Broad and shallow with two strap handles, an advancing figure holding a shield at the tondo, outside with a figural frieze of two robed figures in discussion, seated on churule chairs, an attendant behind the left figure, a rider on horseback on each side of the scene; restored. 373 grams, 26 cm



From a German collection, pre 1970. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13316-258818.

The present piece is a wide-bowled drinking cup known as a kylix - one of the most popular forms of pottery from the Achaean times (1600-1100 B.C.) through to the classical period (c.510-323 B.C.). It dates to an important moment in the development of Greek ceramics, just as the black-figure technique was being perfected by Athenian painters. Painted in black slip with details incised on top, kylikes usually had a frieze around the outside of the bowl as well as another scene on the tondo of the inside.

Mammiform body with flared pedestal base and two loop handles to the rim; each side with a facing image of an owl between laurel fronds; concentric circles to the base, Attic workmanship. 115 grams, 14.1 cm wide



Bonhams, Knightsbridge, London, 20 1994, no.39. Private collection, Suffolk.

Shallow with arched loop handles below the rim, low stepped foot; tondo with painted wreath of laurel leaves surrounding a standing swan in profile; to the outer face, two horizontal sprigs of laurel leaves; possibly by the Swan painter. 206 grams, 20.6 cm



Bonhams, Knightsbridge, London, 20 October 1994, no.43. Private collection, Suffolk. Accompanied by copies of the relevant Bonhams cataloguing pages.

With flared and carinated foot, broad stem, ovoid body, carinated shoulder, everted rim with lip, D-shaped antefixes and lateral pendant loop handles; band of ivy to the neck and meander to the lower edge, frieze with figural scenes: Side A - seated female with thyrsos pointing towards Eros with head turned regarding her, wings spread; Side B - seated female in tiered robe pointing towards standing Eros with wreath, objects in the field; by the Ascoli Satriano Painter; restored. 1.81 kg, 33.5 cm



Ex private collection, previously with Bonhams, Bond Street, London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13353-259030.

Female heads and Eros figures are common features on the vases attributed to the Ascoli Satriano Painter. His real name is unknown, and he has been named after a northern Apulian town, where many of his vases have been found.

With reserved herringbone band beneath the rim, wave pattern to be the baseline; Side A: young man with thyrsus and pendant streamer holding a phiale, a loose mantle draped from the elbows; Side B: head of a lady of fashion with white accents to her stephane and hair drawn up in a chignon, a volute and window before her. 1.11 kg, 23.2 cm wide



Acquired on the art market between the late 1990s and mid-2000s. Estate of the late Barry Paul Buxton (1944-2024), Oakham, Rutland. Acquired on the UK art market, 2025. 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 no.13071-249285.

Bell kraters were commonly used in regions of ancient Italy for mixing and serving wine during communal gatherings, thanks to their wide shape and flared mouth. These vessels also served as artistic expressions, reflecting the cultural tastes of the time. The Chevron Group is the conventional name for a group of ancient Apulian red-figure vase painters who were active in Southern Italy between approximately 335-310 B.C. They are named for their distinctive use of a band of chevron patterns to encircle the rims of the small kraters (mixing vessels) they decorated.

With laurel-leaf wreath beneath the flared rim, band of meander ornament as a baseline; Side A: striding satyr with torch and oinochoe followed by Eros holding a scroll behind; Side B: woman wearing a himation in active pose with sphere advancing towards a tendril. 814 grams, 20 cm



Acquired on the art market between the late 1990s and mid-2000s. Estate of the late Barry Paul Buxton (1944-2024), Oakham, Rutland. Acquired on the UK art market, 2025. 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 no.13070-249284.

Often, the iconography of an 'elevated' mythological subject was applied to members of Dionysos' retinue. Here we have three typical examples of them: a satyr, an Eros, and a woman, all three behaving according to Bacchic ecstasies.

With a trefoil mouth, an applied D-section handle and a tiered foot. 405 grams, 22.1 cm



Property from a private collection. with Sotheby's, New York, 9 December 2003, no.9. Accompanied by copies of the relevant Sotheby's catalogue pages.

Mammiform body with pedestal base and two loop handles to the rim; Side A - band of white ovolo detailing to the neck, median red band with vine leaves and tendrils; Side B - bilinear band below neck with lateral pellets. 2.21 kg, 34.4 cm



Ex Orivate collection, formerly with Art Ancient, previously Derek Glover collection.

With three splayed stub feet, tubular body with flared shoulder and neck; applied facial detailing, pointillé circlet and collar, arms bent beneath the breasts, incised loincloth detail. 514 grams, 15.2 cm



with J.F. collection, Madrid. Ex Ars Historica Arqueologia, 7 October 2019.

Finely carved votive head with almond-shaped eyes and strong nose, lips set to a gentle smile, typical of the Greek kouroi of this period, wearing a conical headdress leaving the ears exposed; set on its original base from the Metropolitan Museum of Art, New York, with item number '163' and three sale labels on the base. 367 grams total, 13.1 cm high including stand



Likely discovered by Luigi Palma di Cesnola in Cyprus, 1860s-70s. Collection of The Metropolitan Museum of Art, New York, likely acquired from the above in 1872. Collection of Ira Martin, New York, acquired from the above on 12 March 1926. with Christie’s, New York, Antiquities, 5 June 1998, no.133. Private collection, thence by descent.

Of ovoid shape, short neck and expanded flat rim; painted in horizontal bands with black vertical strokes the shoulder, ovules in the upper part, the central scene representing a Greek Ekdromos fighting a Scythian archer; the Greek warrior, wearing a light sleeveless chiton, and a crested Corinthian helmet, carrying a wide hoplon shield, and a long spear with which he is slashing his opponent; the Scythian archer is wearing a typical tall cap flowing backwards and his long coat-suit, carrying a gorytos, (quiver) and composite bow with arrow; horizontal black stripes below; accompanied by a custom-made display stand. 262 grams total, 16 cm high including stand



Louis-Gabriel Bellon (1819-1899) collection, France. European private collection, 2009. 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 a search certificate number no.13019-246753.

The importance of this alabastron is linked to its iconography, which represents episodes of the Persian Wars, fought 490-480 B.C. Such alabastra are part of a series realised during the period of the conflict and after, and they are an important source of information on the Persian and Greek armies. Here, the two opponents evoke the Greek victories, with a light-armed Greek ekdromos (hoplite fighting in light equipment) killing a Scythian archer, who formed part of the Persian army. The representation of Scythian costume in vase-painting reached its height of popularity between c. 530 and 490 B.C., and went out of fashion after the Graeco-Persian wars, when these clothes began to be associated with the Persian ethnic identity rather than the original Scythian.

Modelled in the round nude male standing with hands bound behind his back; with short cropped hair and slender figure; left foot absent; mounted on a custom-made stand. 491 grams, 17 cm including stand



Ex S.K. collection. Acquired on the German art market, July 1995. 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 a search certificate number no.12518-232076.

The character's hairstyle of the statuette is simple, and his hair is short, not treated with chalk like that of the famous ‘dying Galatian’ from Pergamon. The gaze is fixed on the distance, while the bony, beardless, long-limbed figure conveys the prisoner's energy. The nose here takes on a strong characteristic together with the broad jaw, which is also recognisable in later statuettes of Roman age. These characteristics, combined with those of nudity, allow us to recognise the figure of the prisoner as a Celtic warrior.