Etruscan Bronze Hydria Handle with Siren

Buffware vessel with bands of painted decoration on the ovoid body and on the rim, panels of reeding, saltires, gammadions and other ornament to the neck, loop handles. 4.4 kg, 38 cm high



Private collection, Lebanon, early 1970s. Private collection, acquired in the late 1980s. Thence by descent, family collection, since 1998. 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.12653-234696. 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.

With large eyes and applied pupils, accentuated nose and open mouth with protruding tongue, hair indicated with regularly disposed lines; repaired, western Greek workmanship; mounted on a custom-made display stand. 142 grams total, 15.5 cm including stand



Ex Mr M.Q.F, Horgen, Switzerland, 1971. with Galerie Rhéa, Zurich, Switzerland. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

A Gorgoneion was a protective symbol in ancient Greek art that depicts the head of the Gorgon, a mythical creature with snakes for hair and a terrifying gaze that could turn people to stone. The Gorgoneion was believed to have the power to ward off evil and protect the person who wore it or displayed it. The image of the Gorgoneion was often used as an apotropaic symbol to ward off evil or bad luck. It was often depicted on shields, armour, or even as an architectural feature on buildings. The symbol was also sometimes used in jewellery, such as amulets or pendants, and was believed to bring good luck and protection to the wearer. The most famous depiction of the Gorgoneion is probably the one on the aegis of the goddess Athena.

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. 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.

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.