Roman Fresco Painted Wall Plaster Collection

Mould made with a solid round unpierced handle, broad horizontal shoulder separated from the discus by a shallow circular groove; upper filling-hole over the central part of the discus decorated by a seahorse leaping to the left, surrounded by volutes; slightly raised rounded nozzle, base-ring marked with two circular grooves. 57 grams, 76 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 depiction of various animals is common on Roman lamps, appearing just as frequently as they do elsewhere in Roman art. Animals formed part of the decorative and symbolic schemes on monumental and funerary sculpture, frescoes and mosaics. The hippocampus symbolised water, power, bravery, and helpfulness. It was also defined as a symbol of hope, strength, and agility because of its ability to help people. This popular sea creature was connected with imagination and creativity and also associated with the god of the sea, Poseidon.

Comprising ten lentoid-section glandes, five with impressed stylised 'fulmen' (thunderbolt) of Jupiter. 384 grams total, 18-36 mm



Acquired in Europe in 1990. European private collection.

The missiles of ovoid shape belong to type Ia of the Völling classification. The sling (funda) with its lead missiles (plumbea pondera or glandae) and stone (lapides) was used by special funditores, illustrated on Trajan’s Column where they are simply dressed in broad tunics with no armour, but carry a shield. A fold in their cloak, or sagulum, acted as an ammunition bag. The effectiveness of the slingers was unquestionable and much appreciated, especially against elephants. Celsus, writing towards the end of the 2nd century A.D., described how a slingshot wound was more dangerous and harder to treat than one inflicted by an arrow.

Modelled in the round, comprising the lower torso and the goat-legs in vigorous motion, the left raised and bent, right leg straight with the genitals leaning against the length of the thigh, stub of the tail to the reverse; mounted on a custom-made stand. 1.4 kg total, 16.5 cm high (24 cm high including stand)



From the collection of Jan Onderdijk, Belgium, before 1980. Acquired by Mr J.R. an antiquarian in the late 1980s. 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 number no.12022-213655.

Statues of satyrs, relaxing, dancing, and pursuing nymphs proliferated during the third century B.C., as the cult of Dionysus, god of wine and the pleasures it bestows, grew in importance. The Romans appreciated portrayals of Satyrs and Silens, and borrowed them from Greek art, the god Pan being one of the favourite subjects. This statuette is probably a Roman copy from a Hellenistic original, similar to the specimen from the Garimberti collection, where the god, with the left leg firmly planted on the ground and the other leg raised, is carrying a basket of flowers and fruit on his back.