Roman Silver Ring with Advancing Bull Gemstone

Clad in a symmetrically incised late Roman toga, which was originally painted; the right hand covered by the robe and resting against his chest, the now lost left hand probably held a rank symbol or a scroll; short hair, cut according to the style of the Tetrarchy, wide eyes and pronounced lips; beard extended under the chin and on the throat; crepida sandal of Greek typology still visible on the right foot. 700+ kg, 206 cm including base

Fine condition. An impressive museum-quality display piece.

From the C.M. collection, Switzerland. Formerly the property of his father, H.V.C., Munich, Germany; forming a central part of the H.V.C. family collection in the 1980s. Acquired from the private collection of L.H. of Munich, Germany, in 1982. Accompanied by a copy of a German cultural export licence. Accompanied by an academic report by Dr Raffaele D’Amato. Accompanied by a geological report No. TL3253 by geology consultant Dr R. L. Bonewitz. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.12089-211955.

This statue of a Roman magistrate represents a high-ranking citizen with political and ritual responsibilities. The stylised facial features date it to the period of the Tetrachy under the Emperor Diocletian (284-305 A.D.), when representation of the human form began to show a concern for geometry and symmetry. A similar style can be seen in official portraits of Diocletian, Galerius, Constantinus Chlorus, and Maximianus Herculius. Despite the stylisation typical of the era, however, the sculptor of this lot has taken pains to add personal details, such as the dimpled chin and creased forehead. Its powerful resemblance to Imperial portraiture stems from the desire of magistrates to emulate emperors in the way they represented themselves. This is a piece of outstanding quality, and unlike other Late Roman sculptures, in which a portrait head is often attached to an earlier body, it appears to have been created as a whole. It shows exceptional attention to detail, including in the magistrate’s beautifully carved footwear. It is likely to represent an official of an Eastern Empire city, either in Greece or Illyria.

Comprising two matching solid hoops with expanding shoulders, each set with a dark blue nicolo intaglio, one bearing a profile bust of a young Hercules, and the other with a profile bust of a woman wearing a taenia or a wreath on her head. 12.83 grams total, 20.25 mm overall, 15.50 mm internal diameter (approximate size British G, USA 3 1/4, Europe 4.92, Japan 4) 20.86 mm overall, 16.35 mm internal diameter (approximate size British H, USA 3 3/4, Europe 6.18, Japan 6)



From the private collection of the late A.B., London, UK; acquired before 1989. Accompanied from an archaeological report of 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.12006-213034.

The iconography here is simple, possibly referring to a married couple, or to important public persons. The 5th century Roman writer Macrobius wrote that the engagement ring was worn on the fourth finger. Legend has it that the vena amoris, literally the ‘vein of love’, ran from the heart to the fourth finger of the left hand. Gemstones and fancy embellishments have been found in Roman rings of every age, although usually for engagement or wedding rings the iconography of clasped hands, symbolising the ‘fides’ among the spouses, was used. Intaglio portraits were engraved into a large variety of stones but nicolo, carnelian and red jasper were generally the most popular for imperial portraits or for the members of the imperial family.

With round-section crossbar and collared knop finials, deep D-section bow with vertical band of triangles extending along the outer face and onto the rectangular footplate with chamfered long edges; separate collared knop above the bow; hinged pin housed in catchplate to reverse. 16.5 grams, 60 mm



On the European art market before 2000. Ex collection of a Surrey, UK, gentleman; acquired on the UK art market.

This early form of crossbow brooch shows its origins in the P-shaped bow brooch type.