Romano-British Bronze Owl Candlestick

Standing nude with vine-leaf wreath on the brow, muscular physique, dressed beard and stern facial expression, holding a bunch of grapes in the left hand; accompanied by a custom-made display stand. 104 grams, 65 mm high (127 grams total, 71 mm high including stand)



Private Swiss collection, acquired 2001. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11621-199008.

Silenus was closely associated with the Dionysian cult. He was a deity associated with the forest, wine, drunkenness, the treading-dance of the wine press as an orgiastic ritual. While intoxicated, Silenus was believed to possess the power of prophecy. He helped raise the god Dionysus, son of Zeus, after he was entrusted to him by Hermes. Once, while travelling with Dionysus through Phrygia, Silenus was captured by King Midas who treated his captive hospitably. As a reward, Dionysus granted the king his famous 'golden touch'. The sacred animal of Silenus is the donkey, the mode of transport he often used according to Greek mythology.

Intaglio of Hercules stepping over a sleeping dog to receive a hen from an opposed female; supplied with a museum-quality impression. 1.35 grams, 20 mm



From the collection of a Swiss gentleman formed in Europe from 1970-1980s; thence by descent from the family in London.

A Roman copy after a Hellenistic original, probably representing the goddess Demeter or Aphrodite sitting on a rock with her legs slightly parted, left hand resting on her lap and holding a pomegranate(?); the right arm stretched out to her side and holding a water jug that appears to have been reworked at a later time; dressed in a floor-length chiton with vertical folds and fastened under the breasts by a high belt; himation only covering the lower part of the body leaving her pleated dress clearly visible between her legs; her wavy hair with central parting and collected in a soft chignon at the nape of the neck; the face with schematic features with large eyes and raised eyelids, a small fleshy mouth and a prominent chin. 14.9 kg, 39 cm high



Ex Paris collection. French gallery, Paris, 1990-2000s. Accompanied by an academic report by Dr Marina Mattei and Dr Laura Maria Vigna. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11932-209624

The statuette seems to refer to the iconography of the goddess Demeter. Water, an element of purification, is a constant in the cult of this goddess, as is the fruit clutched in her left hand, most likely a pomegranate, an allusive attribute of nourishment and her relationship with Hades. The pomegranate links the iconography to the rape of Persephone, appearing among the funerary symbols as nourishment for the afterlife. Precise references and comparisons can be found with the terracotta statuette, found near Vetralla, in the National Etruscan Museum Rocca Albornoz of Viterbo and with the female bust of the sanctuary of Demeter of San Biagio in Agrigento, for the treatment of the hair and the facial features. The Demeter of Cnidus, a marble statue dated to 350 B.C., today in the British Museum, represents the goddess sitting on a throne wearing a long chiton and himation. The hairstyle with hair gathered in a low knot on the back of the head, however, references directly that of the Cnidian Aphrodite of Praxiteles. The statuette in question could be a copy of the Greek deity Demeter/Persephone created in Roman times, a period in which the cult overlaps with that of Ceres. In the early Imperial age there are examples of contamination of the iconography of Demeter/Persephone with Ceres, as attested among others by the statues of the Capitoline Museums inv. 231 and that of the Roman Theatre of Merida (Spain) in the National Museum of Roman Art, dated to the 1st century A.D.