Attributed To: COPENHAGEN P by GUY SYRISKOS P by UNKNOWN SYRISKOS by SIGNATURE
Decoration: A: GE (NAMED) SEATED ON STOOL WITH SPHINX, BETWEEN OKEANOS (NAMED) (DRAPED YOUTH WITH SCEPTRE) AND DIONYSOS WITH VINE AND IVY, PANTHER B: DRAPED MEN WITH SCEPTRES, ONE SEATED ON STOOL (NAMED), AND THEMIS WITH OINOCHOE AND PHIALE
Last Recorded Collection: Malibu (CA), The J. Paul Getty Museum: 92.AE.6
Publication Record: Classical Antiquity: 29 (2010) FIG.1A-C AT P.249 (A, B, PART) Eschbach, N. and Schmidt, S. (eds.), Töpfer, Maler, Werkstatt. Zuschreibungen in der griechischen Vasenmalerei und die Organisation antiker Keramikproduktion (Munich, 2016): 39, FIG.3 (A) Gilman, B. (ed.), Masterpieces of the J. Paul Getty Museum, Antiquities (Los Angeles, 1997): 46 (COLOUR OF A) Godart, L. and De Caro, S. (eds.), Nostoi, Capolavori Ritrovati, Roma, Palazzo del Quirinale, Galleria di Alessandro VII, 21 dicembre 2007 - 2 marzo 2008 (Rome, 2007): 15, 117, NO.27 (COLOUR OF A AND PART OF A) Isler-Kerenyi, C., Dionysos in Classical Athens. An Understanding through Images (Leiden and Boston, 2014): 82, FIG.41 (A) J. Paul Getty Museum Journal: 22 (1993) 107, NO.10 (A) Lexicon Iconographicum Mythologiae Classicae: VIII, PL.530, BELOS II.1 (B) Lissarrague, F. et al. (eds.), Ceramique et peinture Grecques, Modes d'emploi, Actes du colloque internat., Ecole du Louvre, April 1995 (Paris, 1999): 402, FIG.2 (UF, DRAWING OF GRAFFITO) Lydakis, S., Ancient Greek Painting and its Echoes in Later Art (Athens, 2002): 93, FIG.71 (COLOUR OF A) Marchetti, C. (ed.), L'Arma per l'Arte, Archeologia che ritorna (Livorno, 2009): 57 (COLOUR OF A) PHOTOGRAPH(S) IN THE BEAZLEY ARCHIVE: 11 Shapiro, H.A., Personifications in Greek Art, The Representation of Abstract Concepts 600-400 BC (Zurich, 1993): 219-220, FIG.181 (B) Smith, A.C., Polis and Personification in Classical Athenian Art (Leiden, 2011): FIGS.3.1-3.2 (A, B)
CAVI Lemma: RF calyx krater. Copenhagen Painter (Guy){1}. Second quarter fifth. Ca.
470-460 (GMusJ).
CAVI Subject: A: in the center, Ge seated; at left, Okeanos (Oceanus); at right, Dionysus
with an ivy branch in the left, holding out the oschos; beside him, a leopard.
B: in the center, Themis standing with a phiale and oinochoe; on her right,
Belus (Balos) seated; behind Themis, Epaphus.
CAVI Inscriptions: A or B: Syriskos egrafsen. A: Γε Παντελεια{2}. Οκεανος. Δ̣ιονυσος. B: Θεμις.
Βαλος. Εφαφ[ο]ς, for Επαφ[ο]ς. Under the foot, Grr.: Ψ στατερ Ι{3}. Β.
CAVI Footnotes: {1} = Pistoxenos/Syriskos (Robertson; see p. 140). {2} all-accomplishing, see
LSJ, s.v. παντελης II. {3} i.e. one stater. GMusJ assume this is the cost of the
vase (an exatraordinary price); a silver stater is a tetradrachm in Attic, but
this is probably not Attic. Johnston (1979), has no parallel.
CAVI Comments: Ex New York, Private. Oceanus is here the son of Ge and Uranos. Epaphus, the
son of Zeus and Io, is the grandfather of Belus, who is the father of Aegyptus
and Danaus. Tsetses, Lyk. 630 mentions a Belos as father of a second Epaphos
(this from Shapiro). Themis is the daughter of Ouranos and Ge (hence a sister of
Oceanus). GMusJ says that the relation of the figures on B to each other is
unclear. I am not certain about B as it is not illustrated. According to
Robertson, the name of the Copenhagen Painter was Syriskos (`little Syrian'
(slave)). He also acquired the name Pistoxenos (`trusty stranger', perhaps after
Persian Wars.) He is not to be confused with the Syriskos Painter.
CAVI Number: 5032
AVI Bibliography: Robertson (1992), 136 and n. 17 (information from R. Guy); cf. 140. — Shapiro
(1993), 263/145, 219, 220, fig. 181 (B). — True (1993), 107/10 (A).
CAVI / AVI Data from Henry Immerwahr's Corpus of Attic Vase Inscriptions (CAVI), updated by Rudoph Wachter's Attic Vase Inscriptions (AVI)
