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Knob-handled patera
Greek, South Italian
Early Hellenistic Period
about 310 B.C.
Place of Manufacture: Italy, Apulia
Medium/Technique
Ceramic, Red Figure
Dimensions
11.5 cm (4 1/2 in.)
Credit Line
Gift of Thomas Gold Appleton
Accession Number76.62
NOT ON VIEW
CollectionsEurope, Ancient Greece and Rome
ClassificationsVessels
Catalogue Raisonné
Vase-Painting in Italy (MFA), no. 073.
DescriptionInterior: A seated woman, holding flat dish in left hand; another facing her; at right, a satyr dancing.
Round dish with two handles. One knob from rim of vase missing. Unlike other paterae in the collection, there are no knobs on top of the handles. The foot is stepped in two degrees, with a broad, reserved stem. The handles are ridged.
ITALIAN VASE PAINTING in ITALY, # 73 - (76.62)
Knob-Handled Patera
Attributed to tthe White Sakkos-Stuttgart Group
about 319 B.C.
Interior: A woman holding a phiale in her left hand and a casket with white figures and ornament in her right is seated to the right on a rock. At the left is a second woman, her left foot resting on a rock and her left arm resting on her knee. She is offering the seated woman the white alabastron she holds in her right hand. Both women wear chitons and white bracelets and shoes; the standing woman wears a white sakkos, the seated woman a kekryphalos and a double necklace with white beads; both have long white fillets trailing from their head cloths. The seated woman's chiton has slipped off her right shoulder, revealing her breast, an uncommon representation in Apulian red-figure. At the right, a dancing satyr is holding a yellow torch over the women. He wears a nebris rendered in added red and yellow, and a wreath, shoes, and a ring around his right leg, all in added white. In his left hand is a slender yellow pedum. Two flowers fill the field at lower left and right, and there is a pendant white necklace (?) at the top. The two rock outcroppings are banded with added yellow and white, also used to color the flowers. The woman at the left stands on a groundline of white dots.
The baseline consists of a band of dotted egg-pattern, the eggs having white cores. The tondo is framed by concentric bands of wave-pattern and scrolling tendrils, the latter in added white. The knobs by the handles are decorated with white rosettes. On the flattened upper rim, the clay ground is tinted with a red wash. Wave-pattern circles the overhanging rim.
The White Sakkos-Stuttgart Group consists of some late members of the White Sakkos Painer's workshop in Canosa. Their products are often poorly potted and clumsily painted; the exposed breast of the seated woman is a characteristic motif.
Round dish with two handles. One knob from rim of vase missing. Unlike other paterae in the collection, there are no knobs on top of the handles. The foot is stepped in two degrees, with a broad, reserved stem. The handles are ridged.
ITALIAN VASE PAINTING in ITALY, # 73 - (76.62)
Knob-Handled Patera
Attributed to tthe White Sakkos-Stuttgart Group
about 319 B.C.
Interior: A woman holding a phiale in her left hand and a casket with white figures and ornament in her right is seated to the right on a rock. At the left is a second woman, her left foot resting on a rock and her left arm resting on her knee. She is offering the seated woman the white alabastron she holds in her right hand. Both women wear chitons and white bracelets and shoes; the standing woman wears a white sakkos, the seated woman a kekryphalos and a double necklace with white beads; both have long white fillets trailing from their head cloths. The seated woman's chiton has slipped off her right shoulder, revealing her breast, an uncommon representation in Apulian red-figure. At the right, a dancing satyr is holding a yellow torch over the women. He wears a nebris rendered in added red and yellow, and a wreath, shoes, and a ring around his right leg, all in added white. In his left hand is a slender yellow pedum. Two flowers fill the field at lower left and right, and there is a pendant white necklace (?) at the top. The two rock outcroppings are banded with added yellow and white, also used to color the flowers. The woman at the left stands on a groundline of white dots.
The baseline consists of a band of dotted egg-pattern, the eggs having white cores. The tondo is framed by concentric bands of wave-pattern and scrolling tendrils, the latter in added white. The knobs by the handles are decorated with white rosettes. On the flattened upper rim, the clay ground is tinted with a red wash. Wave-pattern circles the overhanging rim.
The White Sakkos-Stuttgart Group consists of some late members of the White Sakkos Painer's workshop in Canosa. Their products are often poorly potted and clumsily painted; the exposed breast of the seated woman is a characteristic motif.
ProvenanceBy date unknown: Thomas Gold Appleton Collection (according to Robinson, Catalogue, no. 519: purchased by him of Alessandro Castellani; from Ruvo); gift of Thomas Gold Appleton to MFA, 1876