Large Attic red-figure bell krater by the Painter of the Black Thyrsos. 360 - 350 BC H 34.3 cm, ø mouth 34.8 cm. On the front a thiasos with a dancing maenad painted in white and yellow in the center, striking the tympanum. To the sides of her, also wildly dancing satyrs and maenads standing calmly at the edge, the left one with thyrsos and tympanum. At the back three mantled youths. With document from 1976 (copy)! On the painter see John D. Beazley, Attic Red-Figure Vase-Painters 2nd edition (1984) pp. 1431-1434 and J. Boardman, Red-Figure Vases from Athens - The Classical Period. A Handbook (1991) fig. 344. a large crack to the back of the wall, tiny chip to the foot, the white and yellow of the maenad largely chipped. Provenance: From a French private collection, acquired in 1976 from Pierre Vérité, Paris.

Valoración 2 000 - 2 500 EUR

Precio de salida 2 000 EUR

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Gastos de venta: 28 %

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Lote 3

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Apulian red-figure bell krater in the style of the Dijon Painter. 370 - 360 BC H 28.2 cm, ø mouth 30 cm. On the front, to the side of a small altar and laurel branch, on the left a young woman with a thyrsos and a small box, on the other side Eros with a bunch of grapes. Numerous details in white. Two young men in mantles on the reverse. With certificate from 1986 (copy)! Three marginal fragments broken and reattached, with small retouched losses to the broken edges. Provenance: From a French private collection, acquired from Patrice Laporte in 1986.

Lote 5

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Attic red-figure pyxis with lid by the painter of Bologna 417. 460 - 450 BC. H with lid 13.4cm, h pyxis 8.5cm, ø lid 11.2cm, ø pyxis 10.5cm. Type A with concave wall and three wide feet. On the body a revolving scene from the women's chamber separated by two Doric columns with an indication of the Regula and Guttae. Between them three standing and one seated woman with spindles and Kalathos making wool. Cf. the pyxis formerly in the Preyss private collection, Munich: Beazley Archive Pottery Database 211141. For the painter, who belongs to the workshop of the Penthesilea painter, see John D. Beazley, Attic Red-Figure Vase-Painters 2nd edition (1984) pp. 907-918. Small chips to lid and feet, painting chipped in minor areas. Provenance: Ex private property G. S., Lower Saxony, in family possession since 1966.

Lote 17

Valorac. 10 000 - 12 000 EUR

Attic skyphos, 6th century BC. Ceramic polychromed using the black-figure technique. Provenance: Spanish collection, Madrid. Measurements: 16 x 35 cm (diameter). Skyphos made in the workshops of the Attic region, with a central band that holds a procession of figures and horses on both the front and the back. It is decorated with the black-figure ware technique, based on the use of a transparent glaze which, when fired, acquired an intense, glossy black hue. The motifs were therefore invisible before firing, which meant that the painters had to work entirely from memory, unable to see their previous work. Once the piece was fired, the unglazed areas remained with the reddish hue of the clay, while the glazed, "painted" areas took on a dense, glossy black colour. The black-figure technique was introduced in Corinth around 700 BC, and was adopted by Attic artists in the Orientalising period (725-625 BC). This was the beginning of the great series of black-figure pottery, which had its main centre in Athens and continued until the beginning of the 5th century BC.

Lote 32

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Lekythos for cosmetics. Attic Greece, 5th century BC. Ceramic with the red-figure technique. It has fracture line restorations on the neck and foot. Size: 11 x 4 cm. Lekythos that stands out for its great rarity, since as ornamentation it presents the figure of a winged mermaid located in the central body. The lekythos or lekitos is a type of Greek pottery used to store perfumed oil for body care. This type of vessel was also often used as funerary vessels, not only in Greek cities, but also by other peoples who had contact with this culture. They are characterised by their elongated shape, narrow neck and wide mouth, which both limits the flow of oil and facilitates its application. Red-figure ware was one of the most important figurative styles of Greek pottery. It was developed in Athens around 530 BC, and was used until the 3rd century BC. It replaced the previous predominant style of black-figured pottery within a few decades. The technical basis was the same in both cases, but in the red figures the colouring is inverted, with the figures highlighted against a dark background, as if illuminated by a theatrical light, following a more natural scheme. Painters working with black figures were forced to keep the motifs well separated from each other and to limit the complexity of the illustration. The red-figure technique, on the other hand, allowed greater freedom. Each figure was silhouetted against a black background, allowing the painters to portray anatomical details with greater accuracy and variety. Over time these decorations became more complex, incorporating numerous details in both black and white, which enhanced the narrative and decorative sense of the depictions. The value placed on these works meant that they were the subject of a flourishing trade and industry. Pottery painters and the masters who made the pieces in clay were highly prized in ancient Greece, and works in both the black-figure and red-figure techniques were created throughout the Mediterranean, both in Greek cities of population and foundation and in the potteries of those peoples who had contact with these same nuclei.

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