Roman Glass Double Handled Flask with Trailing

Rectangular panel of decorative mosaic tesserae comprising: wave pattern border in cream and graduated blue-grey tesserae with darker outer edge; inner border of graduated maroon and dark blue-grey tesserae; central field with two inner rows of four and two outer rows of five parakeets in various standing and perching poses, each formed from blue and green glass tesserae with white, crimson and other detailing to the eye, beak and chest; embedded in a sturdy steel-framed matrix of traditional mid 20th century type. 2.12 x 2.05 m



with Leon Simard, 1960s, Montreal, Canada. Archaeologia Gallery, 1980s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12966-244460.

The design of repeated birds against a neutral field is similar to patterns found on Late Roman and Sassanian textiles of roughly the same date, especially silk and wool textiles woven on more mechanised looms. Birds of all varieties appear frequently in floor mosaics and other arts of the Roman period; however, beribboned birds are rare.

With flattened discoid body and tall neck with flared mouth, applied rim. 20.5 grams, 10.6 cm



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

Glass flasks, such as this example, were used as containers for ointments, powders, balms, and other expensive liquids such as perfumes. These flattened spherical vessels were often utilised by pilgrims to carry water on their travels. This particular form appears to be a predecessor to twin-handled pilgrim flasks, which became commonplace later in the 3rd and 4th centuries.

A truly exceptional and imposing fragment, rendered with remarkable naturalism, the forefinger extended and gently bent, the thumb positioned for grip, and the remaining fingers elegantly curled inward, possibly from a life-sized statue of an emperor, magistrate or a general; presented on a custom-made display stand, the thumb and forefinger sympathetically restored. 4.75 kg total, 45 cm including stand



Ex Frits Phillips, Eindhoven, Netherlands, before 1980. Private European collection, 1980s. Private collection, London. 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.12907-242493.

During the height of the Roman Empire, monumental bronze statues were not simply works of art; they were instruments of authority and prestige. By the 2nd and 3rd centuries A.D., Rome possessed the wealth and technical mastery to produce over life-sized figures in hollow bronze, a medium that required immense skill and resources. These statues were intended to impress and endure, often commemorating emperors, generals, and gods in a scale that placed them beyond the ordinary realm of mortals. Such bronzes were used to dominate public spaces and convey imperial power. In forums, baths, and temples, the towering images of rulers reminded citizens of Rome’s strength and the divine favour said to rest upon its leaders. The famous equestrian statue of Marcus Aurelius in Rome is perhaps the best surviving example of this tradition; its imposing scale and lifelike rendering conveyed both the emperor’s authority and his humanity. Another renowned piece, the fragments of the colossal bronze statue of Constantine the Great, once stood in the heart of the capital and would have dwarfed viewers, embodying the emperor’s near-divine status. Even earlier examples, like the Bronze of Germanicus or the over life-sized bronzes of emperors found at sites such as Herculaneum, illustrate how these works were strategically placed to broadcast messages of victory and control. Bronze was the perfect medium for such statements. Its ability to hold fine details gave these figures a vivid presence, while the sheer scale was designed to inspire awe. These statues were not simply commemorative; they were a visual language of power, cast in metal to endure beyond the individual and the age in which they were created.