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LOT 0520
Greek Bronze Bow Brooch
8TH-7TH CENTURY B.C.
2 3/8 in. (46.8 grams, 60 mm).
Deeply arched bow with a central barrel-shaped extension, integral pin and rectangular footplate. [No Reserve]
ProvenanceFrom the family collection of a Surrey gentleman since before 1960.
LiteratureCf. Furtwängler, A., Olympia. Die Ergebnisse der von dem Deutschen Reich veranstalteten Ausgrabung, Band 4. 2 Bände (Textband, Tafelband), Asher, Berlin, 1890, pl.XXII, nos.367, 368, 369, for prototypes.
FootnotesThe distinctive form of this fibula seems to be an Italic variant of characteristic Geometric period examples from Thessaly that have been discovered in large numbers, for example in the sanctuary of Zeus Thaulios near Pharos. It belongs to the category of Greek catch plate brooches, although the rectangular footplate is substantially reduced than the Greek prototypes, and the two grooves on the bow are narrower than the continental Greek ones.
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Campanian Red-Figure Neck-Amphora with Cavalryman
340-330 B.C.Sold for (Inc. bp): £10,400
The piriform body with broad, stepped rim and two round-section handles; red-figure frieze depicting two standing women facing, wearing a himation and stephane; the other side with a nude standing warrior wearing an Apulo-Corinthian helmet, holding the reins of his horse, acanthus leaves, ovolo and wave motifs to the neck and lower body; probably from a Cuma workshop. 1.55 kg, 40.2 cm high
Ex private collection Mr S., Geneva, by inheritance. Accompanied by an academic report by Dr Raffaele D’Amato. Accompanied by an original thermoluminescence analysis report no.N123k3 from Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11784-206515.
The illustration of the horse is noteworthy: contemporary descriptions speak about the Sicilian horses as 'generous, swift and with firm foot' (Aeneid III, 704). The Oscan poet Lucilius of the 2nd century B.C. quotes the Campanian chargers as ‘fiery and brave although not very fine in their look’. The artistic evidence, like here, depicts well-built horses with fine legs suitable for middle-light cavalry. -
Archaic Greek Terracotta Seated Goddess
5th century B.C.Sold for (Inc. bp): £650
Represented in the typical female attire wearing a long chiton and a polos headgear; seated upon a throne with side horns, hands upon her knees; flat back. 413 grams, 18.5 cm
Acquired in Europe before 1996.
The typical 5th century B.C. terracotta female figurine was a standing or seated woman wearing a chiton and a himation. It usually represented the goddess Demeter, and it was a votive figure offered to the shrines or temples. Attica was one of the principal centres of figurine production, but Corinth continued to produce solid standing or seated females with moulded fronts and flat backs. -
Greek Tarentine Terracotta Head of a Youth
Mid 4th century B.C.Sold for (Inc. bp): £5,720
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.
