Greek Megarian Bowl

Ovoid in profile with trumpet-shaped spout and strap handle, incised vertical bands to the bulbous body. 44.3 grams, 64 mm



From a Scottish gentleman’s collection, Glasgow, formed from the early 2000s.

Of ovoid shape, short neck and expanded flat rim; painted in horizontal bands with black vertical strokes the shoulder, ovules in the upper part, the central scene representing a Greek Ekdromos fighting a Scythian archer; the Greek warrior, wearing a light sleeveless chiton, and a crested Corinthian helmet, carrying a wide hoplon shield, and a long spear with which he is slashing his opponent; the Scythian archer is wearing a typical tall cap flowing backwards and his long coat-suit, carrying a gorytos, (quiver) and composite bow with arrow; horizontal black stripes below; accompanied by a custom-made display stand. 262 grams total, 16 cm high including stand



Louis-Gabriel Bellon (1819-1899) collection, France. European private collection, 2009. 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.13019-246753.

The importance of this alabastron is linked to its iconography, which represents episodes of the Persian Wars, fought 490-480 B.C. Such alabastra are part of a series realised during the period of the conflict and after, and they are an important source of information on the Persian and Greek armies. Here, the two opponents evoke the Greek victories, with a light-armed Greek ekdromos (hoplite fighting in light equipment) killing a Scythian archer, who formed part of the Persian army. The representation of Scythian costume in vase-painting reached its height of popularity between c. 530 and 490 B.C., and went out of fashion after the Graeco-Persian wars, when these clothes began to be associated with the Persian ethnic identity rather than the original Scythian.

Composed of twenty-nine oval turquoise beads and four bicone sheet-gold beads with granulation, decorated with spirals and vertical lines, with beaded wire collars and equator, with later openwork clasp. 72 grams, 55.5 cm



Acquired on European art market, 1990s. Private collection of Mr K.A., France. with Kallos Gallery, London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.13011-246750.

The use of turquoise and carnelian cloisonné inlay would be more expected in the Ptolemaic or earlier periods than from the Roman period. However, the love of coloured stones increased during the Roman period. In about A.D. 200, Clement said that 'the stones which silly women wear fastened to chains and set in necklaces' included emerald, amethyst, peridot, jasper and ceraunites. Clement's list of stones is closely paralleled by a tariff list of c. A.D. 200, and a list of jewellery from Spain. Both of these sources also include sapphire (hyacinthus) and callaina, which was probably turquoise.