Greek Attic Black-Figure Lekythos with Fighting Hoplites

With inverted echinus lip and tall neck, a ribbed handle to each side with coiling lotus buds and palmettes beneath the handles; Side a) a running winged Gorgon depicted frontally, dressed in a black and red chiton; Side b) an aristocratic warrior wearing a Chalcidian helmet and driving a quadriga, the two central horses superimposed, the other two turned outward; a frieze of lotus buds and a band Greek key motifs below, the neck decorated with red and black palmettes, and elongated lotus blossoms; restored. 3.25 kg, 39 cm high



Acquired in Geneva in 1954. Formerly in the Y. Forrer collection, Geneva, Switzerland. Private collection, Switzerland, 1999. with Gorny & Mosch, Munich, 20 June 2012, lot 73. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.11798-206784.

This wonderful vase can be attributed to the Swing Painter, active in Athens during the last part of the 6th century B.C. Beazley named him after the subject of a girl on a swing that he painted more than once. He was a pot painter, perhaps a pupil of the Princeton Painter. His black-figure paintings included a range of mythological subjects and some quite unusual images. A very large number of vases have been attributed to his hand on the basis of style. Characteristics of his painting in the mythological scenes, are the presence of hoplites, that give a very realistic rendering of the Greek Archaic warriors of mid-6th century B.C. (München, Staatliche Antikensammlungen 1385 [J 729] Beazley Archive Pottery Database 301590; Poseidon fighting the giant Polybotes, Louvre F226). An important artwork is the famous representation of the Tyrant Pysistratos and his Rabdophoroi (bodyguards armed with clubs, Athens National Archaeological Museum 15111, Beazley Archive Pottery Database 301523).

Formed as an amphora with dolphin handles, the body composed of a biconical jasper bead, repoussé and filigree detailing to the animals, suspension loops between; restored. 4.68 grams, 33 mm



From a late Japanese specialist collector, 1970-2000s.

With a high foot, laurel wreath encircling the neck, checkerboard and meander patterns alternating around the lower body, roundels of tongue motif to the handles with palmettes and tendrils below; two red-figure scenes to the body: Side a: a high-quality depiction of a Kōmos composed of five figures, including a young man holding a torch, a double flute player next to three dancers, all possibly followers of Dionysus; side b: three draped figures conversing comprising a central female figure between two opposed male figures, one holding a staff. 3.8 kg, 37 cm wide



Ex Feuardent collection, France, collected in the late 19th century (two old labels: one with 3061-133) on the inner rim and 113/2 (an old lot label from the 1900s/1920s) on the sidewall, further old assession numbers under the base: 321 and 35). Private collection, acquired in Paris, 2004. Accompanied by a copy of a thermoluminescence analysis report no.N111j79 from Oxford Authentication. Accompanied by an academic report by Dr Raffaele D’Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.11786-206517.

The Kadmos Painter was an Athenian red-figure vase painter, whose real name is unknown. His nickname was bestowed by Beazley, naming him after the subject of a famous hydria in Berlin (Antikensammlungen Berlin/Altes Museum, found in Vulci). He illustrated many mythological scenes, sometimes with figures arranged up and down the field, usually on bell craters, vessels used in symposia for mixing wine and water. A Komos was a ritualistic drunken procession performed by revellers in ancient Greece. It preceded and/or followed the banquet, whether unbridled in nature with music and games, or serious and mythical.