Lot 9
ANCIENT GREEK VOLUTE KRATER ATTRIBUTED TO THE WHITE SACCOS PAINTER
APULIA, LIKELY CANOSA C. 340 B.C.
£93,951
Classical Ancient Art // Form Through Time
Auction: Classical Ancient Art - 21st March 2024 at 2pm
Description
painted ceramic, the body painted in front with four figures within a naiskos, a seated bearded man, helmeted warrior holding a spear and sheathed sword, a boy carrying a shield and a woman holding a phiale to the left, a seated woman with phiale and rosette-chain, youth with wreath, phiale and fillet; to the right a seated youth with oenochoe, a woman bending forward with phiale, patera and wreath, the neck adorned with a laurel-wreathed head, possibly Apollo within a floral setting, the mascaroons with female heads wearing diadems
Dimensions
96cm (including height from associated ancient stand), 81cm alone
Provenance
Private Collection, United Kingdom, acquired early-mid 20th century; thence by continuous descent within the family and inherited by the present owner prior to 1971
Footnote
Published:
Trendall, A.D., & Cambitoglou, Alexander. (1991). The Red-Figured Vases of Apulia. London: Oxford University Press, p. 960, Plate 375.
Note:
The present pair of Apulian volute kraters attributed to the White Saccos Painter are exceptional in both their quality and rarity. In the words of Trendall, they feature perhaps the most elaborate naiskos scenes from the entirety of ancient Apulian pottery, and are two of only three known examples of this particular scene produced by the artist.
Working in one of the Greek colonies in the region of Apulia in South Italy, probably at Canosa, the White Saccos Painter decorated vases in the red-figure technique in the late 300s B.C. Widely regarded as the successor to the most famed Apulian vase painter, the Baltimore Painter. His early works in particular are extremely close in style to those of his predecessor, it appears highly likely that the Baltimore Painter and White Saccos Painter worked closely together, and that the White Saccos Painter inherited his workshop.
Painting largely in the Ornate Style, he adorned various vessels, including large funerary vases like loutrophoroi and kraters, as well as smaller ones like kantharoi and oinochoai. The themes explored by the White Saccos Painter encompass a wide range of subjects, reflecting the cultural milieu of ancient Apulia and the broader Greek world. Mythological narratives featuring gods, heroes, and mythical creatures are a common motif in his work, with scenes from the Trojan War, the adventures of Heracles, and the exploits of Dionysus frequently depicted on his vases. In addition to mythological subjects, the White Saccos Painter also depicted scenes from daily life, such as banquets, athletic contests, and domestic activities.
Despite his significant contributions, the artist's true identity remains a mystery, with scholars attributing his work based on distinct stylistic features such as his portrayal of faces in three-quarter view and his use of a white saccos or hair wrap, from which he derived his name. The White Saccos Painter made innovative use of the white ground technique, which involves applying a white slip to the ceramic surface before painting. This technique allowed for a greater range of colours and a heightened sense of luminosity in the finished product. His mastery of composition is evident in the careful arrangement of figures and the dynamic interplay of space and form. Figures are rendered with a remarkable attention to detail, with anatomical accuracy and expressive gestures lending a sense of dynamism to the narrative.
Despite his anonymity, his mastery of technique and ability to infuse his work with intricate detail and emotion is widely celebrated and the present two pieces are amongst the finest examples of his surviving work.
