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Bareiss Collection Attic Black-Figured Amphorae, Neck-Amphorae, Kraters, Stamnos, Hydriai, and Fragments of Undetermined Closed Shapes

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Bareiss Collection Attic Black-Figured Amphorae, Neck-Amphorae, Kraters, Stamnos, Hydriai, and Fragments of Undetermined Closed Shapes CORPVS VASORVM ANTIQVORVM UNITED STATES OF AMERICA • FASCICULE 23 The J. Paul Getty Museum, Malibu, Fascicule 1 This page intentionally left blank UNION ACADÉMIQUE INTERNATIONALE CORPVS VASORVM ANTIQVORVM THE J. PAUL GETTY MUSEUM • MALIBU Molly and Walter Bareiss Collection Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes ANDREW J. CLARK THE J. PAUL GETTY MUSEUM FASCICULE 1 • [U.S.A. FASCICULE 23] 1988 LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Corpus vasorum antiquorum. [United States of America.] The J. Paul Getty Museum, Malibu. (Corpus vasorum antiquorum. United States of America; fase. 23- ) Vol. i by Andrew J. Clark. At head of title : Union académique internationale. Includes index. Contents: v. i. Molly and Walter Bareiss Collection: Attic black-figured amphorae, neck-amphorae, kraters, stamnos, hydriai, and fragments of undetermined closed shapes. i. Vases, Greek—Catalogs. 2. Bareiss, Molly—Art collections—Catalogs. 3. Bareiss, Walter—Art collections—Catalogs. 4. Vases—Private collections— California—Malibu—Catalogs. 5. Vases—California— Malibu—Catalogs. 6. J. Paul Getty Museum—Catalogs. I. Clark, Andrew J., 1949- . II. J. Paul Getty Museum. III. Series: Corpus vasorum antiquorum. United States of America; fase. 23, etc. NK4640.C6.U5 fase. 23, etc. 73 8.3'82*0938074 s 88-12781 [NK4Ó24.B3 7] [73 8.3 '82J093 8074019493] ISBN 0-89236-134-4 © 1988 The J. Paul Getty Museum, Malibu, California All rights reserved Library of Congress Cataloging-in-Publication Data ISBN 0-89236-134-4 Typesetting, printing, and binding by Stamperia Valdonega, Verona, Italy CONTENTS PREFACE Vll INTRODUCTION ix ABBREVIATIONS xii III H ATTIC BLACK-FIGURED VASES III J ATTIC WHITE-GROUND VASES PANEL AMPHORAE Panel amphora of type proto-A Plates i; 2; 8, 1-2 Panel amphorae of type A Plate 3 Panel amphorae of type B Plates 4-7; 8,3-8 59-12; 16, 1-4; 26, 6 Panel amphora of type C Plates 13-14; 16, 5-6 NECK-AMPHORAE Ovoid neck-amphorae Plates 15; 16, 7-8; 17- 20; 26, 1-4 Panathenaic amphora Plate 21 Neck-amphora with figures on shoulder and body Plates 22-23; 24> i-2 Neck-amphora with palmette-lotus chain below figures Plates 24, 3-4; 25,1-3 Standard neck-amphorae Plates 25, 4; 26, 5; 27- 37; 38, 1-3, s; 39, i; 40-41542,3-4; 43,2-3; 44, 1-4, 7-8 Special neck-amphorae Plates 38, 4; 39, 2; 42, 1-2; 44, 5-6; 45-47 KRATERS Volute-kraters Plates 43, i; 48-49 Column-krater Plates 50, 1-2; 51, 1-2 v STAMNOS Plates 50, 3-4; 51, 3-6 HYDRIAI Shoulder-hydriai Plates 52-55; 56, i; 57-58; 60, 2-3 Kalpides Plates 56, 2; 59; 60, i FRAGMENTS OF UNDETERMINED CLOSED SHAPES Plate 60, 4-6 PROFILE DRAWINGS 67 INDEX of Accession Numbers 93 CONCORDANCE between J. Paul Getty Museum Loan Numbers and Accession Numbers 95 CONCORDANCE between Bareiss Collection Numbers and J. Paul Getty Museum Accession Numbers 96 INDEX of Attributions to Painters, Potters, Groups, and Classes 97 VI PREFACE The most intriguing aspect of a collection assembled privately is the insight that it provides into the collector's (or, in this case} the collectors') tastes and aesthetic preferences. Free from academic obligations to create representative collections or to document chronological sequences, private collectors choose works of art for much more personal reasons. These reasons may not be apparent, however, unless the collection is seen in its entirety. Although Molly and Walter Bareiss had been buying Greek vases for over twenty- five years and parts of their collection had been displayed in various earlier exhibitions, the first opportunity to study their entire collection came in spring of 1983, when they placed it on loan to the J. Paul Getty Museum in preparation for a special exhibition. Most of the pieces were brought to Malibufrom the Bareiss residences in Munich, Germany, and Greenwich, Connecticut, but smaller groups were recalled as well from the cases of the Metropolitan Museum of Art in New York and the Yale University Art Gallery, where they had been on loan for many years. When all of the more than five hundred complete and fragmentary pieces that make up the collection were finally assembled, one unifying characteristic immediately became apparent. No matter what the technique, style, or fabric, the painting that decorated the curving surface of each vase was of generally exceptional quality. It surely came as no surprise to those who know Molly and Walter Bareiss that their vases should be distin- guished by the excellence of the ancient vase painters represented, for the Bareisses are well-knoum connoisseurs of draughtsmanship. The exhibition of more than one hundred of their finest vases held at the Metropolitan Museum of Art in New York in 1969 was actually combined with a show of modern drawings, also from their collection. Yet thorough study of the collection proved that, in addition, their appreciation for fine, confident contours was complemented by an obvious sense of delight in unusual representations and vase shapes. It is this combination that accounts for the collection's unique character. The possibility for the Getty Museum to acquire this splendid group of vases was an opportunity whose significance cannot be exaggerated. Even the most cursory glance at recent antiquities sale catalogues will show that fine vases have become increasingly rare on the market} and some fabrics all but impossible to buy at any price. As one oj the youngest institutions in this country with a serious interest in antiquities, the Museum had established only the modest foundations of a comprehensive Greek vase display by 1983, when the exhibition of the Bareiss collection opened. With the acquisition of the Bareiss pieces, however j the Museum's vase collection became one of the finest in the United States. Because of the Bareiss vases' recognized distinction among private collections and their vu importance to the development of the Museum's holdings in antiquities, the initial Getty Corpus Vasorum Antiquorum fascicules will be devoted to their complete publication. It is projected that the first two volumes will include the Attic black-figured vases and fragments, the second two volumes will contain the Attic red-figured vases and fragments, and the fifth volume will cover all of the non-Attic material from the collection. Andrew J. Clark, a specialist in Attic black-figured vase painting, was invited to prepare the entries for this fascicule, working in collaboration with the staff of the Antiquities department. Marion True Vlll INTRODUCTION I owe the opportunity to publish the Attic black-figured vases in the Molly and Walter Bareiss collection to Marion True, Curator, Department of Antiquities, and to Sandra K. Morgan, former Editor, Department of Publications. For guidance concerning many aspects of the writing of this fascicule, I am grateful to Mary B. Moore, Professor of Art History, Department of Art, Hunter College, City University of New York, who is chairman of the U.S.A. Committee on the Corpus Vasorum Antiquorum. She accepted the manuscript for publication, discussed the organization of the material with me, and read the text with great care. I have benefitted very much from her expertise on Attic vase-painting and her experience as an author. This fascicule comprises complete and fragmentary amphorae, neck-amphorae, kraters, a stamnos, hydriai, and fragments of closed vases, some of undetermined shape. The order in which the shapes are presented follows the sequence established by Beazley mABV, pp. xi-xii, and ART72, pp. xlix-li. Within each shape category the vases are discussed chronologically. The balance of black-figured vases will be published in the next fascicule: oinochoai, lekythoi, a fragmentary epinetron, pyxides, kyathoi, a mastoid cup, skyphoi and a cup-skyphos, kylikes, an exaleiptron, lids, and fragments of open vases, shape undetermined. The heading of each entry in this fascicule includes the Getty Museum accession number, the number formerly assigned to the vase in the Bareiss collection (see Concordance between Bareiss Collection Numbers and J. Paul Getty Museum Accession Numbers, below), and, in parentheses, the year the object was purchased by Molly and Walter Bareiss (in some cases the purchase date is unknown). The loan numbers previously assigned to the vases at the Museum are given in the Concordance between}. Paul Getty Museum Loan Numbers and Accession Num- bers, below. The entries conform to the format established by recently published fascicules issued by American museums, differing from them only in the greater number of measurements recorded for each vase. The heights of the panels, figures, and orna- ments given in the text are the maximum dimensions for each element as measured along the curving wall of the vase. The figure measured is usually identified in parentheses. Wherever possible, the approximate capacity has been measured and the results given in liters and in the estimated ancient equivalent, expressed in choes. I have used the equivalent as calculated by Friedrich Hultsch (Griechische una romische Métrologie, 2nd edn. [Berlin, 1882], pp. 101-104, 107-108, 703. RE, ser. i, vol. 3, pt. 2, cols. 2526-2527 ["Chous"]), even though it cannot be proved that IX this was the standard current in Archaic Athens: i metretes^ 12 choes; i chous = 12 kyathoi = 3.283 liters. Capacities were in most cases measured with ordinary rice, but sometimes minuscule solid glass spheres were used. The latter proved to be as accurate for the purpose as rice. Profile drawings are published for all objects in this fascicule save for the most fragmentary vases. Complete profiles describe the overall geometry and salient features of the more significant shapes as well as the unusual ones.
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