Greek Terracotta Oil Lamp

Featuring black-figure depictions of the Komos in a lively procession of revellers celebrating Dionysos, with the god portrayed as an ithyphallic satyr; two loop handles on the rim and a palmette beneath each handle, adorned with tendrils; professionally repaired. 219 grams, 20 cm wide



with Sotheby’s, New York, 20 June 1990, no.11. Private collection, New York, USA. Private collection, Georgia, USA. Private collection, UK. Accompanied by copies of the relevant Sotheby's catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13103-248960.

The Greek Komos, an integral part of ancient Greek culture, symbolises lively celebrations dedicated to Dionysos, the god of wine and revelry. It involved spirited processions with singing, dancing, music, and wine, fostering communal joy. This tradition was a vital aspect of Greek festivals, underscoring the Greeks’ love for communal bonding, the arts, and the pleasures of life. The Komos vividly illustrates the vibrant cultural and religious practices of ancient Greece. The artwork showcases four nude male dancers in dynamic poses, with their heads turned and arms in animated gestures. Three of them have pointed beards, while one is youthful and beardless.

Wth a rounded body and prominent raised neck, a tubular muzzle with stylised eyes and ears and a small, slightly open mouth; a ring with a chain and a large carnelian sphere beneath the chin; a wide incised groove above the front legs, perhaps intended to represent muscles; a long slit beneath the abdomen; standing on a rectangular platform with a pin for insertion to a wooden shaft; accompanied by a custom-made display stand. 643 grams total, ibex: 15 cm high



Acquired in Vienna, Austria, in the 1990s. Collection of N.M., former Israeli Ambassador to Austria (1998–2000). Private collection, London. 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.13039-247908.

In Scythian art, the ibex was often depicted in dynamic ‘animal style’ symbolising life, strength, and perhaps cosmic struggles, potentially linked to seasonal cycles or fertility, showing its sacred status as a totem animal alongside mouflons. The realistically depicted posture of the animal testifies to the ancient masters' keenness of observation and of their skill in rendering the character of the animal in metal. The posture recalls more archaic (7th-6th century B.C.) animal style art found in the Tagar finials.

Scarab bezel with carapace detailing and intaglio of a kneeling male nude wearing a helmet, holding a shield, sword and a spear; set into a later gold swivel ring; supplied with a museum-quality impression. 5.24 grams, 25 mm



English private collection. Acquired on the English art market. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13110-248399.

The intaglio can depict Capaneus, a legendary, strong, skilled, but arrogant warrior. He was one of the Seven Against Thebes, who boasted that not even Zeus could stop him from scaling the city walls. However, as he climbed them, Zeus struck him down with a bolt of lightning, illustrating divine punishment for his hubris. Evadne, his wife, then threw herself onto the funerary pyre in her grief. The story of strength but excessive pride was reflected in Dante's Inferno, where Capaneus is in the seventh circle as a condemned blasphemer.