Ancient Art, Antiquities, Books, Natural History & Coins

Each formed as a D-shaped fluted bar with the finials formed as grotesque Medusa heads (gorgoneia) in Archaic Greek style with protruding tongue and a pair of bearded snakes framing her forehead; mounted on custom-made display stands. 683 grams total including stand, handle: 10.9-11 cm wide



Ex private collection of Athos Moretti, Bellinzona, Switzerland, in the 1960s. with Christie's, London, 14 June 1978, lot 344. with Sotheby's, New York, 29 May 1987, lot 154. 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.11773-204596.

Comprising a crescent body with a slender neck at each end, topped by a bird-head with a rectangular crest, vertical legs with raised block detailing conjoined at the lower end into a mounting peg. 55.6 grams, 86 mm



Ex collection Mr K.H., Germany. Private collection, acquired in 2012. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.13077-246757.

Bird figures, standing on plates or discs, are found as votives mainly in Northern Greek sanctuaries of the Geometric Age. They should be regarded as symbolic and sometimes modest gifts to the gods. Some birds were also designed as pendants. The present fitting resembles a rooster, but it could also represent a peacock, and hence is connected with the goddess Hera.

With applied yellow festooning and trails, knop foot and everted rim to the mouth. 35 grams, 12 cm high



Acquired on the UK art market, 1990s. Private collection, New York, USA.

Penannular torc twisted around its axis with tapering finials. 221 grams, 19.7 cm



Acquired in the early 1970s. Private collection, Suffolk.

Modelled nude in a dynamic pose with his wings spread open, the left leg slightly advanced, and the right arm extended with open palm, a diadem or a fillet on his head; circular socket between the wings; accompanied by a display stand. 808 grams total, 31 cm 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 search certificate number no. 13014-246790.

In classical times, Eros was usually depicted as a handsome adolescent, with only his wings distinguishing him from other kaloi and young athletes. Sometimes he was depicted younger and with less masculine features: Lysippos, in the famous statue of Eros of Thespiae, depicted him as a youth.

Achaemenid or Parthian oval intaglio engraved with a style standing at the threshold between natural and stiff rigid linear style, depicting a goat-headed rhyton, the vessel terminating in the forepart of a wild goat with the front leg tucked under the body, the head rendered in profile with elegantly arched horns, pronounced muzzle, and carefully incised eye; the neck of the conical rhyton decorated with diagonal and cross-hatched incisions suggesting ribbing or chased metalwork; set in a modern gold ring with a small triangular area at the top left of the stone filled in with gold; supplied with a museum-quality impression. 8.51 grams, 24.02 mm overall, 21.18 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15)



Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13356-257945.

The subject, a rhyton terminating in an animal protome, belongs to a well-established tradition in Eastern Greek and Achaemenid art of the late Archaic and Classical periods, in which zoomorphic libation vessels were used in ritual and ceremonial contexts. Goat-headed rhyta, though less commonly preserved in glyptic media, are attested in silver and ceramic examples, notably from Asia Minor and Thrace. The stylised horned animal, here likely a wild goat or ibex, is associated with vitality and mountain symbolism, while the rhyton itself signals elite drinking culture and votive use. The use of carnelian is typical of high-quality glyptic production in the 6th to 4th century BC, valued for its durability and ability to take a fine polish. The style and iconography suggest an Eastern Mediterranean origin, most probably Ionian or Anatolian.

Comprising a gold wire hoop with panels of baluster detailing, scrolled and securing a gold cell with an inset cabochon gemstone; to the domed face, the god Asclepius with caduceus symbol; to the flat face, goddess Hygeia standing holding a serpent; some usage wear. 2.12 grams, 22.48 mm overall, 14.21 x 16.13 mm internal diameter (approximate size British F 1/2, USA 3, Europe 4.3, Japan 4)



Private collection, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13357- 259200.

Asclepius, son of Apollo and Coronis, was the Graeco-Roman god of medicine, healing and prophecy. He had two daughters with Epione, the goddess of soothing - Hygeia (goddess of health) and Panacea (goddess of healing).

Opaque scaraboid engraved in globolo style with a dynamic scene of a charioteer driving a biga with his whip raised; set in a later sheet-gold mount and swivel ring, possibly 19th century; supplied with a museum-quality impression. 4.26 grams, 25.07 mm overall, 17.77 x 16.22 mm internal diameter (approximate size British O, USA 7, Europe 14.98, Japan 14)



Private English collection, formed between the late 1970s and early 1990s. Private collection, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12948-245985.

In line with trends introduced from the Eastern Mediterranean increasing use was made by the Etruscans of war chariots, even more luxurious in appearance and faced with embossed sheets of bronze. In addition to transporting warriors, they proved an effective means of controlling outlying areas, and in case were status symbols of great prestige. The Orientalizing period also saw the importation of swift and nimble breeds that were particularly suited for use as cavalry mounts.

With carapace detailing and intaglio of a crouching male carving an arrow, set within a dotted border; set into a later gold swivel ring. 4.24 grams, 27.12 mm overall, 18.38 x 18.49 mm internal diameter (approximate size British P 1/2, USA 7 3/4, Europe 16.86, Japan 16)



Private collection, Europe. Acquired on the English art market.

The scarab with anatomical detailing on the carapace, underside with a profile bust of a helmetted warrior; set in a later brooch frame with swivel mount for the scarab. 10.35 grams, 55 mm



Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13358- 257891.

Egyptian-style scarabs and scaraboids were characteristic of Etruscan art from the 8th century B.C. Originally made in Phoenicia, Cyprus or Rhodes, these objects were made of faience, blue paste, glass paste, bone, or semi-precious stones of varying hardness, from steatite to quartz, onyx and jasper. Mounted in settings on revolving pendants of precious metal, later imitated by Etruscan goldsmiths, these Egyptianising items performed prophylactic-religious functions.

Hollow-formed in sheet gold with finely modelled details and applied granulated wreath between its horns; attachment hole to the rear of the head 3.05 grams, 21 mm



Christie's, London, 'A Peaceable Kingdom: The Leo Mildenberg Collection', 27 October 2004, no.102. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13359- 259201.

In many Greek sanctuaries, large numbers of bull figures of different sizes have been found, which must be regarded as representatives of actual sacrificial offerings. Many of them come from the venerable Sanctuary of Zeus at Dodona, with whom the bull has a special relationship.

Formed as a plaited band of gold and silver rods, the finials formed as large lion heads with gaping jaws, a rosette with a rivet behind the neck; possibly a marriage. 8.43 grams, 32 mm



Acquired in London, 1979.