'The Thetford' Roman Bronze Putto Statuette

His head turned slightly to the right, calm and idealised facial expression with heavy-lidded eyes defined by incised irises and drilled, crescent-shaped pupils, and a neatly trimmed beard; his wavy hair crowned by a Corinthian helmet, pushed back high on the forehead; wearing a cuirass decorated at the centre with a small gorgoneion, and a chlamys secured by a brooch on the left shoulder; mounted on a later variegated stone socle. 45.2 kg, 68.5 cm



European private collection, 18th century (based on the restoration techniques). Private collection, France, acquired on the Marseilles art market in the late 1960s. Sotheby's, London, 13th June 2016, no.18. UK collection, acquired from the above auction. Sotheby's, Ancient Marbles: Classical Sculpture and Works of Art, 3-9 July 2020, no.30. Accompanied by copies of the relevant Sotheby's 2016 catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13115-249591.

The sculpture has undergone both ancient and modern intervention. The back has been hollowed out in modern times, indicating that it was originally part of a tondo. Restoration is visible to the tip of the nose, the lower edges of the helmet’s cheek-pieces, and a small area of drapery. There is minor reworking to parts of the drapery folds and the brooch, as well as light retouching to the proper right corner of the lower lip and possibly the right side of the moustache. A small area of fill is also present on the restored nose of the helmet. In style, the bust belongs to the Late Antique tradition of ideal sculpture. The simplified facial features and distinctive eye treatment closely recall a comparable head in the Vatican, dated to the late 4th century AD. The military dress and iconography strongly suggest that the figure represents the Roman god Mars, comparable to known images of Mars Ultor. The Corinthian helmet, restored with a sculpted nose-guard, reflects an 18th-century restoration practice well attested in Roman collections, including examples from the Villa Albani.

D-section hoop, elliptical in plan, with raised oval bezel set with a jasper intaglio engraved with inverted Greek inscription 'IXΘYC' (ichthys, meaning 'fish"), a Greek acronym for 'Jesus Christ, Son of God; supplied with a museum-quality impression. 9.18 grams, 21.91 mm overall, 18.68 mm internal diameter (approximate size British O 1/2, USA 7 1/4, Europe 15.61, Japan 15)



Private collector, acquired in the early 1990s. Private collection, England.

The term ichthys is the equivalent of the ancient Greek: ixθus, ichthýs ('fish'), used by early Christians to refer to Jesus Christ. For this reason, the fish symbol was very common in the catacombs of Rome. In particular, the ichthys is one of the oldest Christian symbols that has come down to us. Used covertly by Christians to mask their faith from Roman persecutors, when a Christian encountered a stranger whose loyalty he needed to know, he would draw one of the arches that make up the ichthys in the sand. If the stranger completed the sign, the two individuals recognised each other as followers of Christ. The symbol was also drawn on the doors of the houses of Christian families. Its use spread in the 3rd century to personal effects such as the ring offered here.

Hollow to the reverse, formed as a dolphin with body and tail raised, lateral fins flared. 101 grams, 90 mm



Ex German art market, 2000s. Acquired from an EU collector living in London. From the collection of a Surrey, UK, gentleman.