Etruscan Bronze Figure of a Kouros

Hollow-formed in sheet gold with finely modelled details and applied granulated wreath between its horns; attachment hole to the rear of the head 3.05 grams, 21 mm



Christie's, London, 'A Peaceable Kingdom: The Leo Mildenberg Collection', 27 October 2004, no.102. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13359- 259201.

In many Greek sanctuaries, large numbers of bull figures of different sizes have been found, which must be regarded as representatives of actual sacrificial offerings. Many of them come from the venerable Sanctuary of Zeus at Dodona, with whom the bull has a special relationship.

Achaemenid or Parthian oval intaglio engraved with a style standing at the threshold between natural and stiff rigid linear style, depicting a goat-headed rhyton, the vessel terminating in the forepart of a wild goat with the front leg tucked under the body, the head rendered in profile with elegantly arched horns, pronounced muzzle, and carefully incised eye; the neck of the conical rhyton decorated with diagonal and cross-hatched incisions suggesting ribbing or chased metalwork; set in a modern gold ring with a small triangular area at the top left of the stone filled in with gold; supplied with a museum-quality impression. 8.51 grams, 24.02 mm overall, 21.18 mm internal diameter (approximate size British P, USA 7 1/2, Europe 16.23, Japan 15)



Acquired on the European art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13356-257945.

The subject, a rhyton terminating in an animal protome, belongs to a well-established tradition in Eastern Greek and Achaemenid art of the late Archaic and Classical periods, in which zoomorphic libation vessels were used in ritual and ceremonial contexts. Goat-headed rhyta, though less commonly preserved in glyptic media, are attested in silver and ceramic examples, notably from Asia Minor and Thrace. The stylised horned animal, here likely a wild goat or ibex, is associated with vitality and mountain symbolism, while the rhyton itself signals elite drinking culture and votive use. The use of carnelian is typical of high-quality glyptic production in the 6th to 4th century BC, valued for its durability and ability to take a fine polish. The style and iconography suggest an Eastern Mediterranean origin, most probably Ionian or Anatolian.

Modelled nude in a dynamic pose with his wings spread open, the left leg slightly advanced, and the right arm extended with open palm, a diadem or a fillet on his head; circular socket between the wings; accompanied by a display stand. 808 grams total, 31 cm including stand



Louis-Gabriel Bellon (1819-1899) collection, France. European private collection, 2009. 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. 13014-246790.

In classical times, Eros was usually depicted as a handsome adolescent, with only his wings distinguishing him from other kaloi and young athletes. Sometimes he was depicted younger and with less masculine features: Lysippos, in the famous statue of Eros of Thespiae, depicted him as a youth.