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LOT 0552
Greek Faience Vessel with Frieze of Hellenistic Busts
CIRCA 3RD-2ND CENTURY B.C.
11 1/4 in. (1.79 kg, 28.5 cm high).
A piriform jar with applied decoration presenting a scene with a chariot and a procession of animals, portico above.
ProvenanceCollected from 1979-1999.
From the collection of the late Mr S.M., London, UK.
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LOT 0552
Greek Faience Vessel with Frieze of Hellenistic Busts
Estimate £500 - 700€580 - 810 (for guidance only)$680 - 950 (for guidance only)
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Greek Bronze Furniture Fitting Group
3rd-2nd century B.C.Sold for (Inc. bp): £156
Comprising over 20 hollow-formed bicones. 790 grams total, 21-96 mm
Acquired 1960s-1990s. Late Alison Barker collection, a retired London barrister. -
Parthian Green-Glazed Amphora
3rd century B.C.-2nd century A.D.Sold for (Inc. bp): £468
With broad columnar neck and everted rim, angled strap handles, vertical ribbing to the shoulder and body, bands of applied scooped discs to the handle and equator, feathered panels. 1.67 kg, 30 cm high
Hani Farsi collection, London, UK. Acquired Christie's, King Street, London, circa 1990. Ex central London gallery. -
Attic Red-Figure Fragment Attributed to the Thaliarchos Painter
5th century B.C.Sold for (Inc. bp): £702
Comprising the bottom part of a cup-skyphos or pyxis, decorated with concentric circles in red and black, the internal part painted with the image of a young athlete, wrapped in a short chlamys and leaning upon his staff, the ground represented as a concave space. 95 grams, 12.5 cm
Acquired in Europe before 1990. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11810-206516.
The everyday life of ancient Greeks is well represented on the Attic red figure paintings. The short cloak (chlamys) is the favourite garment for the men and the hair of the younger men is more often shown cropped than in the black Attic figure paintings. The nakedness of youths exercising at the palaistra could well have been an important source of inspiration for the Greek artists who were becoming increasingly aware of the possibilities to represent the physiology of subtle movement in paintings. The Thaliarchos painter is generally recognised as the artist of the tops of some powder-box pyxides, although it is not excluded that he was actively painting various types of vessels. The type of ground and the way in which the foot of the man is worked can support the thesis that the fragment is from his workshop.