bronze ; weight 8,00gr. ; width 30mm. ; height 20mm.

Fibulae, ancient safety pins, had a long history in the ancient world, beginning in the late second millennium B.C. in Europe and Greece. The flat arc of this Pgrygian fibula is cast as a semicircle with the addition of hollow studs applied as decoration on the arc and its catch and terminals. This piece is one of the most characteristic of Phrygian fibulae of the second half of the eighth century B.C.

Literature; Hattatt II, no.704-705
intact with dark green patina

weight 57,25gr. ; bronze L.60mm H.45mm.
intact with dark patina

height circa 40mm. ; width circa 80mm. ; weight 27,95gr.
Attractive dark green patina.
provenance; from a Dutch private collection
intakt

height 30mm. ; weight 2,86gr.

This bronze arrow head was found in Asia Minor (Turkey).
These arrow heads are sometimes found in large quantities,
and  date from the time of the Greek-Persian wars. 

provenance: from a Dutch private collection

attractive dark patina
intact

massive (almost) pure gold ; weight 4,24gr. ; width ca.28mm. ; height ca.19mm.

A wearable Roman gold Crescentic pendant with eyelet; representing the goddess Luna. The Luna is crafted from concave forged gold with small spheres at the ends, while the suspension loop is decorated with filigree ornamentation on the sides.

This attractive gold lunula, or crescent-shaped pendant, is in choice condition, with an intact suspension loop that allows it to be threaded on a cord for wearing. The term "lunula" comes from the Latin word lunula, meaning "little moon," and these pendants were popular adornments in ancient Greece and Rome, often crafted in gold or silver. Their shape symbolizes the moon and was associated with lunar deities such as Artemis (Diana) and Selene (Luna), embodying femininity, fertility, and protection.

provenance; from a private Dutch collection.
Acquired from the German art mark in the 2000′s.

intakt

height ca. 28mm. ; width ca. 17mm. ; weight 27,70gr.

Bronze object with at one side a standing male figure in
a long robe with his arms hanging tightly along his body.
It could be used as a weight, but this isn′t certain.
Interesting and intriguing object.

Provenance; German private collection, acquired between 1980 and 2000.

attractive dark patina
intact

silver ; weight 4,08gr. ; length 33mm. ; height ca.14mm.

Silver trompet fibulae are rare, certainly in this small size.

Provenance: from a Dutch private collecction.
Acquired on the Dutch art market in the 1980/1990′s

literature; cf. Hattatt 762
intact

length circa 42mm. ; bronze 11,05gr.
reference literature ; Hattatt 764
very attractive green patina
complete with pin

Height circa 22mm. ; Length circa 128mm. ;  Weight circa 282 gram

Beautiful bronze patera handle with a fluted body and a ram head finial. The ram′s head is very finely incised, with a particular attention to the wool details. Naturalistically modelled with large ridged tightly curled horns, almond-shaped eyes and fine mouth and nostrils.

provenance; Belgian private collection
Very good condition. Dark green patina.

length 31mm. ; width 22mm. ; bronze 9,85gr.

An Ancient Romano-Celtic fibula made from bronze.
The body is formed in an elegant, curving serpentine S-shape.
Original pin present but slightly bent.

attractive dark green patina
intakt

height 60mm. ; weight 45,64gr.

Although this sculpture of Jupiter (Zeus) is diminutive in scale, it contains a captivating presence equal to the great statue of the god himself. Draped with a cloak, hanging over the left shoulder, with the right upper body exposed, he stands calm and confident. Possibly with thunderbolt or patera (phiale) in his right hand, which is missing.

Although this is the traditional representation of the god, Jupiter was by nature a shape shifter. He is perhaps best remembered for his numerous extramarital exploits committed in a variety of guises detailed in Ovid′s Metamorphoses and in many other popular myths. In fact, it is through these affairs that he fathered several of the other gods and goddesses who make up the rest of the Greek and Roman pantheon. This stunning statue was most likely worshipped by an individual wealthy enough to commission or own such a sacred and prized possession. Given its small stature, it is possible that this statue served a pious merchant or in his travels. Perhaps it stood by the side of a might Roman general as he conquered new lands on a foreign campaign. Just as likely, this sculpture might have been placed in a small altar and worshiped in the private confines of the home alongside the household gods. Artistically, the beauty and detail of this sculpture reveals the skill and mastery of Ancient Roman sculptors. Although his kingdom has vanished and his followers have disappeared, when gazing upon this sculpture of Jupiter, we are still in the presence of divinity. God, after all, has been known to take on many guises, like Jupiter, and this is but one of them.

provenance; from an Belgian private collection.
Acquired on the Belgian art market in the 1980′s

Feet and right hand missing, otherwise intact. Dark patina.

bronze ; weight 20,06gr. ; length circa 67mm. ; width 20mm.

Hattatt --

Dark green patina. Rare type.
pin bent, but completely intakt

height 47mm. ; width circa 42mm. ; weight 44,74gr.

A cast bull figurine on a hollow square base.
Naturalistically modelled with curving horns, pointed ears, integral base.

The bull was a powerful symbol in many ancient religions, none more so than in that of Egypt, where the animal was worshipped as the god Apis. The Romans found it easier to accept the Apis bull than some of the more exotic deities of the Egyptian pantheon, like the ibis-headed god Thoth or the jackal-headed Anubis, and they ridiculed Egyptians as worshippers of animals such as cats and crocodiles.

provenance; Dutch private collection. Acquired on the French art market in the 1980′s

Wonderful piece with attractive dark patina.
intact

weight 4,52gr. ; dimentions of bezel Ø 17mm. (inner size)

An elegant Ancient Roman hollow gold intaglio ring with a simple gold band shank which widens at the shoulders to support an oval bezel set in rub-over style with a oval orange carnelian stone, finely engraved with the depiction of a goat standing on its hind legs against a tree, in order to eat the leaves of the tree. Unusual and rare image.

provenance: from an old Belgian collection,
acquired on the Brussels art-market in the 1980′s.

intact

length circa 61mm. ; weight circa 56,29 gr.

The very small oil lamp features a nozzle with a menorah.

The unusual lamp is decorated with an imagery related to the services in the Jewish Second Temple in Jerusalem, the Temple menorah (which had seven branches, unlike the nine-branched menorahs used during Hanukkah). The Second Temple was destroyed in 70 AD, and the Roman emperor Hadrianus suppressed the Bar Kochba Revolt in 135 AD. Many Jews, however, remained in the region, including Palestine, Phoenicia, and Syria, and made oil lamps to express their faith. Highly interesting and rare.

provenance: Dutch private collection
minor ships at the body of the lamb, otherwise intact

height 50mm. ; width 45mm. ; weight 108,80gr.

An Ancient Roman bronze figurine of a ram, excellent detailed to show the features of the eyes, horns, tail the woolen fleece and limbs. The ram stands on a small, flat base, which allows the figurine to stand upright. The bronze features some light patination, which enhances the visibility of the details.

Provenance: Dutch private collection. 
Acquired at the Dutch art marked in the 1970′s.

Attractive dark greenbrown patina.
Beautiful piece of bronze sculpture art.
intact

bronze ; weight 40,81gr. ; width ca.40mm. ; height ca.12mm. 

A fine Roman dog statuette cast from bronze. The dog lies in a
slightly hunched position with its front legs placed alongside its head.

Indeed, dogs tended to be kept for a specific function during the Roman period, such as guard dogs, watch dogs, or hunting dogs. But there is evidence that they were also kept as pets. Dogs were most often seen as household protectors, and it was said that a dog barking at nothing was a warning of the approach of Trivia, the goddess of graveyards and witchcraft, as dog were always able to sense her presence. Perhaps the most famous visual representation of a dog in Ancient Rome is the ′Cave Canem′  (″Beware of the Dog″) mosaic, at the entrance to the House of the Tragic Poet in Pompeii.

provenance: from a private Dutch collection. Acquired on the Dutch art market in the 1970′s

a rare statuette with an attractive dark patina

height circa 70mm. ; weight 57,37gr.
suspension loop at the back of the head

Usually the herm shows us a bearded (older) male portrait.
In this case we see a portrait of a young man.
The body has a fine circle decoration.

A herma, commonly herm in English, is a sculpture with a head and perhaps a torso above a plain, usually squared lower section, on which male genitals may also be carved at the appropriate height. Hermae were so called either because the head of Hermes was most common or from their etymological connection with the Greek word ἕρματα (érma, meaning blocks of stone), which originally had no reference to Hermes at all. The form originated in ancient Greece, and was adopted by the Romans (called mercuriae), and revived at the Renaissance in the form of term figures and atlantes.

provenance: old private collection in Bavaria.
Attractive dark patina.
Small piece of the bottom broken off, otherwise intact.

weight 5,22gr. ; height circa 14,5cm.
decorated at the top and with carrying eyelet

Found in Asia Minor.

provenance: from private Dutch collection

dark patina
intact

bronze ; weight 54,29gr. ; height 60mm.

Bronze statuette of Fortuna (Greek, Tyche), goddess of fortune and luck. She is standing frontal, on her head she wears a diadem with a modius on top, and dressed with a long chiton and himation, that is draped gracefully over her left shoulder, left arm and around her right hip. Her right hand extends down to hold the rudder (which is missing) and her left hand holds the cornucopia, the horn of plenty (missing for the greater part).

The goddess is standing is a majestic posture. Her head with centrally parted wavy hair, falling at the back with a twist of hair. Her face with engraved features, straight nose and small lips. The figure is standing frontal and frozen with rather schematic details, as typical to the period.
Her attributes symbolize her characteristics as a goddess: the modius represents a grain-measure which symbolize powers over fecundity, the rudder indicates that she was controlling the luck and the cornucopia indicates that she was the goddess of fortune.

Fortuna, the daughter of Jupiter and Greek counterpart Tyche, is the goddess of good luck, fortune and prosperity. The cornucopia is represented by a horn which was endlessly overflowing with fruits and vegetables symbolising Fortuna′s attribute of many gifts of fortune. The ship′s rudder was used to control fate, whether that be good or bad. Fortuna′s cult was widespread across the Roman Empire, she was acknowledged publicly for the protection of the state but also privately for voyages and individual fates. Many would worship Fortuna on the 1st of January in the hopes the goddess would bless the new year. She had many temples placed around the Empire and was worshipped by all including soldiers, low class, upper class and even the Emperor, each for individual prosperity and good fortune.

provenance; from an Dutch private collection. Acquired on the Dutch art market in the 1990′s
Originally this statue was placed on a pedestal, which is missing.

Also the rudder is missing and the cornucopiae is only partly present.

bronze Ø circa 31mm. ; bronze 6,94gr.

A circular disk brooch with six peripheral lungs and raised centre boss.
The face of the brooch is decorated with white and blue enamel panels
alternating around the central boss. The outer lugs each have a circular
cell of red enamel.

reference literature; Hattatt′s Ancient Brooches. p.345. fig.204, no.1419.

♦ very attractive and rare Roman brooch ♦

pin missing, otherwise intakt

bronze Ø circa 37mm. ; weight 11,92gr.
openwork type with cross motive

cf. Hattatt III, 1135

minor traces of oxidation / sand deposits
intact with pin

height 49mm. ; weight 43,52gr.

The god, with Greek and Egyptian features, wearing a chiton and himation over left shoulder, surmounted by the modius headdress. The modius is decorated in front and sides with floral motives. Serapis has a luxuriant full beard and thick long wavy hair falling in curls at his back.

Perhaps more than any other deity, Serapis embodies the multicultural nature of the ancient Mediterranean world. He was essentially a creation of the Greek rulers of Egypt, a conflation of the local gods Osiris and Apis, though depicted as Greek in appearance. He wears the modius (grain basket) on top of his head, signifying his role as the god of plenty.

This head might have been placed as a dedication in a Serapeum.

Bibliography: H. Hoffmann, Ten Centuries that shaped the West,
Texas, 1971, p. 72, no. 22; also M. Bieber, The Sculpture of the
Hellenistic Age, New York, 1961, figs. 296-7, for parallels.
Provenance: French private collection.

Wonderful piece or art with excellent details.
Intact

height 33mm. ; weight 24,48gr.

Imperial Eagle standing facing with folded wings resting on the back. Crafted in the 1st or 2nd century AD by a skilled craftsperson, the Eagle stands with its head raised and turned to the right. Fine feather detailing overall. The eagle in mounted on a original square plate.

In Greek mythology, the eagle is associated with the supreme god Zeus (Jupiter to the Romans) and in that sense it symbolizes the highest power. The eagle was a highly-symbolic animal among the Roman military and was a great symbol of pride and victory in the eyes of the legions. Known as ″aquila″ in Latin, the eagle was a representation of honor, victory, and cohesiveness within a legion. One member of each legion was referred to as an aquilifer, or ″eagle-bearer,″ as it was their primary duty to carry and protect that legion′s designated eagle standard. If ever an aquila was lost or stolen, it was the primary obligation of the aquilifer to go to any lengths to recover the standard and see to its safe return. Losing an eagle standard was considered a grave omen for its respective legion and would typically lead to distrust and paranoia among the legionaries. To quote a piece of historical fiction set in Roman Britain entitled The Eagle of the Ninth (Rosemary Sutcliff, 1954), ″Eagle lost, honor lost; honor lost, all lost.″

Provenance: French private collection. 
Acquired at the French art marked in the 1980′s. 

♦ excellent piece of work of Roman silver art ♦

some minor damage to the head, otherwise completely intact

height 87mm. ; weight ca.304gr.

Imperial Eagle standing facing with folded wings resting on the back. A wonderful heavy and fierce cast-bronze figurine of a standing eagle with a raised head turned to its right. Fine feather detailing all over.

In Greek mythology, the eagle is associated with the supreme god Zeus (Jupiter to the Romans) and in that sense it symbolizes the highest power. The eagle was a highly-symbolic animal among the Roman military and was a great symbol of pride and victory in the eyes of the legions. Known as ″aquila″ in Latin, the eagle was a representation of honor, victory, and cohesiveness within a legion. One member of each legion was referred to as an aquilifer, or ″eagle-bearer,″ as it was their primary duty to carry and protect that legion′s designated eagle standard. If ever an aquila was lost or stolen, it was the primary obligation of the aquilifer to go to any lengths to recover the standard and see to its safe return. Losing an eagle standard was considered a grave omen for its respective legion and would typically lead to distrust and paranoia among the legionaries. To quote a piece of historical fiction set in Roman Britain entitled The Eagle of the Ninth (Rosemary Sutcliff, 1954), ″Eagle lost, honor lost; honor lost, all lost.″

Provenance: Dutch private collection. 
Acquired at the Dutch art marked in the 1970/1980′s.
Very impressive large and heavy piece with attractive dark patina.
intact

height 55mm. ; width 50mm. ; weight 78,05gr.

Imperial eagle standing facing with spread wings. A wonderful and fierce cast-bronze figurine of a standing eagle with a raised head turned to its left. Fine feather detailing on the chest and wings.

In Greek mythology, the eagle is associated with the supreme god Zeus (Jupiter to the Romans) and in that sense it symbolizes the highest power. The eagle was a highly-symbolic animal among the Roman military and was a great symbol of pride and victory in the eyes of the legions. Known as ″aquila″ in Latin, the eagle was a representation of honor, victory, and cohesiveness within a legion. One member of each legion was referred to as an aquilifer, or ″eagle-bearer,″ as it was their primary duty to carry and protect that legion′s designated eagle standard. If ever an aquila was lost or stolen, it was the primary obligation of the aquilifer to go to any lengths to recover the standard and see to its safe return. Losing an eagle standard was considered a grave omen for its respective legion and would typically lead to distrust and paranoia among the legionaries. To quote a piece of historical fiction set in Roman Britain entitled The Eagle of the Ninth (Rosemary Sutcliff, 1954), ″Eagle lost, honor lost; honor lost, all lost.″

Provenance: French private collection.
Acquired at the French art marked in the 1960′s.

attractive greenbrown patina
left paw missing, otherwise intact

height 12,2cm. ; weight ca.260gr. 

An exquisite bronze statue of Apollo in the nude standing in contrapposto with his left leg bent at the knee, his torso slightly twisted with the right forearm brought forward holding a patera in his right hand, and with the left forearm brought forward holding a laurel-leaf in his left hand. A skillfully massive cast. His hair is beautifully styled and detailed - rolled back at the sides with wavy locks cascading over his shoulders and down the nape of his neck. His nude body is athletic and masculine though with somewhat effeminate curves suggesting a Hellenistic prototype.

Apollo, god of music, poetry, art, and knowledge, is portrayed here at the height of Classical beauty with not only an attractive physique but also idealized facial features - articulated, almond-shaped eyes with delineated lids, pupils, and a softly curved brow line, a slender, aquiline nose, and closed sensual lips. Gorgeous dark green patina has developed on the bronze over the ages.

Literature: C.C. Vermeule and J.M. Eisenberg, Catalogue of the Greek, Etruscan, and
Roman Bronzes in the Collection of John Kluge, New York and Boston, 1992, p. 36

cf. Christie′s New York, Online Sale on June 2nd to 16th, 2020, lot 144
(height 11,1cm. ; result 10.000 USD + 20%)

♦ rare and impressive classical Roman figurine ♦

provenance; from an German private collection.
Acquired on the German art market in the 1990′s

Intact

height 67mm. ; weight 36,25gr.

Bronze figure of Fortuna (Greek, Tyche), goddess of fortune and luck. She is standing frontal, on her head she wears a diadem with a modius on top, and dressed with a long chiton and himation, that is draped gracefully over her left shoulder, left arm and around her right hip. Her right hand extends down to hold the rudder and her left hand holds the cornucopia, the horn of plenty.

The goddess is standing is a majestic posture. Her head with centrally parted wavy hair, falling at the back with a twist of hair. Her face with engraved features, straight nose and small lips. The figure is standing frontal and frozen with rather schematic details, as typical to the period.

Her attributes symbolize her characteristics as a goddess: the modius represents a grain-measure which symbolize powers over fecundity,   the rudder indicates that she was controlling the luck and the cornucopia indicates that she was the goddess of fortune.

Fortuna, the daughter of Jupiter and Greek counterpart Tyche, is the goddess of good luck, fortune and prosperity. The cornucopia is represented by a horn which was endlessly overflowing with fruits and vegetables symbolising Fortuna′s attribute of many gifts of fortune. The ship′s rudder was used to control fate, whether that be good or bad. Fortuna′s cult was widespread across the Roman Empire, she was acknowledged publicly for the protection of the state but also privately for voyages and individual fates. Many would worship Fortuna on the 1st of January in the hopes the goddess would bless the new year. She had many temples placed around the Empire and was worshipped by all including soldiers, low class, upper class and even the Emperor, each for individual prosperity and good fortune.

provenance; from an English private collection. Acquired on the London art market in the 1980′s
minor crack in the rudder
intact

Ø circa 37mm. ; bronze 13,42gr.
Openwork plate brooch in the shape of a rosette.
attractive green patina
complete with pin

weight 5,97gr. ; gold ; inside measures circa Ø 20mm.  

Richly decorated gold ring in which the band widens towards the center, with a dark red carnelian in the center. The ring is inlaid all around with fine filigree with spectacle-like motifs. On the carnelian, we see the deity Faunus (Pan) depicted with goat′s legs. As attributes, he holds a pedum in his downward-hanging right hand, while holding a bunch of grapes in his forward-held left hand.

The ancient Romans considered jewellery to be an essential accessory, for it provided a public display of their wealth. Roman jewellery at first followed trends set by the Etruscans, using gold and glass beads, but as the power and spread of the Roman Empire increased, so too did jewellery designs become increasingly elaborate. Different cultural styles from Greece, Egypt, North Africa, and the Orient were all incorporated to reflect Rome′s prosperity as a dominant, conquering civilisation. The custom of wearing rings was likely introduced by the Sabines, who are described in early legends as wearing gold rings with precious stones. During the Roman Republic it became customary for all the senators, chief magistrates, and at last for the equites also, to wear gold rings, as a way to distinct themselves from the mass of the people. Both men and women would have worn multiple rings on each finger, competing in vanity for the one having the bigger or heavier ring. The extremely sophisticated technique of engraving of gemstones was one of the most luxurious art forms in the Ancient World. Furthermore, in Ancient Roman culture gemstones were amongst the most expensive and lavish objects and were prized above all other possessions.

When Greece and Rome merged culturally, the Romans adopted Pan′s iconography and myths into their own native deity, Faunus. Both gods were patrons of shepherds, hunters, meadows, and wild, untamed nature. While Faunus was originally an Italian forest spirit without goat legs, Roman art and literature began depicting him as a satyr; a horned, goat-legged figure.

Faunus played a major role in one of Rome′s most enduring rituals: the Lupercalia. Held annually in mid-February, this ancient fertility festival celebrated Faunus and the founding of Rome. Young men, dressed in goat-skins, ran through the streets to bless the people, promote agricultural fertility, and ward off evil spirits.

provenance; Dutch private collection.
Acquired on the Dutch art market in the 1980′s

♦ Fantastic little masterpiece of Roman goldsmithing ♦

intact

bronze ; weight 9,59gr. ; width ca. 32mm. ; height ca. 22mm.
Hattatt II, no.474
attractive green patina
intact

length 46mm. ; height 28mm. ; weight 23,44gr.

The body of this fibula is authentic, the needle, spring and needle head are not authentic and is the work of very skilled restoration. Rare and interesting fibula type.

provenance; Ukranian collection, acquired from 
the Russian art market in the 1970 and 1980′s

cf. Hattatt II, no.476
completed by restauration

height 56mm. ; weight circa 71,12gr.

Decorated with triple rings at the beginning, middle and end of the neck, and a similar decoration on the body of the bottle.

provenance: from a private Dutch collection,
acquired on the Dutch art marked in the 1990’s.

attractive dark patina
intact

weight 9,82gr. ; silver ; inside measures ca. Ø 19 / 15mm.

An Greek inscription has been applied to an oval silver plate:
V / KPHTIK / 0  (′Ukretiko′)

provenance; From a Dutch private collection.
Acquired on the Dutch art-market in the 1990′s.

good solid condition, wearable
intact

height 21mm. ; width 19mm. ; bronze ; weight 11,21gr.

Most likely, this is a fragment of the oil lamp lid.

provenance: from a Dutch private collection. 
Found in the southern part of Italy.

Attractive dark patina.

height 19,5cm. ; weight circa 874 gram
provenance: from the German art market
Some minor bumbs. Attractive green/blue patina.
intact

height 55mm. ; weight 36,25gr.

This male figure holds a short sword in his left hand. His arms and body seems to be tied with ropes and he wears a Phrygian cap. Maybe a figure of a slave is meant here. Very rare.

provenance; from an old Dutch private collection
intact

height 82mm. ; width 50mm. ; weight 68,59gr.

Finely worked bronze applique in form of a theatre mask.
Depicted is a goddess with her hair in locks aside and her frontal
hair pulled up and hold by stephane. High-quality Bronze applique.
Probably used as furniture decoration.

Provenance; German private collection, acquired between 1970 and 1980.
attractive green/brown patina
intact

bone ; weight 4,27gr. ; circa 12,5x12,5x12,5mm.

A nice specimen of a Roman bone dice which were commonly used by soldiers for recreation in the field. The ancient Mishnaic writings also refers to these as "Kubia", similar to the word cubes. Indeed in Greek, dice are spelled κύβοι. The "Aruch" a Jewish medieval commentator, refers to them as "cubes used for gaming". Interestingly the famous Rashi describes "Kubia" as pieces of bone used for games. Indeed, the Roman dice were primarily made of bone, as this specimen.

provenance: from a Dutch private collection

intact

material: lead
length of 9,3 cm ; width of 7,8 cm ; weight of 152 g. 

obv. Religious ceremonial image
rev. Plain

The term "Roman lead mystery plaque" from the Danube area refers to a specific group of archaeological artifacts known as Danubian Rider plaques. These lead votive plaques date from the 2nd to 4th centuries AD and have been found almost exclusively along the Limes (the Roman border) in countries such as Romania, Serbia, Bulgaria, Hungary, and Austria. They belong to one of the most enigmatic Roman mystery cults, whose true name and the names of the gods have never been handed down in writing.

Unlike larger, widespread Roman religions (such as the cult of Mithras or Isis), not a single written text has survived that explains this religion. Scholars must deduce its meaning entirely from the complex, layered symbols on the lead plates themselves. In the Roman world, lead was considered a magical metal associated with good fortune, sacrifice, and the underworld.

The plaque is divided into horizontal registers (zones)
packed with mythological figures:

• Upper register (The Heavens): Central is the sun god Sol Invictus
in his chariot (quadriga), flanked by two stars.

• Middle register (The Horsemen): This is the core of the cult. Two horsemen
(often associated with the Dioscuri Castor and Pollux) flank a central female
goddess. The horsemen are flanked by a standing Roman soldier with spear
and shield and a standing Roman magistrate(?) in toga. The left horse
tramples a fish, the right a lying enemy. The central goddess is sometimes
linked to the Celtic Epona or the Greco-Roman Helen / Nemesis.

• Lower register (The Ritual): The image depicts a scene with a sacrificial
table in the center, where three figures are slaughtering a bird; to the left
of this is a standing figure, a figure approaching with a hare or rabbit to
be sacrificed and a tree; to the right of the table we see two figures standing
hand in hand watching; below them we see a tripod, a ram, a vase with two
handles, a snake, and a rooster.

The entire depicted ceremony is spanned by an impressive arch with columns,
with a star and snake at the top left and right. This architectural element adds
an additional level of magnificence to the plaque, perhaps telling of significant
historical events or ritual ceremonies.

Archaeologists suspect that this religion was a unique syncretic cult: a fusion of indigenous Thracian, Dacian, or Celtic traditions from the Danube region with Roman soldier religions. Because horsemen trample enemies and the symbols refer to rebirth and the cosmos, the images likely served as protective amulets or votive offerings for soldiers on the dangerous Roman imperial border.

The mystery plaque is in remarkably good condition, which further underlines its historical significance and aesthetic impact. The magnificent design reveals a detailed representation that immerses viewers in the mysteries of the time and represents a fascinating testimony to the Roman imperial era. 

♦ a rare and highly interesting Roman plaquette ♦

provenance: German collection from Berlin, bought in the 1970′s

Intact and extremely fine. Very rare in this high state of preservation.

length 57mm. ; width 44mm. ; weight 29,06gr.

Popular type, commonly worn by Roman soldiers.

Large Roman bronze crossbow fibula (brooch) with heavily knobbed
cross and flat ornamented tail. This is a late military Roman crossbow
fibula in bronze, decorated with lines and serrations.

A rather small specimen for a cross bow fubula.

provenance; Dutch private collection.
Acquired on the German art market in the 1990′s

reference literature: cf. Hattatt III,  figure 1267
Green patina.
intact with pin

length circa 78mm. ; bronze 21,07gr.
Rich decoration and very attractive green patina. Rare type.
complete with iron pin, but pin heavily corroded

length circa 11cm. ; weight circa 114 gram
So called ″African Lamp″

In the centre draped and cuirassed bust of a King with high headdress and holding sceptre in his left hand, branches on left and right. Filling holes besides the King’s bust. Clearly not a Roman emperor is depicted here, but rather an oriental or African ruler. Very interesting and unusual decoration. Very rare.

provenance: German private collection
Intact and very attractive

weight 123,01gr. ; height 92mm. ; wide 76mm.
literature: Die Welt von Byzanz. Europas östliches Erbe.
Ausstellung München (2004), page 353, Nr.777
provenance: a Dutch private collection
intakt

brown seal wax, pierced along the entire length
Ø 14mm. ; weight 1,17gr.

obv. Male portrait facing right
rev. Plain

provenance: Belgian private collection.
Acquired on the German art market in the 1990′s.

intact

weight 3,25gr. ; circa Ø 15mm. (inner size)
provenance: German collection from Berlin, bought in the 1970′s
intact and very attractive