Greek High-Glazed Cup with Handles

With broad flat foot, short stem, broad bowl with carination at the shoulder, two square strap handles; frieze of black-painted decoration including two scenes of a quadriga chariot with a man stepping in to the chariot and a musician with a kithara, between palmettes; some restoration. 520 grams, 24.5 cm wide



Cambridgeshire, UK, collection, 1990s-2000s. Ex property of a Suffolk, UK, gentleman. Accompanied by an original thermoluminescence analysis report no.N124a8 from Oxford Authentication.

These Attic kylikes were usually presented with a stemmed base, a deep bowl and two upturned loop handles, on a concave base. The exterior walls were decorated with black-figure technique on red background, here in a style remarkably similar to that of the Haimon Painter.

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; two old labels: one with 3061-133 on the inner rim, and 113/2 (believed to be an old Christie's lot label from the 1960s by Richard Falkiner) on the sidewall, further old accession numbers 321 and 35 under the base. 3.8 kg, 37 cm wide



Thomas Hope (1769-1831), London and the Deepdene, Surrey, Thence by descent to Lord Henry Francis Hope Pelham-Clinton-Hope (1866-1941), the Deepdene. The Celebrated Collection of Greek, Roman and Egyptian Sculpture and Ancient Vases being a portion of The Hope Heirlooms; Christie's, London, 23-24 July 1917, no.113. 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 philosophical.

Carved in the round; semi-naturalistic anatomic and facial detailing, hair gathered loosely at the neck and tied with a taenia knotted at the nape of the neck; mounted on a custom-made display base. 879 grams total, 18 cm high including stand



Ex old European private property, by inheritance to the previous owner. Ex Schuler Auktionen, Zürich, 10 December 2020, no.1211. 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.11817-206512.

The small statuette to which the head belonged was probably that of a naked youth, the so-called kouros, typical of archaic Greek sculpture from the 7th century B.C. onwards.