Roman Enamelled Bronze Mount

Modelled in the round with a fragment of stand to the rear; the figure carefully carved to exhibit the delicate facial features and elaborate hairstyle; the palla drawn up over the head and falling over the shoulders to the upper arms; a diadem to the brow with foliage and tendril detailing; elaborate earrings with dangles; necklace of fusiform and tubular beads and a longer one below with piriform plaques; large disc brooch to the left breast with dangles; peplos-style dress draped across the body beneath the palla; left arm bent and hand passing across the body to grasp the hem of the palla with a herringbone bracelet at the wrist; the palla displayed pinned with rosettes to the rear panel; with inscription of thirteen Palmyrene characters above the left shoulder 'NRW' // BRT // 'QM' // ḤBL' meaning 'daughter of Aqima'; traces of red and green pigment; mounted on a custom-made stand by Colin Bowles Ltd. 78.2 kg total, 57 cm high including stand



From a private American collection, acquired in the 1970s. Ex Leon Simard, a Trustee to the National Museum of Canada, prior to 1986. Acquired from Summer Gallery, 29 May 1986. with Archaelogia Gallery, Canada, 1986 to present. Accompanied by an Art Loss Register certificate number S00237794, dated 3 November 2023. 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 search certificate no.11825-207620.

The sculpture is a good example of 2nd-3rd century A.D. Palmyrene female funerary portrait types. The amount of jewellery displayed in these portraits could be a direct reflection of the wealth of the family, and certainly they reflected the jewellery possessed by the owner of the grave. Particularly important is the gesture of the raised hand: the evidence from several sanctuaries in the city corroborates the connection between this gesture and the female gender. There is no indication that the raised arm was associated with worship in the funerary sphere.

Standing with its left foreleg raised, the head held high and turned slightly left with a full, fleshy dewlap cascading to the brisket; the tail looping over the rump, with its end adhering to the left flank; wide-open eyes and flaring nostrils; accompanied by a custom-made display stand. 106 grams, 72 mm wide (207 grams total, 91 mm high including stand)



Acquired from Charles Ede Ltd., London, UK, in 2004. From the collection of a South West London, UK, collector.

After the Roman annexation of Egypt, Egyptian cults such as that of the Apis bull were syncretised, becoming part of a distinctively Egyptian form of Roman polytheism. Representations of prancing Apis bulls, turned either left or right, have been found throughout the Roman empire. Various parallels can be found in the Cincinnati Art Museum (inv.1956.13), in Walters Art Gallery (inv.54.1565) and in the British Museum.

With intaglio profile portrait bust with frond; supplied with a museum-quality impression. 1.09 grams, 16 mm



From the collection of a Swiss gentleman formed in Europe from 1970-1980s; thence by descent from the family in London.