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拍品專文
PUBLISHED:
W. von Fellenberg, Schweizerische Kunst- und Antiquitätenmesse (fair cat.), Basel, 1975, p. 58.
P. Heesen, Athenian Little Master-Cups, Amsterdam, 2011, p. 257, no. 1501.
Depicted on both sides of this cup are two wild goats facing each other with their heads lowered, all with details in added red and body markings rendered in white. The shape of the horns of the goats are represented as a single bow, which although rare, is not entirely unique. This trait often occurs in earlier Athenian black-figured band-cups, such as in the work of the earlier Tyrrhenian painters.
The shapes of vases decorated by the Elbows Out Painter, otherwise known as Louvre E 705, are predominantly band-cups (as shown by this example), as well as neck-amphorae. For another cup by the same painter with a similar quadrupeds scene, cf. Beazley Archive no. 9025455.
W. von Fellenberg, Schweizerische Kunst- und Antiquitätenmesse (fair cat.), Basel, 1975, p. 58.
P. Heesen, Athenian Little Master-Cups, Amsterdam, 2011, p. 257, no. 1501.
Depicted on both sides of this cup are two wild goats facing each other with their heads lowered, all with details in added red and body markings rendered in white. The shape of the horns of the goats are represented as a single bow, which although rare, is not entirely unique. This trait often occurs in earlier Athenian black-figured band-cups, such as in the work of the earlier Tyrrhenian painters.
The shapes of vases decorated by the Elbows Out Painter, otherwise known as Louvre E 705, are predominantly band-cups (as shown by this example), as well as neck-amphorae. For another cup by the same painter with a similar quadrupeds scene, cf. Beazley Archive no. 9025455.