Late Hellenistic Chalcedony Ring

A votive plaque with a standing nude figure of Astarte in raised relief. 152 grams, 11.7 cm



Swiss private collection, before 1970. with Galerie Rhéa, Zurich, Switzerland. This lot is accompanied by an illustrated lot declaration signed by the Head of the Antiquities Department, Dr Raffaele D'Amato.

Carved from fine marble and raised on a tall, conical pedestal foot, supporting a hemispherical body; four prominent evenly spaced elongated vertical lugs, each pierced for suspension. 400 grams, 89 mm high



with Münzen und Medaillen, Weil am Rhein, 1975, Katalog 51, no.9. Private German collection. Private collection, Europe. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12663-236275. 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.

The overall form is both functional and elegantly balanced, characteristic of Early Cycladic craftsmanship. The Cyclades, a group of thirty-nine islands and numerous islets in the southwestern Aegean, formed a cultural ring - kyklades in ancient Greek - around the sacred island of Delos, site of the revered sanctuary of Apollo. By the fourth millennium B.C., a distinctive civilisation had emerged on these islands, flourishing for over two thousand years. The Cycladic culture thrived due to its strategic maritime location and its rich deposits of iron and copper - vital commodities during a period of rapidly developing metallurgy throughout the Mediterranean. While existing alongside the more dominant Minoan and Mycenaean civilisations, the Cycladic people are recognised as one of the three principal Aegean cultures. Vessels such as this, known as kandila, were typically crafted in marble or clay and are believed to have held liquids such as oil or wine. The pierced lugs may have supported suspension cords or secured a lid. Often found in tomb contexts alongside marble figurines, these vessels likely played a role in funerary rituals. Regardless of their original function, kandila vessels remain enduring examples of Cycladic artistry. Their minimalist design, elegant proportions, and subtle detailing reflect a culture that placed equal value on utility and aesthetic form.

Discoid mirror with a short tang to accept an organic handle, the reverse with a palmette above the handle; the obverse with two figures seated on rocks and facing each other, to the right: Turms (Hermes) wearing a winged cap, and a young man on the left, both wearing cloaks draped over their backs, with folds visible over their shoulders and fastened at the neck; Turms depicted making an expressive gesture with his right hand while his companion listens attentively, looking toward Hermes and resting his left hand on his knee; a palmette below at the centre of the scene, two laurel branches extending upwards to form a framing arch around the composition, ending at the top in a geometric ornament. 260 grams, 22.5 cm



Private collection, Zurich, Switzerland. Accompanied by a copy of a report by the late Han Jucker (1918-1984), 1 February 1982. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12668-236379. 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.

Hans Jucker (1918-1984) was a distinguished Swiss art historian and classical archaeologist, renowned for his expertise in Greek and Roman art. He was particularly recognised for his scholarly contributions to the study of ancient sculpture and iconography. Jucker served as a curator and later director at the Bernisches Historisches Museum in Switzerland, where he was instrumental in expanding and refining the museum’s collection of classical antiquities. His research and publications, marked by precision and clarity, helped shape modern understanding of Roman portraiture and the visual language of the ancient world. Through both his academic work and curatorial leadership, Jucker earned a lasting reputation as one of Switzerland’s foremost authorities on classical art.