Roman Gallienus Terracotta Forger's Coin Mould

Comprising a barrel-shaped hematite body with gold-sheet caps to each end with suspension loop above and a central band with similar loop above; the central band with an applied menorah to the centre, lulav, etrog, shofar and incense shovel on the sides; lower edge with small suspension attachments with a horizontal gold wire holding three pomegranate pendants and two amethyst beads, one of the pomegranates retaining its original pearl. 9.67 grams, 37 mm



Private collection, kept in Europe since the 1960s. Accompanied by a positive scientific statement from Striptwist Limited, a London-based company run by historical precious metal specialist Dr Jack Ogden, reference number 190901. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12679-235461. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

With dimpled base, carinated flange to foot and tubular body, flared rim. 45.7 grams, 95 mm



From an important London collection of glass, 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Venus (Greek Aphrodite), the goddess of love, rising from the sea, standing nude and bearing the weight on her left leg; her head turned to the right with slightly downcast eyes and finely worked facial detailing; the bountiful hair arranged on top of her head with two long ringlets falling on her shoulders and her left hand holding the end of one ringlet; mounted on a custom-made display stand. 311 grams total, 14 cm including stand



Swiss private collection, 1970. Private collection, Zurich, Switzerland. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12684-236369. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Like many other nude Venus types, the Anadyomene type was not supposed to conceal the body, but to show her naked and unashamed, arms raised, touching her tresses and exposing the goddess to the viewer. The image of a nude female emerging from the sea with wet tresses was inspired by the stories of the ancient Greek courtesan Phryne swimming nude in the sea during festivals.