Greek Terracotta Spindle-Flask and Votive Plate Group

Tongue-shaped with curved upper end forming an arch, integrally moulded facing female mask with band of braided hair to the brow; possibly from Rhodes. 20.8 grams, 40 mm



From the private collection of Mr Brian Edwards, New Malden, Surrey, UK, formed from the late 1970s-early 1980s; thence by descent. Accompanied by an original collector's data sheet(s) with reference no.A2.

Scaraboid type with incuse design to the underside of a winged hippocamp inside a ropework border, possibly later engraved water waves; supplied with a museum-quality impression. 2.29 grams 16 mm



From the private collection of a European gentleman (1942-2024), formed since the 1970s.

Modelled in the round in energetic pose with left hand resting on the hip and right arm raised, head tilted slightly upwards, tail curled gracefully over the rump; on a square base with papyrus stalk detailing; on a later gilt-metal stand mounted on a polished stone cube. 679 grams total, 20.4 cm including stand



Iris Cornelia Love (1933–2020), New York, collection primarily formed in the 1950s-1970s. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13335-258241.

Many of the scenes show satyrs in Etruscan art transgressing the limits of accepted behaviour. As symbol of inversion of order, the satyr reflects the rules of the life and culture of the Etruscans and their values. Satyrs in comic, surprising situations indicate the Etruscans' sense of humour. They got their inspiration from Greek art when illustrating myths and narratives, often with a light-hearted approach of their own. The Etruscans were known to be devoted to religious rites and satyrs appear in such scenes too. Satyrs, connected with the Dionysian cortege, appear also on vases in sacrifice scenes and it is suggested here that satyrs dancing and gambolling around a wine vessel are performing a cultic dance in honour of Dionysos.