Greek Terracotta Head of a Goddess

Biconical impasto body with broad flaring rim, bell-shaped upper section with bands of incised geometric decoration and impressed roundels, lower section tiered and sharply funicular with narrow flat base, a lateral upturned loop handle; small hole beneath the carination, rim partly restored. 4.5 kg, 41 cm



Dr. Gonik and the late Mr. Wirth, Geneva, Switzerland. European private collection. 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 search certificate number no.12205-222203. 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.

Wire hoop with ends wound round the shank at each shoulder with one end detached, swivel-mounted amethyst scarab seal with flat underside, segmented border around a dolphin with putto mounted on its back. 5.44 grams, 30.77 mm overall, 25.27 mm internal diameter (approximate size British W, USA 11, Europe 25, Japan 24)



From the private collection of Mr K.A., acquired in the 1990s-early 2000s. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Egyptian-style scarabs and scaraboids were characteristic of Etruscan art from the 8th century B.C. Originally made in Phoenicia, Cyprus or Rhodes, these objects were made of faience, blue paste, glass paste and bone, or semi-precious stones of varying hardness, from steatite to quartz, onyx and jasper. Mounted in settings on revolving pendants of precious metal, which were later imitated by Etruscan goldsmiths, these Egyptianising items performed prophylactic-religious functions, through the use of sacred or magical imagery taken from hieroglyphic language: royal names or titles, theonyms, sacred symbols, and auspicious formulas.

A hammered, chased and soldered silver-gilt cup with central medallion of Nike in high-relief; the bowl formed as a truncated cone with a shallow foot comprising an irregular circular 'ropework' border enclosing a floral motif, or double rosette; the bust of Nike showing the goddess draped in a goat skin with knot and ungulate leg with hoof at right shoulder, wings spread, hair dressed in curls, torc at neck, gazing left; face with almond-shaped eyes, straight nose and full, closed lips; with the exception of the face, all elements of the central medallion were originally gilt; housed in a custom-made velvet-lined box. 96.8 grams, 12.6 cm wide



Private collection, Mainz, Germany, 1980s. Acquired by the current owner from the above, 2006. Accompanied by a copy of a seven page examination report number 114/2019 by Dr Habil Mikhail Treister. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12764-237139. 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.

Nike was the winged goddess of victory. Goat-skin clothing was an attribute of Artemis, but here it is worn by Nike, attesting to the syncretic nature of the art embodied by this object. The workmanship of this piece suggests a local workshop in the Kuban basin.