Greek Silver-Gilt Bull Ring

Curved round-section hook with cuboid finial pierced on all four sides and to the top. 23.01 grams, 44.37 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

Comprising: a broad shallow bowl with two loop handles curving up towards the rim, short stem and broad foot with chamfered outer edge; the bowl with reserved central disc to inner face, palmette motifs at the junctions of the handles, frieze depicting two standing nude males flanking a crouching sphinx in profile; restored and with old dealer's labels beneath base. 414 grams, 27.3 cm wide



Ex Prof. F.S., Villingen-Schwenningen, Germany, 1991. with Gallery Drees Archeo S.P.R.L., Brussels. Acquired from the above, 16 December 2017. Accompanied by a copy of an Art Loss Register certificate, no.S00041086. Accompanied by a Gallery Drees Archeo certificate of authenticity. Accompanied by a thermoluminescence report no.0102 0910 from Laboratory Ralf Kotalla, 6 September 2010. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12945-246388.

The present piece is a wide-bowled drinking cup known as a kylix - one of the most popular forms of pottery from the Achaean times (1600-1100 B.C.) through to the classical period (c.510-323 B.C.). It dates to an important moment in the development of Greek ceramics, just as the black-figure technique was being perfected by Athenian painters. Painted in black slip with details incised on top, kylikes usually had a frieze around the outside of the bowl as well as another scene on the tondo of the inside. The scene here represented can be linked with the well-known episode of Oedipus and the Sphinx.

With cylindrical body and broad bevelled shoulder, stepped foot, lateral squared loop handles and strap handle to shoulder, broad mouth; Side A: seated female in himation holding an offering bowl in her extended left hand; white detailing to the diadem, necklace, earrings, mirror in her right hand, rim of the bowl and elsewhere; Side B: reserved palmette motif extending to the shoulder and neck; repainted. 771 grams, 23 cm high



Acquired on the art market between the late 1990s and mid-2000s. Estate of the late Barry Paul Buxton (1944–2024), Oakham, Rutland. Acquired on the UK art market, 2025. Accompanied by a thermoluminescence analysis report no.N126a16 from Oxford Authentication.

Apulian red-figure had a strong influence on other Italian ceramics of the late 5th century B.C. and an even greater effect from around the middle of the 4th century, with potters and painters apparently migrating to Italic centres throughout Apulia, as well as to Metaponto, Paestum and other parts of Campania. Although it is most probable that Taranto was the main centre of production for Apulian red-figure, the recent extensive finds at Canosa, Melfi and other sites suggest that there were numerous Apulian centres of manufacture.