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LOT 0054
Large Eastern Mediterranean Painted Terracotta Pitcher
1ST MILLENNIUM B.C.
8 7/8 in. (1.03 kg, 22.5 cm).
With a wide mouth, everted rim, and elongated, cylindrical neck, bulbous body with painted polychrome bands, a strap handle with painted linear decoration.
ProvenanceFrom a 1980s UK collection.
Acquired on the UK art market in the early 2000s.
Property of a London, UK, antiquarian.
Cf. Petrie, W.M.F., Brunton, G., Sedment II, London, 1924, pl. 276A, D, for a vessel of similar form bearing linear decoration, discovered in a late New Kingdom tomb at Sedment.
CONDITIONTimeLine Auctions follows a vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: Our Vetting Process
AUCTIONS:
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LOT 0054
Large Eastern Mediterranean Painted Terracotta Pitcher
Estimate £400 - 600€460 - 700 (for guidance only)$540 - 810 (for guidance only)
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Greek Terracotta Figure of Eros, the God of Love
Hellenistic, 3rd-1st century B.C.Estimate: £8,000 - 10,000 (‡+bp*)
Opening Bid: £4,000
Modelled nude in a dynamic pose with his wings spread open, the left leg slightly advanced, and the right arm extended with open palm, a diadem or a fillet on his head; circular socket between the wings; accompanied by a display stand. 808 grams total, 31 cm including stand
Louis-Gabriel Bellon (1819-1899) collection, France. European private collection, 2009. 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. 13014-246790.
In classical times, Eros was usually depicted as a handsome adolescent, with only his wings distinguishing him from other kaloi and young athletes. Sometimes he was depicted younger and with less masculine features: Lysippos, in the famous statue of Eros of Thespiae, depicted him as a youth. -
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Greek Gold Ring and Carnelian Gemstone with Asclepius and Hygeia
Hellenistic, 1st century B.C.-1st century A.D.Estimate: £2,000 - 3,000 (+bp*)
Opening Bid: £1,000
Comprising a gold wire hoop with panels of baluster detailing, scrolled and securing a gold cell with an inset cabochon gemstone; to the domed face, the god Asclepius with caduceus symbol; to the flat face, goddess Hygeia standing holding a serpent; some usage wear. 2.12 grams, 22.48 mm overall, 14.21 x 16.13 mm internal diameter (approximate size British F 1/2, USA 3, Europe 4.3, Japan 4)
Private collection, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13357- 259200.
Asclepius, son of Apollo and Coronis, was the Graeco-Roman god of medicine, healing and prophecy. He had two daughters with Epione, the goddess of soothing - Hygeia (goddess of health) and Panacea (goddess of healing). -
Greek Bronze Figure of a Bound Captive
Hellenistic, 2nd century B.C.Estimate: £2,500 - 3,500 (‡+bp*)
Opening Bid: £1,250
Modelled in the round nude male standing with hands bound behind his back; with short cropped hair and slender figure; left foot absent; mounted on a custom-made stand. 491 grams, 17 cm including stand
Ex S.K. collection. Acquired on the German art market, July 1995. 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 a search certificate number no.12518-232076.
The character's hairstyle of the statuette is simple, and his hair is short, not treated with chalk like that of the famous ‘dying Galatian’ from Pergamon. The gaze is fixed on the distance, while the bony, beardless, long-limbed figure conveys the prisoner's energy. The nose here takes on a strong characteristic together with the broad jaw, which is also recognisable in later statuettes of Roman age. These characteristics, combined with those of nudity, allow us to recognise the figure of the prisoner as a Celtic warrior.
