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LOT 0525
Scythian Bronze Belt Fitting
3RD-2ND CENTURY B.C.
5 1/4 in. (138 grams, 13.5 cm).
Composed of a bow-tie-shaped body with a central triangular plaque to one edge forming a hook to reverse; series of piercings to the opposite edge; two regardant stags and bars of hatched triangles engraved to one face.
ProvenanceEx old English collection.
London art market, 1980s.
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AUCTIONS:
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Greek Gold and Bead Pendant
Circa 4th-3rd century B.C.Estimate: £500 - 700 (+bp*)
Opening Bid: £250
Composed of a blue and white glass bead between gold caps, granulation to the upper body with suspension loop and free-running ring, dangle below composed of a carnelian stone bead and granulated gold bead; some restoration. 5.29 grams, 53 mm
From a late Japanese specialist collector, 1970-2000s. -
Greek Italic Silver Fibula
5th-4th century B.C.Estimate: £600 - 800 (‡+bp*)
Opening Bid: £300
Segmented body with central filigree wiring, collared knops to three corners, integral coiled pin and trapezoidal catchplate with lotus flower engraved to the outer face, loop with stylised serpentine head to base. 13.5 grams, 63 mm
Acquired in Europe before 1994. European collection. -
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Attic Red-Figure Fragment Attributed to the Thaliarchos Painter
5th century B.C.Sold for (Inc. bp): £702
Comprising the bottom part of a cup-skyphos or pyxis, decorated with concentric circles in red and black, the internal part painted with the image of a young athlete, wrapped in a short chlamys and leaning upon his staff, the ground represented as a concave space. 95 grams, 12.5 cm
Acquired in Europe before 1990. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11810-206516.
The everyday life of ancient Greeks is well represented on the Attic red figure paintings. The short cloak (chlamys) is the favourite garment for the men and the hair of the younger men is more often shown cropped than in the black Attic figure paintings. The nakedness of youths exercising at the palaistra could well have been an important source of inspiration for the Greek artists who were becoming increasingly aware of the possibilities to represent the physiology of subtle movement in paintings. The Thaliarchos painter is generally recognised as the artist of the tops of some powder-box pyxides, although it is not excluded that he was actively painting various types of vessels. The type of ground and the way in which the foot of the man is worked can support the thesis that the fragment is from his workshop.
