Genucilia Cup with Stellar Decoration - Certificate of authenticity

This footed bowl, part of the classic Etruscan ceramic repertoire known as "Genucilia", is distinguished by its rigorous geometric decoration belonging to the "Star Group". Unlike the variants with female profiles, this example favors symbolic abstraction, organized around a central radiating cross. Expert examination of the surface reveals a touching authenticity: the matt, flowing black varnish shows areas of natural abrasion and wear, revealing the underlying orange paste. Far from being defects, these lacks of material, combined with fine limestone concretions lodged in the hollows of the modelling, attest to the absence of modern overpainting and confirm a long period of burial in a dry environment.
Features

Object: Footed bowl with geometric decoration (Plate).

Culture: Etruscan (Genucilia group, geometric variant).

Period: 4th century BC

Material: Red-figured ceramic, black glaze.

Dimensions: Height 52 mm × Diameter 133 mm.

Condition: well preserved, with wear and tear on the varnish and preserved patina from excavation.

Provenance: Former European private collection; ex-Lakythos SARL (1987); ex-Galerie Hydra, Geneva, Switzerland (1984).

Authenticity: Certificate supplied.

Historical context
Dishes from Genucilia, mass-produced in Falerii and Caere (Cerveteri) in the 4th century B.C., fall into two main families: those with female profiles and those with abstract decoration, as seen here. This star-shaped model (or radiating cross) illustrates the trend towards graphic stylization in late Etruscan workshops. These objects, true markers of Etruscan-Latin identity, were mainly used as modest votive offerings in sanctuaries or as funerary furniture, testifying to the popular piety of the period.
Formal and material analysis of the specimen

Iconography and composition: the tondo (central medallion) features a large cross with four lanceolate branches, converging on a central point. The spandrels are decorated with three-point rosettes, creating a balanced ternary rhythm. The whole is encircled on the marli (rim) by the canonical senestrogyr running dog motif, treated with characteristic gestural rapidity.

Painting technique: The piece uses the reserve technique: the background is covered with a black slip, leaving the motif in the natural color of the clay. The dullness of the black and the fluidity of the line are typical of Etruscan medium-scale production, favoring immediate visual effect over miniature precision.

Surface finish and patina: The object's epidermis is a guarantee of sincerity. There is pronounced wear of the black glaze on the edges, the result of millennia of rubbing. The warm beige-pink terracotta is sprinkled with mineral micro-inclusions.

Reverse side and foot: The reverse side is left mostly rough, revealing the traces of turning (concentric striations) and the bare color of the clay. The short, flared foot features a wide black band, providing a visual base for the bowl.

Cultural value
This bowl is a convincing example of everyday Etruscan decorative art. It documents the taste for geometric abstraction that coexisted with figuration. Its value lies in its archaeological integrity: it is an object that has not been artificially "embellished", but presents itself with the truth of its material history. Its documented provenance, dating back to the famous Galerie Hydra in 1984, offers optimum security of acquisition.
Traceability & guarantees

History: Solid, uninterrupted provenance for almost 40 years, via reference collections and galleries (Hydra Genève, Lakythos).

Expertise: The object is accompanied by a certificate of authenticity guaranteeing the period, culture and condition described.

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