Silver-Gilt Brooch with Inset Gemstones

Copy of a Greek sculpture (now lost) from the Hellenistic period (323-31 BC) thought to have been made in bronze; a young Galatian warrior, wounded in the chest by a sword blow and dying, half-lying with his face turned downwards; with typical features of the idealised Celtic warrior: the high cheekbones, the hairstyle with thick and long locks, and the moustache (mytax); resting on a discarded shield with short sword under his right hand, straps and two tubular war-horns. 4 kg, 32 cm



From the private collection of a S.W. London gentleman, acquired in the 1970s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

The Dying Gaul statue was rediscovered in Rome in the early 17th century, specifically in the 1620s, during excavations for the Villa Ludovisi. It was initially part of the Ludovisi collection and later acquired by Pope Clement XII for the Capitoline Museums. Except for a torque around the neck (a metal necklace typical of Celtic warriors), the figure is completely naked. It is possible to identify the figure tentatively as the ‘Trumpeter of Epigonos’ mentioned by Pliny (Natural History 34.88).

The upper body of a lioness in a seated position with its head turned to the left, looking up with jaws slightly open and teeth exposed, detailed coat; mounted on an irregular granite base with felt lining to the bottom. 920 grams total, 13.5 cm wide including stand



Acquired on the UK art market, early 2000s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Tempera on wood panel depicting the Archangel Michael standing on a red cushion in the guise of a guardian angel, holding a drawn sword in his right hand and a scabbard in his other hand; the face with a brown base, features formed in shades of tan and beige with white highlights on a terracotta and deep green background. 3.5 kg, 70 x 38 cm with frame



Acquired on the European art market. Private collection, London, UK. Accompanied by an academic report by 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.12844-240885. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Even after the fall of Constantinople, icons painted on wood remained the principal object of devotion for Orthodox Christians both within the former borders of Byzantium and wherever the commonwealth of the Eastern Roman Empire left its traces. The painted icons are still today used by the Orthodox for personal devotion, for display in churches on feast days, and to decorate the iconostasis (partition) of the church, i.e. the dividing wall erected in front of the Bema, where the sacred altar of the Apse is collocated. The Archangel Michael was the commander of the Heavenly Host, and venerated by military men and the common people as one of the most powerful protector saints.