Apulian Lekanis Lid with Ladies of Fashion

Broad and squat in profile with thickened rim, two lateral omega-shaped drop handles each mounted below the rim on a crescentic bar surmounted by a model bird facing inwards; base fragmentary. 915 grams, 44 cm wide



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.12210-222327. 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.

Discoid type with incuse motif of two stags placed symmetrically with their horns pointing inwards to the centre; supplied with a museum-quality impression. 1.98 grams, 14 mm



From the private collection of the late R Priday, Brookman Hall, Hertfordshire, UK; thence by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12808-240846. 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.

With one polished face; lip to rim on reverse, central disc handle mounted on two spigots, high-relief splayed eagle motif; mounted on a custom-made stand. 980 grams, 21.2 cm (1.91 kg total, 31.3 cm including stand)



Private collection, UK. Acquired from David Aaron, 2017. Private collection, London. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12834-240718. 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 Scythians were a confederation of nomadic Iranian and Eurasian tribes who roamed the vast grasslands of the Eurasian Steppe and around the Black Sea from approximately the 9th to 1st centuries BC. Despite their prominence across this immense region, they left no written records and few signs of permanent settlement. Much of what is known about their culture derives from archaeological discoveries—particularly elite burial sites—where noble warriors were interred alongside horses and prized personal possessions, including mirrors such as this remarkable example. This large bronze mirror, monumental in size at just over 20 cm in diameter, is a striking artefact both in form and symbolism. Cast as a simple circular disc, its shape resonates with the mirror forms of Egyptian and Hellenistic traditions, where the round reflective surface was often associated with solar symbolism. Along the outer edge runs a raised rim, enclosing a central projection cast in the form of a bird of prey—modelled in the distinctive ‘Scythian Animal Style.’ This artistic style, which adorned objects ranging from horse trappings to belt buckles, is marked by abstracted, geometric renderings of animals—birds, stags, griffins, and horses—executed with a balance of expressive stylisation and visual economy. Here, the bird is formed from five simplified, symmetrical shapes representing the head, body, wings, and tail. Its head is shown in profile, the wings sweeping around the body to merge elegantly with the tail tips. Though minimalist in form, the result is visually dynamic and conceptually sophisticated—embodying a deep cultural understanding of abstraction and symbolism in art. The bird is positioned at the central point of the mirror where a handle would have once been attached. Two bronze prongs remain on the reverse, suggesting a now-missing extension that formed part of a longer handle. This configuration represents one of three known Scythian mirror types, often referred to as the "knob-handle" form. Its design—marked by a projecting lip and central knob—is thought to reflect cross-cultural influences from the East, particularly 6th century BC Chinese prototypes, merged with native Scythian zoomorphic iconography to create a compelling hybrid aesthetic. The surface of the bronze has developed a vivid blue patina over centuries of burial, likely resulting from an alloy of copper, tin, and other trace metals. This rich, variegated surface enhances the object's visual impact and testifies to its age and authenticity. One is naturally drawn to imagine the many faces that once gazed into this mirror, their reflections now long vanished, leaving only this enduring testament to Scythian craftsmanship and spiritual life. A comparable mirror resides in the Hermitage Museum, St. Petersburg: a cast bronze disc of similar size, featuring a central knob with a geometric four-pronged swirl. However, it lacks the deep rim, zoomorphic finial, and striking patina seen here. Together, such mirrors offer rare insight into the symbolic world of the Scythians, and how they assimilated artistic influences across porous borders—resulting in bold, hybrid forms that reflected both cultural identity and transregional dialogue.