Cypriot Grey Ware Vessel Group

On a set-off ring foot with long cylindrical neck and funnel-shaped rim; the body with net-pattern decoration in umber, highlighted with white dots at the junctions, framed by brown bands above and below; handle, spout and the outside of the ring foot also in brown; from Apulian Greek colonies of southern Italy, surface chip to the body, usage wear. 156 grams, 14.3 cm



From a Swiss collection, since at least 1978. Ex Swiss collection, Mr. P.B. Basel-Landschaft, acquired on the Swiss art market.

Comprising a pedestal base, mastoid body, lateral strap handles and funicular neck, broad mouth with stepped rim; the neck and rim decorated with a band of egg-and-dart; both faces of the body decorated with a figural scene with a standing male on the left with close-fitting cap, long cloak or mantle reaching from shoulder to knee and clasped at his right shoulder with a disc brooch, holding in his left hand a key-shaped object; to his right, a chest-high structure with palmette at the top, waisted shaft and arcaded base; to the right, a female standing facing the male, wearing a crested helmet or headdress, peplos dress gathered at her waist and extending to the floor, holding in her right hand a diadem or wreath towards the male; palmettes below the handles, the base with red and black banding; the strap handles undecorated; likely Campanian workmanship. 969 grams, 25.2 cm



Acquired in Münich in 2012. European private collection 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.12190-222344.

During the late 5th century B.C., Attic imports ceased as the Spartans blockaded trade routes during the Peloponnesian War (431-404 B.C.). In response, five areas in southern Italy, Campania, Paestum, Apulia, Lucania, and Sicily began to produce red-figure vases. The decoration offered a remarkable range of subjects associated not only with mythological images, but with representations the local life, costumes and customs. The simple, single figure compositions decorating each side of this vase were also characteristic of the style, which tended to avoid complex mythological scenes often found on much larger vessels like volute craters, favouring representation of the daily life of south Italic Hellenised peoples.

Of squat profile, with circumferential band of vertical ribbing to the exterior wall, broad flat rim incorporating two shallow lateral blocks, pierced vertically to accept a handle. 148 grams, 82 mm wide



Acquired from Galerie Serres, Paris, before 1980. Formerly in a French private collection. H.B. collection since 2012. Private collection, England. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12312-215584.

Glassmaking and glass-working were considered to be two separate crafts and took place in different regions during the Hellenistic period. Each craft was characterised by its own technological tradition, know-how and equipment. Glassmakers and glassworkers did not need to have an understanding of glass vessel manufacture and primary production respectively in order to carry out their tasks. Glassmaking had to take place as close as possible to the sources of the raw materials used, namely sand and mineral natron. Raw glass was traded throughout the Mediterranean in the form of ingots and it was then worked and shaped into vessels, inlays, jewellery, etc, in various locations. A lot of glass production took place on the Syro-Palestinian coast as well as the broader Levant and Egypt, with centres of manufacture in the royal capitals of Antioch and Alexandria. The reputation of the Alexandrian workshop is well-understood from luxury glass vessels decorated with Egyptian-style buildings or characteristic scenes found as far away as Italy and Afghanistan.