Roman Sardonyx Cameo of a Sleeping Dog with Greek Inscription

Comprising: a piriform lamp with birds and geometric motifs, low basal ring; a piriform lamp with raised pellets and other motifs; a rounded lamp with short nozzle, low-relief leaves and ring-and-dot motifs within geometric border, a hatched rectangle behind the nozzle, a palm branch underneath the nozzle flanked by crescentic lines and ring-and-dot motifs, raised nipple to base. 190 grams total, 78-90 mm



with Galerie Rhéa, Zurich, Switzerland.

With D-section hoop expanding at the shoulders to snake's heads supporting oval bezel with indented sides; later large agate intaglio engraved with a standing figure of Mars (Ares) wearing a Corinthian helmet and holding spear and shield. 12.92 grams, 26.20 mm overall, 16.92 mm internal diameter (approximate size British H, USA 3 3/4, Europe 6.18, Japan 6)



Property of a private collector; acquired before 1975.

Carved in the round bust of a cynical, mature philosopher with short tousled hair and thick beard, exaggerated protruding eyes and gaunt facial features, the mouth modelled slightly open as if the subject is in pain; mounted on a custom-made stand. 47.6 kg total, 60 cm including stand



Private collection, Paris, 1980s. European private collection. Accompanied by a copy of French passport no.237041. Accompanied by an academic report by Professor Neritan Ceka. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12610-234690. 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 portrait head was initially meant to be assembled on a statue. Chisel marks at the neck level indicate a relatively late separation of the head from the body, which must have been twice its natural size. The working of the back of the head suggests that the sculpture was exposed only to the front. The search for realistic traits brings this head close to the Hellenistic portraits of the 3rd and 2nd centuries BC, representing socially disadvantaged people of different ages and situations, such as fishermen and peasants, in the so-called genre sculptures. This presentation would be in contrast to the supernatural proportions of the portrait, which should have represented an elderly, publicly known person, poet, or philosopher, exhibited in his city of origin. In this respect, it would be more suited to the representation of a Cynical philosopher, in the model of Diogenes of Villa Albani. The almond-shaped eyes without drilled pupils, engraved eyes, and the absence of a deep drilling technique on hair date the portrait between the 1st century BC and the 1st century AD.