We found 230357 price guide item(s) matching your search

A dachshund decorated roman blind, approx. 201cm x 62cm, another dachshund roman blind, approx. 120cm x 35cm and various other blinds

An 18ct gold open face pocket watch, with Roman numerals, in a fitted case108g all in, 53 mm outer case diameter

A PATEK PHILIPPE GENEVE DISPLAY CLOCK with printed Roman numeral timestamps on a plain white face and gold coloured metal frame, diameter 39.5cm (1) (Condition Report: overall fair condition, untested, possible signs of ink bleeding during the printing process)

A LADIES 9CT GOLD 'BUECHE-GIROD' WRISTWATCH, quartz movement, square gold tone dial with cut off corners, signed 'Bueche-Girod Quartz', Roman numerals, blue steel hands, polished case, inside case back hallmarked 9ct London 1978, movement signed 'Bueche-Girod' numbered 950 011, approximate case width 23.4mm, fitted to a textured articulated bracelet and folding clasp, hallmarked 9ct London 1978, approximate gross weight excluding movement 46.3 grams, together with a signed 'Bueche-Girod' fitted box (condition report: watch not currently working may require a new battery, general light wear, clasp in working order, we cannot guarantee the working order of any watch)

A MID TO LATE 20TH CENTURY DUTCH WALL CLOCK, with label reading Thomas Tompion, London to dial, Roman and Arabic numerals, with two weights, drop 79cm (condition report: untested, overall good condition)

A SMITHS BRASS CASED BULKHEAD CLOCK, the face marked with black Roman numerals, labelled verso 'Smiths Industries Limited, Clock & Watch Division' and '21B/829', dated 1966 and marked with the broad arrow, with key and screws for fixing, diameter 27cm (1 + bag with screws and key) (Condition Report: appears ok, winds, has previous inventory information scratched onto back, some tarnish, scratches and wear to case)

TWO BROOCHES, to include a rose metal Georgian memorial brooch, of a rectangular form, vacant central panel with a small surround of split pearls and a further surround of circular cut garnets, unmarked metal, fitted with a brooch pin, C clasp and additional safety chain, approximate width 21.9m, approximate gross weight 3.8 grams, together with a micro mosaic brooch depicting a Roman building, within a lapis lazuli stone and yellow metal rope twist detailed surround, fitted with a brooch pin and C clasp (condition report: general light wear to the first brooch centre piece may require some attention, general light wear to the second brooch metal has not been tested)

A FULL HUNTER POCKET WATCH AND A POCKET BAROMETER, a hand wound gold plated full hunter pocket watch, Roman numerals, second subsidiary dial at the six o'clock position, approximate case width 42mm, together with a brass barometer, approximate width 47mm, (condition report: pocket watch does not work, barometer has not been tested for working condition, we cannot guarantee the working condition of either item)

TWO OPEN FACE POCKET WATCHES, both key wound movements, with white Roman numeral dials, each with a subsidiary dial at the six o'clock positions, both have engine turned pattern cases with vacant cartouches, one stamped 0.800 Swiss silver control marks, approximate case width 47.8mm (condition report: both require some attention, the Swiss ones movement is loose and requires attention, not tested for working order, we cannot guarantee the working order of any watch)

A 20TH CENTURY COMTOISE WALL CLOCK, with a pressed brass frame and pendulum, the 10 inch dial depicting Roman numerals (condition report: untested, in need of restoration, two weights, no winding key)

A GEORGIAN THIRTY HOUR BRASS AND SILVERED LONGCASE CLOCK DIAL, the 10'' dial reading Arabic and Roman numerals signed Philip Avenell of Farnham, date aperture and a bell striking movement, with pendulum, weight and parts (1 + bag of parts + pendulum) (Condition Report: untested, age related wear, may have sd, generally appears ok)

A LADIES 9CT WHITE GOLD 'JEAN-RENET' WRISTWATCH, manual wind movement, rounded square textured dial signed 'Jean-Renet', Roman numerals, polished case, outer case stamped 9k 0.375, numbered 173, 1980, Swiss control marks, inside case back hallmarked 9ct London import 1971, approximate case width 26.5mm, approximate gross weight excluding movement 38.7 grams, together with a watch box (condition report: watch winds, sets and runs at time of cataloguing although time keeping is untested, general light wear, clasp in working order, we cannot guarantee the working order of any watch)

A 19th century alphabet sampler with embroidery in silk, cotton and metal threads on a linen ground. The alphabet, in upper case is repeated in rows with the Z in reverse. There are seemingly random letters, numbers and roman numerals and it is possible that there is a meaning to what is embroidered. About half way down is a row of tiny birds and flowers and hearts too feature in the design. In an oak frame on a linen mount. 19 x 27 cm aprox, embroidered area only (1) Good condition commensurate with age  You are personally  invited to Bishton Hall for the Viewing day 11-3pm on Sunday 1st December  , the day prior to the sale and view and see the dolls toys and teddy bears and fashion and textiles for yourself in person

Three Roman terracotta vessels, the largest a twin handled dish, 15cm wide

Small green Roman glass vessel with iridescence, 8cm high

Contemporary silver desk clock of drum form, with engine turned decoration and screw on back plate, white enamel dial with Roman numerals, signed Mappin & Webb, London and fitted with a battery movement (London 1990) maker's mark TP. 6.7cm diameter.In good condition with very minor surface wear - would benefit from a clean. Not currently running.

A Victorian silver open face key wound chronograph, the white dial with Roman numerals and secondary dial, marked Chas Winter Anchor Weind Preston, Chronograph 37217, cased marked for London 1885, approximately 5.5cm diameter, 157.9g

A small continental yellow gold top wound pocket watch stamped 14K having a Roman numeral dial with gilt decoration on a white enamel face in an extensively engraved case, does not tick when wound

A large Victorian silver key wound pocket watch by T Masterson of Edinburgh having a roman numeral dial with subsidiary seconds on a silvered face with engraved and gilt decoration in an engraved case on a silver double albert watch chain with attached medalion, approx 195g total, watch ticks when wound but we do not test for functionality

An Omega Deville wristwatch, the square white dial having Roman numerals and date aperture, on a two tone bracelet strap, with original Walker & Hall receipt and other documents

An 18ct gold plated full hunter key wound pocket watch, the white dial having Roman numerals, with engine turned decoration to the case and personalised engraving to the inner case, approximately 6cm diameter, 126g

A small yellow metal open face key wound pocket watch marked 14c, the gold tone dial with Roman numerals, having decorative engraving to reverse, 22g gross.

AIRFIX ROMAN FORT, STRONGPOINT, VEHICLES INC DINKY, SCENERY INC BRITAINS (CONTENTS UNCHECKED)

Magnificent Large Paper Knife, made by the famous French sculptor Ferdinand Levillain (1837-1905). Copper, gilded, richly ornamented knife in classical style. Signed by F. Levillain. The shape of the knife repeats the shapes of sword of the Roman Empire, Gladius. Ferdinand Levillain studied under the sculptor Jouffray (1806-1882). He made his debut in 1861 at the Salon of French Artists, where he exhibited until 1903. At the 1867 World's Fair in Paris, his bronze bowl in the "neo-Grecian" style, which he made for the firm "Blot and Drouard" , was a success. Collaborated with the great bronze founder Ferdinand Barbedienne. At the 1878 World's Fair in Paris, Levillen was unanimously awarded a gold medal for his works in the classical style. In 1884, Levillain was awarded a first-class medal at the Salon and in 1889, a silver medal at the Exposition Universelle. In 1892, he was recognized with the highly prestigious Legion of Honour. Examples of his work are displayed in many museums, including the MusŽe d'Art Moderne in Paris. A wonderful collectible item in good condition. Length 33 cm.

Unique French authoring sword. The handle is made in the form of female figures depicting the Three Graces. Graces - (Gratiae) - Roman, now the common name is Greek. goddesses Harit (carite), with the name of which the ancient Greeks associated everything attractive, beautiful and joyful in nature and human life. The temples of Grace were found in almost all significant cities. Holidays were arranged in honor of them, singers and poets competed. France. Bronze, gilding. The end of the 19th century.

A gold plated Waltham full hunter pocket watch, the white dial with roman numerals and a sub second dial, with inscription 'Presented to Wor: Bro: A.E.Woodhouse P.P.G.D. by The Brethren of the Lodge of Israel No.1502. "In appreciation of his services as Charity representative for over 30 years. Nov 1929".

Baume & Mercier, a gents 18ct yellow gold wristwatch with roman numerals, numbers stamped to the back 459001,37059.

ITEM: Oil lampMATERIAL: PotteryCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 24 mm x 76 mm x 89 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman oil lamps were essential everyday objects in ancient Roman society, used primarily for illumination but also serving as decorative and functional items. These lamps, typically made from clay, bronze, or terracotta, were fueled by oil, often olive oil, which was abundant in the Roman Empire. The lamps had a simple design, usually consisting of a shallow basin with a spout where a wick would be placed to burn the oil. Some lamps featured intricate designs, including depictions of gods, animals, mythological scenes, and geometric patterns, making them not only practical tools but also a form of artistic expression. Roman oil lamps were widely used in homes, public buildings, and outdoor spaces, offering a much-needed light source after sunset.The production of oil lamps was widespread, and their forms varied depending on the region and period. Early Roman lamps often featured a round or oval shape, but by the 1st century BCE, they began to take on more elaborate designs, including those shaped like animals, heads, and even miniature architectural forms. Lamps were frequently mass-produced in workshops, and many examples have been found in archaeological sites across the Roman Empire, from Britain to North Africa. Some lamps were designed with multiple spouts, allowing several wicks to burn at once, while others were simple and utilitarian. The widespread use and variety of these lamps suggest they were integral to daily Roman life, found in homes, tombs, temples, and even used for public ceremonies.In addition to their functional role, Roman oil lamps had symbolic and religious significance. Lamps were often placed in tombs as part of funerary rituals, symbolizing the continuation of life or guiding the deceased’s soul to the afterlife. They were also used in religious ceremonies and offerings to gods, particularly in the context of private worship or in the homes of wealthy Romans who could afford to have them as part of their domestic cult practices.

ITEM: BowlMATERIAL: PotteryCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 55 mm x 185 mm diameterCONDITION: Good conditionPROVENANCE: Ex Dutch private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman bowls, an essential component of ancient Roman dining ware, showcase the rich diversity and sophistication of Roman ceramic artistry. These bowls, used for a variety of purposes including serving food, mixing ingredients, and holding liquids, were made from a range of materials such as clay, glass, and metal. The most common material was pottery, which was readily available and versatile. Roman pottery bowls were typically crafted using a wheel and then fired in a kiln, resulting in durable and functional pieces that were used in both everyday and ceremonial contexts.One of the most notable types of Roman pottery bowls is the Terra Sigillata, also known as Samian ware, which was produced primarily in Gaul (modern-day France) and Italy. These bowls are distinguished by their smooth, glossy red slip and fine, detailed decorations, which often included motifs of mythology, animals, and everyday life scenes. Terra Sigillata bowls were highly prized for their aesthetic qualities and were widely traded throughout the Roman Empire, indicating their popularity and the high regard in which they were held. The production of these bowls involved sophisticated techniques, including the use of molds to create intricate designs, showcasing the advanced level of Roman ceramic craftsmanship.Roman glass bowls, another significant category, illustrate the technological advancements and artistic innovations of the time. Glass blowing, which became widespread during the Roman period, allowed for the creation of delicate and finely crafted glass bowls. These items were often decorated with vibrant colors and intricate patterns achieved through techniques such as millefiori (a mosaic-like pattern) and cameo glass (where layers of glass are carved to create images in relief). Glass bowls were luxury items and were often used in elite households for special occasions, reflecting the wealth and status of their owners.

ITEM: Military phalera with the head of Zeus AmmonMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 61 mm diameterCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman phalerae were decorative medallions awarded to soldiers for acts of bravery, achievements, or distinguished service, functioning as symbols of honor and status within the military. Made of materials like bronze, silver, or gold, these medallions were worn on the chest as part of a soldier’s ceremonial attire and were often circular, featuring intricate designs, mythological figures, or symbolic motifs. Phalerae originated from military traditions that valued visible markers of valor, with Roman soldiers displaying them during parades or public gatherings as emblems of personal and unit pride. These awards not only recognized individual acts of courage but also reinforced loyalty to the empire and its values of discipline and strength.The designs on Roman phalerae were both artistic and symbolic, typically featuring figures from mythology, deities, or representations of animals, each carrying specific meanings related to power, protection, or courage. For example, common motifs included representations of Hercules, symbolizing strength, or Mars, the god of war, to evoke martial prowess. These detailed engravings demonstrated the skill of Roman metalworkers and imbued the phalerae with layers of meaning, making each piece unique to the recipient. While primarily worn by soldiers, phalerae were also found in some civilian contexts, where they were given as honorary awards or worn by prominent individuals who wished to convey power and prestige. These medallions thus served as a visual language of honor, connecting military virtues with divine approval and reinforcing the soldier’s elite status within society.

RULER: Marc AntonyDATE: Patrae (?), 32-31 B.CDENOMINATION: DenariusMATERIAL: Silver, ARSIZE & WEIGHT: 17 mm, 3,5 grOBVERSE: ANT AVG III VIR R P C, Praetorian galleyREVERSE: LEG VII, Legionary eagle between two standards.REFERENCES: Crawford 544/20Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Battle of Actium, fought on September 2, 31 BCE, was the climactic confrontation between Mark Antony, backed by Cleopatra VII of Egypt, and Octavian, later known as Augustus, who became the first Roman Emperor. The clash emerged out of a prolonged power struggle in the Roman Republic following the assassination of Julius Caesar, which left a power vacuum. Mark Antony, a Roman general and supporter of Caesar, formed an alliance with Cleopatra and commanded the eastern half of Rome's territories, while Octavian controlled the west. Their rivalry intensified over time, fueled by Octavian’s portrayal of Antony as a traitor who had "abandoned" Rome for Egypt and Cleopatra, a move that allegedly threatened Roman values and security. Antony's relationship with Cleopatra was exploited by Octavian to paint him as under foreign influence, an affront to Roman ideals that Octavian leveraged for political support.The battle itself took place off the coast of Actium, in northwestern Greece. Antony’s forces, composed largely of Egyptian ships under Cleopatra's command, were positioned defensively in the Gulf of Ambracia, while Octavian's fleet, commanded by Agrippa, blockaded them from the sea. Despite having numerical superiority, Antony's forces were handicapped by poor morale, shortages of supplies, and a fleet that struggled to match Octavian’s more agile ships. Agrippa’s strategy of cutting Antony's supply lines ultimately forced Antony to break out of the gulf, leading to a chaotic naval engagement. Cleopatra’s flagship, along with a few others, famously deserted mid-battle, prompting Antony to follow her, which led to the disintegration of his forces. This decisive victory for Octavian effectively crushed Antony's and Cleopatra’s power in the eastern Mediterranean.The aftermath of Actium had significant consequences for Rome and Egypt. Antony and Cleopatra retreated to Egypt, where they committed suicide the following year. Octavian’s unchallenged rule allowed him to annex Egypt as a Roman province, seizing Cleopatra’s wealth to consolidate his own power and effectively ending the Ptolemaic dynasty. Actium marked the end of the Roman Republic and the beginning of the Roman Empire under Octavian, who assumed the title of Augustus in 27 BCE. This victory established Augustus as Rome's supreme leader, bringing stability to a Rome that had been wracked by civil wars and setting the stage for a period of peace and prosperity known as the Pax Romana.

ITEM: BottleMATERIAL: Terra SigillataCULTURE: Roman, North AfricaPERIOD: 3rd - 4th Century A.DDIMENSIONS: 180 mm x 100 mmCONDITION: Good condition, handle repairedPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman North African bottles, often associated with the regions of modern-day Tunisia, Algeria, and Libya, represent an important segment of Roman material culture, particularly in terms of their use in trade, daily life, and storage practices. These bottles were typically made from glass, a material that became increasingly popular in the Roman Empire during the 1st and 2nd centuries CE. Roman North African glass bottles often featured a wide variety of shapes and sizes, ranging from small, narrow-necked vessels to larger, more bulbous forms. Their primary function was for storing liquids such as perfumes, oils, and wine, though they were also used to hold medicines or scented water, depending on the contents.The craftsmanship of Roman North African glass bottles was highly advanced, with many examples exhibiting sophisticated techniques in both molding and blowing. Glassmakers in the region, particularly in the city of Carthage, were renowned for their skill in producing delicate and often finely decorated bottles. These vessels frequently featured intricate patterns, from geometric designs to depictions of mythological figures or animals. Many bottles also had decorative handles, rims, and embossed patterns, highlighting the artistry and attention to detail that went into their production. Some bottles were even tinted or colored, adding to their aesthetic appeal and distinguishing them from simpler, utilitarian vessels.Roman North African bottles played a key role in the trade networks that connected the Roman Empire, especially in the Mediterranean. North Africa, with its abundant natural resources, including sand for glassmaking, became a significant center for the production and export of glassware. The bottles made in North Africa were highly prized across the Roman world and beyond, serving as luxury items in affluent households or as practical containers for everyday use. The widespread distribution of these bottles across the empire—evidenced by their discovery in archaeological sites in Europe, the Near East, and North Africa—demonstrates the extensive trade routes and cultural exchanges that existed during the Roman period.

ITEM: RingMATERIAL: GoldCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 14 mm x 15 mm, 0,6 gr.CONDITION: Good conditionPROVENANCE: Ex German private collection, H.L., acquired before 2000Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman rings crafted from special gold materials were symbols of wealth, power, and sometimes even political status, reflecting the significance that Romans attached to jewelry as markers of identity and social prestige. The finest Roman gold rings were often made from high-purity gold alloys sourced from imperial mines or imported from distant parts of the empire, where mineral wealth was abundant. Roman goldsmiths employed various techniques to craft these rings, including casting, hammering, and engraving, and they sometimes incorporated gemstones such as garnet, emerald, or sapphire to add further value and beauty. Gold rings, particularly those worn by members of the senatorial or equestrian classes, displayed intricate designs and high-quality materials that distinguished the wearer’s elite status in Roman society, where luxurious materials were a key way to visually communicate rank and influence.Some gold rings in ancient Rome served a practical purpose beyond decoration, functioning as signet rings or seals used to authenticate documents and letters. The face of these rings would be engraved with unique designs, often incorporating family crests, personal symbols, or initials that represented the individual or family. These rings were used to press an impression onto wax seals, ensuring the security and authenticity of important communications. Signet rings made from special gold alloys signaled both the authority of the document and the high rank of the sender, making them highly prized among the Roman elite. This dual purpose of beauty and functionality allowed these rings to become personal emblems of trustworthiness, binding the individual’s word with their seal.

ITEM: KantharosMATERIAL: Pottery, Bucchero-wareCULTURE: EtruscanPERIOD: 6th Century B.CDIMENSIONS: 113 mm x 154 mm x 105 mmCONDITION: Good condition, repairedPROVENANCE: Ex Austrian private collection, acquired between 1960 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Etruscan kantharos was a distinctive type of drinking cup that held both practical and symbolic significance in Etruscan culture. Characterized by its tall, narrow body and two high looped handles, the kantharos was typically made from ceramic, bronze, or, in rarer instances, precious metals. This vessel form, which was also common in Greek pottery, was designed for drinking wine and was likely used in both everyday settings and formal banquets or ritual gatherings. The presence of kantharoi in Etruscan tombs suggests that they were seen as essential items for the afterlife, perhaps due to their association with social rituals and feasting. Often elaborately decorated with geometric patterns, mythological scenes, or figures from Etruscan religion, these vessels reflected the Etruscans' appreciation for artistic detail and skilled craftsmanship.In addition to their role in dining and socializing, kantharoi held symbolic associations with Dionysus (Bacchus in Roman mythology), the god of wine, ecstasy, and fertility. In Etruscan culture, which borrowed and adapted many elements from Greek religious beliefs, the kantharos likely carried connotations of divine pleasure, transformation, and the connection between mortals and the gods. The Etruscans viewed wine as a sacred drink with the power to transcend the everyday and bring participants closer to the divine realm. Consequently, the kantharos became more than just a drinking vessel; it embodied the concept of wine as a bridge to spiritual experience. This symbolism can be seen in Etruscan artwork, where figures are often shown holding or drinking from kantharoi in what appear to be ritualistic or celebratory contexts.Kantharoi discovered in Etruscan tombs and archaeological sites offer valuable insights into Etruscan social customs, artistic techniques, and cultural exchanges with the Greek world. Many Etruscan kantharoi display Greek-inspired iconography, revealing the influence of Greek artisanship and mythology on Etruscan pottery.

ITEM: Medusa head appliqueMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 25 mm x 38 mm diameterCONDITION: Good conditionPROVENANCE: Ex German private collection since the early 1980sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman depiction of Medusa, a figure from Greek mythology, was an enduring and significant image in Roman art, especially in the context of both mythology and protective symbolism. Medusa, one of the three Gorgons, was famously transformed into a monster with snakes for hair and the power to turn anyone who gazed upon her into stone. While the mythological story of Medusa’s transformation and her eventual slaying by the hero Perseus originates in Greek mythology, the Romans adopted and adapted the image of Medusa in a variety of artistic forms. Medusa was often portrayed with a striking, menacing face, her hair a tangle of snakes, symbolizing both her power and her curse.In Roman art, Medusa's image was often used in decorative works, such as reliefs, mosaics, and especially on bronze and marble sculptures. One of the most famous representations of Medusa in Roman art is the Gorgon’s head, which was frequently featured as an apotropaic symbol, used to ward off evil and protect spaces. This "evil eye" function, associated with Medusa, was a significant part of Roman belief, as the face of Medusa was thought to have protective qualities when placed on items like shields, doorways, and public buildings. This use of her image as a protective charm highlights how Roman interpretations of mythology often merged with practical concerns about health, safety, and the unseen dangers of the world.Medusa also appeared in Roman portraiture, particularly in the form of large, dramatic representations of her head as a motif, often seen on coins and jewelry. Roman emperors, such as those during the Julio-Claudian dynasty, used Medusa's image to convey a sense of power, control, and protection, integrating the Gorgon into imperial propaganda. For example, the emperor Nero sometimes had coins minted with Medusa’s head, likely to symbolize the ruler’s connection to divine or supernatural protection. The dual nature of Medusa—both a symbol of danger and a protector—mirrors the complexities of Roman imperial power, where rulers needed to balance fear and reverence in their image.

ITEM: Level with plumb bobMATERIAL: BronzeCULTURE: RomanPERIOD: 4th - 5th Century A.DDIMENSIONS: 120 mm x 92 mmCONDITION: Good conditionPROVENANCE: Ex European private collection, acquired before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman level, often used in conjunction with a plumb bob, was a tool essential to Roman engineering and construction, allowing builders to establish precise horizontal lines. This simple yet effective instrument typically consisted of a wooden or metal frame in the shape of an “A” or a right triangle, with a string and plumb bob suspended from the apex. By observing where the plumb line intersected with markings on the frame, Roman engineers could verify that their structures were level, an essential step for everything from roads and aqueducts to temples and public buildings. This tool’s straightforward design and functionality exemplify the Romans' ability to achieve architectural precision with basic technology.The use of the Roman level with a plumb bob was integral to the construction of Rome’s architectural masterpieces. This tool helped achieve the structural stability seen in roads, aqueducts, and multi-story buildings, where maintaining horizontal lines was critical for even weight distribution. The Roman level was particularly useful in large-scale civil engineering projects, such as the construction of aqueducts, which required precise gradients over long distances to ensure water flow. By using the level to maintain a consistent angle, engineers could create a slight slope that allowed water to flow across valleys and plains, providing urban centers with reliable water access. This simple tool thus played a role in sustaining the infrastructure that fueled the Roman Empire’s growth.

ITEM: Wagon applique in shape of eagle and duck headMATERIAL: BrnzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 65 mm x 48 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.A Roman wagon applique shaped like an eagle or duck head served as an ornamental piece, typically attached to ceremonial or military vehicles. These appliques were often crafted in bronze and designed to convey power, protection, and prestige. The eagle, in particular, held significant symbolism in Roman culture, representing Jupiter, the king of the gods, and becoming a symbol of the Roman Empire itself. Thus, an eagle-shaped applique would signal strength, dominance, and divine favor. Meanwhile, a duck head shape could represent themes related to water, fertility, or pastoral life, as ducks and other animals had their own symbolic value within Roman mythology and art.The detail and craftsmanship of such appliques reveal the Roman commitment to artistry and symbolism in even practical items like wagons and chariots. These items were likely attached to vehicles used in parades, religious ceremonies, or military contexts, allowing the display of Roman iconography in public spaces. The combination of both an eagle and duck head might reflect dual themes, such as the unification of military prowess (eagle) with peaceful or prosperous associations (duck), creating a dynamic piece that embodied multiple aspects of Roman ideology. The use of bronze also suggests durability and the intention to convey wealth and power, as bronze was both visually impressive and resistant to wear.Artifacts like these appliques provide insight into Roman decorative arts and the importance of symbolic expression in everyday objects.

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 60 mm x 32 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

ITEM: Oil lamp depicting a lion, Type Bussière E IX 31 - Atlante X A1 aMATERIAL: PotteryCULTURE: Late Roman, ChristianPERIOD: 5th - 7th Century A.DDIMENSIONS: 50 mm x 70 mm x 115 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Christian oil lamps, primarily dating from the late Roman period into the Byzantine era, played a dual role in both practical illumination and religious symbolism. These lamps were often simple in design, reflecting the modest roots of early Christianity. Made typically of clay or metal, they had small, flat bodies with one or two nozzles where wicks could be inserted, and they were fueled by olive oil. As Christianity spread throughout the Roman Empire, Christian iconography began to appear on these lamps, with motifs like crosses, fish, doves, and other symbols representing faith and the promise of salvation. These lamps were used in Christian households, places of worship, and even catacombs, where they provided light and carried symbolic meaning, illuminating spaces as well as representing spiritual enlightenment.The decoration of Christian oil lamps varied widely depending on the time and region. Early examples often used simpler motifs, but as Christianity became more widely accepted, the symbols on these lamps grew more elaborate and distinctively Christian. In the Byzantine period, for instance, lamps might display scenes from biblical stories, the Chi-Rho (a symbol for Christ), or other sacred imagery. Archaeological finds of these lamps in churches and graves underscore their spiritual role, often being placed with the deceased as symbols of hope and eternal life. These lamps helped Christians subtly express their faith, especially in the pre-Constantinian period when they faced persecution.Christian oil lamps also reflected the evolving role of religious art and worship in Christian communities. Beyond functional lighting, these lamps served as teaching tools for the illiterate, using symbols to communicate complex theological concepts.

ITEM: RingMATERIAL: SilverCULTURE: RomanPERIOD: 1st Century A.DDIMENSIONS: 19 mm diameterCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman rings were not only decorative items but also symbols of social status, personal identity, and practical utility within Roman society. Made from materials ranging from simple iron and bronze to more luxurious silver and gold, rings were worn by men and women alike and often carried significant meaning for the wearer. Wealthy individuals favored rings made of precious metals or adorned with gemstones like garnet, amethyst, and carnelian, which showcased their status and taste. Certain rings were inscribed with symbols, personal mottos, or images of gods, providing spiritual protection or conveying a personal connection to the divine. For Roman soldiers and officials, rings also served as indicators of rank and allegiance, reflecting Rome’s social hierarchies and values.Some Roman rings had a practical purpose as well, functioning as signet rings, which were used to imprint wax seals on official documents or private correspondence. These rings, typically engraved with unique designs, family crests, or initials, allowed the wearer to secure and authenticate messages. This practice was crucial for Roman officials, merchants, and anyone involved in legal or administrative tasks. The signet ring thus became a powerful tool that symbolized authority and personal integrity, as it was an extension of the wearer’s identity and their word. Archaeological discoveries of signet rings, sometimes still bearing traces of wax, illustrate their everyday utility and the Roman emphasis on personal security and record-keeping.

ITEM: Theatrical mask beadMATERIAL: GlassCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 25 mm x 16 mmCONDITION: Good conditionPROVENANCE: Ex Swedish private collection, R.S., acquired from German art marketComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman theatrical mask bead is a unique and significant artifact that reflects the rich cultural and social practices of ancient Rome, particularly in the realms of entertainment and personal adornment. These beads, which were often worn as jewelry or used in decorative pieces, featured the facial likenesses of theatrical masks associated with Roman drama. Roman theatre masks, typically representing characters from comedy and tragedy, were widely recognized symbols of the theatrical tradition, and their incorporation into personal items like beads suggests the integration of theatrical culture into daily life. These beads were usually made of materials such as glass, terracotta, or even precious metals, depending on the social status of the wearer.The use of theatrical mask imagery in Roman jewelry had both decorative and symbolic purposes. The masks themselves were part of a long tradition that originated in Greek theatre and continued through Roman performances, where actors would wear large masks to exaggerate emotions and to distinguish between characters. These masks typically represented two genres of drama: comedy (often depicted with a smiling face) and tragedy (depicted with a sorrowful or serious expression). By wearing beads shaped like these masks, Romans not only displayed their appreciation for the arts and theatre but also linked themselves to cultural traditions that celebrated drama and performance. This connection to theatre could also carry deeper meanings, such as invoking the powers of gods associated with the arts, or signaling the wearer's personal connection to the theatrical world.Roman theatrical mask beads were more than just decorative items; they were also symbols of cultural identity and social status. Such beads were popular among the Roman elite, who had access to luxury materials and could afford to incorporate fine craftsmanship into their jewelry. These beads were worn on necklaces, bracelets, and other forms of adornment, showcasing not only the wearer’s wealth but also their cultural sophistication. In addition to their use in personal jewelry, Roman theatrical mask beads were sometimes included in grave goods, indicating that they held a symbolic meaning beyond the living world.

ITEM: Cosmetic spoonMATERIAL: BronzeCULTURE: RomanPERIOD: 1st – 3rd Century A.DDIMENSIONS: 100 mm x 21 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, acquired from art dealer in 2003Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman cosmetic spoon, a delicate and specialized tool, was a staple in the personal care routines of ancient Roman women and men. Typically crafted from bronze, bone, or even precious metals like silver, these spoons featured a shallow, rounded bowl on one end, often attached to a slender handle that sometimes ended in a decorative shape, such as an animal or floral motif. The purpose of the cosmetic spoon was to apply small amounts of substances, such as oils, perfumes, and powdered cosmetics, with precision. The elegant, elongated design made it easier to handle, allowing users to apply beauty products in a refined and controlled manner.Cosmetic spoons served as part of a broader set of grooming tools, including tweezers, nail cleaners, and small mirrors, reflecting the high value Romans placed on personal hygiene and appearance. Roman beauty standards emphasized smooth, fair skin and often intricate hairstyles, so products like face powders, eye shadows, and scented oils were commonly applied. The cosmetic spoon would have been essential for mixing and applying such products, especially those that required precise application, such as kohl for lining the eyes or pigments for highlighting facial features. They were also used for mixing therapeutic ointments, further illustrating their importance in the daily rituals of self-care and healing.

ITEM: 'Manu fica' amuletMATERIAL: FaienceCULTURE: Roman, EgyptPERIOD: 1st - 3rd Century A.DDIMENSIONS: 20 mm x 8 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman manu fica amulet, also known as the "fig sign" or "fig-shaped hand" amulet, was a powerful and widely used symbol of protection in Roman society. Shaped to resemble a fist with the thumb placed between the index and middle fingers, the gesture is often associated with warding off the evil eye, a common belief in ancient Roman and Mediterranean cultures. The manu fica symbol was believed to protect the wearer from jealousy, misfortune, and the malevolent gaze of others, often serving as a talisman to keep away bad luck or curses. This gesture was so significant that it appeared not only in amulet form but also in various other objects like rings, pendants, and pottery, reflecting its widespread cultural importance.The use of the manu fica amulet was prevalent in both personal and public contexts. Roman soldiers, for example, often wore these amulets as protective charms during battles and long journeys, seeking divine or supernatural aid against the dangers they faced. Wealthy individuals and aristocrats also utilized these amulets to safeguard themselves from the negative effects of envy or malicious gossip, which were believed to be potent forces in Roman society. The manu fica was not only used as a protective device but also as a statement of defiance against misfortune, reflecting the Roman emphasis on resilience and control over external forces.The manu fica gesture itself, with its thumb between the index and middle fingers, was a form of folk magic that crossed cultural boundaries, appearing in Greek, Roman, and later European traditions. In Roman times, the amulet was often worn in everyday life and incorporated into a range of jewelry and personal items. In addition to its protective function, the manu fica could also be used as a sign of fertility or a symbol of good luck.

ITEM: Phallic amuletMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 32 mm x 15 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, Oxfordshire, acquired from Alan Cherry of Bournemouth between 2003 - 2005Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman phallic amulets, known as fascina (plural of fascinum), were widespread symbols of protection, particularly against the evil eye, in Roman culture. These small, often intricately carved amulets typically depicted the male genitalia and were considered potent talismans for warding off negative influences and harmful magic. The Romans believed that the image of the phallus had the power to avert misfortune and bring good luck, due to its association with fertility, strength, and vitality. Phallic amulets could be made from materials such as bronze, bone, or terracotta, and were worn as jewelry or placed in homes, businesses, and even public spaces like crossroads and gates to ensure protective benefits.These amulets were not limited to personal adornment but were also incorporated into broader social and religious contexts. In Roman households, phallic symbols could be found on doorways or incorporated into the decor to protect the home from malevolent spirits. Additionally, children, who were considered particularly vulnerable to harm, were often given phallic amulets to wear around their necks or as part of their clothing to shield them from danger. The presence of these symbols in everyday life reflects the deeply ingrained superstitious beliefs in ancient Roman society, where the need for protection was a constant concern.Beyond their apotropaic (warding-off) function, phallic amulets also reflected Roman attitudes toward sexuality and masculinity. The open display of the phallus was not considered vulgar but rather a symbol of life, virility, and generative power. This frankness about sexual symbols stood in contrast to later cultural norms and reveals the Roman perspective on sexuality as a natural and essential force.

RULER: Septimius SeverusDATE: 193 A.DDENOMINATION: DenariusMATERIAL: Silver, ARSIZE & WEIGHT: 16,5 mm, 2,73 grOBVERSE: IMP CAE L SEP SEV PERT AVG, Laureate head rightREVERSE: LEG II ADIVT, TR P COS in exergue, legionary eagle between two standards. REFERENCES: RIC IV 5, BMCRE 8, RSC 260Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Septimius Severus, who ruled as Roman emperor from 193 to 211 CE, was the founder of the Severan dynasty and marked a transformative period for the Roman Empire. Born in 145 CE in Leptis Magna (in modern-day Libya), Severus rose from a provincial North African background to power, representing a shift in the diversity of imperial leadership. His rise came during the turbulent Year of the Five Emperors (193 CE), a period of civil war and political instability following the assassination of Emperor Commodus. Severus swiftly took control by defeating his rivals, notably his most formidable opponent, Clodius Albinus, securing his position as emperor. He demonstrated strong military prowess and a readiness to use force, ushering in a new era of militaristic rule that prioritized the loyalty of the legions and provincial soldiers over the Roman Senate.policies reflected the challenges of ruling an empire stretched across vast territories and diverse cultures.As emperor, Severus sought to strengthen and stabilize the empire through a combination of military expansion and internal reform. His campaigns extended Roman influence in the East, particularly in Mesopotamia, where he achieved a significant victory against the Parthian Empire, capturing the cities of Ctesiphon and Babylon. Severus also reinforced the empire's borders in North Africa and Britain, where he launched an extensive campaign to consolidate Roman control over the northern territories. To secure the loyalty of the army, Severus increased soldiers' pay and allowed them greater legal privileges, a move that, while stabilizing his power, shifted the empire’s political structure by enhancing the military’s influence over the state. This growing militarization helped maintain the empire’s stability but diminished the power of traditional civic institutions like the Senate.policies reflected the challenges of ruling an empire stretched across vast territories and diverse cultures.The legacy of Septimius Severus is mixed, as his reign marked both a peak of military power and the beginning of internal challenges that would later affect the empire. Severus fostered a dynastic succession by appointing his sons, Caracalla and Geta, as co-emperors before his death, though this led to a fratricidal conflict. His rule is often seen as the start of the "soldier emperors" era, where military backing became crucial for any claim to the throne. His reforms, especially those focused on securing military loyalty, laid the groundwork for future emperors but also deepened the empire’s reliance on military authority, which contributed to political instability in subsequent decades. Severus is remembered as a competent, if harsh, ruler whose pragmatic policies reflected the challenges of ruling an empire stretched across vast territories and diverse cultures.

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 82 mm x 30 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

ITEM: Lidded boxMATERIAL: PotteryCULTURE: Chinese, Hoi An shipwreckPERIOD: 15th Century A.DDIMENSIONS: 33 mm x 55 mm diameterCONDITION: Good conditionPROVENANCE: Ex Butterfield & Butterfiel auction with oficial Hoy An Hoard labels.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Byzantine oil lamps, used widely from the early Byzantine period (circa 4th century CE) to the fall of the empire, were essential items for daily life, religious practices, and symbolic rituals. These lamps were typically made of clay, bronze, or occasionally glass, and fueled by olive oil, which was readily available in the Mediterranean. Byzantine lamps generally featured a closed, often circular body with a nozzle for the wick and a handle for easy transport. Many were decorated with Christian symbols, such as crosses, fish, and chi-rho monograms, reflecting the profound influence of Christianity in Byzantine culture. These lamps provided light in homes, churches, monasteries, and public buildings, illuminating both daily and sacred spaces within Byzantine society.The design and decoration of Byzantine oil lamps evolved over time, showing the influences of earlier Roman models as well as the rise of new artistic styles. Early Byzantine lamps retained Roman features, such as the use of terracotta and simple, functional forms. However, as Christianity became more established, the iconography shifted to incorporate Christian symbols, saints, and religious scenes. Some lamps were inscribed with prayers or invocations, which were thought to provide spiritual protection or blessings. Additionally, Byzantine lamps often bore intricate floral or geometric patterns that showcased the empire’s skilled craftsmanship. This decorative approach made Byzantine lamps not only functional lighting devices but also aesthetic objects that conveyed religious and cultural identity.Beyond their use as practical tools, Byzantine oil lamps had religious and symbolic significance. Oil lamps were used in churches to symbolize the presence of divine light and as offerings in Christian rituals, reflecting themes of enlightenment and spiritual guidance. They were also placed in tombs as part of burial rites, possibly to light the way for the deceased in the afterlife.

ITEM: Roundel with the head of Zeus AmmonMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 33 mm diameterCONDITION: Good conditionPROVENANCE: Ex Dutch private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Roman depiction of Zeus Ammon, often referred to as Jupiter Ammon in Roman contexts, blends elements of Greek and Egyptian mythology, reflecting the cultural syncretism of the Roman Empire. Zeus Ammon is a fusion of the Greek god Zeus, the ruler of the heavens and the king of the gods, and Ammon, an ancient Egyptian deity associated with the sun and air. The combination of these two gods occurred particularly during the Hellenistic period when Alexander the Great visited the Oracle of Ammon at Siwah in the Egyptian desert. This cross-cultural melding was embraced by the Romans, who saw the unification of these deities as a powerful symbol of imperial rule and divine authority.In Roman art, Zeus Ammon is typically represented with features that combine both Greek and Egyptian iconography. He is often shown with the regal appearance of Zeus—broad, bearded, and powerful—yet he also possesses the distinctive ram's horns of the Egyptian god Ammon. This imagery conveyed the idea that Zeus Ammon held dominion not only over the Greek and Roman worlds but also over the Egyptian realm, symbolizing Rome's vast imperial reach. His representations were popular in Roman coins, statues, and reliefs, where the horned god was often depicted wearing a crown or holding symbols of power, such as the thunderbolt (a symbol of Zeus) or the scepter (a symbol of Ammon).The cult of Zeus Ammon was closely tied to the concept of divine kingship, and the emperor often associated himself with this deity to legitimize his rule. The idea of divine sanction was crucial in Roman imperial ideology, and by associating themselves with Zeus Ammon, emperors could evoke the authority of both the Greek pantheon and the ancient Egyptian tradition.

ITEM: Relief fragmentMATERIAL: MarbleCULTURE: RomanPERIOD: 1st - 2nd Century A.DDIMENSIONS: 110 mm x 125 mm x 68 mmCONDITION: Good conditionPROVENANCE: Ex Portuguese private collection, acquired between 1980 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman reliefs are an essential aspect of Roman art and architecture, known for their detailed and dynamic depictions of historical events, mythology, daily life, and portraits. These reliefs were commonly carved into marble, limestone, or other durable materials and adorned various structures such as altars, triumphal arches, sarcophagi, and public buildings. The use of relief sculpture allowed Roman artists to create intricate narratives and convey complex messages, serving both decorative and propagandistic purposes.One of the most famous examples of Roman reliefs is the frieze on the Ara Pacis, the Altar of Peace, dedicated in 9 BCE to commemorate Emperor Augustus's return from his campaigns in Gaul and Hispania. The reliefs on the Ara Pacis depict a procession of the imperial family, priests, and senators, capturing a moment of civic and religious harmony. The high level of detail, naturalistic figures, and dynamic composition reflect the Roman emphasis on realism and the importance of political propaganda. By illustrating Augustus's achievements and the prosperity of his reign, the reliefs reinforced the emperor's legitimacy and the ideals of peace and stability.Another significant example is the reliefs on the Column of Trajan, completed in 113 CE, which celebrate Emperor Trajan's victory in the Dacian Wars. The column's spiral relief narrates the entire campaign, from the army's departure to the final victory, with over 2,500 figures depicted in meticulous detail. These reliefs not only serve as a visual record of the military conquest but also emphasize the emperor's role as a strong and capable leader.

ITEM: Phallic amuletMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 15 mm x 7 mm x 25 mmCONDITION: Good conditionPROVENANCE: Ex Spanish private collection, bought in English auction house. Ex English private collection, Oxfordshire, acquired from Alan Cherry of Bournemouth between 2003 - 2005Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman phallic amulets, known as fascina (plural of fascinum), were widespread symbols of protection, particularly against the evil eye, in Roman culture. These small, often intricately carved amulets typically depicted the male genitalia and were considered potent talismans for warding off negative influences and harmful magic. The Romans believed that the image of the phallus had the power to avert misfortune and bring good luck, due to its association with fertility, strength, and vitality. Phallic amulets could be made from materials such as bronze, bone, or terracotta, and were worn as jewelry or placed in homes, businesses, and even public spaces like crossroads and gates to ensure protective benefits.These amulets were not limited to personal adornment but were also incorporated into broader social and religious contexts. In Roman households, phallic symbols could be found on doorways or incorporated into the decor to protect the home from malevolent spirits. Additionally, children, who were considered particularly vulnerable to harm, were often given phallic amulets to wear around their necks or as part of their clothing to shield them from danger. The presence of these symbols in everyday life reflects the deeply ingrained superstitious beliefs in ancient Roman society, where the need for protection was a constant concern.Beyond their apotropaic (warding-off) function, phallic amulets also reflected Roman attitudes toward sexuality and masculinity. The open display of the phallus was not considered vulgar but rather a symbol of life, virility, and generative power. This frankness about sexual symbols stood in contrast to later cultural norms and reveals the Roman perspective on sexuality as a natural and essential force.

RULER: Marc AntonyDATE: Patrae (?), 32-31 B.CDENOMINATION: DenariusMATERIAL: Silver, ARSIZE & WEIGHT: 19 mm, 3,49 grOBVERSE: ANT AVG III VIR R P C, Praetorian galleyREVERSE: LEG VIIII, Legionary eagle between two standards.REFERENCES: Sear Imp. 359, Crawford 544/22.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Battle of Actium, fought on September 2, 31 BCE, was the climactic confrontation between Mark Antony, backed by Cleopatra VII of Egypt, and Octavian, later known as Augustus, who became the first Roman Emperor. The clash emerged out of a prolonged power struggle in the Roman Republic following the assassination of Julius Caesar, which left a power vacuum. Mark Antony, a Roman general and supporter of Caesar, formed an alliance with Cleopatra and commanded the eastern half of Rome's territories, while Octavian controlled the west. Their rivalry intensified over time, fueled by Octavian’s portrayal of Antony as a traitor who had "abandoned" Rome for Egypt and Cleopatra, a move that allegedly threatened Roman values and security. Antony's relationship with Cleopatra was exploited by Octavian to paint him as under foreign influence, an affront to Roman ideals that Octavian leveraged for political support.The battle itself took place off the coast of Actium, in northwestern Greece. Antony’s forces, composed largely of Egyptian ships under Cleopatra's command, were positioned defensively in the Gulf of Ambracia, while Octavian's fleet, commanded by Agrippa, blockaded them from the sea. Despite having numerical superiority, Antony's forces were handicapped by poor morale, shortages of supplies, and a fleet that struggled to match Octavian’s more agile ships. Agrippa’s strategy of cutting Antony's supply lines ultimately forced Antony to break out of the gulf, leading to a chaotic naval engagement. Cleopatra’s flagship, along with a few others, famously deserted mid-battle, prompting Antony to follow her, which led to the disintegration of his forces. This decisive victory for Octavian effectively crushed Antony's and Cleopatra’s power in the eastern Mediterranean.The aftermath of Actium had significant consequences for Rome and Egypt. Antony and Cleopatra retreated to Egypt, where they committed suicide the following year. Octavian’s unchallenged rule allowed him to annex Egypt as a Roman province, seizing Cleopatra’s wealth to consolidate his own power and effectively ending the Ptolemaic dynasty. Actium marked the end of the Roman Republic and the beginning of the Roman Empire under Octavian, who assumed the title of Augustus in 27 BCE. This victory established Augustus as Rome's supreme leader, bringing stability to a Rome that had been wracked by civil wars and setting the stage for a period of peace and prosperity known as the Pax Romana.

RULER: AntinoüsDATE: 134 - 135 A.DDENOMINATION: TetradrachmMATERIAL: Bronze, AESIZE & WEIGHT: 29 mm, 14,02 grOBVERSE: Draped bust right, wearing hem-hem crown.REVERSE: Antinoüs (as Hermes), wearing chlamys, holding caduceus with his righthand, on horseback right; L I Θ (date) in field.REFERENCES: RPC III-6073, Dattari (Savio)-2083Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Antinous, a young man from Bithynia (modern-day northwestern Turkey), became famously associated with the Roman Emperor Hadrian, who reigned from 117 to 138 CE. Known for his extraordinary beauty, Antinous met Hadrian as a teenager and quickly became his close companion, likely joining him in his travels across the empire. Their relationship was both personal and political, with Antinous not only providing companionship to Hadrian but also representing an ideal of beauty, youth, and virtue that Hadrian admired deeply. During their travels together, Antinous became a beloved figure in Hadrian's inner circle, and their bond was considered exceptionally strong, reflecting the emperor’s interest in Greek culture and values, including the Greek ideal of male companionship.The most significant event in the story of Antinous occurred in 130 CE, when he drowned in the Nile River under mysterious circumstances while accompanying Hadrian in Egypt. The circumstances surrounding his death remain unclear, and some sources suggest it may have been a ritual sacrifice or even a voluntary act, intended to prolong Hadrian's life through an act of mystical sacrifice. Devastated by his companion’s loss, Hadrian mourned Antinous deeply and deified him, establishing a cult in his honor—a rare privilege usually reserved for emperors and deities. Hadrian founded the city of Antinoöpolis in Egypt near the site of his death, and across the empire, he commissioned statues, temples, and coins bearing Antinous’s likeness. This act of deification was unprecedented for a non-imperial Roman and demonstrates the depth of Hadrian's attachment and the unique place Antinous held in his life.The legacy of Antinous endures as one of the most celebrated examples of youthful beauty in ancient art, with numerous statues, busts, and reliefs depicting him. His image became iconic, portraying him with a gentle expression and idealized features, embodying the classical Greek ideal of male youth. These artworks spread throughout the empire, and Antinous was worshiped as a god in certain regions, particularly in the Eastern provinces where Hadrian’s influence was strong. His cult persisted even after Hadrian’s death, making Antinous one of the few non-imperial figures in Roman history to be widely venerated. Today, Antinous remains a symbol of both Hadrian’s affection and the complex cultural synthesis of Roman and Greek ideals, immortalized in statues and surviving as one of the most enduringly enigmatic figures of Roman antiquity.

ITEM: Oil lamp with confronted ErosMATERIAL: PotteryCULTURE: Greek, HellenisticPERIOD: 2nd – 1st Century B.CDIMENSIONS: 23 mm x 70 mm x 98 mmCONDITION: Good conditionPROVENANCE: Ex Emeritus collection (USA), collected from the 1950’s to the 1980’s by a distinguished university professor who served as Department head, Dean and Vice President of a major university.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice. Eros, in Greek religion, god of love. In the Theogony of Hesiod (fl. 700 BCE), Eros was a primeval god, son of Chaos, the original primeval emptiness of the universe, but later tradition made him the son of Aphrodite, goddess of sexual love and beauty, by either Zeus (the king of the gods), Ares (god of war and of battle), or Hermes (divine messenger of the gods).Eros was a god not simply of passion but also of fertility. His brother was Anteros, the god of mutual love, who was sometimes described as his opponent. The chief associates of Eros were Pothos and Himeros (Longing and Desire). Later writers assumed the existence of a number of Erotes (like the several versions of the Roman Amor).In Alexandrian poetry he degenerated into a mischievous child. In Archaic art he was represented as a beautiful winged youth but tended to be made younger and younger until, by the Hellenistic period, he was an infant. His chief cult centre was at Thespiae in Boeotia, where the Erotidia were celebrated. He also shared a sanctuary with Aphrodite on the north wall of the Acropolis at Athens.

ITEM: Oil lamp depicting a horseMATERIAL: PotteryCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 40 mm x 67 mm x 98 mmCONDITION: Good conditionPROVENANCE: Ex French private collection, acquired between 1970 - 1990Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman oil lamps were essential household items throughout the Roman Empire, serving as the primary source of illumination in homes, temples, and public spaces from around the 3rd century BCE through late antiquity. These lamps were typically made of clay or terracotta, though some luxurious versions were crafted in bronze or other metals for wealthier patrons. Designed with a small, shallow reservoir to hold oil—most commonly olive oil—and a spout for the wick, Roman oil lamps were simple yet effective in providing light after sunset. Their portability made them versatile for both indoor and outdoor use, from domestic activities to religious ceremonies.The designs of Roman oil lamps varied widely and often reflected the cultural, artistic, and religious values of their time. Simple lamps had minimal decoration and were purely utilitarian, while others were intricately decorated with motifs such as mythological scenes, animals, or gods and goddesses. Lamps featuring figures of deities like Venus, Mercury, or Bacchus were common and served as symbols of protection and blessing. Some lamps even depicted scenes from Roman life or famous gladiator battles, showing the influence of popular culture on everyday objects. The variety of decorative elements also highlights the skilled craftsmanship of Roman artisans, who often used molds to create detailed reliefs on the lamps’ surfaces.In addition to their practical use, Roman oil lamps held significant cultural and religious symbolism. They were frequently placed in graves and tombs as part of funerary customs, symbolizing light for the deceased in the afterlife. Oil lamps were also used in rituals and as offerings in temples, particularly in domestic cults where they served as an act of devotion to household gods or protective deities. Lamps have been discovered across the vast Roman Empire, from Britain to Egypt, providing valuable archaeological insights into daily life, trade networks, and religious practices.

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 34 mm x 28 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

ITEM: Duck mountMATERIAL: SilverCULTURE: Iron Age, CelticPERIOD: 2nd Century B.C - 1st Century A.DDIMENSIONS: 12 mm x 21 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, Suffolk, acquired in U.K art market in 2015, before from English private collection, Kent.Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Iron Age Celtic silver duck mount is a remarkable artifact that reflects the artistic and cultural sophistication of the Celtic peoples during the late Iron Age (around 500 BCE to the Roman conquest). The Celts, known for their intricate metalwork and symbolic art, often created decorative mounts and fittings for various objects, including weapons, chariots, and ceremonial items. The silver duck mount is an example of their skill in metalworking and their use of animal motifs, which were common in Celtic art, symbolizing various spiritual and cultural beliefs.This silver duck mount likely served as a decorative piece, possibly attached to a ceremonial object such as a shield, helmet, or chariot. The duck itself holds symbolic significance in Celtic culture, often associated with water, fertility, and the otherworld. Waterfowl, like ducks, were believed to be creatures that could traverse both the earthly and spiritual realms, making them potent symbols of transition and connection between worlds. The use of silver, a precious metal, further indicates the mount's importance, suggesting it may have belonged to a person of high status, perhaps a chieftain or a warrior of significant rank.The craftsmanship of the Celtic silver duck mount is notable for its detailed and stylized representation of the bird, reflecting the Celts' deep appreciation for nature and their ability to infuse symbolic meaning into their art. The design likely incorporated the flowing, curvilinear patterns typical of La Tène art, the dominant artistic style of the Celts during the Iron Age. This style is characterized by its intricate patterns and abstract forms, often inspired by natural elements.

ITEM: BraceletMATERIAL: BronzeCULTURE: RomanPERIOD: 2nd - 3rd Century A.DDIMENSIONS: 64 mm x 67 mmCONDITION: Good conditionPROVENANCE: Ex English private collection, London, acquired from art market before 2000sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman bracelets were popular accessories worn by men, women, and even children across various social classes throughout the Roman Empire. These bracelets, made from a range of materials including gold, silver, bronze, glass, and iron, were both decorative and symbolic. Wealthier Romans favored bracelets made of precious metals and gemstones, which displayed their social status and wealth, while those of more modest means wore simpler versions made of bronze or iron. Some bracelets were adorned with intricate designs, engraved patterns, and inlays of glass or colored stones, reflecting the Roman love for beauty and craftsmanship in personal adornment.Designs of Roman bracelets varied widely, often reflecting cultural influences from the diverse regions within the Empire. Some bracelets featured open-ended designs with stylized animal heads, such as lions, snakes, or eagles, each carrying symbolic meaning, while others were fully enclosed with elaborate detailing. Snake-shaped bracelets, for example, were quite popular and symbolized protection and healing, as the serpent was associated with the god Asclepius. Other bracelets bore inscriptions or engraved symbols, possibly functioning as talismans or amulets believed to bring good luck, health, or protection to the wearer. These decorative and symbolic elements illustrate the Romans’ appreciation for jewelry as both an art form and a source of personal meaning.Bracelets were also significant in Roman religious and funerary contexts. They were often left as offerings at temples or placed in graves as part of burial rites, symbolizing the individual’s status or personal beliefs in the afterlife.

ITEM: KeyMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 70 mm x 30 mmCONDITION: Good conditionPROVENANCE: Ex German private collection, Dr. K.B., Munich, since the 1970sComes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman keys were essential tools for securing locks on doors, chests, and personal items, reflecting the Roman emphasis on security, privacy, and property ownership. Made primarily from iron, bronze, or sometimes brass, Roman keys varied in design, but they generally consisted of a long shaft with a curved or looped head that engaged with the lock mechanism. The keys were often large and heavy, particularly those used for doors or storage chests, and they were frequently carried as symbols of authority, wealth, and access. Roman keys were also integral to the organization of private and public spaces, from households to temples, demonstrating how the Romans valued controlled access to both physical property and private life.The design of Roman keys was functional yet varied, with some keys featuring intricate, ornate designs, while others were more utilitarian. Large, ornate keys were often used by the wealthy or in the context of important state or religious buildings, while smaller, simpler keys were used by ordinary citizens. The variation in size and decoration of Roman keys reflects the different types of locks they were designed for, from the elaborate locking mechanisms used in villas and public buildings to simpler locks for personal use. Many Roman keys found in archaeological excavations bear decorative elements such as animal heads, religious symbols, or family crests, which were sometimes engraved into the head of the key, showcasing the owner’s identity, status, or affiliations.In addition to their practical and decorative purposes, Roman keys have an important symbolic role in Roman culture. They were sometimes depicted in art, especially in funerary contexts, to signify ownership, protection, and the safeguarding of personal or family treasures.

ITEM: Medical instrument, SpoonMATERIAL: BronzeCULTURE: RomanPERIOD: 1st - 3rd Century A.DDIMENSIONS: 104 mm x 24 mmCONDITION: Good conditionPROVENANCE: Ex Polish private collection, acquired from German private collection in 2003Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.Roman medical instruments reflect a sophisticated approach to healthcare and the Roman Empire's advancements in surgery and medicine. These tools, often made of bronze, iron, or occasionally silver, included scalpels, forceps, bone saws, and probes, showing remarkable similarity to modern surgical instruments. The variety and specificity of these tools suggest that Roman practitioners could perform a range of procedures, from basic wound care to complex surgeries. Excavations of Roman military and urban sites, such as those at Pompeii and Herculaneum, have uncovered sets of medical tools, revealing that medical practitioners were well-equipped and held esteemed positions in society.Roman surgeons and physicians were skilled in both trauma care—often needed for soldiers injured in battle—and routine health care for civilians. Instruments such as bone levers were used to reset fractures, while small hooks and probes were essential for cleaning wounds and removing foreign objects. Romans had a keen understanding of hygiene and frequently boiled instruments before use, showing early practices of antiseptic care. Texts from ancient medical writers like Galen and Celsus describe procedures using these instruments, such as cataract surgery and trepanation, indicating that Roman medicine was informed by Greek medical knowledge and adapted for practical use in the Empire.The discovery of Roman medical tools provides valuable insight into the professionalization of medicine in antiquity. The presence of specialized instruments for different types of procedures suggests that Roman medicine included a degree of specialization, with some practitioners focusing on specific fields like ophthalmology or battlefield surgery.

RULER: Marc AntonyDATE: Patrae (?), 32-31 B.CDENOMINATION: DenariusMATERIAL: Silver, ARSIZE & WEIGHT: 19 mm, 4,1 grOBVERSE: ANT AVG III VIR R P C, Praetorian galleyREVERSE: LEG VIII, Legionary eagle between two standards.REFERENCES: Crawford 544/21Comes with Certificate of Authenticity and Export Licence. If you are from outside the European Union, we will have to apply for the export licence again for your country, this takes 3 to 5 weeks and has a cost of 5% of the hammer price, this amount will be added to the final invoice.The Battle of Actium, fought on September 2, 31 BCE, was the climactic confrontation between Mark Antony, backed by Cleopatra VII of Egypt, and Octavian, later known as Augustus, who became the first Roman Emperor. The clash emerged out of a prolonged power struggle in the Roman Republic following the assassination of Julius Caesar, which left a power vacuum. Mark Antony, a Roman general and supporter of Caesar, formed an alliance with Cleopatra and commanded the eastern half of Rome's territories, while Octavian controlled the west. Their rivalry intensified over time, fueled by Octavian’s portrayal of Antony as a traitor who had "abandoned" Rome for Egypt and Cleopatra, a move that allegedly threatened Roman values and security. Antony's relationship with Cleopatra was exploited by Octavian to paint him as under foreign influence, an affront to Roman ideals that Octavian leveraged for political support.The battle itself took place off the coast of Actium, in northwestern Greece. Antony’s forces, composed largely of Egyptian ships under Cleopatra's command, were positioned defensively in the Gulf of Ambracia, while Octavian's fleet, commanded by Agrippa, blockaded them from the sea. Despite having numerical superiority, Antony's forces were handicapped by poor morale, shortages of supplies, and a fleet that struggled to match Octavian’s more agile ships. Agrippa’s strategy of cutting Antony's supply lines ultimately forced Antony to break out of the gulf, leading to a chaotic naval engagement. Cleopatra’s flagship, along with a few others, famously deserted mid-battle, prompting Antony to follow her, which led to the disintegration of his forces. This decisive victory for Octavian effectively crushed Antony's and Cleopatra’s power in the eastern Mediterranean.The aftermath of Actium had significant consequences for Rome and Egypt. Antony and Cleopatra retreated to Egypt, where they committed suicide the following year. Octavian’s unchallenged rule allowed him to annex Egypt as a Roman province, seizing Cleopatra’s wealth to consolidate his own power and effectively ending the Ptolemaic dynasty. Actium marked the end of the Roman Republic and the beginning of the Roman Empire under Octavian, who assumed the title of Augustus in 27 BCE. This victory established Augustus as Rome's supreme leader, bringing stability to a Rome that had been wracked by civil wars and setting the stage for a period of peace and prosperity known as the Pax Romana.