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Open a larger version of the following image in a popup: Two Greek white-ground lekythoi, Athens, c.450-430 BC, attributed to the Carlsberg Painter
Open a larger version of the following image in a popup: Two Greek white-ground lekythoi, Athens, c.450-430 BC, attributed to the Carlsberg Painter
Open a larger version of the following image in a popup: Two Greek white-ground lekythoi, Athens, c.450-430 BC, attributed to the Carlsberg Painter
Open a larger version of the following image in a popup: Two Greek white-ground lekythoi, Athens, c.450-430 BC, attributed to the Carlsberg Painter
Two Greek white-ground lekythoi, Athens, c.450-430 BC, attributed to the Carlsberg Painter
Terracotta
Heights: 23.1 and 23.2cm
11369 IVP
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Further images

  • (View a larger image of thumbnail 1) Two Greek white-ground lekythoi, Athens, c.450-430 BC, attributed to the Carlsberg Painter
  • (View a larger image of thumbnail 2) Two Greek white-ground lekythoi, Athens, c.450-430 BC, attributed to the Carlsberg Painter
  • (View a larger image of thumbnail 3) Two Greek white-ground lekythoi, Athens, c.450-430 BC, attributed to the Carlsberg Painter
  • (View a larger image of thumbnail 4) Two Greek white-ground lekythoi, Athens, c.450-430 BC, attributed to the Carlsberg Painter
A pair of similarly decorated white-ground lekythoi, showing a central tomb monument upon a stepped base of two tiers, decorated with a red fillet, a draped female figure standing to...
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A pair of similarly decorated white-ground lekythoi, showing
a central tomb monument upon a stepped base of two tiers,
decorated with a red fillet, a draped female figure standing
to the left, head looking downwards, with one hand raised
and reaching towards the altar, another hand holding a
patera, though on one vase only a single hand remains
visible. To the right stands a draped male figure wearing a
solid red himation exposing his right shoulder, his face in
profile and framed by thick curling hair, on one vase his hand is raised forwards in a similar gesture to the female
figure on the other vase. The delineation of the bodies, arms,
legs and faces all deftly painted in red. On one vase, below
the shoulder, is a band of ornamental stopped meanders
interspersed by saltires set within rectangles, and on the
other is a border of plain meanders. The shoulders of both
vases are patterned with three palmettes linked with tendrils.
Black slip around the neck and handle and to the lower body
and top of the thick foot. The fragile nature of the white-
ground technique means that areas of the friable surface
have been eroded, the necks and handles of both have repair,
some misfiring and chips touched in, one base repaired.



White-ground is created by a thick white paint being added to
the surface and a red or black slip ‘drawing’ applied on top.
White-ground vases were not used in daily life and held
funerary and ritualistic associations.





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Provenance

Dr. Franz Haniel (1883-1965), Germany; thence by descent


Haniel was an influential industrial magnate and a member of one of Germany’s wealthiest and most prominent families. Over generations, many members of the Haniel family became passionate art collectors and patrons, collaboratively amassing an extraordinary collection of art.

Exhibitions

On loan to the Staatliche Antikensammlungen und Glyptothek, Munich, 1966-1972, vase nos.7 and 8
On loan to the Archaeological Collection of the University of Zurich, 1973-2020

Literature

For a slightly larger example, by the Achilles Painter, compare Oscar White Muscarella (ed.), Ancient Art: The Norbert Schimmel Collection (Mainz am Rhein, 1974), no.63

Publications

Larger lekythos: K. A. Neugebauer, Antiken in deutchem Privatbesitz (Berlin, 1938), pl.75, no.172
One of the vases is published in J.D. Beazley, Attic Red-Figure Vase-Painters, Vol. II, Second edition (Oxford, 1963), p.1236, no.3, and again in Beazley Archive Pottery Database no.216464
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