Phoenicio-Punic Terracotta Oil Lamp

Piriform in profile with flared foot and carinated ring at the shoulder, everted rim at the mouth; band of punched decoration on the neck with vinescrolls; similar band to the shoulder with bunches of grapes, tendrils and putti. 150 grams, 14.5 cm



Acquired on the US art market, early 1990s. Private collection, North America. Private collection, London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13244-252968.

There is ample evidence that the princes of the Hellenistic world had a large appetite for expensive tableware. In a procession preceding games organised by the eccentric Antiochos IV Epiphanes (175-163 B.C.) in the Antiochene suburb of Daphne, 1000 silver vessels and 800 gold ones were carried. Kallixeinos of Rhodes reported the combined weight of gold and silver vessels displayed inside the pavilion of Ptolemy II Philadelphos as 10,000 talents, a weight of well over 200 tons.

Comprising: an Etruscan figure of Turms (Greek Hermes), standing and holding a patera in his right hand, original lead mounting beneath; a standing figure of nude Aphrodite, possibly later; a figure of Baubo with her legs bent and right hand touching her genitals; two standing bronze figures holding offerings. 352 grams total, 63-96 mm



Hermes from the estate of a Swiss gentleman, Ticino, before 1970. Sardinian figure ex private collection of Prof. Dr Hans (1918-1984) and Dr Ines (1922-2013) Jucker, classical archaeologists, Bern, Switzerland. with Galerie Rhéa, Zurich, Switzerland. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12669-236450.

Baubo was a minor divinity of Greek mythology, linked to the cult of Demeter and Persephone. The Egyptian Baubo figures are split into two groups. In some of these figurines her right hand is touching her genitalia. All these statuettes were votive offerings to the gods, and many of them were used as amulets.

With cylindrical body and broad bevelled shoulder, stepped foot, lateral squared loop handles and strap handle to shoulder, broad mouth; Side A: seated female in himation holding an offering bowl in her extended left hand; white detailing to the diadem, necklace, earrings, mirror in her right hand, rim of the bowl and elsewhere; Side B: reserved palmette motif extending to the shoulder and neck; repainted. 771 grams, 23 cm high



Acquired on the art market between the late 1990s and mid-2000s. Estate of the late Barry Paul Buxton (1944–2024), Oakham, Rutland. Acquired on the UK art market, 2025. Accompanied by a thermoluminescence analysis report no.N126a16 from Oxford Authentication.

Apulian red-figure had a strong influence on other Italian ceramics of the late 5th century B.C. and an even greater effect from around the middle of the 4th century, with potters and painters apparently migrating to Italic centres throughout Apulia, as well as to Metaponto, Paestum and other parts of Campania. Although it is most probable that Taranto was the main centre of production for Apulian red-figure, the recent extensive finds at Canosa, Melfi and other sites suggest that there were numerous Apulian centres of manufacture.