Roman Swan-Necked Silver Spoon

At the centre of the mosaic a company of three Nereid-nymphs riding across the sea on the back of two fish-tailed Tritons accompanied by a putto; the Nereids covered only by a red-mauve and cerulean cloak (chlamys) with yellow edges, draped around their legs; one of them waving a garment over her head; fourth Nereid dressed in a long green-blue chiton, with yellow collar and fastened at the waist by a red and yellow belt, offering a phiale to a centaur and waving a long cerulean cloak over her head, the centaur grasping the hem of her cloak and holding a snake in his right hand; the fish tails of the Tritons unfolding in elegant spirals on the seabed; Greek inscriptions with the names of the Nereids ΦΕΡΟΙϹΑ (= Ferousa, the ‘carrier’), ΚΥΜω (Kymo, goddess of the waves), (ΕΥΚ) ΡΑΝΤΗ (Eukrante, the Nereid of the successful voyages and fishing) and probably the name of one of the Triton, ΕΥΟΡΜΟΣ (Euormos, ‘safe harbour for mooring’) or a Roman Age contraction of the name of a fourth Nereid, Euarne, 'the well lambed'; some restoration. 53.1 kg, 162 x 151 cm



From the private collection of V. Colin, Belgium, 1960s. with Ariadne Galleries Inc, New York, 2008. Accompanied by a copy of an Art Loss Register certificate no.S00017755, dated 11 September 2008. Accompanied by an academic report by Dr Raffaele D'Amato. Accompanied by a copy of the Art & Antiques article. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12605-230246. 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 thiasos theme with marine cycles was very popular in the Hellenistic and Roman times. In the late Roman period, especially in the Greek speaking Eastern provinces of the Empire, the mythological subjects of heroes and goddesses multiplied in the rich villas and public buildings, like basilicas and thermae (public baths).

Ellipsoid in plan with low basal ring and thick convex rim, carination to the forward end; hinges to each lateral rim, the knuckles formed as addorsed duck-heads each with scrolled panel to the rear retaining the pivot of the ribbed D-shaped handles. 1.68 kg, 28 cm



Acquired in Switzerland, 1996. Private collection, Europe. Accompanied by an academic report by Dr Raffaele D'Amato. Accompanied by a copy of an Art Loss Register certificate dated 30th April 2004. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12363-226688. 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.

This vessel (lanx) was part of Roman and provincial bronze instrumentum domesticum, i.e. culinary or domestic utility ware. The form of the bowl resembles a type of helmet with carination to the front, the handles placed as hinged cheek-protectors.

An attractive rectangular panel of mosaic tesserae with central ribbed kantharos executed in coral pink, amber-yellow, and green segments with tiered foot; issuing from the scaphoid opening two vines with curled tendrils and trefoil leaves in pale green; white field with grey-black border; restored and set into a mid 20th century reinforced mortar matrix. 56 kg, 67.5 x 67.5 cm



Acquired in the 1950s-early 1990s. From the Igor Karmiloff (1925-2016) collection, UN economist and author of Flashbacks, Icons of Impermanence, Bloomington, 2009. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12746-233888. 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 motif of the kantharos, krater or amphora with vines emerging from the mouth is widely represented in classical art and was seemingly a popular motif for the mosaicist with examples found in areas as widespread as North Africa and northern Britain. The origins of the motif are probably to be found in the cult of Bacchus (Greek Dionysos) with its ritualised drunkenness expressed in the vine which gives rise to the grapes to be transformed into wine, and the drinking cup from which it is received. In later Roman times, the motif was reinterpreted as Christ (the Eucharist symbolised by the cup) from whom the vine grows representing the spread of the Christian message and the growth of the church (Watts, 1991, p.208).