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Circa 300-350 BC.A finely modelled Daunian pottery 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 vegetal motifs in hues of cream and orange.Size: L:173mm / W:170mm; 640gProvenance: 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 an old European collection.

An Early Apulian black-glazed bell krater Circa 5th Century B.C.With a reserved lower body, base, and band of laurel beneath the rim, 32cm highFootnotes:Provenance:With Dr Christoph F. Leon, Basel.Acquired by the present owner from the above on the 15 October 1998.For further information on this lot please visit Bonhams.com

A large Coptic wall hanging Circa 5th-6th Century A.D.Of linen and natural, red, pink, green, ochre and dark brown wool, composed of four horizontal bands of fruit bowls, the red fruit contained in pedestal krater-shaped vessels, interspersed with red, green and pink flowerheads, with heart-shaped floral buds in the vertical borders, 190cm x 140cmFootnotes:Provenance:With Galerie Samarcande, Paris.Acquired from the above on the 3 March 1981 by Ms Roudabeh Alam.Bequeathed from the above to the present owner.It is likely that wall hangings such as the above were used in a domestic setting. The dry climate was helpful in the preservation of Coptic textiles, although it is unusual for a large hanging to survive in such good condition. There is another Coptic hanging dated to the 5th Century A.D., in the Metropolitan Museum of Art which includes similar fruit (in baskets) and floral rosettes in the ground, coll. no.90.5.905. There is also a rosette motif of similar colours, coll. no.2002.494.855. These textiles would have been woven by Coptic Christians in workshops that continued to function into the early Islamic period.For further information on this lot please visit Bonhams.com

Kelch- bzw. Krater- und Pokalform. Dekor in "Tango-Farben" aus hellgrünem, farblos überfangenem Opal- und schwarzem Glas; "Ausführung 165" bzw. "170" mit gestreuten, einzelnen Ornamentmotiven sowie Perlreihen in schwarzer und weißer Emailmalerei. Entw. wohl Dagobert Peche, um 1914. H. 12,2 cm-22,5 cm.Provenienz: Aus dem Nachlass Dr. Zahn, Norddeutschland. Vorwiegend auf internationalen Auktionen, Messen und Glasbörsen in den 1980er bis 2000er Jahren zusammengetragen. Three Bohemian Loetz vases probably designed by Dagobert Peche. Green and black glass with black and white enamel decor.Böhmen/Tschechoslowakei. Klostermühle. Loetz Wwe. Um 1914-1920.

1st century A.D. A Graeco-Roman turquoise blue faience jar probably made in Roman Egypt, in a form similar to that of a Greek column krater, with a broad shoulder and rim, two angled strap handles with scalloped ends, band of raised scales to the shoulder, lotus leaves to the body and shoulder; restored. Cf. The Metropolitan Museum, accession number 2021.41.171, for a very similar example; cf. Grimm, G., 'Two Early Imperial Faience Vessels from Egypt', Miscellanea Wilbourriana 1, The Brooklyn Museum, New York, 1972, pp.71-100, fig.10, for a discussion of similar vases in the Museum of Egyptian Antiquities, Cairo. 2.2 kg, 21 cm wide (8 1/4 in.). Acquired on the European art market mid 1990s. with Bonhams, Knightsbridge, 22 September 1998, lot 31. with Bonhams, Knightsbridge, 22 April 1999, lot 641. with Christie's, London, 18 October 2005, lot 10. Previously with Mansour Gallery, London W1. Property of a North West London gentleman. Accompanied by a copy of the relevant Christie's and Bonhams catalogue pages.

Circa 5th-3rd century B.C. A green glass krater with two applied handles and splayed foot; areas of iridescence. 394 grams, 14.8 cm wide (5 3/4 in.). Acquired in the 1980s-1990s. Previously with Mansour Gallery, London W1. Property of a North West London gentleman.

2 Vasen, weiß, Fürstenberg, Krater- und Trompetenform, H. 13cm und 15 cm

MALER/IN 18./19. Jh., "Stillleben mit Blumenbouquets", die Blumen in und vor einer Kratervase drapiert, Öl/Leinwand doubliert, HxB: ca. 61x51 cm (75x65 cm mit Rahmen). Craquelé, Berieb und Knickspuren am Rand. Mit Rahmen.| PAINTER 18./19. Century, "Still life with bouquets of flowers", the flowers draped in and in front of a krater vase, oil/canvas relined, HxW: approx. 61x51 cm (75x65 cm with frame). Craquelé, abrasion and crease marks on the edge. With frame.

"Leuchter-Mohrin", kalt bemalte Bronzeplastik um 1900 in Art der Wiener BronzenAuf einem "Landschaftssockel" stehende weibliche Figur mit schwarzer Hautfarbe und maurischem Kostüm, in der linken Hand einen Feuer-Krater auf Stange haltend, Bronzeplastik um 1900 in Art der Wiener Bronzen, kalt bemalt, H 23,5 cm

PAAR EXQUISITE LEUCHTER IN VASENFORM EMPIRE. Thomire, Pierre-Philippe. Paris. Datierung: 1. Hälfte 19. Jh. Technik: Bronze, vergoldet. Beschreibung: Quadratische Plinthe mit Lanzettblatt und Palmetten, darauf rechteckiger Sockel mit aufgelegten Weinblattkränzen. Die große aufgesetzte Krater-Vase mittig mit Bacchantin bzw. Bacchant in flachem Relief. Oben aufgesetzt sechsflammiger Leuchteraufsatz mit kurzen geschwungenen Armen. Maße: Höhe je 50cm, ø 28,5cm. Marke: Unten am Sockel bez. 'Thomire A Paris'. Provenienz:Privatsammlung Berlin.Literatur:Cohen, David Harris Cohen: Pierre-Philippe Thomire - Unternehmer und Künstler, in: Hans Ottomeyer u. Peter Pröschel: Vergoldete Bronzen, Bd.2. München 1986, S. 657-665.Der herausragende Bronzier Pierre-Philippe Thomire demonstriert nicht zuletzt in dem hier vorliegenden Paar Girandolen seinen virtuosen Umgang mit dem Werkstoff Bronze, sondern zeigt in seinen Entwürfen auch ein großes Gespür für die räumliche Wirkung seiner Arbeiten. Pierre-Philippe Thomire Frankreich Einrichtungen und Dekorationen 19. Jahrhundert GirandoleErläuterungen zum Katalog

Greek, Daunian, krater, ca. 4th century BC, with depiction of geometrical lines and zoomorphic figures. Provenance Frau G. Wein, Baiersbronn, Germany, '60-'70's and private Dutch collection. With Kotalla test, nr. 05R090317. h. 26 cm. [1]

An Apulian red-figure bell krater, with bacchanalian scene, side (a) with two naked satyrs, three females and an amphora; side (b) with three himation clad figures their backs to the viewer, split palmettes under each handle, meander along the baseline and wreath of laurel around the rim, Magna Graecia, South Italy, circa mid 4th Century B.C., 36cm highProvenance:Private London collection formed between the 1980s-1990s.front: wear

Pottery krater with red figures on a black background. Greece. 4th century B.C. 33 x 33 cm.Provenance: Acquired in Maître Carallol. Biarritz. Assisted by the expert M. Pierre Laporte of Paris. Auction on the 10th August 1983. Lot 69.

Krater und Wolke Nr. 7. Herausgeber G. Baselitz. Mit Texten der Künstler, zahlreichen, teils ausfaltbaren Textillustrationen, mehrfach gefaltetem Poster und 6 Orig.-Graphiken von G. Baselitz, J. Immendorff, P. Kirkeby, M. Lüpertz, A. R. Penck and D. van Vliet. 30,5 x 23,5 cm. OBroschur in Pappschuber. Köln, Michael Werner, 1990. Wye-Weitman S. 157. - Der von Baselitz herausgegebene Schlussband VII der ambitionierten Künstlerzeitschrift. - Das ausgestanzte Widmungsblatt für Penck sowie das dahinterliegende Farbblatt mit kleiner restaurierter Randläsur. Sonst frisch und wohlerhalten.

VASE / BEISTELLER, bronzierter Zinkguss und Marmor, um 1900. Krater-Vase u. a. mit Festons auf karreeförmigem Marmorpostament und Ballenfüßen, die Schauseite des Sockels dekoriert mit Lorbeerblättern als durchbrochen gearbeitete Metallmonturen. Vase mit herausnehmbarem Einsatz. H. 27,5 cm (Alters- und Gebrauchsspuren).

Krater- und amphorenförmig. Kobaltblauer und weißer Fond. Schauseitig teilw. in vierpassiger Goldrankenreserve gerahmtes Blumengebinde in polychromer Malerei. Goldstaffage. Teilw. minim. best.; Schwertermarke. H. 18,5 cm - 23 cm. Two porcelain vases with flower decor. Partly minor chipped. Crossed swords mark.Meissen. 2. Hälfte 20. Jh.

Ca. 400 BC A red figure ware Apulian Krater with pedestal foot, cylindrical stem, inverted bell-shaped body and two lug handles protruding from the sides. The painted scenes show (side A): a seated female, holding a fan and a wreath; (side B): a standing, winged figure of goddess Nike sacrificing over an altar, holding a patera and a branch. The scenes are framed by an upper and lower geometric border and flanked by vegetal motifs. Kraters such as this would have been used for mixing wine at drinking parties.This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot.Size: L:240mm / W:245mm ; 1.25kgProvenance: From the private collection of a Kent gentleman; previously in an old British collection, formed in the 1990s on the UK /European art markets.

Ca. 400 BC A very rare type of ceramic krater with a deep funnel-shaped neck, twin loop handles on the shoulder, and between each handle a vertical zoomorphic protome in a form of a fox head. The body is decorated with red and brown encircling bands and panels around the shoulder.For a similar see Museum of Fine Arts, Budapest, Inventory number T.687."Size: L:210mm / W:240mm ; 1.69kgProvenance: Property of a London gallery; formely in High Wycombe Estate collection; formerly acquired on the UK Art market pre 2000.

Ca. 400 BCA large ceramic funnel krater with a large funnel-shaped neck, twin loop handles on the shoulder, and between each handle a vertical hand-shaped protome. The body is decorated with red double bands running vertically around the shoulder. For similar see The British Museum, Registration number 1912,1220.9.Size: L:225mm / W:240mm ; 2170gProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed before 2000 on the UK /European art markets.

A George III silver squat teapot of volute Krater form, London 1809 by Peter & William Bateman with hinged cover, scroll handle and short spout. Supported on a spreading moulded foot. 26.3 ozt, 17 cm high overall.

2 Bände "Krater und Wolke", bestehend aus Nr. 6 und Nr. 7, Nr. 6: Winkler, Ralf (A. R. Penck), Herausgeber, Köln 1990, Michael Werner, 250 Seiten mit meist farbigen und meist ganzseitigen Abbildungen, am Ende 6 Originalgrafiken von Georg Baselitz, Jörg Immendorff, Per Kirkeby, Markus Lüpertz, A.R. Penck und Dan Van Vliet, Format 31x24,5cm, in Schuber und Nr. 7: Baselitz, Georg (Redakteur), Köln 1990, Michael Werner, A.R. Penck gewidmet, mit 6 Originalgrafiken von Georg Baselitz, Jörg Immendorff, Per Kirkeby, Markus Lüpertz, A.R. Penck und Don Van Vliet, im Schuber, 31 x 24 cm

{Miniatur-Krater} mit Untersatz. H 9 cm. 100 g

Große KPM-KratervaseHöhe: 43,5 cm.Durchmesser (Rand): 29 cm. Zeptermarke, Berlin.Weißporzellan, glasiert, mit eingezogenem Rundfuß auf quadratischer Basis. Die Wandung glatt, weitet sich nach oben, mit ausgestellter Lippe. Am Unterteil seitlich je eine henkelförmige Adlerfigur mit an den Vasenkörper angelegten Flügeln, verbunden durch Eichenblatt-Festons. Die Adler stehen hier für das preußische Wappentier. Minimal besch. (kleiner Chip am Profil, kleiner, kaum sichtbarer Ausbruch an der Vasen-Fuß-Verbindung). A. R. (12918213) (11)Large KPM krater vaseHeight: 43.5 cm.Diameter (lip): 29 cm.Scepter mark, Berlin.

AFTER THE ANTIQUE, A LARGE CARVED MARBLE MEDICI VASE ITALIAN, 19TH CENTURY Of Krater form, twin handles flanking figural frieze, fluted pedestal base 70.5cm high, base 32cm wide Provenance: Property from the Kingshott CollectionThe Uffizi museum, where the original 1st century AD Greek vase is held, records that conservation work carried out on it in 2017 confirmed that when discovered in Rome in the 16th century the vase had been shattered into over a thousand pieces. The vase was subsequently restored but traces still remain today of its original polychrome colour scheme of blue, red and gold. For a vase of similar proportions please see Dreweatts Fine Furniture Auction, lot 358 30th March 2021 sold with a marble pedestal £11,000. 

An early 20th-century heavy silver oil lamp, London 1910 by Lamberts of London. The low Krater form body with pineapple mounted lid, pinched s[pout and serpent handle. 9 ozt, 15 cm long x 10 cm wide x 7 cm high.The finial is missing a ferule/spacer

A Wedgwood Greek Krater shape Bough pot, Wedgwood blue jug and a group of other Wedgwood (a/f)

Magna Graecia red-figure crater, 4th century BC.Polychrome pottery.Provenance: Spanish private collection A.B.Measurements: 31 x 32.5 cm.Ceramic vessel with a circular base, a bell-shaped body with two handles, almost hidden under a pronounced rim at the top, which also opens outwards. The exterior of the piece is decorated on the obverse with the figures of Dionysus and a Menade, a figure from the Bacchic entourage, facing the front. The lady wears a chiton and holds a fiale in her right hand. The nude male figure, wearing only a toga covering his back, offers her a tray and holds a palm branch. The reverse shows two ephebos conversing.The name of this type derives from its inverted bell shape, which opens from the base, a shape adapted to the function of this vessel. Craters such as this one were key utensils in the banqueting culture, as they were used to mix wine with water before drinking it, since the Greeks rarely drank pure wine. Once mixed with water, the wine was drunk directly from the krater using small vessels. The shape of the krater is therefore perfectly designed to facilitate the mixing of liquids and their subsequent extraction.Red-figure pottery 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 technique consisted of painting the motifs on the piece while it was still wet, using a transparent varnish which, when fired, acquired an intense black hue. The motifs were therefore invisible before firing, which meant that the painters had to work entirely from memory, without being able 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.

Bell-shaped crater with the figure of a satyr. Magna Graecia, Campania, 4th century BC.Ceramic with red figures.Provenance: Private collection, Fontainebleau, France.In perfect condition. Intact. Only a slight nick on the base.Measurements: 19.5 cm (height) x 20.5 cm (diameter).Magna Graecia bell krater, made of ceramic and decorated with figures in reserve, in red and white, on a background of black varnish. On one side there is a scene depicting a woman seated on a stool, assisted by a lady and a man, the latter naked and wearing a cloak over his shoulders. The lady serves her food on a tray and holds a palm leaf, and the boy offers her an ornate mirror. On the opposite side we see three robed men in a frieze composition. Between the two figurative scenes, under the handles, there are palmettes flanked by brackets. At the base of this main band is a border of curved fretwork, and below the mouth is a laurel wreath.The krater was a large vessel, intended to contain a mixture of water and wine. It was carried to the place where the meal took place, placed on the floor or on a platform. The cupbearer administered the drink with a spoon or jug, and then filled the cups of the guests. The type known as 'bell-shaped' has small horizontal, protruding, upward-facing handles and an inverted bell-shaped bowl; it is a late type. The chalice krater is a more modern type than the column and scroll kraters, although it predates the bell krater, and its shape, with an almost inverted trapezoid profile, is reminiscent of the flower chalice.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.The technique consisted of painting the motifs on the still-wet piece, using a transparent varnish which, when fired, took on an intense black hue. The motifs were therefore invisible before firing, which meant that the painters had to work entirely from memory, without being able 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.

Gr. Deckelvase, Barock-Stil,wohl Italien 20. Jh. Weiß glasiert. Breiter Krater auf kl. Rundfuß u. quadrat. Stand. Obenauf gr. gewölbter Deckel m. gr. Zapfenknauf. Schulterzone umlaufend m. plast. Lorbeer-Festons, d. gr. Volutenhenkel m. bärtigen Maskerons verbindend, dazw. an Wandung antikis. Reliefs über Kreuzband-Profil. Fuß m. Blattreliefs, d. Deckel breit gerippt. Am Boden unterglasur-blauer Stempel "N" m. Krone. Montierung leicht gelockert, Deckelkante unten m. minim. Brandriss/ Chip. H 50,6 cmBlattrelief, Girlanden, Festons, Historismus, Kreuzbandrelief, Lorbeer, Louis - XVI, Maskeron, Relief, weiß

A LARGE TWIN HANDLED LEAD GARDEN URN POSSIBLY FRENCH, LATE 19TH/EARLY 20TH CENTURY Of Hellenistic krater form, swan head decoration beneath the twin handles 75cm high, 45cm wide Provenance: Property from the estate of the late Joe Constantine.  

A PAIR OF FRENCH BRONZE AND PARCEL GILT VASES OF VOLUTE KRATER FORM LATE 19TH CENTURY Each with scrolling handles with swan heads, over baluster shaped bodies cast in relief with classical figures, raised on domed feet, turned slate pedestal baseseach 29cm high overall, the bases 11.5cm diameter and 9.5cm highThe proceeds of this lot will be donated to the Ukraine Crisis AppealCondition Report: Both with dirt accreting to surfaces- some engrained, rubbing to raised edges and detailing notably figures to friezes, bases with some nibbles and minor chips to edgesPlease refer to additional images for visual references to condition which forms 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

A DOULTON STONEWARE TWIN HANDLED URN ON STANDEARLY 20TH CENTURYOf volute krater form, pedestal with impressed marks to urn and base 138cm high overall, the base 36.5cm wideCondition Report: With marks, knocks, scratches, abrasions consistent with age, handling, cleaning and everyday useWeathering, moss and colour variance in colour from garden use- the body with several patches of what looks to be salt egress- the tops of the bird moulded sections under each handle with crusting- not sure what this is- possibly dirt deposit or it may be surface deteriorationThe plain cylindrical section between floral moulded stem with area of loss- losses also to name stamp on urn and to exposed edgesPlease see additional images for visual references to condition which forms 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

AN ANCIENT GREEK STYLE CALYX-KRATER VASE. Dia. 44cms.

Late 4th century B.C. A red-figure bell krater with an inverted bell-shaped body, decorated on both sides with a female face in profile, wearing a pearled stephane, long pendant earrings, a necklace of black pearls and looking into a mirror; foliage and vegetal pattern in shape of palmette under the small looped handles; meander decoration below the rim. Cf. Lojacono, A., 'Vasi Apuli a Milano, Nuove Acquisizioni' in LANX, 24, 2016, fig.7, no.4, pp.94-95. 1.27 kg, 24.2 cm high (9 1/2 in). Acquired 1960-1980. Dr Harold Berry, North London, UK. The images of the palmettes under the handles in this typology, is usually specular. Each figure was silhouetted against a black background, allowing painters to portray details with more accuracy and variety. [A video of this lot is available to view on Timeline Auctions Website] Fine condition, base chipped.

c.540-460 B.C. A terracotta kyathos or single-handled cup composed of a carinated body with deep shoulder, high handle, slender stem and broad foot. See Rasmussen, Bucchero Pottery from Southern Etruria, p.116; pl.36, no.203, is closest in form to this example (this is Rasmussen’s kyathos type 4b). 340 grams, 17.7 cm high (7 in). Private Orange County collection, USA. Ancient Resource, auction 28, 1 March 2014, lot 220. Private Australian collection. Accompanied by an illustrated two page collector's cataloguing document. Accompanied by a copy of the Ancient Resources listing. The kyathos was used to ladle wine mixed with water from a krater into a drinking cup. Rasmussen, ibid., notes that this is the commonest of the kyathoi in the first half of the sixth century, and most examples can be dated to this period. The type begins in the last quarter of the seventh century and may last up to the third quarter of the sixth. Rasmussen notes that the handle is given a plain crest or is simply thickened and is usually surmounted by a flat button as in this instance. Such pieces may be undecorated or, alternatively, have incised lines or vertical striations on the bowl, as well as groups of incised lines. Turfa, Catalogue of the Etruscan Gallery, p.199, suggests that this simple form with the flattened crest or button on top of the handle, the most canonical of its category, seems to have been made in Caeretan workshops, and probably elsewhere; Tarquinian examples were more ornate. There are many parallels and variants on this type. Examples include CVA Parma – Museo di Antichità II, pl.6.5 (Inv. C.308), height 17.0cm, dated to the second half of the sixth century; example from first half of sixth century from Orvieto in the Etruscan Gallery at the University of Pennsylvania Museum of Archaeology and Anthropology (MS 3214); published as no.202, in Turfa, ibid., p.199. Hayes, Etruscan and Italic Pottery in the Royal Ontario Museum, p.79, no.C27, is an example at 17.5cm high with two groups of four shallow grooves (in continuous spirals) around lower part of body. [No Reserve] For this specific lot, 5% import VAT is applicable on the hammer price Fine condition, handle restored.

Paar Kratervasen mit BlumenstilllebenPorzellan, Biscuitporzellan, pompejiroter Aufglasurfond, farbiger Aufglasurdekor, Matt- und Glanzvergoldung, originale Metallmontierung. Modell "Vase No 20-26", mit Frauenkopfhenkeln. Jeweils zweiteilig gebrannt und verschraubt. Auf der Schauseite in einem goldradierten Mäanderrahmen die fein gemalten üppigen Stileben mit Sommerblumen, Beeren, einem geflochtenen Korb, einem Rotkehlchen und einer Bronzevase mit Putten und Rocaillen. Pressmarke Bindenschild, geritzt "No. 22" (ein Krater) und "1/5". Ein Schaft restauriert, Vergoldung in Stellen retuschiert. H 33,3, D 27,5 und 27,7 cm.Nymphenburg, um 1825/30, der Dekor wohl Johann Baptist Reis (Reiß) oder Franz Xaver Nachtmann, zugeschrieben.Es liegt recht nahe, in den prächtigen Malereien der beiden Kratere die Hand von Nymphenburgs renommiertesten Blumenmaler Franz Xaver Nachtmann (1799 - 1846) zu sehen. Spätestens 1823, mit der Ernennung zum leitenden Maler des Blumenfachs (Hantschmann 1997, S. 449) erreichte Nachtmann den Höhepunkt seiner Karriere in der Nymphenburger Porzellanmanufaktur. Lange Zeit wurden solche Blumenmalereien daher ausschließlich Nachtmann zugeschrieben. Katharina Hantschmann konnte jedoch anhand der Archivalien auch Johann Baptist Ries (oder Rieß) (1753 - 1825) als hervorragenden Blumenmaler identifizieren. Eine Prunkvase mit prächtigen Früchte- und Blumenstillleben nach Rachel Ruysch, von 1824/25 (ehemals Sammlung Bayerisches Nationalmuseum Inv.Nr. 77/287, abgebildet bei Hantschmann 1997, Kat. 191), zunächst ausgeführt von Ries, nach seinem Tod 1825 vollendet von Nachtmann, ist nicht nur Zeugnis der malerischen Qualität beider Künstler sondern vielmehr ein Beweis der künstlerischen und technischen Nähe, welche diese beiden Nymphenburger Künstler vereinte.LiteraturDie Form vgl. Hantschmann, Nymphenburger Porzellan, 1797-1847, München/Berlin 1996, S. 182, Mod. 437.Zu den Künstlern s. ibd, S.331 und 449 ff.Vgl. die Fondfarbe bei Ziffer, Nymphenburger Porzellan. Sammlung Bäuml, Stuttgart 1997, Nr. 1191-1196.

Krater und Wolke. Bände 2 und 5. Mit 4 statt 5 Original-Graphiken von Baselitz (Holzschnitt, mehrfach gefaltet), Kirkeby (beidseitiger Linolschnitt, mehrfach gefaltet), Immendorf ("FF bringt's", Linolschnitt), Penck (Holzschnitt) sowie 1 Schallplatte (Jörg Immendorff - Die Vielleichtors, 33 UpM, Café Deutschland) und zahlreichen Abbildungen. Köln, Michael Werner, 1982/85. 30,5 x 23,5 cm. Original-Broschuren.Erschien in einer Auflage von 200 bis 300 Exemplaren. - Herausgegeben von Ralf Winkler. - Die aufwendig und edel hergestellte Reihe ist in insgesamt 7 Bänden erschienen und jeweils einem Künstler gewidmet, hier Jörg Immendorff und James Lee Byars. - Es fehlt die Graphik von Markus Lüpertz in Band 2. - Sehr gut erhalten.

ANCIENT GREEK APULIAN RED FIGURE BELL KRATER SOUTH ITALY, 400-300 BCE with added white details, the front showing a youth and maenad with thyrsi, a basket and drums, the back with two draped men(28cm high, 29.5cm diameter)Provenance: Private collection, United Kingdom, formed over the past forty years, formerly with Brigantia Antiques, York

ANCIENT GREEK APULIAN RED FIGURE BELL KRATER SOUTH ITALY, CIRCA 400-300 BCE with added white, the front showing young Dionysos with thyrsus receiving gifts from a maenad, the verso with two youths holding staffs(31.5cm high, 32cm diameter)Provenance: Private collection, United Kingdom, formed over the past forty years, formerly with Brigantia Antiques, York

Apulia, small earthenware krater, ca. 300 BC. with red figure painting of a nobel women seated on a leopard. (small crack on rim) Provenance: Een nalatenschap uit de Apollobuurt, Amsterdam [1] h. 17,5 en diam. 18,5 cm.

Apulian, Ca. 400-300 BC This beautiful red-figure bell terracotta krater with everted rim features a pedestal foot, a cylindrical stem, a bell-shaped body, and ear-shaped handles. One side depicts a seated aristocratic woman in a long chiton holding a phiale; she faces another chiton-clad standing woman with a mirror in her right hand. The other side depicts two laureate males clad in chlamydes facing each other. The scenes are framed by a lower geometric border and separated by palmettes below each handle. 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. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Size: L:340mm / W:345mm; 3.2kg 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 an old European collection.

Full title: A large Dutch Delft blue and white 'Venus and Adonis' jardinire, 1st half 18th C.Description:H.: 38 cm - Dia.: 30 cmÊ Provenance: - A Dutch private collection.-Exhibited at TEFAF.Ê 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. Ê 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.The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com

A large classical revival krater shaped garden vase, cast overall with dancing figures, stepped plinth, 1.24m high**Please note that some of the lots in this auction are held offsite and others may require specialist lifting equipment therefore please ensure collection arrangements are made prior to making any journey to the saleroom. Many thanks**

Krater mit SteinimitatmalereiPorzellan, farbige Aufglasurfonds in hellem Purpur, Chamois und Schwarz, Malachitimitat, radierte und gepinselte Vergoldung. Modell 1005, Redensche Vase Nr. 1. Über Farbfonds üppig dekoriert mit goldradierten Ranken, Weinlaub und Traubendolden, Efeu und stilisierten Blütenornamenten. Zwei Bänder mit grünem Steinimitat und goldradierten Vermicellifeldern. Henkel vergoldet. Blaumarke Zepter, geritzt "4 I 34". Der Schaft des Fußes sowie der Rand auf zwei Seiten über Brüchen restauriert, Vergoldung teilweise übergangen. H 28,5, D 22,5 cm.Berlin, KPM, vor 1823, das Modell von 1799.LiteraturVgl. das Modell bei Ponert, Berlin Museum, Kunstgewerbe I, Nr. 113 - 116.

Neujahrsplakette "1828"Eisenguss, schwarz patiniert. Links der antike Molosserhund aus den Uffizien, rechts der Warwick-Krater, mittig die Grabstele für General von Brauchitsch. H 6,4, B 8,7 cm.Königlich preußische Eisengießerei Berlin, 1828, das Modell von Wilhelm August Stilarsky.LiteraturVgl. Arenhövel, Eisen statt Gold, Berlin 1982, Nr. 25.

A pair of German silver figural candlesticks, cast in the Renaissance taste with scantily clad Bacchantes, the krater shaped sconces with caprine masks and Classical figures, domed bases with strapwork, acanthus and lion masks, 24.5cm high, 19th century, 804g

Feuervergoldetes Bronzegehäuse. Pendule in Form eines Säulenstumpfes mit reich verziertem Sockel auf vier Füßen, bekrönt von Krater mit Widderköpfen als Handhaben (= Schale). Verglastes Emaillezifferblatt mit röm. Ziffern und arab. Minuterie, bei der Sechs (...) Montmatre (...) gemarkt, goldene Zeiger. Rundes Messingplatinenwerk, Pendel an Federaufhängung, Schlag auf Glocke. Wohl Paris, um 1860. H. 31 cm.

A 19th/20th century whitewashed Medici-type urn, of campana form with the body relief moulded with classical figures above a pair of masks on opposing sides, 62cm diameter x 91cm highThe Medici vase is a marble krater that was sculpted in Athens in the first century BC. The vase is bell shaped and over 1.5 metres high. A krater is a vessel for diluting wine with water. Ok, but whitewash very worn.

VASE, Porzellan, Manufaktur Herend / Ungarn. Krater- Form auf karreeförmiger Plinthe und godroniertem Schaft. Gebauchte und profilierte untere Wandung mit seitlichen Handhaben und trompetenförmige Mündung. Camaieu-Malerei in Rot, Dekor "Apponyi rot" / indische Blume mit Goldakzentuierungen und Goldrand. H. 24,5 cm; D. 15,5 cm.

Pilasterspiegel. Entwurf für ein Goldgrundpanel eines Pilasterspiegels. Aquarell- und Gouachmalerei auf Papier mit Pinselgoldhöhung. Ca. 36 x 8,8 cm. Süddeutschland um 1600.Sehr hübsches, dekoratives Kandelaber-Ornament, wohl als Entwurf für ein Wandpanel oder einen Pilasterspiegel eines Spätrenaissance-Schlosses oder ähnlichem. Über einem von zwei Schmetterlingen umflatterten Sockel auf drei Löwenklauen mit antiker Plinthe erhebt sich ein langer Kandelaberstab mit verschiedenen Motiven, einem Krater mit Festons, begleitet von zwei steigenden Kranichen, darüber eine Beschlagwerkkartusche mit blauem Inschriftenfeld, aus dem zwei weitere bunte Akanthusranken in Rot und Blau sowie Gelb-Grün hervorwachsen, die den auf einem Henkelgefäß stehenden Putto flankieren. Der Putto hält an blauen Bändern zwei Füllhörner, wohl mit roten Trauben. Hinterfangen ist die minutiöse Malerei mit Pinselgold. - Eckschäden, Randläsuren, wenige Oberflächenläsuren, Pinselgold wohl stellenweise teils etwas später aufgefrischt, sehr dekorativ.

A collection of Roman and other antique oil lamps and pottery, to include a Tunisian red pottery oil lamp, circa 2 AD, with moulded decoration depicting a central altar flanked by trees with entwining snakes, stamped to the underside LMVNSVC, purchased 1984 from B A Seaby Ltd, 9.5cm dia; a Roman Arretine footed bowl with impressed Planta Pedis mark, 11.5cm dia; a terracotta oil lamp decorated with a standing goddess within a laurel wreath border, with relief moulded makers mark to the side CRE, 11.5cm, three other oil amps and a wet jar and collection of 42 Roman coinsA private Bedfordshire collector.Condition report: The open oil lamp with everted hoop rim has a star crack to the underside of the bowl and a blemish that could be a crack on the opposite side of the bowlThe Volutina sheath decorated oil lamp is restored.The redware Krater jas a large but shallow chip to the outer face of the foot rim, also some rubbing and a minor chip to the outer raised girdle, glaze chips losses to the interior and a shell chip to the inner face of the lip.The Angitia lamp shows some ancient repair , probably a kiln repair to the spout.

Circa 300 BC A wheel-thrown vase with handles.This ritual krater was also used for drinking wine mixed with water at symposia. Composed of a great egg-shaped body tapered on a circular base like a flared foot that is set off from the body by a groove. Completed with two handles on the sides placed between the shoulder and the mouth. The two big handles are in the form of volutes with gorgoneia volutes adorning the handles faces moulded in relief, the details painted with white and red. The obverse is decorated with a flowering plant inside of a naiskos, on the reverse the "Lady of Fashion". The female head is illustrated facing left and adorned with a radiate stephane, ribbon sakkos, necklace and earrings. The vase is also decorated with several registers of meanders typical of ancient Greek art, repeated geometric motifs and laurel leaves. There are large palmettes on the sides and the back is covered with innumerable wreaths. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:680mm / W:375mm; 7.8kg 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 an old European collection.

Circa 430-300 BC, Apulia A beautiful terracotta bell krater features a pedestal foot, cylindrical flared stem, inverted bell-shaped body, two upturned handles and a wide, everted rim. A beautiful example of Apulian Plain style, probably depicting a Dionysiac thiasos, i.e. the ecstatic procession of Dionysus followers, often pictured as inebriated revellers. On side of the body shows a half-nude, seated woman holding a wreath and a phiale ready for wine to be poured in. The other side depicts a standing male figure holding a situla, a ritual vessel for libations, a tambourine, and a branch. The use of white paint for additional details, such as the jewellery of the woman, and as added highlights to the scenery is indicative of this vessel having been painted in Magna Graecia (the Greek colonies of Southern Italy). Bell kraters such as this fine example first occur in the early fifth century and the only extant ones have red-figure decoration. Bell kraters were named for their bell-like shape, perhaps originating in wood, and they usually featured small horizontal upturned handles just over halfway up the body such as in this example. Some did not have a foot, and earlier examples may have had lugs for handles. Over the course of the fifth and fourth centuries BC, the shape becomes slimmer. Kraters were used for diluting wine with water and usually stood on a tripod in the dining room, where wine was mixed during a banquet (symposium). For a comprehensive treatment of Apulian red-figure vases, see: Trendall A. D., Cambitoglou, A. (1978). The Red-figured Vases of Apulia: Early and Middle Apulian. Oxford: Clarendon Press. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:350mm / W:330mm; 3.1kg 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 an old European collection.

Circa 400 BCA large ceramic Greek funnel krater with deep funnelled rim, the body with large funnel-shaped neck, twin loop handles on the shoulder, between each handle a vertical hand-shaped protome with fingers, the body decorated with red and brown encircling bands and panels around the shoulder. For similar see:Cf. S. Cassani (ed.), The Art of the Italic Peoples from 3000-300 B.C., Geneva, 1993, p. 321, no. 211.Exhibition of Greek and Etruscan Antiquities, nos. 73 & 62.Simon, The Kurashiki Ninagawa Museum, Greek, Etruscan and Roman Antiquities, nos. 80 & 81.The Museum of Fine Art Budapest: Accession number: T.688.For a comprehensive guide of Daunian pottery, see De Juliis, E. M. (1977). La ceramica geometrica della Daunia. Firenze: G.C. Sansoni. Size: L:205mm / W:225mm; 2.2kg 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 an old European collection.

Circa 300-350 BCA finely modelled Daunian pottery 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 vegetal motifs in hues of cream and orange.Size: L:173mm / W:170mm; 640g 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 an old European collection.

A pair of 19th century gilt and brown patinated krater vases, facsimiles after the antique, by Elkington, Mason & Co, in bas relief, scroll handles, 16cm high, c.1850

A ewer, 4th/5th century BC, in the style of the washing painter, together with a Bell Krater in the manner of the FB Group, 14 x 23cm

An Archaic-style Attic black figure amphora after Execias, probably 20th century, Type B, Achilles Slaying Penthesilea, 30.5cm high,together with a lekythos and a krater (3)Condition report: The amphora bearing a museum copy tag. General surface wear and scratches.

A PAIR OF LATE GEORGE III SILVER GILT TWIN HANDLED CUPS PAUL STORR, LONDON 1817 Of antique Krater form, entwined vine form handles, chased with flowering hop vines on a matted ground, with bulbous fluted bases to the cups, on plain pedestal spreading bases 12.5cm (5in) high 941g (30.25 oz)Provenance: from the collection of Victoria, Lady de Rothschild Sale Christies, London, Early English & Foreign Silver and Silver-gilt Plate, Bijouterie and Objects of Art J Dunn-Gardner Esq, 29 April 1902 John Dunn-Gardner (1811-1903) was the illegitimate progeny of a scandalous and bigamous liaison between the wife of a prominent member of the aristocracy and a commoner. However, despite such an inauspicious beginning, he had a successful political career, and was to become a major landholder. In 1807, Sarah, the future 3rd Marchioness Townshend (d. 1858), née Dunn-Gardner, only surviving daughter and heiress of William Dunn-Gardner of Chatteris House, Cambridgeshire, had married George Ferrars Townshend, Earl of Leicester, later 3rd Marquess Townshend (1778-1855) of Raynham Hall, Norfolk. A year later, she left the marital home accusing her husband of being impotent and having had a homosexual relationship with his Italian secretary. In an attempt to have the marriage dissolved, Sarah unsuccessfully sued for an annulment in the ecclesiastical courts. In 1809, she eloped to Gretna Green with John Margetts, a St. Ives brewer, who she bigamously married. Lord Leicester was disinherited by his father, the 2nd Marquess, for bringing shame on the family name, and moved abroad - although the disinheritance would not affect the descent of the peerage. Sarah went on to have several illegitimate children with Margetts, all of whom in the early years bore the Margetts name; John (eventually Dunn-Gardner) was the eldest son. In 1823, as Sarah's legal marriage had never been annulled, and by law, the children she had borne Margetts were considered the issue of Lord Townshend and thus could inherit the estates and titles, she had her children baptised with the surname Townshend. John (Dunn-Gardner) became 'John Townshend', and inherited the courtesy title Earl of Leicester. In 1841, he became Member of Parliament for Bodmin. In 1842, Lord Charles Townshend (1785-1853), George Ferrars' brother, and heir if there were no legitimate sons, petitioned Parliament to have Sarah's children de-legitimised, and in 1843, they were all declared illegitimate by a private Act of Parliament. 'John Townshend' took his mother's maiden name and became John Dunn-Gardner.  In 1859, John Dunn Gardner became High Sheriff of Cambridgeshire and Huntingdonshire, and was one of the largest landowners in Cambridgeshire. He was known for his magnificent collection of important early English silver and objects of art, which he had loaned on exhibition to the Victoria and Albert Museum, London. This collection was dispersed at Christie's on 29th April 1902, with The New York Times reporting on 4th May 1902: 'The sensational prices realised at the auctions of art objects, books, pictures, furniture and old silver in London this week easily eclipsed all records. The dispersal of the celebrated Dunn-Gardner Collection of old silver attracted buyers from all parts'.  See sale Sotheby's 27th April 2010, lot 282 for a conforming pair of 1819.Condition Report: Light scratches and wear commensurate with age and light use. Minimal wear to gilding: a touch on a few leaves to sides, light wear to handles and to footrims as expected. Marks all crisp, sit wellCondition Report Disclaimer

Satz von vier antiken Gefäßen. 8. - 5. Jh. v. Chr. Terrakotta. Zwei attische Skyphoi (H. 6 und 10 cm), 1 böotischer schwarzgrundiger Karchesion (H. 11 cm), 1 etruskischer hellgrundiger Krater mit rotbraunem Ringliniendekor (H. 10 cm). Tlw. besch. - Provenienz: Sammlung F.C. Gundlach, Hamburg. - A Set of Four Antique Vessels. 8th - 5th cent. BC Terracotta. Two Attic scyphoi (h. 6.5 and 10 cm), 1 Boeotian black-ground carchesion (h. 11 cm), 1 Etruscan light-ground krater with ring-line decoration (h. 10 cm). Partially damaged. - Provenance: Collection F.C. Gundlach, Hamburg. -