Roman Gold Boss Pendant

Comprising two parallel tubes with rolled rims, joined at the base; applied handle styled as 'waves', iridescence to the surface. 77 grams, 10.9 cm



Acquired on the European art market in the early 2000s. with Galerie Rhéa, Zurich, Switzerland. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Well preserved square tablet with a recessed panel to each face and two holes to accept thongs, probably the third tablet of a Roman will made by Emilius Vernucius around 300 A.D., two small holes at the upper rim (for binding the tablets of this document together); the text of the inner and first half of the outer face consisting of testamentary dispositions always starting with the verbs do lego, slaves, fields, buildings, and sums of money are mentioned; at the end the mancipatory formula of Roman testaments can be read, mentioned are the familiae emptor and the libripens as well as the first of the witnesses, Emilius Cerealius. 99 grams, 21 x 19.5 cm



Acquired by Albert Sfez in the early 1950s. Formerly the property of Monsieur Alain Sfez, a Belgian collector; acquired by gift from his father Albert Sfez, in 1965. Acquired by a London dealer in 1973. From an important London collection since 1975; thence by descent. Accompanied by a copy of a four page academic report by Professor Dr phil. Peter Rothenhöfer. Accompanied by a collection of four old black and white photographs of the the tablet. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12599-230809. 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.

Modelled in the round, the goddess standing nude on a socle base and holding a frond in her extended left hand; right hand with thumb and forefinger extended; crown of oak leaves encompassing her chignon. 996 grams, 27.3 cm



with Sotheby's, New York, 7 December 1973, no.78. Private collection, London. Accompanied by copies of the relevant Sotheby's catalogue pages. 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.12819-241350. 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.

The Venus Anadyomene shows the birth of the Goddess of Love, conceived in the womb of the sea after the Titan Chronos castrated his father, Uranus, and cast his genitals into the water. Venus was born from the sea, fully grown. In ancient tradition, Aphrodite had her great sanctuary at Paphos, because it was here that she was thought to have risen from the water. Apelles, the great painter, was said to have painted the original, creating the prototype then imitated in paintings, sculptures, and across Graeco-Roman iconography. However, his work is now lost, and from the late 2nd century/early first century B.C. until the late antique period, the Anadyomene appeared in nearly every format imaginable. Like many other naked Aphrodites, the Anadyomene was not posed to conceal the body, but was naked and unashamed, exposing the goddess’ body to the gaze of the viewer.