Boeotian Plank Idol of a Goddess

With two figural scenes: Side A: the first of the canonical labours of Heracles, the fight against the Nemean lion - in the centre the hero standing over the lion, strangling it with his left arm while thrusting his sword into its neck; two other standing figures witness the fight - on the right Athena, fully armed and ready to defend Heracles with her lance, and to the left Hermes, recognisable by his hat (petasos), winged boots and the caduceus; Side B: a nude horseman, holding his lance and accompanied by his dog, walking towards a king seated on his throne, holding a sceptre in his left hand; on the far right, a standing woman, probably the king's wife; a sphinx under the throne and two flying birds; some restoration. 3.1 kg, 43.5 cm

Some restoration, in general in good condition.

Ex German private collection. with Hampel Kunst Auction, Munich, 2012, no.867. Private European collection, thence by family descent. 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.12069-218134.

The shape is typical of the period, and is decorated with black-figured technique, in which the figures were silhouetted in black slip on a reddish clay ground, and linear elements were incised with a needle, with additional details painted with white and cherry red-slip. The amphora seems to belong to one of the sub-types of the ‘Pseudo-Chalcidian’ group (the Poliphemus group), derived from the main Chalcidian series

With strap handle positioned over the central hole; black-figure decoration with fired umber (reddish-brown) consisting of a broad band heightened with crimson and white round the upper part of the wall, and a wavy band on the reversed area below; broad band of black (fired umber) inside the ring and around the neck below the spout; groups of transverse lines with faded petals around the top, horizontal lines across the handle; intact. 349 grams, 16.5 cm



Acquired from Charles Ede Gallery, London, in 1982. Prominent Palm Springs, California, USA, collection. with Artemis Gallery, Colorado, USA, 14 July 2012, lot 30 (US$2,500-3,000). Property of a South Australian private collector, with collection reference 14.08. Accompanied by detailed collector's catalogue pages including description and photograph.

Etrusco-Corinthian pottery is a local imitation of Corinthian pottery, made from the late seventh to the mid-sixth century B.C., with production concentrated on the southern Etruscan cities of Caere, Veii and Vulci. The forms predominately employed include various forms of jug (olpai, oinochoe) and unguent containers (aryballoi and alabastra) as well as amphorae and craters. The askos is the name given in modern parlance to a type of Greek pottery vessel used to pour small quantities of liquids such as oil. It is recognisable from its flat shape and a spout at one or both ends that could also be used as a handle; they were usually painted decoratively like vases and were mainly used for storing oil and refilling oil lamps. They were extensively traded in and around the Mediterranean, and local types emerge in Italy from the early Iron Age in Italy (cf. CVA Taranto – Museo Nazionale I, pl. 1.1 (Inv. 2400) – refer photo at 14.08 – 3); also CVA British Museum 7, pl. 4.4). The original meaning of ἀσκός is “wineskin” which can be seen in the shapes of early askoi. This askos has unique painted decoration for which a parallel has not been found to date. For an earlier variant of this type, see CVA Tarquinia – Museo Archeologico Nazionale III, pl. 27.7-8 (Inv. RC. 1892). Described as 'Italo- Geometric' and dated to third quarter of the seventh century; askos is 10.2cm high, 11.5cm diameter; dark brown paint. Neck is longer than on Inv.14.08, and different decorations, but otherwise an early parallel (refer photos at 14.08 – 4 & 5). Another variant of this type can be seen in CVA Museo Civico d’Archeologia Ligure di Genova, I, pl. 1.2-3 (Inv. 1101). Described as Italo-Corinthian but undated, askos is 11.0cm high 11.5cm diameter; neck is longer than on Inv.14.06, with handle not curving, and different decorations (see photos 14.08 – 6; 7). The groups of horizontal line decoration can be seen on earlier types, cf. late eighth to early seventh century footed cup in the Museo Archeologico della Maremma (CVA Grosetto Museo Archeologico I, pl. 26.3 (Inv. 24294)). See askos at the Museo Nazionale di Villa Giulia from the Polledrara necropolis at Vulci, dated to 625–600BC (refer photo at 14.08 – 8).

Decorated with a meander with saltire squares below the figural scenes, and a laurel below the rim; Side A: a nude gesticulating satyr with short curly hair and long beard, running to the right with his left leg raised and his arms outstretched, characteristic pointed ears and pug nose, towards a maenad moving right and looking back at him, her hair short and curly, her body draped in a chiton, with another maenad standing behind him, facing left, draped in a himation over a chiton; Side B: three youths in draped cloaks with hoods thrown back; professionally restored. 2.1 kg, 29 cm wide

Fine condition, professionally restored.

Belgian private collection, 1950s. with Christie's, New York, 4 June 2008, no.190. Private central European collection. Accompanied by a copy of the relevant Christie's catalogue pages. 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.12067-218141.

The style allows us to attribute this vase to an unknown artist of Lucanian origin: it is in ancient Lucania (a region which is located between present-day Calabria and Basilicata, in Southern Italy and between the Tyrrhenian Sea and the Ionian Sea, with Metaponto as a well-known city) that the first Italic style of red-figure painting developed.