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LOT 0056
Mycenaean Painted Pottery Flask
14TH-13TH CENTURY B.C.
4 3/8 in. (132 grams, 11.1 cm).
Comprising a circular body with a rounded base and two strap handles, a short neck with an everted rim; the body with a painted expanding cross motif with the arms separated by a band of pellets.
ProvenancePrivate collection, Switzerland, acquired in the 1994.
Private family collection since the late 1990s.
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.13018-246795.
Cf. Karageorghis, V., Cipro, Crocevia del Mediterraneo Orientale, 1500-500 d.C., Milano, 2002, p.46, figs.86-88, for similar pottery.
FootnotesMycenaean ceramics were influenced by Minoan shapes and decorative styles from the late Middle Helladic period. This close relationship – likely accompanied by the development of shared cultural practices and etiquette – creates the hypothesis that pilgrim flasks were introduced to Greece via Crete. Pilgrim flasks were produced in Mycenaean contexts from the Late Helladic IIA:1 period (1420-1390 B.C.).
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AUCTIONS:
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LOT 0056
Mycenaean Painted Pottery Flask
Estimate £1,200 - 1,700€1,390 - 1,970 (for guidance only)$1,620 - 2,300 (for guidance only)
Opening Bid
£600 (EUR 696; USD 810) ‡+BP*
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Minoan Facetted Carnelian Stamp Seal
Circa 20th-15th century B.C.Estimate: £3,500 - 4,500 (+bp*)
Bids: 3 | Current Bid: £2,500
Four-sided bead with an oval panel on each side: panel 1: reclining feline with frontal head with apotropaic eyes; panel 2: three-leaved plant opposite a goblet(?) with four pellets and two crosses; panel 3: a plant and a big frontal apotropaic eye; panel 4: three segments, a plant, a butterfly or a bird; accompanied by museum-quality impressions. 4.21 grams, 21 mm
From the collection of the late Mr Priday, Hertfordshire, UK, thence by descent. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13339-258812.
Four-sided prisms are usually fashioned in jasper, light-coloured chalcedony and lightly banded carnelian. The workmanship is usually excellent. Largely on stylistic grounds, these seals are datable mostly to MMII (c. 2100–1875 B.C.), although they occur both slightly earlier and later. -
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Greek Miniature Bronze Hydria
Geometric Period, 6th century B.C.Estimate: £400 - 600 (‡+bp*)
Opening Bid: £200
With a bulbous body, flared foot, lateral loop handles to the shoulder and a strap handle to the rear. 23.5 grams, 37 mm
Acquired by a Swiss family in the mid-1980s to late 1990s, thence by descent. Private collection, Switzerland, since the late 1990s.
The earliest Archaic Greek bronze hydriai enter the archaeological record in the last quarter of the seventh century. Although the appearance of bronze marks the first significant period of production in the Iron Age, these vessels represent a reawakening of an illustrious tradition dating back at least to the Helladic Bronze Age, if not considerably earlier. -
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.
