Greek Terracotta Oil Lamp

Including pomegranates, apples and a gourd. 989 grams total, 4.5-18.7 cm



Estate of Mr Bruno Fellinger (1926-2016), Küsnacht, Switzerland. with Galerie Rhéa, Zurich, Switzerland.

Matched pair of hooked wire earrings, each with an inset cabochon, articulated dangles and other ornaments. 5.15 grams total, 46 mm each



Private American collection, 1970s-1980s. with Robert Haber, New York, USA, circa 1990s. Private collection, Europe. Accompanied by a copy of an Art Loss Register certificate, 8 September 2004. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13187-249264.

This pair belongs to the Hellenistic group of earrings with pendants, a broad group including pendants shaped as amphorae, birds, erotes and other exotic elements. Most of them come from sites around the Aegean or the Eastern Mediterranean and were probably produced in workshops in these regions. They usually date from the 2nd to the 1st centuries B.C.

Comprising a bell-shaped body with narrow stem and stepped pedestal foot, broad rim with square loop handles and palmettes beneath, frieze to sidewall: Side A: Oscan warrior with cuirass, helmet, shield and spear standing beside an altar with a female holding a patera in her extended hand, diadem in the other at her side; Side B: seated female with a patera and wreath facing a standing cloaked figure with thyrsus. 2.38 kg, 29.5 cm high



Private collection, Geneva, acquired in the late 1960s. Private collection, acquired in Geneva in 2000. Accompanied by collector's notes and old images. Accompanied by an original copy thermoluminescence analysis report no.QED1412/.SG-0602 from QED Laboratoire. 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.13219-249314.

The krater offers an interesting glimpse into the local life of Campania in the 4th century B.C. Particularly noteworthy is the depiction of the Oscan Samnite warrior, fully armed in the style of Campanian, Samnite, or Lucanian mercenaries, performing a funerary sacrifice. The depiction of the Chalcidian helmet, with its central crest and twin lateral plumes (geminae pinnae), dedicated to Mars, is extremely detailed. The style and the way in which the figures are realised, the conformation of the women, the details of the warrior, seem to point to the workshop of the CA Painter, a Campanian red-figure vase-painter whose name is unknown. Nevertheless, consistent individual characteristics of style suggest the existence of a unique artistic personality. Trendall called him the CA Painter because he was the chief painter in the first stage of Cumaean red-figure vase-painting, the initials standing for Cumaean (C), first stage (A).