CULTURE: Attic, Greek
PERIOD: c. 420-400 BC
DIMENSIONS: Height 25 cm
PROVENANCE: Pirvate collection south of France, since 1980. Acquired from Astarte Gallery, London, 11/10/1993.
CONDITION: Reassembled from its original fragments without missing pieces or repainting.
DOCUMENTS: With thermoluminescence test. Provided of certificate of autenticity. Provided of export licence issued by the ministry of culture.
ATTIC RED-FIGURED BELL-KRATER
The obverse with a scene depicting a satyr, naked, wearing a pilos cap, giving wine on a krater to drink to a mule or donkey. Behind the animal there is a woman with a tyrsos.
The reverse with three standing draped youths, an encircling band of meander and checkered squares below the scenes, laurel below the rim, palmette complexes below the handles.
For examples of this rare subject see:
J. Michael Padgett, "The Stable Hands of Dionysos: Satyrs and Donkeys as Symbols of Social Marginalization in Attic Vase Painting," in: Not the Classical Ideal: Athens and the Construction of the Other in Greek Art, Beth Cohen, ed. (Leiden 2000) 43-70.
The krater is a type of Greek pottery used to mix water and wine and from which cups were filled. It was moved to the space were a meal was to be eaten and was placed either on the ground or on a dais and the steward in charge of drawing the wine used a ladle to pour it into the guests’ cups. Kraters were mostly pottery, but some were made from precious metals, and were made in a variety of shapes according to the taste of the artist, although they did always have a wide mouth. The most widely occurring ones are column kraters, calyx kraters, bell kraters and volute ones.
Red-figure pottery was one of the most important figurative styles of Greek production. It developed in Athens around 530 BC and was used until the 3rd Century AD. In the space of a few decades it took over the place of the previous dominant style of black-figure pottery. The technical base was the same in both cases but in red-figure pottery the colouring is reversed so that the figures stand out on a dark background as if they were lit up in a more natural way. The painters who did black-figure work were forced to keep the motifs they painted well apart one from the other and to limit their complexity. In contrast, the red-figure technique gave much greater liberty. Each figure was silhouetted against a black background, allowing the painters to portray anatomical details with greater accuracy and variety.
The technique consisted of painting the motifs on the vessels while they were still unfired using a transparent slip, which when fired took on a black coloration. In this manner the motifs were invisible before firing so that the painters had to work from memory without seeing their earlier work. Once the piece had been fired the zones which had not been covered by the slip retained the red colouring of the clay while the glossy areas, those that had been “painted, acquired a dense, brilliant black colour.
- MAYO, M. ed. The Art of South Italy, Vases from Magna Graecia. Richmond. 1982.
- TRENDALL, A.D. Red Figure Vases of South Italy and Sicily. London, 1989.
- TRENDALL, A.D., CAMBITOGLOU, A. First Supplement to the Red-Figured Vases of Apulia. London, 1983.
The seller guarantees that he acquired this piece according to all national and international laws related to the ownership of cultural property. Provenance statement seen by Catawiki.
The piece includes authenticity certificate.
The piece includes Spanish Export License (Passport for European Union) - If the piece is destined outside the European Union a substitution of the export permit should be requested. This process could take between 1 and 2 months.
- Grec antique mycénien
- Important grenier cloche Krater. Sujet rare d'un satyre donnant du vin à un âne. Test TL. 25 cm de
- Siècle/ Période
- c. 400 B.C.
- Bon état, voir la photo