Greek Gold Necklace with Amuletic Pendants

With strap handle positioned over the central hole; black-figure decoration with fired umber (reddish-brown) consisting of a broad band heightened with crimson and white round the upper part of the wall, and a wavy band on the reversed area below; broad band of black (fired umber) inside the ring and around the neck below the spout; groups of transverse lines with faded petals around the top, horizontal lines across the handle; intact. 349 grams, 16.5 cm



Acquired from Charles Ede Gallery, London, in 1982. Prominent Palm Springs, California, USA, collection. with Artemis Gallery, Colorado, USA, 14 July 2012, lot 30 (US$2,500-3,000). Property of a South Australian private collector, with collection reference 14.08. Accompanied by detailed collector's catalogue pages including description and photograph.

Etrusco-Corinthian pottery is a local imitation of Corinthian pottery, made from the late seventh to the mid-sixth century B.C., with production concentrated on the southern Etruscan cities of Caere, Veii and Vulci. The forms predominately employed include various forms of jug (olpai, oinochoe) and unguent containers (aryballoi and alabastra) as well as amphorae and craters. The askos is the name given in modern parlance to a type of Greek pottery vessel used to pour small quantities of liquids such as oil. It is recognisable from its flat shape and a spout at one or both ends that could also be used as a handle; they were usually painted decoratively like vases and were mainly used for storing oil and refilling oil lamps. They were extensively traded in and around the Mediterranean, and local types emerge in Italy from the early Iron Age in Italy (cf. CVA Taranto – Museo Nazionale I, pl. 1.1 (Inv. 2400) – refer photo at 14.08 – 3); also CVA British Museum 7, pl. 4.4). The original meaning of ἀσκός is “wineskin” which can be seen in the shapes of early askoi. This askos has unique painted decoration for which a parallel has not been found to date. For an earlier variant of this type, see CVA Tarquinia – Museo Archeologico Nazionale III, pl. 27.7-8 (Inv. RC. 1892). Described as 'Italo- Geometric' and dated to third quarter of the seventh century. Neck is longer than on Inv.14.08, and with different decorations, but otherwise it is an early parallel. Another variant of this type can be seen in CVA Museo Civico d’Archeologia Ligure di Genova, I, pl. 1.2-3 (Inv. 1101). The groups of horizontal line decoration can be seen on earlier types, cf. late eighth to early seventh century footed cup in the Museo Archeologico della Maremma (CVA Grosetto Museo Archeologico I, pl. 26.3 (Inv. 24294)).

Of squat piriform profile with applied ring to the foot and rim of the mouth, applied strap handles to the shoulder; the equator with horizontal hoops and dragged marvered trail decoration. 19.06 grams, 55 mm



Francesc Cambó i Batlle (1876-1947) a prominent Spanish politician, art patron and philanthropist. Gifted to his friend, the archaeologist, Josep Gilbert i Buch. Acquired from Gilbert's family by the present owner's grandfather in the early 1980s. Private collection of a European noble.

Francesco Cambó i Batlle was a notable figure in early 20th-century Spain, best known for his role in politics as a leader of the Catalan nationalist movement and as a patron of the arts. He was a key benefactor of the Museo del Prado and left a significant legacy through his art collections. His deep connection to the cultural and artistic life of Spain makes items from his collection particularly valuable and historically significant.

With hollow-form hoop widening towards the shoulders, raised bezel set with a round intaglio, engraved with an image of a satyr or kneeling nude warrior on a baseline, wearing a Boeotian-style helmet pushed back, holding a spear in one hand and an object in the other; a marriage. 2.91 grams, 23.57 mm overall, 19.25 mm internal diameter (approximate size British O 1/2 , USA 7 1/4, Europe 15.61, Japan 15)



From a private family collection formed since the early 19th century, thence by descent. Property of a New Zealand legal professional. 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.12322-223716.

The scene possibly alludes to the incident in the Trojan Cycle where Achilles is wounded by an arrow in his heel, the only part of his body which was not impervious to injury.