moved from Aquileia to the provinces of Roman Pannonia. During the 3rd century, the production of the Spanish olive oil reached the Northern Roman provinces. Olives were transported in particular amphorae and served with specific vessels, distinguishing the black olives (olivae nerae) from the white olives (olivae albae).

Mould-made with convex shoulder separated from the concave discus by a narrow band of triangles and ovules, single groove around the discus, lower filling-hole, burn marks on the nozzle, flat undefined base, discus decorated with the head of Medusa within a laurel. 50 grams, 86 mm

Fine condition.

German collection formed since 1970. Acquired on the UK art market. Property of an Essex gentleman.

A Loeschcke VIII variant. The form and decoration suggest a Hadrianic date, at which time Medusa was one of the most popular subjects depicted on lamps. In ancient mythology, Medusa was one of three monstrous winged female creatures who had venomous snakes living in her hair. The story of Medusa is elaborated by the Roman poet Ovid in his Metamorphosis, which explains that Medusa was a beautiful woman until she had sex with Poseidon in Athena’s temple. Athena exacted punishment on Medusa, turning her into a monstrous creature with a glare that turned all who gazed into her eyes to stone. Medusa was eventually beheaded by the Greek hero Perseus, who used her head as a weapon which, even after being hewn from Medusa's body, could turn his enemies to stone. Perseus later presented Medusa's head to the goddess Athena, which she in turn weaponised, placing it on her shield. In classical antiquity, representations of the head of Medusa appeared in the apotropaic device known as the Gorgoneion, designed to ward-off evil and bad luck.