Greek Gold Dolphin Amphora Pendant

A terracotta protome modelled as a female head with semi-naturalistic facial features and dressed hair beneath headwear; concave reverse. 215 grams, 90 mm high



Acquired early 1990s. Ex private American collection; thence by descent. Private Swiss collection since 1998.

A red-figure terracotta bell-krater displaying polychrome figural panels between a laurel wreath and a band of Greek key motifs; side a) two robed male figures holding staffs, wearing a taenia or a band around the head, standing facing a central altar; side b) a woman wearing a chiton and holding a casket and olive sprig in her outstretched hands, advancing right towards a nude man standing right, his head turned towards her, holding a bucket and olive sprig, a cloak draped over his arm, elaborate volute palmettes beneath both handles; restored. 4 kg, 41 cm wide



Private collection, Neuchâtel, Switzerland. Ex collection H.& P. Payot, Clarens, by descent. Accompanied by an original thermoluminescence analysis report no.QED2237/SG-0201 from QED Laboratoire. 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.11580-199029.

Wide-mouthed bell kraters like this one were specifically designed for holding large quantities of liquid and to work as mixing bowls, as it was considered barbaric for wine to be drunk neat (a privilege only enjoyed by Dionysus and his entourage who could handle such a level of intoxication). Wine would be mixed with water, usually one part to three, or even more, as described by Homer regarding the wine offered to the giant Polyphemus (Odyssey, IX, 206-211). As such, kraters provided an ideal large surface area for decoration, and as wine was of utmost importance at the symposium, kraters would usually take centre place, and the decoration of such vessels were geared towards such gatherings attempting to provide subject matter for philosophical debate, like the ones described in Athenaeus’ Deipnosophistae.

A carved marble head of Hermes with densely curled hair, stern facial expression beneath a broad brow, luxuriant curled beard falling in waves and cut square at the lower edge; mounted on a custom-made display stand; a Roman copy after a 5th century B.C. Greek original. 32.2 kg total, 52 cm high including stand

Slot to top of head.

with Chaucer Fine Arts Ltd, 1980s. English private collection. Accompanied by an academic report by Dr Marina Mattei and Dr Laura Maria Vigna. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11615-199747.

This type of this archaic sculpture can be traced back to the original of which many copies and variants have been preserved: the Hermes Propylaios by the Attic sculptor Alkamenes, a pupil of Phidias, active in the second half of the 5th century B.C. According to some theories, the herma was created for the Propylaea of the acropolis of Athens, as patron deity of doors and entrances; according to others, this type of bearded Hermes is not to be located at the Propylaea, but in various possible places inside the Acropolis.