Magna Graecia, Southern Italy, Apulia, Gnathia, ca. 4th century BCE. A lovely and stately bell krater blazed with lustrous black pigment adorned with a white motif of foliage and a female portrait. A discoidal foot supports the body, the tiered stem and edge of the foot is additionally embellished by a ring of bare terracotta. The gently swelling walls are fluted and ribbed from base to below the shoulder and a pair of upturned loop handles flank the sides. The decorative bust of a lady facing left in profile is painted upon on side of the register just below the flared rim, flanked by scrolling flourishes in white. Bell kraters were originally vessels used for mixing water and wine, made for a symposium or by someone aspiring to host one. In ancient Greek society, it was crucial to mix wine with water, as drinking undiluted wine was seen as the actions of a drunkard. The krater soon became a grave offering for elite members of society, especially during the later Attic period. Size: 11.25" W x 10.25" H (28.6 cm x 26 cm)
Gnathia ware is named for the site where this type of pottery was first discovered - the Apulian site of Egnathia. The black glaze ware is traditionally decorated with floral motifs in red, white, or yellow hues. Scholars believe that its production was most likely centered around Taras, with primary workshops in Egnathia and Canosa. The quantity and quality of Greek colonial Apulian potters increased significantly following the Peloponnesian War when Attic exports dramatically decreased. Apulian artistry demonstrates influences of Ionian (Athenian, Attic) conventions, as well as Doric (western colonial Greek) styles, with a palpable native Italic aesthetic.
For a similar example, please see the University of Illinois Spurlock Museum's website, artifact number: 1922.01.0144.
Provenance: private New York, USA collection; ex-Phoenix Art Inventory, New York, USA, 1998; ex-private Mr. S.A. collection, Bloomfield Hills, Michigan, USA, acquired on the European Art Market in 1993
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#170814
Condition
Professionally repaired and restored. Overpainting to 20% of ribbed lower body surface, with infill to gaps and abraded surfaces. Restoration is well done and nearly indiscernible. Surface abrasions, nicks, and chips to rim and handles. Some fading and chipping to original painted pigments, but white motifs are still clear and discernable. Old inventory label on foot.