Greek Red-Figure Lekythos with Eros

Formed as an amphora with cylindrical neck, biconical jasper body and small gold granulated bead; to the shoulders, two dolphins flanking the suspension loop, forming the handles of the amphora; each eye represented by a small circular cell to accept a gemstone; row of granulation down to the rear and around the perimeter of the eyes; loop added in antiquity for suspension. 1.17 grams, 25 mm



From a late Japanese specialist collector, 1970-2000s.

Piriform body with splayed foot and narrow handles; the neck with slender lotus blossoms and palmettes, Side A) two opposing roosters with a lotus blossom in between, two standing swans flanking, below a youth on horseback holding the reins of a trotting horse, a man and a woman behind the horse; Side B) a grazing deer before an advancing panther looking back, two opposing sphinxes below with their heads turned back and front paws raised. 1.06 kg, 28 cm



Ex Münzen und Medaillen A.G., H. Cahn, Basel, 13 April 1985. Private collection, Bern, Switzerland. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12643-236366.

Conical in profile, aqua glass with three incised bands below the rim on the inner face. 374 grams, 15.7 cm wide



Dr Jutaro Kawabe, Nagoya, Japan, his collection formed in the 1960s-1970s. with Hoshigaoka Gallery until the late 1990s. Private collection, London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12949-245243.

On ancient glass, iridescence is the soft play of colour that develops as the surface ages and becomes silica-rich. Minute layers form over time and break light into shifting blues, greens and golds. It is not a modern finish but something time has drawn out of the material itself, so the pattern and palette are unique to each piece. Collectors prize good, stable iridescence because it lifts the form: ribs read more crisply, profiles glow, and simple vessels take on depth and movement. Museums now tend to preserve these surfaces rather than polish them away, recognising both their beauty and what they tell us about an object’s long life (though it is not, by itself, a dating test). For display, iridescent glass performs brilliantly under gentle, directional light, where the colours “turn” as the vessel is moved. Well-preserved, even iridescence of this quality is not common and adds materially to the presence—and desirability—of the piece.