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A Greek red figure bell kratercirca 4th century BCpainted on one side a seated bare chested female holding a mirror in her left hand and the other side a dancing satyr playing a tympanum, with palmettes below the handles, a band of waves below and laurel under the rim,33.5cm high.ProvenanceAlain Chenel, Nice, France.Selected contents of Dinton Hall, Buckinghamshire, from the above 10 June 2001.
Ca. 4th century BC.A pottery krater featuring a wide funnel mouth decorated with festoon, projecting handles and flanges. Its body is further enriched with encircling bands of leafage and palmettes. Size: 280mm x 330mm; Weight: 2.6kg Provenance: Private UK collection; Ex. Sotheby's Sale 5585, lots 241 and 242, 5/29/87. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. Late 4th-3rd Century BC. An Attic red-figure bell krater, decorated with a Dionysiac scene attributed most probably to a Telos painter. The vessel features a stylised wreath pattern below the rim, egg-and-dart and palmette motifs around the handles, and a Greek key ornament on the lower part of the body. On one side is a beautiful scene presenting Dionysus and a female figure, most probably Ariadne. Ariadne is the focal point of the scene, painted nude with lavish use of added white. She holds a fan and has an elaborate cloak draped at her shoulders. Dionysus sits above and to the right, nude with a headdress and holding a thyrsus. The pair is surrounded by four satyrs in various dynamic poses. On the other side is a well-known scene on Late Classical kraters, depicting three standing male figures wrapped tightly in himatia, one brandishing a ritual implement. The item is accompanied by a TL report from QED. Item comes with a professional historical report from Ancient Report Specialists. Size: 390mm x 380mm; Weight: 5.45kg Provenance: Property of a London ancient art gallery; formerly acquired on the Spanish art market; formerly in a private collection, Cannes, France; previously acquired at Pierre-Eric Becker Gallery, Cannes, 1998. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. late 4th-3rd century BC.A finely modelled pottery krater with a large, inverted bell-shaped body with a broad rim. Two upraised handles are attached to the sides. The vessel stands upon a flared, pedestal foot. The decoration adorning its surface contains a horizontal band of laurel leaves at the top and a wave pattern at the bottom. Side A depicts a dynamic figure of a maenad, holding a box and a wreath; side B portrays a winged Eros carrying a patera. Item comes with a professional historical report from Ancient Report Specialists.Size: 260mm x 255mm; Weight: 1.66kg Provenance: Property of a London Ancient art gallery, acquired on the US art market; formerly acquired by Dr. Henry Cherrick (2010), a professor and dean at UCLA School of Dentistry who pioneered government programs promoting dental care in HIV/AIDs patients. He was an avid collector of fine art and antiquities and died at the age of 84 in 2023. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 330 BC.A pottery bell krater featuring two lateral handles, a broad opening, and a circular foot. The black-glazed surface is adorned with red-figure scenes. The obverse of the krater depicts a female figure, shown in a dynamic pose, holding a fan in her right and a large patera in her left hand. She is approached by a winged and nude Eros holding a tambourine in his right hand. The reverse presents a portrayal of two ephebi dressed in classical attire and facing a stele. Both scenes are bordered by a laurel wreath above and a meander band below. For a similar example, please see The J. Paul Getty Museum, accession number: 76.AE.20. Item comes with a professional historical report from Ancient Report Specialists. Size: 300mm x 340mm; Weight: 3.2kg Provenance: Private London collection, acquired on the Dutch art market; previously acquired on the German art market; Egid Hoppe, Frankfurt 1982. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 350-320 BC.A red-figure terracotta krater with a broad rim, a bell-shaped body flanked by two lug handles, and a pedestalled ring foot. Side A features a maenad poised on her left leg, wearing a chiton fastened below her breasts. She holds a fan in her right hand and a wreath in her left. She is accompanied by a nude satyr standing to her left, on his toes. The satyr holds a cista in his right upraised hand, and carries a bunch of grapes in his left hand. Side B displays two draped ephebi facing each other, engaged in conversation, with one holding a long staff. The scenes are framed by a laurel wreath around the rim and a meander and chequer-pattern frieze below. Item comes with a professional historical report from Ancient Report Specialists. Size: 300mm x 340mm; Weight: 3.5kg Provenance: Private London collection, acquired on the Dutch art market; previously acquired on the German art market; Egid Hoppe, Frankfurt 1982. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
MEISSEN 23-tlg. Kaffeeservice 'Deutsche Blume', 1. Wahl, 20./21. Jh. Form 'Neuer Ausschnitt', Dekor 'Blume 2': 6 Kaffeetassen, 6 Untertassen, 6 Kuchenteller, 1 Kaffeekanne (H. ca. 23,5 cm), 1 Zuckerdose und 1 Sahnegießer, 1 Kratervase 'Blume 1' (H. ca. 14) und 1 Kratervase 'Gelbe Rose' (H. ca. 10), anbei 1 Medaille 'MEISSEN 2000'. Gut erhalten.| MEISSEN 23-piece coffee service German flower, 1st choice, 20th/21st cent. Form 'New Cut-out', decoration 'Flower 2': 6 coffee cups, 6 saucers, 6 cake plates, 1 coffee pot (h. approx. 23.5 cm), 1 sugar bowl and 1 cream jug, 1 krater vase 'Flower 1' (h. approx. 14) and 1 krater vase 'Yellow Rose' (h. approx. 10), enclosed 1 medal 'MEISSEN 2000'. Well preserved.
MEISSEN 31-tlg. Mokkaservice 'Zwiebelmuster', 1. Wahl, 20. Jh. Form 'Neuer Ausschnitt', 5 Mokkatassen, 6 Untertassen, 6 Gebäckteller (D. ca. 13,5 cm), 1 Mokkakanne (H. ca. 16,5, Deckelröschen mit Fehler), 1 Zuckerdose, 1 Sahnegießer, 1 Kratervase (H. ca. 9,5), 1 einflammiger Kerzenhalter (H. ca. 6,5), 6 Anbietschälchen (D. ca. 8), 1 Fußschale mit durchbrochen gearbeiteter Fahne (D. ca. 20,5), 1 Durchbruchteller (D. ca. 21) und 1 Schälchen auf 3 Füßen (D. ca. 7). Gut erhalten. | MEISSEN 31-piece mocha service 'Onion pattern', 1st choice, 20th cent. Mould 'New Cutout', 5 mocha cups, 6 saucers, 6 pastry plates (d. approx. 13.5 cm), 1 mocha pot (h. approx. 16.5, small lid with flaw), 1 sugar bowl, 1 cream jug, 1 krater vase (h. approx. 9.5), 1 single-flame candlestick (h. approx. 6.5), 6 serving bowls (d. approx. 8), 1 footed bowl with open-worked rim (d. approx. 20.5), 1 open-worked plate (d. approx. 21) and 1 small bowl on 3 feet (d. approx. 7). Well preserved.
A PAIR OF ETRUSCAN STYLE BRONZE PATINATED METAL URNS AFTER THE GRAND TOUR (2)20th Century With twin swan head scroll handles, the Krater-shaped bodies decorated with low relief charioteers, on Siena marble bases, 46.5cm highProvenance: A House on Belgrave Square - Part I See Bellmans website article for further details.
Ca. 350-300 BC.A finely modelled pottery bell krater with a large, rounded body, a broad funnel rim, and twin upraised handles, all upon a flared, pedestal foot. This entire form is covered with hand-painted linear bands and horizontal registers of palmette motifs in hues of orange and cream. Size: 210mm x 180mm; Weight: 1kg Provenance: Property of a North London gentleman; formerly in a European Collection, France, bought in Paris in the 1990s.
Ca. 350-300 BC.A Daunian pottery krater with a flared rim and an inverted bell-shaped body. The vessel stands on a circular foot and features a pair of opposing handles at the shoulder, enabling easy handling and transportation. Decorative bands rendered in brownish hues adorn the body, together with vegetal tendrils and leaves which run around the krater’s shoulder.Size: 275mm x 250mm; Weight: 1.78kg Provenance: Property of a North London gentleman; from a European Collection of Italic native pottery, France, bought in Paris in the 1990s.
Ca. Late 4th-3rd Century BC.A finely modelled pottery krater with a large, inverted bell-shaped body with a broad rim. Two upraised handles are attached to the sides. The vessel stands upon a flared, pedestal foot. The decoration adorning its surface contains horizontal bands of laurel leaves at the top and a wave pattern at the bottom. Side A of the krater depicts the winged figure of Hypnos holding a trident and side B portrays a robed, standing female, probably representing the deceased. Size: L:290mm / W:290mm; 2.71kg Provenance: Property of a North London gentleman; formerly in a European Collection, France, bought in Paris in the 1990s.
Ca. Late 4th-3rd Century BC.A pottery bell krater featuring two lateral handles, a broad opening, and a circular foot. The surface is adorned with a black glaze and red-figure scenes. The obverse of the krater depicts a Dionysiac scene, illustrating two maenads and a satyr approaching one of them. Maenad to the right, is shown holding a thyrsus—a pole entwined with ivy and grapevines, topped with a pine cone. The reverse presents a portrayal of three youth figures dressed in classical attire, leaning on long staffs. Both scenes are bordered by a laurel wreath above and a meander band below. For a similar, please see The Walters Art Museum, Accession number: 48.74. Size: 300mm x 330mm; Weight: 2.74kg Provenance: Property of a North London gentleman; formerly in a European Collection, France, bought in Paris in the 1990s.
Ca. Late 4th-3rd Century BC.A beautiful red-figure terracotta krater with a broad rim, bell-shaped body flanked by two lug handles, and a pedestalled ring foot. Side A depicts a Dionysiac scene with satyrs and meanades. Side B features three young males clad in chlamydes. The scenes are framed by a wreath of laurel around the rim, and a maeander and chequer-pattern frieze below. For a similar, please see The British Museum, museum number 1772,0320.105. Size: 340mm x 360mm; Weight: 3.89kg Provenance: Property of a North London gentleman; formerly in a European Collection, France, bought in Paris in the 1990s.
Four Messapian pottery vessels Circa 4th Century B.C.Krater: 20.5cm high; nestoris: 21cm high; kalathos 17.8cm high; plate, 20.5cm diam.Footnotes:Provenance:Kuizenga collection, the Netherlands; the column krater acquired in Dortmund 6th December 1986, nestoris acquired 29th May 1988, kalathos acquired 13th September 1988, plate acquired 26th November 1988.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
An Apulian red-figure volute-krater Circa late 4th-early 3rd Century B.C.68cm high Footnotes:Provenance:European art market.Anonymous sale; Bonhams, London, 21 October 1999, lot 161.Private collection, UK, acquired at the above sale.For further information on this lot please visit Bonhams.com
An Apulian red-figure amphora Attributed to the Haifa Painter, circa 340-330 B.C.45cm highFootnotes:Provenance:Private collection, Geneva.Anonymous sale; Bonhams, London, 21 October 1999, lot 162.Private collection, UK, acquired from the above sale.The Haifa Painter was working for approximately twenty years between 340-320 B.C in the red-figure technique. The subjects were mostly women and youths or Eros, as in the above amphora, which depicts a woman holding a wreath before a seated youth who profers a large patera. The painter was named by A.D. Trendall after a a bell krater in Haifa.For further information on this lot please visit Bonhams.com
An Apulian red-figure bell krater Attributed to the Circle of the Darius and Underworld Painters, circa 350-320 B.C. 27cm highFootnotes:Provenance:The Max Klein (1905-1991) collection, Canada, acquired ca. 1970s to early 1980s; and thence by descent to the present owner.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
20th century A.D. Bell krater with stepped disc foot an broad rounded rim, two lateral loop handles; painted designs to the body: Side A - a nude satyr fleeing, carrying a musical instrument; Side B - two courtly ladies advancing each wearing a himation and stephane, one hand extended, the leading lady looking backwards towards the other; after the antique. 3.8 kg, 42 cm high (16 1/2 in.).From a family collection formed in the 1970s-1980s. From the Inglismaldie Castle estate, Angus, Scotland, by descent to the current owner. [No Reserve]
Russian copper samovar krater with neo-baroque shaped edges with a wide bowl and pipe. The body is made in the shape of a vase with a high neck and a faceted wall. The circle is wide and flat. Without cover. The handles are horizontal, turned, on voluminous palm-shaped fastenings. The burdock is round and embossed. The stem of the tap is faceted. The crane branch is curved, s-shaped. The pallet is square, flat. Legs in the form of a cut ball. An erased, unreadable mark on a circle. 19th century. Height with pipe 62 cm. Without - 45 cm. Functionality not tested. Width: 34cm, Height: 62cm, Depth: 37cm, Weight: 10kg, Condition: Good, Material: Wood
AN APULIAN RED FIGURE BELL-KRATER VASE ATTRIBUTED TO THE CIRCLE OF SNUB-NOSE PAINTER OR THE ‘H.A’ PAINTERMid 4th Century BC One side depicting Dionysus and the other three youths, with double palmettes and scrolling volutes under the handles, with a frieze of meander and crossed-squares below, a laurel leaf band below the rim, 43.5cm highProvenance: Acquired Christie’s, 3 July 1996, Lot 185.Formerly in the Collection of the Fürsten zu Waldeck, Bergheim. Lot Notes: Compare A.D Trendall and A.Cambitoglou, The Red Figure Vases of Apulia, I, Oxford, 197,p.371ff and p.331ff; and op.cit., R.V.A., 2nd Supp.,p.79ff.and p.83ff for the Snub-Nose and ‘H.A’ Painters. Condition Report: Extensive restoration
A GOOD PAIR OF ITALIAN GRAND TOUR ALABASTER VOLUTE KRATERS EARLY 19TH CENTURY 67cm high, 30cm wide across the handles, bases 19cm square These rare vases derive their shape from the Greek volute Kraters used as mixing vases for water and wine. The earliest date from around 600 B.C and were traditionally made in terracotta and then painted with scenes of feasting, mythological events, and allegorical vignettes. By the Roman times, craftsmen utilised the shape but in marble and semi-precious hardstones with relief carved scenes. Excavations in the late 18th century and early 19th century had brought rediscovery of these Roman vases to the attention and delight of collectors and travellers on the Grand Tour: Most notable were the krater with dancing figures in the Borghese collection, the Townley Vase, and the Sosibios Vase- the inspiration for Keats in his Ode to A Grecian Urn : O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought.... When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say'st, "Beauty is truth, truth beauty,-that is all Ye know on earth, and all ye need to know." In this pair of vases the craftsmen has chosen to cherish for posterity the colour and beauty of the stone itself, with carved further embellishment deemed unnecessary. Comparison with the Faustino Corsi collection at Oxford would suggest that the stone is close to what Corsi called Alabastro di Palombara but with inclusion of further richer reds of iron oxides. Condition Report: Mild wear, marks, knocks and scratches as per age, handling, use, and cleaning. With some natural flaws and faults- some of which have had remedial infill- from the varying colours of this under UV we would suggest that some is from original construction and some of which is later. Neck to one with remedial restoration and also to top of handle by it- the other with some nibbles and loss to neck- some corner fritting and losses to basesPlease see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request.Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Ca. 400-350 BC .A red-figure volute krater in the "Ornate style" exhibiting distinctive features such as handles depicting Medusa. The intricate scenes on the krater include female figures, a naiskos, and symbolic offerings, conveying reverence. Decorative elements, such as palmettes and abstract designs, adorn the neck and sides, showcasing meticulous detailing. Cf. Greek section, Civic Archaeological Museum, Milan. Inv. No. St. 135026. Item comes with a professional historical report from Ancient Report Specialists. This item is checked against the Art Loss Register database. Size: L:650mm / W:360mm ; 7.96kg Provenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection. This item has been checked against the Art Loss Register database.
Ca. 100-300 AD.A round bronze plaque that depicts a detailed, erotic scene of a seated man and woman sharing a kiss. Both lie on a couch, draped from the waist down, with the woman turned away from the viewer, sensually exposing her form. A krater sits to the right of the scene. Scenes such as this were common in Roman art and could be found in homes and public places, for example the various erotic paintings in the Lupanar of Pompeii. Size: L:50mm / W:55mm ; 125g Provenance: Private UK collection; from an old London collection formed in the 1990s.
Chevron Group, Ca. 400 BC.A rare red-figure pottery bell krater, attributed to the Chevron group. The obverse depicts a central winged Eros, nude and seated on rocks, holding a box. His open wings behind, rosettes in the field, wave pattern border below his feet. The reverse bears a bust of a lady of fashion facing left, looking into a mirror, wearing a pearl necklace, wave pattern border below her neck. Item comes with a professional historical report from Ancient Report Specialists. Size: L:215mm / W:235mm ; 1.13kg Provenance: Property of a London Ancient Art gallery, formerly NYC collection. Acquired from Vaderkindere, Belgium. Ex. ARS Historica Arqueologia, with copy of Spain export license. Ex. John Dowd, NYC collection. This item has been checked against the Art Loss Register database.
* Attic Greek krater, probably 4th century BC, the terracotta two handle vessel of baluster form decorated in black with figures, one side showing a warrior with sword and shield, the other with a satyr chasing a woman, each bordered with Greek key and geometric decoration, one handle restored, 28 cm high QTY: (1)NOTE:A large two-handled shape vase used as a mixing vessel in Ancient Greece, usually for mixing wine with water.
Full title: A large Dutch Delft blue and white 'Venus and Adonis' jardiniere, 1st half 18th C.Description:H.: 38 cm - Dia.: 30 cm Provenance: - A Dutch private collection.- Exhibited at TEFAF. This urn-shaped jardiniere or flower vase is sometimes referred to as 'Medici' vase. The Medici Vase is a monumental marble bell-shaped krater sculpted in Athens in the second half of the 1st century AD as a garden ornament for the Roman market. It is now in the Uffizi Gallery in Florence. Oak leaves are the primary ornament surrounding the central medallions, which hold two representations: Venus and Adonis with two dogs on one side, and a shell-shaped fountain with three putti on the other. The representation of Venus and Adonis goes back to the mythological story of Venus and Adonis as described by Ovid in his 'Metamorphoses'. Venus, the goddess of love, was in love with the beautiful Adonis, yet warns him to be careful when hunting: “... Come on, boy, be not reckless at the expense of my love, do not hunt animals that be armed! Your glory has been paid too dearly for me. Those charms of yours, that youth with which you dazzle me, there is no bristle hog, no lion, no animal that lets eye or heart be tamed by it.†To the great chagrin of Venus, Adonis is eventually killed by a wild boar while hunting. Pictured here, we see the moment Venus warns Adonis of the perils of the hunt, as Adonis breaks away from his resisting lover. In the depicting tradition, in 1554, Titian was one of the first to depict this moment in the history of Venus and Adonis.Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com
Kratervase mit Vedutenansichten, Stobwasser, um 1820 Eisenblech mit Öl-Lackmalerei. Korpus außen in Granit-Optik, innen vergoldet. Auf rundem getreppten Fuß. Auf Vorder- und Rückseite der Vase in Messingbänder eingefasste Rechteckkartuschen mit polychromen Ansichten. Eine Ansicht zeigt das "Schloss zu Argenfels" nach J. Stokes nach einem Vorbild von William Tombleson. Mündung mit Profilring aus Messing. Seitlich zwei plastische Handhaben in Form von Faunköpfen aus vergoldetem Zinn. Unsigniert. Eine Delle in der Wandung, Gold teils berieben. Maße 25 x 21 x 24,5 cm. Dazu ein Stahlstich von J. Stokes, der als Vorlage diente, minimal fleckig, Maße 11 x 15,3 cm bzw. 14,3 x 22,6 cm (Blattmaß). A krater vase with veduta painting, Stobwasser, circa 1820 A krater vase with veduta painting, Stobwasser, circa 1820Oil and lacquer painted iron-sheet. Body in granite optic on the outside, the inside gilt. On a round stepped foot. The obverse and reverse of the vase with rectangular cartouches trimmed with brass bands depicting polychrome views. One view shows (tr.) "Argenfels Castle" after J. Stokes modelled on a drawing by William Tombleson. The mouth with profiled brass ring. On the sides two three-dimensional handles in the shape of fauns’ heads of gilt pewter. Unsigned. One dent in the body, gold partly rubbed. Dimensions 25 x 21 x 24.5 cm. Comes with a steel engraving by J. Stokes which served as a model, minimally stained, dimensions 11 x 15.3 cm and 14.3 x 22.6 cm (dimensions of sheet), respectively.Condition: II
AN ATTIC RED-FIGURE COLUMN KRATER ATTRIBUTED TO THE LENINGRAD PAINTER, CIRCA 480-460 B.C. Side A: depicting two horses with riders, a band of elongated lotus bud chain on the neck; side B, with three conversing draped male figures, the central figure holding a staff, the scenes framed by double columns of dots, a band of short tongues above, double bands of dots around the side of the rim and linked lotus buds around the top of the rim, palmettes with linked scrolls on the handle plates, rays emanating from the foot 44.5cm high Literature: Alastair Langlands (Text), HRH Prince of Wales (Foreword) Tessa Traeger (Photographs) Robert Kime, London, 2015, page 44 & 49 (Upper Farm, Wiltshire, 1987, where it notes on page 48, '...a Greek vase that Robert found [probably in an antique shop] in 1000 pieces; together they are a clue both to Robert's fondness for very disparate objects, and to the way that he puts them together.' The Leningrad Painter was part of the Mannerist workshop, whose painters were stylistically linked and were known for their stiffly depicted garments, as well as rather small-headed figures. For another column krater, the rim similarly decorated with lotus buds, palmettes and double dots, attributed to the Leningrad Painter by J.D. Beazley, cf. BAPD 206530, in the Louvre Museum, Paris: MNC478. Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Repaired and restored from multiple fragments. The restored areas have largely been left undecorated, though the colour approximately matched to the background. They are 'obvious' restorations. Both handles have been re-attached with some infill at the top and around the base of the handles. The rim has some chips with patches of restoration, though the majority of the rim as well as the handle plates has good decoration remaining with no apparent over-painting. The restored areas have been left undecorated. The base has been re-attached. A hooped crack is visible on the underside of the base, as well as from the exterior. The section, measuring approximately 9cm x 6cm has been re-attached and re-glued with some infill along the edges. Some re-painting of the rays extending up from the base. Side A: the upper torso and head of the horseman on the left are missing, the front of the horse and horseman with spears on the right are missing. The losses have been replaced by infill. Further lines of restoration cut through the remaining figures and the left vertical panel behind the left horse. The decoration that does remain is clear and well defined. The right vertical panel only has the bottom right corner remaining. Side B: All three figures have lines of restoration but this does not affect the heads. Much of the original decoration remains, though the surface is worn and abraded in places. The left vertical panel behind the far left figure has been largely restored. Much of the black glazed neck has been restored with other patches repaired with infill. UV photographs are available and show up the areas of restoration quite clearly Please see additional images for visual references to condition which form part of this condition report. Dreweatts thank Joanna van der Lande for her help cataloguing and condition reporting for this sale All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
Titel: Grosse Krater-Vase genannt Vase Medicis/Redensche SorteModell: Nr. 1005, Erstausformung um 1830Dekor: Schauseitig fein gemalte Ansicht von Schloss Sanssouci in Potsdam bzw. Brandenburger Tor in BerlinManufaktur: KPM Berlin um 1941Marke: Zeptermarke unterglasurblau, Reichsapfel aufglasurrot, Presszeichen und JahreszeichenMasse: Höhe 42,5 cm, Durchmesser 28,5 cmLiteratur: Abbildung der Form in E. Köllmann „Berliner Porzellan“, Tafel 219aErhaltungszustand: Eine am Schaft unsichtbare Restaurierung, sonst perfek
Ancient Greece, Attic (Athens), ca. 5th century BC.An astounding terracotta column krater finely decorated with black-figure scenes of a mythological processions for animal sacrifices featuring Dionysus, Hermes, and Persephone, all with incised detailing and fugitive white pigments. Side A shows Hermes, the psychopomp and protector of travelers, dressed traditionally in winged shoes and a petasos or wide-brimmed cap, as he leads an ox to slaughter. The animal walks alongside Persephone, queen of the underworld, who was periodically led up from Hades by Hermes. The goddess wears a diadem and holds a flower bud, a symbol of her status as a vegetation deity. Bearded Dionysus, the god of wine, stands to the right, holding out a kantharos, a vessel for wine drinking. Alternatively, side B displays a pair of nude satyrs, depicted with the bodies of men and ears and tails of horses, surrounding Dionysus who again holds a kantharos, but this time stands beside a goat. In addition to this marvelous iconography, the artist included an impressive decorative program. Each panel is framed by a pair of ivy vine motifs travelling up the sides with a tongued pattern above and a design of hanging lotus buds below. Another band of ivy vine encircles the rim while 2 palmettes adorn the tops of the handles. Used for mixing wine and water at a symposium, the form and imagery of the column krater combine to communicate strong messages on the relation of sacrifice, vegetation, regeneration, and the euphoric nature of wine. Persephone - queen of the underworld, daughter of Zeus and the harvest goddess Demeter, and wife of Hades - is associated with spring as the vegetation goddess. Furthermore, Persephone and her mother Demeter were central figures in the Eleusinian mysteries. These were elaborate festivals that took place every five years. Unfortunately, scholars know little about them as those who attended the Eleusinian Mysteries were sworn to secrecy. This said, most agree that the central theme of these Mysteries was that just as the grain returns every spring following its harvest and the winter hibernatory period, the soul returns after the death of the human body, reincarnated for the next life. The Eleusinian Mysteries were not the only Mysteries of the Greco-Roman world. There were also the Mysteries of Dionysos depicted in a famous fresco just outside Pompeii at Herculaneaum (the so-called Villa of the Mysteries) as well as Mysteries of various imported eastern gods such as Sabazios and Isis. Virtually no ancient Greek paintings have survived the tests of time. This makes the painted compositions found on ceramic vessels like this example invaluable sources of information about ancient Greek visual art. Ancient Athenian painters, including the painter of this vessel, took advantage of the large size of Attic vases which gave them more room to explore their techniques, overlap figures, present complex interactions between figures, create depth and attempt renderings of perspective. This piece has been tested using thermoluminescence (TL) analysis by Laboratory Kotalla and has been found to be ancient and of the period stated. A printed report from November 16th, 2015 is available to the buyer upon request. Professionally repaired with restoration and areas of repainting with figures liberally enhanced. Some minor chips to rim, as well as expected surface wear, commensurate with age. Otherwise, vessel has an excellent presentation with strong imagery and nicely preserved detail and pigments. Arte Primitivo collection label on interior. TL holes under handle and top rim. Size: L:320mm / W:380mm ; 4.4kg Provenance: Property of a London Ancient Art gallery, formerly East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010.
Ca. 350-300 BC.A finely modelled pottery krater with a large, rounded body, providing ample space for the containment of liquids or other substances. The broad rim of the vessel serves as an opening for easy access and pouring. Two upraised handles are skillfully attached to the sides, allowing for convenient transport and manipulation of the krater. This vessel stands upon a flared, pedestal foot, providing stability and elevation. This pedestal foot not only adds structural support but also contributes to the overall aesthetic appeal of the vessel. The decoration adorning its surface contains hand-painted linear bands encircling the vessel, creating visually pleasing patterns that enhance its allure. Horizontal registers of spiral motifs, intricately rendered, further embellish the vessel. Kraters were multifunctional vessels widely used in ancient Daunia, a region in southern Italy. Primarily, they served as mixing and serving vessels for a variety of liquids, such as wine, water, or oil. These kraters played a crucial role in communal feasting and social gatherings, where they were utilized to dilute and serve wine or other beverages. They acted as central elements of conviviality, fostering a sense of community and shared experience. Size: L:180mm / W:190mm ; 845g Provenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection.
Ca. 400-300 BC.A beautiful red-figure terracotta krater with a broad rim, bell-shaped body flanked by two lug handles, and a pedestalled ring foot. Side A depicts a cloaked female figure holding a patera and a mirror, she seats in fornt of a nude male, who holds a bucket and a wreath. Side B features two youth males clad in chlamydes facing each other. The scenes are separated by vegetal motifs and are framed by a wreath of laurel around the rim, and a geometric frieze below running around the whole of the vessel. Kraters were ancient Greek vessels used for diluting wine with water; they usually stood on a tripod in the dining room during a symposium (drinking party), where wine was mixed. Ancient wine was considerably stronger than its modern counterparts and often had to be mixed with water, honey, and spices. Kraters were made of metal or pottery and were often painted or elaborately ornamented. In Homer's Iliad, the prize offered by Achilles for the footrace at Patroclus's funeral games was a silver krater of Sidonian workmanship. The Greek historian Herodotus describes many enormous and costly kraters dedicated at temples or used in religious ceremonies to hold libations. Cf. Christie's, Live Auction 1915, Antiquities, 6 December 2007, Lot 133. Size: L:305mm / W:300mm ; 2.46kg Provenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection.
Paar Kratervasen im Stil von Lalique Farbloses Kristallglas. Quadratischer, massiver Fuß und Schaft, der glockenförmige Korpus mit quadratischem Querschnitt und belegt mit Akanthusblattrelief. H. 29,8 cm.A pair of French crystal glass krater vases in the style of Baccarat.Frankreich. Ende 20. Jh.
A LARGE 'ARTIFICIAL STONE' VOLUTE KRATER VASE AFTER THE ANTIQUE ATTRIBUTED TO COADE LAMBETH, CIRCA 1830-1860 Of conventional Greek form with relief band of centaurs fighting Lapiths, no visible stamp 82cm high, 48cm wide across the body The vase is closely related to the form of the Townley Vase, excavated from the Villa of Antoninus Pius by Gavin Hamilton in 1773, and held in the British Museum since 1805 (accession number 1805,0703.218). Condition Report: Some surface wear, marks, knocks and scratches as per age, handling, use, and cleaning. Dirty surface with some residual plaster (?) traces around relief decoration- which has some suffered some wear and loss Both handles and foot restored. The foot with evident cracks and with stabilisation through plaster moulded into underside of foot. Heavy and will require careful handling. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
An Attic-style red figure pottery krater, mid-20th century, Continental, decorated with battle scenes,41cm highThe Accumulations of a Cotswold Antiques Dealer: The David Pickup Edit.Condition ReportScratches to the surface present, and minor loss of paintwork to the figural scenes. A small chip to the rim which is glazed, and another small chip to the base, which has been glazed. Generally appears to be in good aesthetic condition.
Ca. 350-300 BC.A pottery krater with a meticulously shaped, inverted bell-shaped body with a generously flaring rim, evoking a sense of elegance and sophistication. Its form is further accentuated by the presence of a splayed, circular foot that provides a stable foundation for the vessel. The presence of a pair of opposing handles emerging from the shoulder, enabling easy handling and transportation. These handles, meticulously adorned with splayed designs, exhibit the artisan's attention to detail. The body of the krater is adorned with bands of varying thickness, beautifully rendered in brownish hues, encircling the foot, the mid-section, and the rim, enhancing its visual appeal. Kraters such as this one were primarily used for mixing and serving wine. The Daunians were known for their skilled craftsmanship and mastery of pottery production. Flourishing in the ancient region of Apulia in southeastern Italy, the Daunians developed a distinctive style characterized by intricate decoration and refined forms. Their pottery often showcased ornate motifs inspired by nature, as evident in the present krater's band of vegetal tendrils and leaves adorning the shoulder. Size: L:160mm / W:170mm ; 560g Provenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection.
Ca. 500-425 BC.A ceramic krater that embodies the beauty and functionality of pottery in the ancient world. This large krater features a funnel-shaped neck, twin loop handles on the shoulder, and a pair of zoomorphic protomes, all crafted with remarkable precision and attention to detail. The body is adorned with intricate brown painted lines that run along the exterior and interior of the funnel, adding a touch of artistry to its functionality. The krater was a staple of ancient Greek and Italian pottery and was primarily used for mixing wine and water. For a similar, see The Museum of Fine Arts, Budapest, Inventory number T.687. Size: L:240mm / W:250mm ; 2.12kg Provenance: Property of a central London Gallery; formerly in a South English estate collection; acquired in the 1990s from Andre de Munter, Brussels, Belgium; previously in and old European collection.
A large and impressive fragmented Greek black attic pottery krater vase, 5th century BC and later, decorated with panels of classic figures, 46cm high x 44cm wideOur client's Grandfather started the collection: Joseph Duncan Steel born in Southampton in 1910, he was a son of a White Star Line Captain. Engineer by trade hence his love of things well made but poet and historian by nature with an endless curiosity, all qualities which led to his passion for collecting in the 1950/60s, including the family car - a 1936 Rolls Royce! Father: Roberto Gnisci, born in Rome in 1942, was an engineer by profession, but purchased his first Roman coin at the age of 8 and continued to pursue his passion for collecting antiquities throughout his life, especially between 1970s to late 1990s.The vessel has undergone lots of repairs over its life .Please see the extra images supplied.
Ca. 400-300 BC.A red-figured krater, crafted from black-glazed pottery features a pear-shaped body, inverted and resting upon a circular base with a flared foot, visually separated from the body by a prominent groove. Positioned between the shoulder and the mouth, two handles adorned with palmettes provide practicality and visual appeal. The striking aspect of this krater lies in the adornment on both sides, presenting detailed portraits of the "Lady of Fashion" who faces left. Each delicate head showcases meticulous facial features, including a gracefully shaped nose, closed lips, and small eyes. The figures are adorned with a radiant stephane, ribbon sakkos, and elegant jewelry, such as necklaces and earrings, adding a touch of opulence and femininity. To further enhance its aesthetic appeal, the krater is embellished with multiple registers of repeated geometric motifs, including meanders around the rim. The neck of the vase is adorned with intricately rendered ivy tendrils, a common decorative motif in ancient Greek art symbolizing fertility, growth, and Dionysian associations. In ancient Greece, kraters like this fine example held significant functional roles. They were primarily used as mixing vessels for diluting wine with water during symposia, social gatherings where men would engage in drinking, conversation, and philosophical discussions. The large size of the krater allowed for the preparation of ample quantities of the diluted wine, catering to the needs of the participants. For a similar, see Christie's Live Auction 14230 Antiquities, 5 Jul 2017, Lot 51. Size: L:395mm / W:310mm ; 2.95kg Provenance: Property of a London Ancient Art gallery, formerly English private collection, according to the heirs possibly purchased in some auction or Art Gallery during 1970s-1980s.
An Attic black-figure volute-krater fragment with chariots Possibly of the Leagros Group, circa 525-500 B.C.5cm x 12cmFootnotes:Provenance:Vicomte Maurice du Dresnay (1863-1938) collection, Château Dréneuc at Fregreac in Brittany, inv. no. 08036.G.C. collection, Paris.with Jean-David Cahn AG, Basel (Tiere und Mischwesen X, catalogue no. 21, 2016, no. 19).Private collection, Switzerland, acquired from the above.The Leagros Group take their title from the kalos name on five of their hydriae. They are skilled in rendering overlapping figures, as can be seen on this fragment. The above fragment most likely comes from the neck of a volute krater and depicts a chariot race or start of a competition. Chariot racing was a sport practiced by the Athenian elite, where it was the owners of the horses and chariots, rather than the drivers, whose names were entered into the races. For further discussion on chariot racing by the Greeks see, P. Schertz, 'From Myth to History: The Chariot in Ancient Greek Art', The Horse in Ancient Greek Art, Middleburg, 2018, pp. 39-51.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Lucanian red-figure bell-krater Attributed to the Anabates Painter, circa 400-375 B.C.23cm highFootnotes:Provenance:with Mythes et Legendes, Paris, March 1999.with Charles Ede Ltd, London. Private collection, Herefordshire, acquired from the above on the 15 June 2000.The Anabates painter was a successor of the Amykos Painter, who had an established workshop in Metaponto, South Italy. His namesake vase in the British Museum (acc. no. 1978,0615.1) shows a victorious youth jumping off his horse in front of Nike. The youth has just participated in the anabates race, where the riders dismount their horses before the finish and run alongside them holding the bridle. Other stylistic features of this painter's vases include sports and symposia, as well as a penchant for depicting draped males on the reverse of his kraters, like the vase shown above. For further discussion on the Anabates painter see A.D. Trendall, Red Figures Vases of South Italy and Sicily, London, 1989, pp. 55-56; cf. the Silenus head of this vase to that on a bell-krater from Bari, pl. 47.3.For further information on this lot please visit Bonhams.com
A South Italian red-figure bell-krater Attributed to the Workshop of the Cassandra Painter, circa 370-350 B.C.20cm highFootnotes:Provenance:Derek Wright (1927-2022) collection, Fritham Grange, Hampshire.This bell krater is attributed to the Workshop of the Cassandra Painter, among the head-vases near the Seated Nike Painter. The Cassandra Painter's characteristic style in female heads included a close-fitting sakkos patterned with dotted stripes and dotted clusters. The above krater can be compared with A. Trendall, The Red-Figure Vases of Lucania, Campania and Sicily, vol. II, Oxford, 1967, pl. 92: 6 & 7.For further information on this lot please visit Bonhams.com
A BLACK FIGURE VOLUTE KRATER VASE IN THE GREEK STYLE ITALIAN, 19TH CENTURYGlazed terracotta 43cm high, base 15.5cm diameterCondition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. Both handles and foot rim with restorations, some wear and loss to painted decoration to vignettes to body- Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
A BLACK FIGURE KRATER VASE ITALIAN, EARLY 19TH CENTURYGlazed terracotta, on later wooden socle 43cm high, the base 12cm diameter Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. As per cataloguing- base is later painted wood- almost certainly with some retsoration around the junction point of body adn foot- internal visible glue filler section. Some spot retouching under UV visible to right of Athénienne and to her basketPlease see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of description All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
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