Greek Terracotta Head of a Goddess

With a slender piriform body and two lug handles, conical neck with everted rim. 72 grams, 11 cm



Acquired in the mid 1980s-1990s. Private collection, Switzerland, thence by descent. Private collection, since the late 1990s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

An example of the greater variability in form is the stone type with alabastron body and anthropomorphic top, sculpted with the upper body of a female. These types have been found in the eastern Mediterranean and Italy dating from the 7th century to the mid to late 6th century and can be divided into two groups: an eastern group beginning in the seventh century, based on Mesopotamian prototypes, and probably produced on Cyprus, as evidenced by its close relation to contemporary Cypriot sculpture; and a western group dating to the first half of the sixth century and produced in Etruria, probably in imitation of eastern examples.

Comprising a bulbous body and a short neck with everted rim, two strap handles with incised striations continuing in an inverted V-shape beneath the handles; on each side of the body a large double spiral flanked by five curving lines, a stylised bird above. 343 grams, 16.5 cm



Ex Fortuna, Gallery for Ancient Art (Zurich, Kirchgasse 31) Basel, 7 April 1984. Private collection, Bern, Switzerland. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

With the arrival of the Greeks (775 B.C. at Pithekoussai, 750 B.C. at Cumae), a clear technical advancement in ceramic production was observed: impasto vessels began to show more varied patterns, were fired at higher temperatures, and were eventually replaced by wheel-made pottery in the Greek style. Despite growing populations, there remained a significant demand for this more 'old-fashioned' yet technically refined pottery. Note on the term impasto (Italian): in painting, it refers to the thick application of paint (a textured, paste-like technique). In ceramics, it refers to a thick layer of slip (a watered suspension of purified clay) applied before firing, which results in a homogenous, matte-glossy surface after firing.

With large eyes and applied pupils, accentuated nose and open mouth with protruding tongue, hair indicated with regularly disposed lines; repaired, western Greek workmanship; mounted on a custom-made display stand. 142 grams total, 15.5 cm including stand



Ex Mr M.Q.F, Horgen, Switzerland, 1971. with Galerie Rhéa, Zurich, Switzerland. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

A Gorgoneion was a protective symbol in ancient Greek art that depicts the head of the Gorgon, a mythical creature with snakes for hair and a terrifying gaze that could turn people to stone. The Gorgoneion was believed to have the power to ward off evil and protect the person who wore it or displayed it. The image of the Gorgoneion was often used as an apotropaic symbol to ward off evil or bad luck. It was often depicted on shields, armour, or even as an architectural feature on buildings. The symbol was also sometimes used in jewellery, such as amulets or pendants, and was believed to bring good luck and protection to the wearer. The most famous depiction of the Gorgoneion is probably the one on the aegis of the goddess Athena.