Greek Terracotta Figure of a Seated Goddess

Hemispherical in profile with flat rim. 183 grams, 12.9 cm



Ex London, UK, collections, 1990s-2000s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

In the necropolises of Southern Etruria, around the second half of the 8th century B.C., new technologies were used, which also involved metalworking. Alongside simple bronze cups intended for everyday use, similar magnificent examples containing a flourish of impressed or engraved geometric motifs were made.

Flat-section hoop expanding to a flat discoid bezel with engraved stylised Zeus's thunderbolt. 3.78 grams, 21.88 mm overall, 20.32 mm internal diameter (approximate size British R 1/2, USA 8 3/4, Europe 19.38, Japan 18)



UK private collection before 2000. Acquired on the UK art market. Private collection, London, UK. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

An elaborate finial, likely from a ceremonial staff or pole, comprising a vertical shaft supporting an openwork plate in the form of stylised stag's antlers; shaft with a sculpted stag’s head with elongated ears and simplified features, extending to antlers with four branches on each side; flat plate above with ornament consisting of four graduated tiers of scrolled 'antlers', each with detailed decorative chasing (incised bands with diagonal lines); above, a crescent (possibly representing wings) flanking a frontal raptor's head with a hooked beak and engraved notching (probably a symbolic addition); a horizontal tube or sleeve passing through the base of the plate, decorated with transverse grooves with bells suspended below and from small loops near the stag’s head; each bell made from thin bronze sheet, conical in shape; accompanied by a custom-made display stand. 2.39 kg total, 49 cm including stand



Franz Heger (1853–1931), Austrian traveller and ethnographer, acquired in the Caucasus during his 1890 expedition. Believed to have been gifted circa 1930 to Franz Hancar (1893–1968), noted scholar and expert in ancient Caucasian cultures. Thence by descent, acquired in the 1950s by Mr R.D., Vienna. Acquired from the above in 1998 by N.M., former Israeli Ambassador to Austria (1998–2000). Accompanied by a copy of a nine page examination report number 137/2015 by Dr Habil Mikhail Treister. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12861-240722. This lot has been cleared against the Art Loss Register database, and is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

This piece resembles a pair of bronze finials discovered in 1913, now in the Museum of Novocherkassk. However, there are notable differences: the Novocherkassk examples have paired birds at the top rather than a single bird, and lack antlers or suspended bells. Experts have dated the Novocherkassk pieces to around 500-400 BC. This example, though unique, shares key stylistic traits, particularly the scrollwork antlers with other bronze horse gear fittings and finials found in the Kuban Basin, many securely dated to the 4th century BC based on associated amphora finds. Comparable decorative styles such as bands of oblique lines appear on horse harnesses from known Scythian burial sites. This, along with the concentration of similar finds in the Kuban region, supports the idea that this finial also originated there. Scholars have suggested that finials like this symbolise the Tree of Life, especially when birds are present. The bird at the top of this piece may reflect that idea. Similar imagery appears on a bronze finial from Alexandropol and another from Lysaya Gora, the latter depicting the Scythian god Papaeus (akin to Zeus). While exact dating is difficult due to lack of archaeological context, stylistic parallels suggest a 4th century BC origin is most likely. Its unusual combination of sculpted and openwork elements, along with its symbolic imagery, makes it a rare and important example of Scythian or Maiotian bronze craftsmanship.