Cypriot Trefoil Jug with Concentric Decorations

Possibly depicting Ganymede or Paris, wearing a soft Phrygian cap with everted brim, the hair swept back from the face; almond-shaped eyes with pronounced eyelids, straight nose and fleshy lips; mounted on a custom-made display stand. 1.2 kg total, 25.3 cm high including stand



Acquired early 20th century. From the collection of Count Henri d'Epinay (1940-2017), Longuenesse, France. Accompanied by a copy of a French cultural passport no.196149. 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 no.11824-207736.

The terracotta sculpture appears to have similarities with other Tarentine heads from the early Hellenistic Period. A marble head from Taranto, datable to the end of the 4th century B.C., presents similar elements. The visible character is clearly attributable to Graeco-Roman mythology. The only clue regarding the identity of the head is provided by the Phrygian cap, which narrows down the identification to few characters from Greek mythology: the Trojan prince Ganymede, abducted by Zeus for his beauty and named by him the cupbearer of the gods, or the Trojan prince Paris. There are many representations of Ganymede in a Phrygian cap (Hakanen, 2022, plates 6,12a). However, the third possibility is that the sculpture represents Attis, lover of the goddess Cybele.

Comprising a tall, plain body with two rosettes; crowned by an elaborate palmette and volute design with shallow acanthus stalks and small rosettes; mounted on a custom-made display stand. 55.6 kg total, 105.5 cm high including stand (95.2 cm without stand)



Private Swiss collection, acquired in the 1980s. with Ward & Co., New York, 2014. Private American collection, K.M., circa 2015-present. Accompanied by a copy of an Art Loss Register certificate number S00114167, dated 2 June 2016. 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.11776-204598.

These memorials, originally painted (see gravestone from Paramythion, cf. Brinkmann-Wünsche, 2004, pp.148ff.), were venerated by families, anointed with oil, decorated with ribbons, and graced with offerings of food. They rivalled each other in the increasingly ostentatious display of family status and wealth, so much so that by the end of the 4th century B.C., a sumptuary law was passed, abruptly ceasing their production. In their heyday, these stelae provided sculptors an opportunity to demonstrate their technical virtuosity with both ornamental and figural subjects. It was not unusual for the anthemion to be of higher quality than the figures sculpted and painted below it.

Formed with a squat globular body, everted rim and three lug handles to the shoulder; painted reddish-brown over a cream slip with concentric bands and rings to the mouth, neck, shoulder and base, larger solid undulating forms covering the lower body. 70 grams, 69 mm



Acquired from Royal Athena Gallery, 2003. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11851-206833.

Late Helladic IIIA period of Mycenaean culture.