Phoenix Ancient Art S.A.

The surface of this pristine neck amphora is mostly coated with black “glaze” (i.e. clay slip), which is rare. The shining black surface is in incredible condition, the glossy luster accentuating the curvature of the vase as it flares out at the beautiful frieze of animals on the shoulder. Added red and white is used throughout to enliven the scenes. Red is used to highlight the wing of the waterbird, the flanks of the lions and the boar, and for the tongues and manes of the lions. White is also used for the wing of the waterbird, and for the lion’s teeth, the boar’s tusks, and the underbellies of the animals. Incised lines are effectively used for the details of the animals’ faces and anatomy; to indicate the wing feathers of the waterbird; for the bristly hair on the back of the boars; for the long haired manes of the two lions.

On the front side of the vase, a waterbird with an arched neck is preening its feathers. A lion with lowered head, its tongue hanging out and tail curling between its legs, roars at a boar at the right. The boar lowers its head and its forelegs in a crouching position, as if ready to charge at a second lion that roars and stands his ground at the far right, its head raised and tail curling upwards. On the opposite side of the vase, a centrally placed boar, alert and stiff, stands with straightened forelegs between two lions, both of which seem ready to attack. The lion to the right lifts up his front right leg, as if stopping the boar in its tracks.

One of the most prolific of black-figure vase painters, the Antimenes Painter was regarded by Beazley as a “brother” of Psiax, since their styles are so alike in important respects, and possibly as a pupil of the noted early black-figure painter, Lydos. The Antimenes Painter decorated a relatively large number of vases, and he is one of the chief painters of neck-amphorae and hydriae, the leading shapes in black-figure during the last quarter of the sixth century. His compositions are neat and simple, and his figures rarely overlap, demonstrating that late black-figure can effectively and clearly convey simple narrative. As on this amphora, the Antimenes Painter occasionally uses small figural and animal friezes as decoration on the shoulder of these vessels, as well as for the predelle running below the main figural scenes on hydriae, and for the lips of panel amphorae. He almost always prefers animal friezes that have a combination of lions and boars, rarely including waterbirds, deer, or bulls.

The scheme of decoration, with the figures confined to a narrow shoulder panel, is very uncommon. It is interesting therefore that Samuel Rogers owned a second vase of this type, now New York MMA 64.11.12. Conceivably the two were found together.

Burow, J. Der Antimenes Maler. Mainz 1989, pp. 32-34, pl. 139, no. M12.

Beazley, J. D. Attic Black-Figure Vase-Painters. Oxford 1956, pp. 266-91.

Boardman, J. Athenian Black-Figure Vases. Oxford 1974, pp. 109 – 111.

Published:

Christie’s, London, 1856.

CVA, Metropolitan Museum of Art 4 p. 48.