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Lot Essay
For the Group of the Paidikos Alabastra cf. J. D. Beazley, Attic Red-Figure Vase-Painters, I, Oxford, 1963, pp. 98-102, where it mentions that the majority of the alabastra have meaningless inscriptions on the topside of the mouth.
Much has been written about scenes on Attic pottery involving a hetaira and a customer. According to E. D. Reeder, Pandora, Women in Classical Greece, Princeton, 1995, p. 182, "during the first quarter of the fifth century a popular subject in vase-painting was the financial negotiation between a prospective client and a hetaira. ... the popularity of negotiating scenes on vases destined for use by men at their symposia testifies to the titillating currents underlying both these representations and the bargaining process itself". The flower was often exchanged as part of the courting ritual and other feminine objects, including mirrors, kalathoi and balls of wool, locate the scenes within female quarters, i.e. in the realm of the hetairai, and allude to a woman's domestic nature.
Much has been written about scenes on Attic pottery involving a hetaira and a customer. According to E. D. Reeder, Pandora, Women in Classical Greece, Princeton, 1995, p. 182, "during the first quarter of the fifth century a popular subject in vase-painting was the financial negotiation between a prospective client and a hetaira. ... the popularity of negotiating scenes on vases destined for use by men at their symposia testifies to the titillating currents underlying both these representations and the bargaining process itself". The flower was often exchanged as part of the courting ritual and other feminine objects, including mirrors, kalathoi and balls of wool, locate the scenes within female quarters, i.e. in the realm of the hetairai, and allude to a woman's domestic nature.