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拍品专文
Roger Peyrefitte (1907-2000) was a French diplomat and writer. In his own words, a trip to Athens awakened Peyrefitte's "inner passion for antiquity and timeless beauty" (Prometheus Bulletin, Nr. 121, 2007), resulting in a lifelong ardour for antiquities. This passion was strengthened further still by his renewal of the Order of Alexander the Great for Science and Art in 1990.
On the interior of this fine cup is a youth in a himation and a red fillet, standing on a reserved exergue. He is depicted frontally, with his head turned in profile over his right shoulder, a staff in his right hand. The scene is enclosed in a band of stopt meander. One side of the exterior is centered by a draped youth seated on a diphros, facing right, playing a lyre. Before him stands a draped youth leaning on a staff, proffering a fillet in his extended right hand. Behind the lyre player stands a similarly clad youth offering him an aulos, his obedient leashed dog (the leash in added red) seated before him, its tail coiled like a tendril beneath the stool. On the center of the other side is also a seated youth, facing left and leaning forward, with his legs tucked below the diphros. He is completely enveloped in his himation, including most of his head, as if cowering. Before him is a striding draped youth holding a small spotted feline by the tail, a most unusual gift and seemingly the cause of the central figure's defensive posture. Behind him is another draped youth gesturing with his extended right hand. Hanging between the figures are a writing tablet and a pair of sandals, indicating that the scene takes place in the palestra. Beneath one handle is a pi, and beneath the other, an omicron, neither easily explained.
So far no firm attribution for this cup has been given, despite the high quality of the figures, indicating the work a confident hand. According to the Peyrefitte inventory, Dietrich von Bothmer suggested “near to Hermonax and School of Douris.” Weiss (op. cit., p. 60) also suggested "near to Hermonax," who was a pupil of the Berlin Painter. However, this cup does not really compare that well to his work (for Hermonax see J.H. Oakley, “Associates and Followers of the Berlin Painter,” in J.M. Padgett, The Berlin Painter and His World, pp. 72-74). Von Bothmer’s second suggestion of “School of Douris” seems more plausible.
On the interior of this fine cup is a youth in a himation and a red fillet, standing on a reserved exergue. He is depicted frontally, with his head turned in profile over his right shoulder, a staff in his right hand. The scene is enclosed in a band of stopt meander. One side of the exterior is centered by a draped youth seated on a diphros, facing right, playing a lyre. Before him stands a draped youth leaning on a staff, proffering a fillet in his extended right hand. Behind the lyre player stands a similarly clad youth offering him an aulos, his obedient leashed dog (the leash in added red) seated before him, its tail coiled like a tendril beneath the stool. On the center of the other side is also a seated youth, facing left and leaning forward, with his legs tucked below the diphros. He is completely enveloped in his himation, including most of his head, as if cowering. Before him is a striding draped youth holding a small spotted feline by the tail, a most unusual gift and seemingly the cause of the central figure's defensive posture. Behind him is another draped youth gesturing with his extended right hand. Hanging between the figures are a writing tablet and a pair of sandals, indicating that the scene takes place in the palestra. Beneath one handle is a pi, and beneath the other, an omicron, neither easily explained.
So far no firm attribution for this cup has been given, despite the high quality of the figures, indicating the work a confident hand. According to the Peyrefitte inventory, Dietrich von Bothmer suggested “near to Hermonax and School of Douris.” Weiss (op. cit., p. 60) also suggested "near to Hermonax," who was a pupil of the Berlin Painter. However, this cup does not really compare that well to his work (for Hermonax see J.H. Oakley, “Associates and Followers of the Berlin Painter,” in J.M. Padgett, The Berlin Painter and His World, pp. 72-74). Von Bothmer’s second suggestion of “School of Douris” seems more plausible.