Greek Corinthian Terracotta Alabastron

Mammiform body with pedestal base and two loop handles to the rim; Side A - band of white ovolo detailing to the neck, median red band with vine leaves and tendrils; Side B - bilinear band below neck with lateral pellets. 2.21 kg, 34.4 cm



Ex Orivate collection, formerly with Art Ancient, previously Derek Glover collection.

Dynamic scene featuring a nude, muscular satyr engaged in coitus with a young maenad; the satyr depicted with long curly hair and long dressed beard, a crown of ivy leaves resting on his head, holding the hand of the maenad with his right hand and her waist with the other; the maenad depicted in a half-kneeling position with her right hand grasping the beard of the satyr; partial Greek inscription above 'KTETO' referring to the artist Epiktetos. 31.2 grams, 11.7 cm



Oswald Burchard collection, Zurich, until 1983. M. Hess collection, Hotel Jura, Basel. Private collection, Germany. Private collection, London. One fragment, Antikenmuseum [ACR] Auctions, 17, 30 June 2015, no.14. Two fragments, Bertolami Fine Art, Auction 43, 19 April 2018, no.55. Comprising three fragments, subsequently joined. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.13326-258216.

Epiktetos is considered a master of the circular image and painted mainly the interiors of cups—specifically "eye-cups," so named because of the two painted eyes on the exterior, which likely served an apotropaic function. His so-called "bilingual" vases feature black-figure painting on the interior, while the exterior of the bowl is decorated in the red-figure style. He painted few mythological scenes (Theseus confronting the Minotaur; a red-figure cup fragment attributed to him depicts Hermes, Apollo, and Artemis or large-scale compositions; instead, he mostly depicted scenes from daily life (an archer, a mounted warrior, figures at a banquet, a sculptor at work as well as erotic scenes featuring men or satyrs.

With reserved herringbone band beneath the rim, wave pattern to be the baseline; Side A: young man with thyrsus and pendant streamer holding a phiale, a loose mantle draped from the elbows; Side B: head of a lady of fashion with white accents to her stephane and hair drawn up in a chignon, a volute and window before her. 1.11 kg, 23.2 cm wide



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 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 no.13071-249285.

Bell kraters were commonly used in regions of ancient Italy for mixing and serving wine during communal gatherings, thanks to their wide shape and flared mouth. These vessels also served as artistic expressions, reflecting the cultural tastes of the time. The Chevron Group is the conventional name for a group of ancient Apulian red-figure vase painters who were active in Southern Italy between approximately 335-310 B.C. They are named for their distinctive use of a band of chevron patterns to encircle the rims of the small kraters (mixing vessels) they decorated.