Greek Attic Red-Figure Fragment Depicting a Nude Hero

Featuring black-figure depictions of the Komos in a lively procession of revellers celebrating Dionysos, with the god portrayed as an ithyphallic satyr; two loop handles on the rim and a palmette beneath each handle, adorned with tendrils; professionally repaired. 219 grams, 20 cm wide



with Sotheby’s, New York, 20 June 1990, no.11. Private collection, New York, USA. Private collection, Georgia, USA. Private collection, UK. Accompanied by copies of the relevant Sotheby's catalogue pages. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13103-248960.

The Greek Komos, an integral part of ancient Greek culture, symbolises lively celebrations dedicated to Dionysos, the god of wine and revelry. It involved spirited processions with singing, dancing, music, and wine, fostering communal joy. This tradition was a vital aspect of Greek festivals, underscoring the Greeks’ love for communal bonding, the arts, and the pleasures of life. The Komos vividly illustrates the vibrant cultural and religious practices of ancient Greece. The artwork showcases four nude male dancers in dynamic poses, with their heads turned and arms in animated gestures. Three of them have pointed beards, while one is youthful and beardless.

Comprising a pedestal base, mastoid body, lateral strap handles and funicular neck, broad mouth with stepped rim; the neck decorated with a band of egg-and-dart; palmette below each handle, flanked by tendrils and flowers; Side A: naked Eros (Cupid), hair in a bun and tied with a cloth, right arm outstretched and holding a flower by the stem, left hand holding leaves and tendrils; Side B: Nike standing in himation and stephane, holding up a drum-shaped object and supporting leaves and tendril, flower patterns to the background. 1.19 kg, 26 cm high



Acquired on the art market between the late 1990s and mid-2000s. Estate of the late Barry Paul Buxton (1944–2024), Oakham, Rutland. Acquired on the UK art market, 2025. Accompanied by a thermoluminescence analysis report no.N126a15 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.13089-248952.

The Greek term pelike (pl. pelikai) was used for a number of shapes, and it is not certain what this one-piece vessel with a distinctive sagging belly was called in antiquity. It seems to have been invented after the introduction of the red-figure technique, although there are examples in black-figure. It continued to be produced into the 4th century and in the Roman period. It is shown in use as a container for liquids, especially wine, and in this context was linked with Bacchus, Pan, and Silenus.

A horse and rider figure modelled in the round, standing on elongated stub legs, stout neck with stylised painted mane and coat detailing, waisted muzzle with raised almond-shaped eyes defined by painted roundels, solid colouring to the muzzle and short tail; rider represented by a torso and D-shaped head, arms reaching for the horse's neck and gripping its mane, painted detailing to the arms, hands and face. 206 grams, 15.5 cm wide

Fine condition.

London deceased estate, 1960s-1970s. Property of a Cambridgeshire, UK, gentleman. From the private collection of John Meredith, acquired since the 1990s; thence by descent.

Terracotta figurines of horse and rider were common grave offerings in Boeotia, northwest of Attica, particularly during the 6th century B.C. Representations of warriors on horseback were already diffused in the Geometric Period, and widely employed in Cyprus, in this same period. The image of our rider, although influenced by Cypriot designs, does not show typical Cypriot characteristics, and indeed his kausia cap suggests a northern Greek origin.