Loading, please wait...
LOT 0150
Roman Gold Ring with Garnets
2ND-3RD CENTURY A.D.
5/8 in. (1.38 grams, 17.03 mm overall, 14.85 mm internal diameter (approximate size British G 1/2, USA 3 1/2, Europe 5.55, Japan 5)).
Comprising two parallel hoops connected with angled filigree struts with a granule to each node, annulets to the shoulders, irregular circular cells each set with a cabochon garnet; hoop cracked at underside.
ProvenanceAcquired in the 1992.
Private collection, Switzerland, thence by descent.
Private collection, since the late 1990s.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.
Cf. Chadour, A.B., Rings. The Alice and Louis Koch Collection, volume I, Leeds, 1994, item 251, for type.
CONDITIONTimeLine Auctions follows a vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: Our Vetting Process
AUCTIONS:
TimeLine is a leading auction house specialising in antiquities, ancient art, collectables, natural history, coins, medals, and books. Our auctions offer museums, collectors, historians, and enthusiasts the opportunity to acquire unique and historically significant pieces.
LOT 0150
Roman Gold Ring with Garnets
Estimate £800 - 1,000€930 - 1,160 (for guidance only)$1,080 - 1,350 (for guidance only)
-
Roman Bone Figurine of a Lady
1st century B.C.-1st century A.D.Estimate: £500 - 700 (‡+bp*)
Opening Bid: £250
Carved in the round female torso with incised transverse lines at the hips and knees; domed breasts and incuse navel; slots and suspension hole at the shoulders to accept posable arms; usage wear. 14.7 grams, 68 mm
Private collection, 1990s. Private collection, Switzerland, acquired in 2000. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato. -
Roman Glass Bottle
3rd-4th century A.D.Sold for (Inc. bp): £130
With broad flange rim, tapering neck and globular body with narrow base. 27 grams, 82 mm
From the private collection of Kenneth Machin (1936-2020), Buckinghamshire, UK; his collection of antiquities and natural history was formed since 1948; thence by descent. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato. -
Large Roman Bronze Statue of Venus
1st-2nd century A.D.Sold for (Inc. bp): £7,800
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.