Stone and Other Amulet Group

With incised voided cross to the outer face, inside a painted diptych of St George on horseback overcoming a dragon, and Mary Theotokos with the infant Jesus. 77 grams, 17.2 cm wide



Private collection, Switzerland, 2009. Ex central London gallery.

Female bust modelled in the round with hair centre-parted and dressed in ringlets gathered at the nape of the neck and extending to the shoulders; mounted on a socle base. 22.1 kg, 46 cm



Private collection, England. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12303-215648.

This portrait is directly inspired by a Roman model (fig. 1) discovered in 1880, now housed at the Museo Nazionale Romano in Rome and believed to depict Minatia Polla. The young woman depicted showcases the refined features characteristic of Roman feminine nobility, with a rounded oval face, large hemmed eyes, a long nose, and a well-defined, slightly open mouth. Her low forehead is adorned with a sophisticated hairstyle: long, soft locks separated by a middle parting that end in curls, with a few delicate strands falling over her shoulders. She wears a dress with subtle pleats and a round neckline. Upon comparing our portrait with the Roman original of Minatia Polla, it becomes evident that this piece is an exact neoclassical copy of the ancient portrait. The only notable difference is the more pronounced fullness under the chin in our version, which is less evident in the antique model. From the 18th century and throughout the neoclassical era, significant archaeological discoveries sparked immense interest and enthusiasm (as evidenced by Winckelmann), compelling contemporary sculptors to engage with ancient works to showcase their talents. The portrait presented here, given the delicacy of the features and the overall quality of the sculpture, is unmistakably the work of a master sculptor.

Comprising six adult- and child-sized pattens, each a ring with extended tongue fitted with rivets to secure the ring to a wooden platform; some in a glazed wooden fabric-lined display case with labels and explanatory text, one with reproduction wooden sole and leather upper showing how the patent is attached. 6.05 kg total, 11.5-81 cm



From the collection of the famous author, writer and speaker, Gordon Bailey, Essex, UK; formed since 1968.

Iron pattens first came into use probably in 17th century A.D., and gained popularity during the first half of that century. The original design of the patten was as one piece of shaped wood attached beneath the sole of the shoe; this evolved into to a wooden platform attached to the underside of an iron ring. The pattens were thus forerunners of the Wellington boot which came into use in the 19th century A.D.