An Etruscan Black-Figured Twin-handled Hydria, attributed to the "Peintre de la danseuse aux crotales", circa early 5th Century B.C.

the body painted with a broad frieze of satyrs and maenads dancing ecstatically, a frieze of lions, geese, and goats on the shoulder, the details painted in white.

Leon Pomerance, New York (Sotheby's, New York, November 24th-25th, 1987, no. 114A, illus.)

"Ancient Art from New York Private Collections," The Metropolitan Museum of Art, December 17th, 1959 - February 28th, 1960
"The Pomerance Collection of Ancient Art," The Brooklyn Museum, June 14th-October 2nd, 1966
"Masterpieces of Etruscan Art," Worcester Art Museum, April 21st-June 4th, 1967
Museum of Fine Arts, Saint Petersburg, Florida, 1987-1995
Tampa Museum of Art, Tampa, Florida, 1995-2011

Dietrich von  Bothmer, Ancient Art from New York Private Collections, exh. cat., New York, 1961, no. 261, pls. 65, 96
The Pomerance Collection of Ancient Art, Brooklyn, 1966, p. 120, no. 139, and cover illus.
Richard Stuart Teitz, Masterpieces of Etruscan Art, exh. cat., Worcester, Mass., 1967, pp. 32-33, no. 17, illus. p. 127
Nigel Spivey, The Micali Painter and his Followers, Oxford, 1987, pp. 45-46
Françoise Gaultier, "Le «peintre de la danseuse aux crotales.» Recherches sur les ateliers de céramique de Vulci dans la première moitié du Ve siècle av. J.-C.," Mélanges de l'École française d'Athènes et de Rome. Antiquité, vol. 99, 1987, p. 64, note 4, and p. 80, no. 10, fig. 17

Repaired from fragments, with small areas of fill along some of the break-lines. Much of the background glaze is gone on the side illustrated in the right hand column in the catalogue, and areas of the painted figures are abraded and worn in places as shown, some of which has been in-painted. The black glaze on the foot and elsewhere is retouched. The color of the vase is considerably less red and more creamy brown than the photos suggest.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

"In letters dated 7 November 1953 and 30 December 1959, Beazley identifies the painter of the vase [as the Micali Painter] and refers to a neck amphora, Chiusi 577, illustrated in Giglioli, L'arte etrusca, pl. CXXX, 2" (The Pomerance Collection, p. 120). This attribution was widely accepted for decades, until it was rejected by Nigel Spivey in 1987. The same year Francoise Gaultier reattributed the vase to a new Painter, whom she named the "Peintre de la danseuse aux crotales." Among the other vases she ascribed to this Painter are: Sotheby's, London, July 11th-12th, 1983, no. 341, Louvre E 755, and Chiusi 577.