Greek Italic Silver Fibula

With an arching strap handle and a wide spout; either side of the body painted with a crouching panther, one playing with a ball and the other depicted facing; repaired. 149 grams, 12 cm

Fine condition, some surface rubbing on the black glaze, with metallic gloss, some calcareous deposits on underside of lip and vase, glaze slightly chipped in a few places, repaired.

Acquired from Gallery Gryphos, Munich, 1992. European private collection. 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 a search certificate number no.12001-211879.

Painted askoi in different forms have been produced and been in use in Athens since the middle and second quarter of the 5th century B.C., but they were also made in southern Italy. The askoi painted with a pair of animal figures were realised in Magna Graecia after the Attic continental production of similar models, with the representation of griffins, sphinxes and laconic hounds. The function of the askos as a vessel was clearly linked to wine, and therefore it is not anomalous to see it decorated with panther motifs, an animal connected with Dionysus, the god of wine and drinking.

Modelled in the round with soft youthful features, short beard, small mouth and large lentoid eyes, tousled hair with a diadem above the brow; socket to the top of the head and remains of a spur to the reverse; mounted on a custom-made display stand. 3.86 kg total, 26.5 cm high including stand



Joseph Klein collection, formed in New York 1941-1980, thence by descent. Acquired from Bonhams, London, 24 October 2012, no.2. From an important Cambridgeshire estate; thence by descent. Accompanied by a copy of the relevant Bonhams catalogue pages. 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.12002-212101.

Votive sculptures were the commonest form of Cypriot sculptures of the period. They were erected within the precincts of temples or covered sanctuaries, around the altar at which the god was worshipped. Thus, on Cyprus, the statuary was conceived as an ex-voto, an image expressing the desire of the believer to enter into intimate communion with and reside under the eternal protection of the gods.

Hollow-formed on a rectangular base, nude female supporting an amphora; with possibly later enigmatic inscription to base 'ΘEA HOMBRIOS'. 478 grams, 16.1 cm



From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent.