Romano-British Bronze Mount of Dionysus

Comprising a hemispherical black-glazed terracotta body with slightly everted rim, raised circumferential bands to the shoulder, small raised foot, flat bottom. 274 grams, 12.5 cm wide



Acquired on the UK art market. Property of a Ruislip, UK, gentleman, by inheritance.

The most interesting feature of this bowl is that its whole outline suggests that it has been copied from a Terra Sigillata bowl of type Dragendorff. The moulded figures of the decorated original were, however, probably outside of the craftsman's range, and in places the surface of the bowl is covered with a crudely executed ornamented band.

The intaglio with a donkey (mule?) grazing, body facing right; Latin inscription on the verso ‘EVM’ (him). 0.98 grams, 12 mm



Acquired in the late 1980s-early 1990s. Important North West London collection.

Donkeys were used by the Roman army from circa 200 B.C. but mules, the hybrid offspring of a male donkey and a female horse, were to become the most important working animals for the military and were used to pull heavy artillery such as catapults. It has been estimated that there were probably half a million mules serving in the Roman army by the time of Augustus (31 B.C.-A.D. 14). DNA studies have now shown that mules may have comprised up to 50% of the equids in the Roman Empire. The use of pack-mules for the army continued in the Eastern Roman army until the fall of Constantinople.

A Roman copy of a Greek original, wearing a crown of leaves and corymbs, hair falling in straight lines underneath the diadem; full beard composed of four rows of thick tufts with drilled holes; slightly open mouth with a fleshy lower lip; low cheekbones and hollow cheeks; large almond-shaped eyes with lachrymal duct; mounted on a custom-made display stand. 15.8 kg total, 48 cm high including stand



Ex private French collection, early 1960s. Acquired by the current owner in 2011. Accompanied by an academic report by Dr Marina Mattei and Dr Laura Maria Vigna. Accompanied by a copy of a French cultural passport no.129940. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11791-206395

The head finds comparable parallels with a series of herms representing philosophers, lyricists and the god Hermes, deriving from Greek originals of the 5th century B.C. The reworking of these typologies in a cultured environment is due to the diffusion of sculptures linked to the idea of speculative otium and withdrawal into the bucolic world of which Dionysus was guardian and protector. The typology of the representation associates him with the concept of continuous rebirth and fertility of nature, typical of Dionysus Lenaeus.