Roman 'Wetwang' Artefact Collection

Comprising a slender hoop and rectangular bezel, inset intaglio engraved with a male profile bust. 0.95 grams, 18.52 mm overall, 15.67 mm internal diameter (approximate size British H 1/2, USA 4, Europe 6.81, Japan 6)



Acquired 1980-2015. Ex Abelita family collection.

A Roman North African terracotta oil lamp with grooved ring handle; discus decorated with the mythological scene depicting Leda and the swan embracing. 77 grams, 10.3 cm



Dr Suzanne Gozlan, thence by descent. Suzanne Gozlan (1921-2022), a doctor of History and Archaeology, served as a professor at the Ecole Normale d'Instituteurs de Chartres and lectured at the University of Paris 4 Sorbonne. Property of a Bristol, UK, gentleman.

In Greek mythology, Leda was the wife of King Tyndareus and queen of Sparta. According to the myth, Zeus, the king of the gods, was captivated by Leda's beauty and appeared before her in the form of a swan. He then either raped or seduced her and impregnated her. The same night, Leda slept with her husband who also impregnated her, as a result of these two unions she laid two eggs, each containing one set of twins. According to later Greek mythology Leda bore Helen (of Troy) and Polydeuces, children of Zeus, while at the same time bearing Castor and Clytemnestra, children of her husband.

Standing contrapposto with his weight on his right leg and the left leg brought slightly forward; the musculature of the torso displaying well-defined pectoral muscles, prominent abdominal muscles and wide shoulders, the back with equally toned musculature and well-formed rounded buttocks; the veining of the marble accentuating the idealised anatomy; the now-absent head was most probably turned towards the supporting leg and the left arm would have been raised; mounted on a custom-made display stand. 42.95 kg total, 64 cm high including stand



Formerly in a French private collection in Compiègne, since the 1960s. Acquired from Galerie Chenel, 2015. Accompanied by a copy of a French cultural passport no.166817. Accompanied by an academic report by Dr Laura Maria Vigna.

The model of the sculpture recalls the Polykleitian tradition. In particular, the tension of the muscles of the athletic body recalls the Doryphoros of Polykleitos, a famous bronze sculpture erected in Argos in around 450-440 B.C., as evidenced by a stele found there. The statue represented a hero, perhaps Achilles, or a winning athlete. Many Hellenistic and Roman copies of this sculpture are preserved, most notably in marble. These include the Tiberian-era Doryphoros in the National Museum of Naples, from Pompeii, the nude male statue, a copy of the Doryphoros of Polykleitos, in the Doria Pamphilj Collection, dated to the end of the 1st century A.D. The raised left shoulder is reminiscent of the Diadumenos, a work by the same artist made in Argos in around 430-420 B.C., depicting an athlete girding his head with ribbons or fillets, a symbol of victory, known from many copies. The Polykleitos original and the subsequent copies were enormously popular and became canonical representations of physical perfection and refinement.