Hollow-formed standing male in floor-length robe with copious sleeves, the left hand held across the chest and the right hand raised palm-outward; short hair combed forward in a severe style; tiered base. 1.53 kg, 37 cm

Acquired in the mid 1980s-1990s.
Private collection, Switzerland, thence by descent.
Private collection, since the late 1990s.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12214-222196.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. similarly formed item in Metropolitan Museum of Art under accession no.59.48.14.

Broad disc with basal ring; tondo with outer band of wave-pattern in black and red on cream field, concentric inner bands with geometric and hatched patterns; two holes close to rim; repaired and partly restored with fresh painted extension of the existing design, iron retaining rim with attachment lugs. 6.7 kg, 54 cm

with Bonhams, London, 29 April 2009, no.339.

Accompanied by a copy of an Art Loss Register certificate no.S00075782.
Accompanied by a copy of the relevant Bonham's catalogue pages.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. similar but less elaborate version of the type in the British Museum under accession no.1896,0201.20.

Representing a warrior wearing a conical helmet, riding a horse with long neck and legs, short mane and tail; repaired. 140 grams, 14.7 cm high

Mr F.D. collection, acquired on the European art market, 1975 to present.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. Karageorghis, V., Cipro, Crocevia del Mondo Mediterraneo orientale 1600-500 a.C., Milano, 2002, figs.377, 383.

The most popular animals in Cypriot coroplasts of the 8th and 7th centuries B.C. were horses, with or without riders, with long necks and decorated bodies. It is worth remembering that the horse in this period represented a status symbol for the military aristocracy and that bodies of sacrificed horses have been found in royal tombs.

For a temple pediment (sima), comprising a curved upper band with polychrome tongue-shaped grooves, a relief depicting a procession of bulls below, the bulls depicted in a dynamic pose with curving necks and raised tails, the horns painted in black; two attachment holes. 4.66 kg, 50 cm

Acquired on the European art market between 1960s-1980s.
Property of a gentleman.
with Bertolami Fine Arts Ltd, Auction 66, no.1.

Accompanied by an academic report by Dr Raffaele D’Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12162-218594.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. Torelli, M., Gli Etruschi, Cinisello Balsamo, 2000, p.597 (Campana Plaques), for similar architectural examples; Wikander, O., 'The Archaic and Etruscan Sima' in De Puma, D., Penny Small, J., Murlo and the Etruscans, Art and Society in Ancient Etruria, London, 1994, pp.47-63, figs.48-49-50; see also Etruscan painted terracotta revetment plaques with chariot processions and running dogs from the Vigna Marini-Vitalini urban sanctuary, Caere, inv.no. HIN 29-30.

Terracotta plaques like this sima were used in the pediments of temples (Minerva at Veii, Portonaccio Sanctuary, 540-530 BC), or decorated the architecture of tombs. The procession of the bulls recalls the style of painting on a similar slab with a procession of hunting dogs, probably from Caere.

With burnished deep brown surfaces, the body tapering to a flat foot, the shoulders decorated with vertical ribbing, short neck with flared mouth; wide openwork handle perforated with small triangles and rectangles, hatched bands along the edges of the handle and the perforations. 1.1 kg, 24 cm

Acquired from Mr Eugene Berman circa 1960.
From the private collection of Mr Ulfert Wilke.
In the collection of Dr Howard Sirak, Columbus, Ohio, USA; acquired from the above in 1969.
Ancient Resource Auctions, California, USA, May 2020.
Property of a South Australian private collector, with collection reference 20.02.

Accompanied by a detailed collector's catalogue page including description and photograph.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. Dohan, Italic Tomb-Groups in the Pennsylvania Unversity Museum, p.83, no.7, pl.44, Vulci Tomb 51, for a smaller parallel.

De Puma, Etruscan and Villanovan Pottery: A Catalogue of Italian Ceramics from Midwestern Collections, no.17.

The de Puma catalogue cites this piece as no. 5.5 from the Sirak Collection (original sticker is on base; note De Puma’s appraisal does not provide a concordance with Wilke). The catalogue was for the exhibition at the University of Iowa Museum of Art from 17 March to 30 April 1971. Richard De Puma appraised Sirak’s collection of ancient pottery on 18 September 1979; Inv. 20.02 was noted as appraisal item 15 and valued at USD 650. Old collection sticker '188' on base; overlain is sticker from Sirak collection, 'LR 3V'. Sticker 147B refers to the lot number for the first time it was offered at auction by Ancient Resource Auctions in 2015.

Squat bowl with pedestal foot and carinated profile, broad flared rim; tall loop handle with flat frontal panel with advancing nude kouros, the head turned and one arm bent, voided below respecting the inner outline of the legs; to the reverse, an incised gorgoneion with broad gaping mouth. 1.15 kg, 27 cm

English private collection.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Ovoid shape with short neck and expanded flat rim, lugs on the sides; painted with daily life scenes: one side with an older man holding a crozier, dressed in chiton and himation, the other side with a younger bearded man holding a short staff, dressed in a similar way; meander pattern above and a dotted band below; some restoration. 125 grams, 13.6 cm

with Hirsch Auction, 23 September 2006, no.666.

Accompanied by an academic report by Dr Raffaele D’Amato.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12463-228723.
Accompanied by thermoluminescence analysis report no.06280606 by Laboratory Kotalla.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. for similar pottery Beazley, Attic Red-Figure Vase-Painters, Oxford, 1963, no.717.230; Boardman, Athenian Red Figure Vases, The Classical Period, London, 1989, fig.62; for the shape, The Paul Getty Museum, Greek vases, Molly and Walter Bareiss Collection, Malibu, 1983, p.88.

The men depicted on this vessel are each holding an elegant walking stick appropriate to Athenian citizens. They both seem to be in a drunken rage, and seemingly have just left a drinking party: the consequences of immoderate drinking were a favourite subject for vessel decorations.

With stepped foot and two loop handles to the rim; Side A: nude male with short curly hair bestriding a galloping stallion and gripping the bridle; Side B: male standing with mantle tightly draped around the body; palmette and volute scroll beneath each handle. 550 grams, 22.7 cm wide

Private collection, 1970s.
with Hotel des Ventes, Genève, 8-11 December 2008, no.623.

Accompanied by an academic report by Dr Raffaele D'Amato.
Accompanied by a copy of an Art Loss Register certificate no.S00036548.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12516-232110.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. Trendall, A.D.I., ‘Paestan Pottery: a Revision and a Supplement, in Papers of the British School at Rome, 1952, no.20, pp.1-53, pl.V,b, for similar form of skyphos with different iconography.

Of ovoid form with trumpet-shaped spout and strap handle, reserved image of a lady wearing a large himation, on a baseline with scrolled foliage. 106 grams, 11 cm

Ex German collection, 1970.
with Galerie Chenel, Paris, 22 July 2008.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. similar item (undecorated) in the Metropolitan Museum of Art, New York, under accession no.41.162.237; cf. also a lekythos with image of an Amazon in Isler, H.P., Archäologische Sammlung der Universität Zürich. Jahresbericht Nr. 33, 2006-2007, Zürich, 2007, p.6, under nos.1259-1292.

The word lekythos had a wide meaning in ancient Greece, probably generally meaning all oil jugs, including the athletes' oil bottle (now called aryballos) as well as the types now given this name by archaeologists. Certain lekythoi resemble certain oenochoe superficially, at a first glance. Oenochoes, however, were wine-pitchers and in most cases were larger than the lekythoi, which were small jugs for oil, perfumes, etc.

With pedestal base, piriform body, tapering neck with beak-like spout and tall strap handle to the rear; the body painted in a series of bands of strokes, ovolo motifs, waves, pellets and pendant vineleaves in white, cream and ochre; label to underside 'Apulian Gnathian Prochous CA. 320 B.C.'. 176 grams, 18.3 cm

Ex Fred Bentley Sr. GA (1926-2019).
with Ahlers & Ogletree Inc., USA, 10 November 2023, no.343.
Private collection, UK.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Deep sidewall, handle formed by a horizontal oval loop with offset central section and semi-circular plaque adorned with stylised pendant palmette; slightly offset rim. 775 grams, 32.9 cm

Ex P.M. Suter, 1970s-1994.
with Cahn Auktionen AG, 3 November 2012, no.184.

Accompanied by a copy of an Art Loss Register certificate no.S00069492.
This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

Cf. Maierovskii III Burial-mound no. 4/2002, Burial no. 3B, Moscow, State Historical Museum, inv. no. 112873, list Б 2078/77, in Treister, M., 'Parthian and Early Sasanian 'Imports' in the Burials of the Nomads of Eastern Europe (2nd Century BCE-3rd Century CE)' in Choref, M.M., Materials in Archaeology and History of Ancient and Medieval Crimea, Moscow, 2018, pp.118-210, fig.4, 1-3, for similar.

Modelled in the half-round as a maenad or Artemis, hollow to the reverse with diadem of ivy leaves with clusters of berries at the centre, exaggerated lentoid eyes, peplos dress secured at her left shoulder by a disc brooch and at her right with a cloven hoof. 541 grams, 14 cm

Acquired before 1983.
Ex London gallery, 1990s.

This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12519-231946.
This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D’Amato.

The Greek deity Artemis was the goddess of hunting, associated with wild animals and woodland as well as childbirth. She was often linked with folk magic and witchcraft due to her role as goddess of the moon. She was identified by the Romans with the goddess Diana. Artemis was born, with her twin brother Apollo, on the island of Delos, daughter of Zeus and Leto. Homer refers to her as Artemis Agrotera, Potnia Theron: "Artemis of the wildland, Mistress of Animals". Her best-known cult sites were on the island of Delos, in Attica at Brauron and Mounikhia, and in Sparta. She was often depicted in paintings and statues in a forest setting, carrying a bow and arrows, and accompanied by a deer. In Greek classical art, she is usually portrayed as a maiden huntress: young, tall and slim, clothed in a girl's short skirt, with hunting boots, a quiver, a bow and arrows. When portrayed as a moon goddess, Artemis wore a long robe and sometimes a veil covering her head. Her darker side is revealed in some vase paintings, where she is shown as the death-bringing goddess whose arrows fell young maidens and women, such as the daughters of Niobe. Artemis was also identified with the ancient mother goddess at Ephesus in modern-day Turkey and it was there that a huge temple was built in her honour, long recognised as one of the Seven Wonders of the World.