Loading, please wait...

Use mousewheel to zoom in and out, click to enlarge

Details

LOT 0052

Greek Terracotta White-Ground Painted Lekythos Attributed to the Athena Painter

CIRCA 510-500 B.C.

10 3/8 in. (459 grams, 26.4 cm).

Cylindrical with stepped foot, five palmettes above the shoulder, dynamic frieze of two men visiting two hetairai, each of the figures dressed in long pleated garments, at the centre of the scene, a hetaira on the right reaching towards the bearded male and gently touching his chin with her open hand, a tall draped table behind her with an amphora underneath and a standing bird on the top.

Provenance

H.A.C. (Herbert A. Cahn), 19 October 1979.
Private collection, Bern, Switzerland.

Accompanied by an original thermoluminescence analysis report no.N125q45 by Oxford Authentication.
This lot has been checked against the Interpol Database of stolen works of art and is accompanied by a search certificate number no.12644-236376.

Literature

Cf. Haspels, C.H.E., Attic black-figured lekythoi, Paris 1936, pp. 41–165, 254–262.

Footnotes

The Athena Painter is known as the painter who designed several Greek black-figure pottery works using the 5th-century BC white-ground technique. He specialized in lekythoi and refers to Athena as his main subject in his works. Together with the Theseus Painter, they continued the tradition of painting large lekythoi. His black figures are of high quality, and in addition to lekythoi, he decorated other potteries such as oenochoai. Some archaeologists say that he may have been the same person as the Bowdoin Painter of red-figure pottery, although they may have just worked in the same workshop.

CONDITION

VETTING:

TimeLine Auctions follows a vetting process to ensure the authenticity and legality of all items, reinforcing our commitment to integrity and responsible trading. Each antiquity, antique, and coin lot undergoes thorough examination by a vetting committee of at least ten external specialists, professional trade association members, scientists, and archaeologists: Our Vetting Process


AUCTIONS:

TimeLine is a leading auction house specialising in antiquities, ancient art, collectables, natural history, coins, medals, and books. Our auctions offer museums, collectors, historians, and enthusiasts the opportunity to acquire unique and historically significant pieces.

With Thermoluminescence Analysis Report

LOT 0052

Greek Terracotta White-Ground Painted Lekythos Attributed to the Athena Painter

Estimate £5,000 - 7,000€5,800 - 8,120 (for guidance only)$6,750 - 9,450 (for guidance only)

Print page

RELATED LOTS

  • Greek Terracotta Pedestal Dish
    Greek Terracotta Pedestal Dish
    Apulian, 4th century B.C.

    Sold for (Inc. bp): £20

    Broad and shallow with low foot, chamfered rim. 75 grams, 98 mm



    From an old German collection. From the property of a late Lincolnshire, UK, gentleman.

    Lot Details

  • Boeotian Black-Glazed Terracotta Kantharos
    Boeotian Black-Glazed Terracotta Kantharos
    Circa 5th century B.C.

    Sold for (Inc. bp): £1,040

    The high-handled drinking cup with carinated lower body and a tall offset foot with a collar. 310 grams, 19 cm wide



    Ex Galleria Serodine, Arte Antichità, Fritz Huchelmann-Tieche, Ascona 13 November 1987. Private collection, Bern, Switzerland.

    Lot Details

  • Hellenistic Iridescent Pale Aqua Glass Bowl
    Hellenistic Iridescent Pale Aqua Glass Bowl
    Mid 2nd-early 1st century B.C.

    Estimate: £2,000 - 3,000 (+bp*)

    Opening Bid: £1,000

    Conical in profile, aqua glass with three incised bands below the rim on the inner face. 374 grams, 15.7 cm wide



    Dr Jutaro Kawabe, Nagoya, Japan, his collection formed in the 1960s-1970s. with Hoshigaoka Gallery until the late 1990s. Private collection, London, UK. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12949-245243.

    On ancient glass, iridescence is the soft play of colour that develops as the surface ages and becomes silica-rich. Minute layers form over time and break light into shifting blues, greens and golds. It is not a modern finish but something time has drawn out of the material itself, so the pattern and palette are unique to each piece. Collectors prize good, stable iridescence because it lifts the form: ribs read more crisply, profiles glow, and simple vessels take on depth and movement. Museums now tend to preserve these surfaces rather than polish them away, recognising both their beauty and what they tell us about an object’s long life (though it is not, by itself, a dating test). For display, iridescent glass performs brilliantly under gentle, directional light, where the colours “turn” as the vessel is moved. Well-preserved, even iridescence of this quality is not common and adds materially to the presence—and desirability—of the piece.

    Lot Details

Stay up-to-date with the latest from TimeLine Auctions by joining our mailing list