< Previous36A RED-FIGURE KANTHAROS WITH OWL H. 9 cm. Clay. Apulian, 2nd quarter of 5th cent. B.C. CHF 4,800 A kantharos with near vertical walls flaring outward at the top and resting on a ring foot. An owl stands in three-quarter view with face shown frontally, framed laterally by upright olive branches, and with an ornamental band of maeanders below. The reverse features a panel of non-figural decoration, consisting of olive leaves, a lattice pattern, and egg and dart motif. The owl framed by olive branches was a popular Attic motif in the late 5th cent. B.C., and served as inspiration for local South Italian versions, such as this one. Partial sintering of the surface. Minor repair to the rim. Formerly with Parthenon Gallery, London. Thereafter, priv. coll. London. For the phenomenon of South Italian owl skyphoi, see A. D. Trendall, Red-Figure Vases of South Italy and Sicily (London 1989) 19 and F. P. Johnson, “A Note on Owl Skyphoi,” American Journal of Archaeology 59 (1955) 119–124. The shape and manner of ornament on the reverse is reminiscent of the so-called “Saint Valentine’s Class” of vases produced at the end of the 5th cent. B.C. Cf. Naples, Museo Archeologico Nazionale, no. SP450, published in Corpus Vasorum Antiquorum: Napoli, Mu- seo Nazionale 6, 42, pl. 63.3–4. 37A RED-FIGURE CUP WITH WALKING YOUNG BULL Dm. without handles 18.2 cm. Clay. Greek, Attic, last quarter of 4th cent. B.C. CHF 18,000 Within the tondo a bull with raised left foreleg strides to right on a ground line. Head in three-quarter profile; the left brow is just visible. Curly forelock between curved horns. Light wavy lines represent the folds of the dewlap. A maeander with saltire squares frames the tondo. Exterior with two palaestra scenes: On each side two heavily built athletes converse. Three are nude, the fourth wears a himation and holds a sling in his left hand. Two athletes hold strigils. Two handle palmettes framed by S-shaped tendrils; a small upright palmette in the reserved area below the handles. Reassembled from large fragments. On the interior of the beginning of one handle a small, retouched restoration. Type B kylix. Formerly priv. coll. Robert Keyselitz, acquired prior to 1974. Note on underside of foot: “Nr. 320”. The iconography and execution is influenced by cups such as those of the EKDN workshop (Eretria Painter, Kalliope Painter, Disney Painter und Painter of the Naples Hydriskai, 2nd half of 4th cent. B.C.). Cf. A. Lezzi-Hafter, Der Eretria-Maler (Mainz 1988), 24 ff., 65 ff., pls. 8, 87–91, 97. For a stylistically related representation of a bull on a calyx krater of the Marlay Painter, cf. Beazley Archive Pottery Database, Vase number 216187.38A PLASTIC VASE IN THE FORM OF A PAN’S HEAD H. 18.2 cm. Clay. Western Greek, 4th cent. B.C. CHF 13,500 The lower body of the vessel takes the form of the long neck and head of Pan, mounted on a spreading profiled foot whose reserved edge is highlighted with a wave pattern. The expres- sive grimacing face, bearded, snub-nosed and with ribbed horns rising from the forehead, is coated with a light red wash. Beard and moustache enlivened with incising, and the end of the nose, mid-forehead and temples with small perforations. Between the tips of the horns, the remains of a painted bust in a rectangular field. At the back of the head, at the base of the upright handle (now missing), reserved tongues; to either side, pairs of circumscribed palmettes. Upper half of the vessel missing; slight damage to base. Formerly the estate of Wladimir Rosenbaum (1894–1984). Published: Brussels Ancient Art Fair (BAAF III), Cat. June 2005, advertisement for Galleria Serodine, Ascona, illus. For the type cf. the Apulian head vessel Kassel T 748. In both vessels, the head is mould-made whereas the horns and ears are hand-modelled and attached. The neck was made using a potter’s wheel. Both vessels are of similar size and have skin coloured red. However, the details of the vessel in Kassel are painted whereas in this vessel they are incised.39A STATUETTE OF A YOUTHFUL SATYR H. 11.6 cm. Bronze. Greek, Hellenistic, 2nd–1st cent. B.C. CHF 12,000 Nude satyr standing with his upper body tilted backwards, probably indicating a state of inebriation frequently encountered amongst these members of Dionysos’s entourage. Head with short hair, pointed ears and possibly short, stubby horns. The right arm is raised and may have once held a thyrsus. The left arm is angled at some distance to the body. Due to the characteristic arm position, a typological connection to the “Pouring Satyr” is conceiv- able. Pubes represented. The tense, almost dramatic play of muscles which affects even the smallest muscle results in a “restless” surface which is typical for the Late Hellenistic Period. Lower part of legs, left hand and a part of the right arm missing. Surface slightly corroded in places. Cuprite patina. From the estate of Dr. Roland Maly (died 2005), Switzerland; the main part of this collection comes from Coll. Dr. Jacob Hirsch (1874–1955). For the plasticity and rendering of the surface, cf. a bronze in the Walters Art Gallery, Baltimore, in: E. D. Reeder, Hellenistic Art in the Walters Art Gallery (Baltimore 1988) 156 f., no. 66.Next >