Cypriot Terracotta Bull Rhyton

Comprising a bulbous body and a short neck with everted rim, two strap handles with incised striations continuing in an inverted V-shape beneath the handles; on each side of the body a large double spiral flanked by five curving lines, a stylised bird above. 343 grams, 16.5 cm



Ex Fortuna, Gallery for Ancient Art (Zurich, Kirchgasse 31) Basel, 7 April 1984. Private collection, Bern, Switzerland. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

With the arrival of the Greeks (775 B.C. at Pithekoussai, 750 B.C. at Cumae), a clear technical advancement in ceramic production was observed: impasto vessels began to show more varied patterns, were fired at higher temperatures, and were eventually replaced by wheel-made pottery in the Greek style. Despite growing populations, there remained a significant demand for this more 'old-fashioned' yet technically refined pottery. Note on the term impasto (Italian): in painting, it refers to the thick application of paint (a textured, paste-like technique). In ceramics, it refers to a thick layer of slip (a watered suspension of purified clay) applied before firing, which results in a homogenous, matte-glossy surface after firing.

Hollow-formed horse figure with spout to the chest and filler hole beneath the chest; painted saddle and bridle detailing. 1.61 kg, 27 cm



Ex Zackary, Los Angeles, USA, 1960s. with Christie's, 13 October 2008, no.156. Accompanied by a copy of a thermoluminescence analysis report and photograph by Oxford Authentication with sample no.108u46. Accompanied by copies of the relevant Christie's catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12655-235194. 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.

Crescentic frontal panel from a necklace or collar; sheet gold band with slight carination, lightly incised leaf and berry detailing; applied filigree band to each end with double-loop attachment points; three applied foil rosettes; eleven banded agate dangles to the lower edge with sheet gold suspension; a marriage of ancient parts. 33.84 grams, 15.2 cm



Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. 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.12591-232174. 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.

Rosettes were one of the most desired decorations on jewellery. Diadems with rosettes are attested from the archaic period onwards. One of the rosette types was the so-called flower-head from Madytos, which most closely resembled the common wild or dog rose. The rose was, of course, much prized in ancient times for its wonderful scent and as the favoured flower of Aphrodite, the goddess of love: the lyric poet Anakreon called it ‘the perfume of gods, the joy of men’.