Greek Geometric Terracotta Vessel

Of Plain Style, comprising a broad mouth and neck with torus rim, vertical handles with central rib, bulbous body, stepped disc foot; laurel wreath on the neck and a meander pattern to the lower body; Side a) a youth wearing a himation and shoes, before him a woman carrying a basket and a fillet, wearing a sleeveless chiton, himation, and a sphendone (a fillet decorated by black dots), between the two figures a standing goose before a large flower, a suspended mirror above the figures; Side b) a draped young boy holding a ball and a strigil, the slightly taller youth dressed in a himation and leaning on a staff, a haunch of meat hanging between the figures. 2.49 kg, 33.5 cm



with Bonhams, London, 13 April 2000, no.167. Private collection, Suffolk. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12903-242647.

The haunch of meat (note the hoof), was a type of 'love gift' seen in Attic vase-painting. It could also refer to honorary shares of sacrificial meat: animal sacrifice had been a central part of Greek religious life since the Prehistoric era.

Cylindrical with stepped foot, five palmettes above the shoulder, dynamic frieze of two men visiting two hetairai, each of the figures dressed in long pleated garments, at the centre of the scene, a hetaira on the right reaching towards the bearded male and gently touching his chin with her open hand, a tall draped table behind her with an amphora underneath and a standing bird on the top. 459 grams, 26.4 cm



H.A.C. (Herbert A. Cahn), 19 October 1979. Private collection, Bern, Switzerland. Accompanied by an original thermoluminescence analysis report no.N125q45 by Oxford Authentication. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12644-236376.

The Athena Painter is known as the painter who designed several Greek black-figure pottery works using the 5th-century BC white-ground technique. He specialized in lekythoi and refers to Athena as his main subject in his works. Together with the Theseus Painter, they continued the tradition of painting large lekythoi. His black figures are of high quality, and in addition to lekythoi, he decorated other potteries such as oenochoai. Some archaeologists say that he may have been the same person as the Bowdoin Painter of red-figure pottery, although they may have just worked in the same workshop.

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.

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.