Roman Ribbed Glass Bottle

Convex obverse with incuse image of a tree with spreading branches and foliage, sleeping dog curled up at the base of the trunk; supplied with a museum-quality impression. 0.54 grams, 9 mm



Private English collection, formed between the late 1970s and early 1990s. Private collection, London, UK.

Plano-convex in section with intaglio scene: a small winged character stands beneath a large theatrical mask, supporting it on his shoulders; supplied with a museum-quality impression. 1.8 grams, 17 mm



Acquired on the UK art market. Private collection, England. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13118-249633.

The young Eros appears with his face inside the wide-open mouth of the mask, looking out as a spectator. The mask is held in his small hands and is characterised by a thick beard, large orbital cavities, and short hair with ribbons. He is depicted in three-quarters seen from behind, engraved and polished with great skill. The stone has a convex surface with traces of ancient burning at the bottom and slight wear marks.

Carved in the half-round with undercuts to the curly hair, fleshy facial features; attachment ring to reverse. 2.02 kg, 17.5 cm



Acquired on the French art market, 13 November 2022. Private collection, England. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13086-249672.

The finely sculpted head represents a young child, probably intended as Eros (Cupid). Such depictions were produced in numerous variations to illustrate the stages of childhood and the capacity of children to undertake meaningful or symbolic actions. The softly modelled features and gentle expression recall the celebrated work of Boethos', The Boy Strangling the Goose, as well as the widespread images of Eros and the Erotes found throughout Graeco-Roman sculpture and painting. In Graeco-Roman art, representations of children occupied an important and evolving role. Initially, youthful figures were portrayed as miniature adults, but from the 4th century BC onwards - particularly during the Hellenistic and Roman periods - artists began to study children’s anatomy more closely, reproducing their characteristic proportions and expressions with naturalistic sensitivity. The figure of Eros, the constant companion of Aphrodite, became the quintessential model of the child in ancient art, identifiable by his traditional attributes of wings and bow. As evidenced by numerous statuettes and wall paintings unearthed at Pompeii, scenes of childhood were among the most popular subjects for adorning the gardens and interiors of wealthy Roman villas. These figures appear in lively and varied activities - playing, working, performing, or interacting with animals such as birds, hares, and dolphins - celebrating both the charm and vitality of early life within an idealised artistic vision.