Roman Chrome Chalcedony Gemstone of Gryllus

Formed from a single sheet, the ovoid base carinated with plain upper portion, slightly flared lip to the rim. 95 grams, 10.4 cm



Acquired from a private UK collection prior to 1979. Ex Julian Sherrier collection, a leading figure in Gandharan art. with Christie's, New York, sale 2337, 14th September 2010, no.56A (part). Accompanied by the original Christie's lot ticket. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12961-244455.

Round-section hoop with granule cluster to each shoulder, ellipsoid cell with inset banded agate cabochon; one end of the bezel and outer edge of hoop damaged. 2.45 grams, 20.32 mm overall, 11.79 x 16.35 mm internal diameter (approximate size British E 1/2, USA 2 1/2, Europe 3, Japan 3)



Private family collection, acquired in the 1980s. with Christie's, New York, Ancient Jewellery, 11 December 2003, no.506. Property of a European collection. Accompanied by a copy of an Art Loss Register certificate, no.S00029664.

Modelled in the round in kneeling pose, nude, with the fingers of his left hand spread across his bent knee, head turned to the right and slightly tilted upwards; two large dorsal wings spread; the face fleshy with small eyes and nose, the hair with a wreath of curls framing the face; attachment panel behind the shoulders; mounted on a custom-made display stand. 1.38 kg total, 19 cm wide



Ex F. Philips, Netherlands, before 1980s. with Jan Roelofs Antiquaries, Netherlands. Acquired on the European art market, 2023. Private collection, London. Accompanied by an academic report by Prof. Neritan Ceka. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12930-245218.

The image of the winged Eros held a special significance in Roman culture, embodying not only the god of love but also the elegance, refinement, and sophistication of the Classical tradition. His wings symbolised the fleeting nature of passion, while his youthful form carried connotations of vitality and beauty. To incorporate Eros into the decoration of luxury objects was to invoke divine favour and to align oneself with the cultivated ideals of the Graeco-Roman world. Bronzes of the 1st century A.D. represent the height of Roman metalworking, when elite households and sanctuaries commissioned works of remarkable artistry. Fittings such as this, finely cast and intended for a prestigious vessel, were both functional and symbolic: practical elements elevated to expressions of status and taste. Surviving examples are a testament to the technical mastery of Roman workshops and the desire of their patrons to surround themselves with imagery of the gods in even the smallest details of daily life.