AN ATTIC WHITE-GROUND LEKYTHOS
AN ATTIC WHITE-GROUND LEKYTHOS
AN ATTIC WHITE-GROUND LEKYTHOS
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AN ATTIC WHITE-GROUND LEKYTHOS
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AN ATTIC WHITE-GROUND LEKYTHOS

ATTRIBUTED TO THE CIRCLE OF THE WOMAN PAINTER, CIRCA 430-420 B.C.

Details
AN ATTIC WHITE-GROUND LEKYTHOS
ATTRIBUTED TO THE CIRCLE OF THE WOMAN PAINTER, CIRCA 430-420 B.C.
12 ½ in. (31.7 cm.) high
Provenance
Dr. Manfred Zimmermann (1935-2011), Bremen, Germany, acquired by 1996; thence by descent to the current owner.
Literature
M. Steinhart, Töpferkunst und Meisterzeichnung: Attische Wein- und Ölgefässe aus der Sammlung Zimmermann, Mainz, 1996, pp. 144-146, no. 33.
E. Giudice, Il tymbos, la stele, la barca di Caronte: L'immaginario della morte sulle lekythoi funerarie a fondo bianco, Rome, 2015, pp. 139-140, fig. 15.
F. Hildebrandt, Antike Bilderwelten: Was griechische Vasen erzählen, Darmstadt, 2017, pp. 119-120, fig. 117; p. 149, no. 66.
Beazley Archive Pottery Database no. 21328.
Exhibited
Bremen, Antikenmuseum im Schnoor, 2005-2018.
Hamburg, Museum für Kunst und Gewerbe, 2018-2023.

Brought to you by

Hannah Fox Solomon
Hannah Fox Solomon Head of Department, Specialist

Lot Essay

On either side of a funerary stele (only barely discernable) stand two female figures. To the left is a girl, wearing a long diaphanous chiton, with her head angled forward. At her feet is a diphros (stool) upon which is placed her mantle. To the right stands her attendant, clad in a red chiton, holding an elongated basket of fruit in her right hand and a fan with a long handle in her left. The scene is framed above by a band of meander, and there are palmettes and tendrils on the shoulders.

The Woman Painter takes his name from the beauty of the woman depicted on his funerary scenes. His larger lekythoi feature three figures, while the smaller examples have two. The downturned head of some of his figures, as seen on the left figure on the present vase, “lend an air of sadness to the scene” (see J.H. Oakley, Picturing Death in Classical Athens, The Evidence of the Lekythoi, p. 17).

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