This pair of amphorae, with a broad body tapering sharply downwards, follows the typology of the Panathenaic amphorae: vessels well defined by their shape, proportions, uniform iconography, and prize inscriptions. These were awarded in Athens to the victors of athletic contests held every four years in honour of the city’s patron goddess, Athena. However, these specimens do not bear the customary prize inscription, and their dimensions are smaller than those of the official prize amphorae, which generally exceed 60 cm in height. This is characteristic of small-scale copies, likely produced for the trade and as commemorative souvenirs. On each amphora, one side depicts Athena Promachos ('foremost in battle') standing between two Doric columns surmounted by cocks – 'symbols of the fighting spirit', as noted by Beazley (Development of the Attic Black-figure, 1951, p. 84). The device on her round shield differs between the two vessels: on one, Pegasus; on the other, a rearing lion. The reverse presents different athletic events. One shows a pentathlon scene, with an acontist throwing his spear to the left, a discus-thrower to the right, and a flute player, dressed in a long white chiton with a simple battlement design, to the left. The other depicts a bearded charioteer, clad in a long white chiton, driving a quadriga at full gallop to right. The chariot race was one of the most prestigious contests of the Panathenaea. In the field of both scenes, nonsense inscriptions. On both vessels, a mirrored palmette chain without incision between the handles. Black tongues at the shoulder. Rays at the base. Much of the original added white and red colour preserved. Underside of foot with an incised mark: a single letter, perhaps a lambda, gamma, or ypsilon. Both reassembled from fragments. Toned plaster along the cracks.
PROVENANCE
Formerly Michelangelo Mazarrelli (b. 1938) ; bought in 1972 from Alexander von der Pahlen (b. 1946), New York; inherited from his father Alexis von der Pahlen, who in turn received it as a gift from his father, Count Constantin von der Pahlen (1861-1923), Russia. The family had owned them since the 19th century. The pieces were brought to Switzerland before the First World War (see declaration of honour dated 1993). With NAAG Numismatic & Ancient art Gallery, Zurich, 1993. Publ.: Journal du Musée d'art et d'histoire, no. 8, May-August 1993; Bentz Martin, Norbert Eschbach, Panathenaïka: Symposion zu den Panathenäischen Preisamphoren Rauischlozhhausen, 25.11.-29.11.1998, Appendix 1, nos. 320, 321.
NOTE
Two works attributed to the Acheloos Painter, one of the foremost masters of the late Attic black-figure style and a prominent member of the Leagros Group (cf. ABV 382), the “last great group of Attic black-figured vases". The "chariot race" one faithfully reproduces the scheme of official prize amphorae, for instance ABV (1956), 404/6, New York, Metropolitan Museum of Art, inv. no. 07.286.79, attributed to the Kleophrades Painter. The "Pentathlon" iconography however, is less conventional. For a very close iconography by the same painter, see a neck-amphora in Würzburg, Martin von Wagner Museum, inv. no. L204, BAPD 302401, ABV 383.8 and a 'Type B' amphora in Basel, Antikenmuseum, inv. BS 1906. 294, BAPD 302861, ABV 384.16. For a discussion on pseudo-Panathenaic amphorae, cf. Martin Bentz 'Schwarzfigurige Amphoren panathenäischer Form. Typologie, Funktion und Verbreitung' in Panathenaïka (Mainz 1998) p. 111-117. For a discussion on pseudo-Panathenaic amphorae, cf. Martin Bentz 'Schwarzfigurige Amphoren panathenäischer Form. Typologie, Funktion und Verbreitung' in Panathenaïka (Mainz 1998) pp. 111-117.