Greek Bronze Ring with Lion

Composed of a round-section stem tapering to a point (chipped), the upper section with five figural panels separated by horizontal bands of granulation; each panel with figures executed in granulation including opposed pairs of rearing lions, perching bird, dancing humans, two-headed figure with fronds; below these panels, an applied gold wire loop with recurved end; above, a hollow-formed bulbous finial with a repoussé frieze in two registers: below - winged heroes grappling with gryphons and other beasts in a landscape with granulated detailing, with ropework bands to the equator; above - opposed gryphons flanking a facing master of beasts with head turned, and horsemen advancing towards an anguiped; disc finial to the apex with three repoussé swans in profile. 71.1 grams, 28 cm



Acquired at auction in Geneva or Basel circa 1989. From the private collection of a Swiss gentleman collector, thence by descent 2018. 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.13409- 259878.

Since Greek clothing was not sewn, straight pins and fibulae (safety pins) were used to fasten a garment at the shoulders, the sleeves, over the chest, and at other critical points. Pins were already in use in the Early Bronze Age, but highly decorated pins were in use from the 7th-6th centuries B.C., when vertical incisions, grooves and mythical figures appeared on the spherical beads, pendants and heads of the pins. Gold pins with disc-shaped terminals and spherical heads have been recovered from the archaic tombs of Macedonia, where the decoration was developed on the surface of the spheres in filigree and repoussé techniques.

With broad shallow profile, carinated rim; two holes below the rim. 87 grams, 10.1 cm wide



Acquired on the UK art market since the 1990s. From the property of a late Lincolnshire, UK, gentleman; thence by descent.

Featuring a monumental shallow bowl with two strap handles on the rim and a low foot; the inside of the bowl with a central scene featuring a nude winged male figure offering a lekythos to the woman (Psyche?) seated before him; the woman dressed in a chiton and wearing a double-row necklace, large earrings and a diadem indicated by pellets, holding a double branch with leaves in her left hand; a low altar on the foreground and foliate and floral decoration beneath the scene; the scene enclosed within a painted grapevine border; four raised conical bosses on the rim and one on top of each handle; the lower part of the rim decorated with ovules; underside with a band of Greek key motifs and large palmettes on the sides, Side A: mythological scene with a satyr standing on the left, a seated woman at the centre holding a wreath and an open cista, her head turned towards another woman behind her, holding a fan and a ritual object in her hands; Side B: a draped female on the left, holding a stalk and a cista, advancing to the left while gazing back towards an advancing nude winged figure of Eros; restored. 3.1 kg, 49.5 cm wide



Private collection, South of France, acquired in 1999. Accompanied by a printed copy of the Spanish cultural export licence no.1775-3178156. Accompanied by a copy of a thermoluminescence report issued by Alliance Science Art, no.612151. 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.13460-261208.

The intricate designs and stylistic features of this kylix suggest it may belong to the followers of the renowned Darius Painter. The Darius Painter, active in Apulia (modern-day Southern Italy) during the late 4th century B.C., is known for his elaborate and finely detailed red-figure pottery. His works often depict complex mythological scenes and demonstrate a high level of artistic sophistication and technical skill. Key features that align this vessel with the Darius Painter and his workshop include the detailed mythological scene in the central medallion, the refined use of additional white and yellow pigments to highlight key elements, and the balanced composition of figures and decorative motifs. The presence of Eros and other mythological elements is also characteristic of the themes favoured by the Darius Painter.