Greek Apulian Lekanis Lid with Lady of Fashion

With reserved herringbone band beneath the rim, wave pattern to be the baseline; Side A: young man with thyrsus and pendant streamer holding a phiale, a loose mantle draped from the elbows; Side B: head of a lady of fashion with white accents to her stephane and hair drawn up in a chignon, a volute and window before her. 1.11 kg, 23.2 cm wide



Acquired on the art market between the late 1990s and mid-2000s. Estate of the late Barry Paul Buxton (1944-2024), Oakham, Rutland. Acquired on the UK art market, 2025. 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.13071-249285.

Bell kraters were commonly used in regions of ancient Italy for mixing and serving wine during communal gatherings, thanks to their wide shape and flared mouth. These vessels also served as artistic expressions, reflecting the cultural tastes of the time. The Chevron Group is the conventional name for a group of ancient Apulian red-figure vase painters who were active in Southern Italy between approximately 335-310 B.C. They are named for their distinctive use of a band of chevron patterns to encircle the rims of the small kraters (mixing vessels) they decorated.

Scarab bezel with carapace detailing and intaglio of a kneeling male nude wearing a helmet, holding a shield, sword and a spear; set into a later gold swivel ring; supplied with a museum-quality impression. 5.24 grams, 25 mm



English private collection. Acquired on the English art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13110-248399.

The intaglio can depict Capaneus, a legendary, strong, skilled, but arrogant warrior. He was one of the Seven Against Thebes, who boasted that not even Zeus could stop him from scaling the city walls. However, as he climbed them, Zeus struck him down with a bolt of lightning, illustrating divine punishment for his hubris. Evadne, his wife, then threw herself onto the funerary pyre in her grief. The story of strength but excessive pride was reflected in Dante's Inferno, where Capaneus is in the seventh circle as a condemned blasphemer.

Comprising a shallow bowl and broad flange rim, two integral scalloped handles with lateral scrolled flourishes, each tapering to a S-curved handle with swan-head terminals with incised eye and beak detailing; perforated whirl within roundel to interior base; accompanied by a custom-made display stand with mirror. 402 grams total, 19.7 cm including stand



with Hôtel des ventes de Belfort Sarl, October 2011, no.16. Acquired by the present owner at the above sale. 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.12209-222140.

Elaborate gilded strainers, such as this present example, were used at symposia and festive occasions for the purpose of preventing the dregs of wine from entering the wine cup. This and other related silver utensils became popular in the late 4th and 3rd century B.C. These highly decorated wine strainers were fitted with dual handles forming loops in the shape of twisting animals, here a swan. Usually, they took the form of a shallow dish complete with four rings of perforations in the centre in order to drain the wine. Strainers of this type were used to separate out sediments found in the thick Greek wine. Examples similar to this one have been found in royal tombs in northern Greece, as well as the tomb of a monarch in Sudan.