Founded in 2014 by Baron Lorne Thyssen-Bornemisza, Kallos Gallery is a London gallery specialising in ancient art. They offer a carefully curated selection of works from Antiquity, including Ancient Greek, Roman, Egyptian, Western Asiatic and European artefacts. They strive to maintain a great diversity of objects, but all united by a particular aesthetic quality inspired by their name Kallos, which means ‘beauty’. That may be the quality of a surface, the powerful form of a helmet, the line of a finely carved marble, the miniature detail of a gem or the draughtsmanship of a vase.


    For further details on the artworks offered for sale by Kallos Gallery in the Eye Viewing Room please make an enquiry below.


  • An Attic red-figure column krater, mid 5th Century BC. Kallos Gallery
  • An Attic red-figure column krater attributed to the Painter of the Louvre Centauromachy
    Mid-5th century BC
    H. 42.5 cm

    Price: £50,000 (plus any applicable taxes)


    The obverse depicts two riders mounted on horses in a horse race. The rider on the right is nude, his hair falls in curls around his face and he wears a fillet, both his hands clutch at the reins. The nude rider on the left sits back on the rearing horse with his right hand raised holding a goad. A band of linked lotus buds decorate the neck. The reverse shows three fully draped young men. The central figure holds a stick, on which he is leaning. On both sides of the vase running boars decorate the underside of the rim.


    The Painter of Louvre Centauromachy is regarded as having worked in the same circle as the major classical vase-painter, Polygnotos. This workshop was particularly inspired by works such as the great Parthenon sculptures, something that is reflected in this particular example through the vitality and naturalism of the horses’ movement. The Painter of Louvre Centauromachy specialised in column kraters, a shape which grew increasingly rare during the second half of the 5th century BC.


    In the ancient Greek world horses played a central role in the great civic festivals, such as the Olympic games and the Panathenaic games in Athens, where they took part in chariot races and single horse races. The single horse race, as is depicted on the obverse of this column krater, was known as the keles and was instituted into the Olympic games in 648 BC. The keles took place in the hippodrome and consisted of two laps. The riders tended to be young men, who rode bareback without any equipment except a bridle and goad. The honour of victory in the keles was bestowed upon the owner of the horse, not the rider, as it was the owner who bred, trained and paid for the horse’s upkeep, much like horseracing today.


    For a similar krater by the Painter of Louvre Centauromachy see J.D. Beazley, Attic Red-Figure Vase-Painters, 2nd edition, Oxford, 1963, 1088.3.


    For further discussion on the Painter of Louvre Centauromachy see, M. Robertson, The Art of Vase-Painting in Classical Athens, Cambridge, 1992, pp. 215-216.

    For Polygnotos and his workshop see, S. Matheson, Polygnotos and Vase Painting in Classical Athens, Wisconsin, 1995.


    M.C private collection, Switzerland, 1980s
    With Phoenix Ancient Art, Switzerland, 1989
    With Gily AG, Riehen, Switzerland, 1993
    Japanese private collection, acquired in 1993
    European private collection, acquired in 2010.


    Intact. Some stress cracking around the handles and chipping to the top edges of the handles. There is some misfiring. There is minor surface wear including chipping, scratches and some wear to the glaze. There is a small hole beneath one handle on side A.



  • A Roman polychrome painted fresco fragment.  Third Pompeian Style, early 1st century AD. Kallos Gallery

    A Roman polychrome painted fresco wall painting

    Third Pompeian Style, early 1st century AD
    W. 72.4 cm
    Price: £80,000 (plus any applicable taxes)


    On a cream ground, with a blue and gold border on four sides, with a rectangular panel at the centre along the lower border, outlined in red, with bifurcating vines emerging from red projections at the top corners, the panel with a seaside landscape, with two figures standing on either side of a building fronted by a colonnade.


    Much of what we know about the techniques of Roman wall painting comes from Pliny’s Natural History and Vitruvius’ manual De Architectura. Vitruvius describes the elaborate preparation employed by wall painters to produce a mirror-like sheen on the surface. Preliminary drawings or light incisions were then used to guide the artist in painting the fresh plaster of the walls with bold primary colours. Softer, pastel colours were often added on dry plaster in a subsequent phase. Vitruvius also explains the pigments used. Red was derived either from cinnabar, red ochre, or from heating white lead. For further discussion, see R. Ling, Roman Painting, Cambridge, 1991.


    The third style of Roman fresco painting, Ornamental, dates from 20 BC to 20 AD. In it, there is a closing up of space. Illusion is rejected in favour of ornamentation. Largely monochromatic walls were often painted with a few pieces of architecture. For instance, candelabra or slender columns were used to divide the wall into separate sections. These sections then supported smaller, framed paintings, set up in the fashion of an art gallery.


    For similar rectangular landscape scenes set in the centre of cream-ground panels, placed high on the walls of a third-style peristyle, see F. Coarelli, ed., Pompeii, 2002, p. 264. For seaside landscapes on wall paintings see J. Ward-Perkins and A. Claridge, Pompeii A.D. 79, vol. II., 1978, nos. 5 and 7, p. 119


    With Vanessa Purcell & Co, Manchester, England, 1996

    Pennsylvania private collection, acquired from the above 21 March 1996

    Christie's, New York, 13 December 2013, lot 133

    American private collection, 2013-2019



    Repaired from fragments with infill and repainting. Mounted in grout and backed for framing


  • A Cycladic marble kandila, Grotta Pelos Culture  Early Cycladic I, circa 3000 - 2800 BC. Kallos Gallery

    A Cycladic marble kandila

    Grotta-Pelos Culture, Early Cycladic I, circa 3000 - 2800 BC
    H. 19.9 cm

    Price: £50,000 (plus any applicable taxes)

    The rounded body with tapering neck and four crescentic lug handles pierced, on flaring foot with concave base


    Possibly originally from Naxos. The Early Bronze Age culture of the Cyclades islands in Greece is renowned for its unique white marble vessels and idols. The marble kandila is a fine example from the Grotta-Pelos phase. Carved from glowing white marble, the effort to hollow out these stone vessels must have been considerable. Kandiles take their name from the modern Greek word for ‘lamp’, because their shape resembled that of sanctuary lamps found in Greek orthodox churches. Cords strung through the four pierced lugs evenly spaced around the body would have been used for hanging, or to attach a lid. Produced in both marble and clay and in a wide range of sizes, this vessel type typically held liquids, such as oil or wine


    For a kandila of similar form, see P. Getz-Gentle, Stone Vessels of the Cyclades in the Early Bronze Age, Pennsylvania, 1996, pl. 18d3


    With Galerie Heidi Vollmoeller, Zurich, 1973
    Christie's, London, The Heidi Vollmoeller Collection, 29 October 2003, lot 539
    American private collection, 2003-2019


    Galerie Heidi Vollmoeller, Antike Kunst, Zurich, 1977, no. 7.



    There is some surface wear and encrustation. The vessel has had some cleaning. There has been some repair and restoration to the rim and to two of the lugs which were slightly chipped




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