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Hill-Stead 46.1.95 a “Lost” Work of the Painter of Athens 931

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Hill-Stead 46.1.95 a “Lost” Work of the Painter of Athens 931 BaBesch 72 (1997) Hill-Stead 46.1.95 A “Lost” Work of the Painter of Athens 931 Phyllis B. Katz This paper describes in detail a heretofore little been purchased by Mr. Pope, there were no new ref- known head-pyxis by the Painter of Athens 931, a erences to the vase in the scholarly literature; hence, major painter in the Dodwell School1. The paper the erroneous belief that the vase had been lost. includes a complete set of pictures (Plate I, 1-7) and drawings of the vase as well as tables (Tables 1 and Abbreviations used throughout this paper and in the tables: 2) and figures (Figures 1, 2 and 3) that present NC= H. Payne. Necrocorinthia. (Oxford: Clarendon Press, 1931). CorV= D.A. Amyx. “ Corinthian Vases in the Hearst Collection detailed statistics (where available) about all the at San Simeon.” University of California Publications in known head-pyxides2. Finally, the paper provides a Classical Archaeology 9 (1943) 207-231. brief discussion of the Dodwell Painter and of the CorVP= D.A. Amyx. Corinthian Vase-Painting of the Archaic work of the Painter of Athens 931 in order to Period. (Berkeley: U. of California Press, 1988). CSCA= D.A. Amyx. “Dodwelliana.” California Studies in demonstrate the unique nature of the Hill-Stead vase Classical Antiquity 4 (1971) 1-48. and the high quality of its design3. 1 A major portion of the research for this paper was completed Although Hill-Stead 46.1.95 has been in Farming- in Fall, 1994, while I was a Visiting Lecturer in the Dartmouth ton, CT since 1907, this fact was not known by College Classics Department. I wish to thank Professor Jeremy scholars until quite recently when curators at the Rutter for his encouragement and advice as my research pro- museum, wishing to ascertain the date of the vase, gressed. In addition, I spent many hours at the Hill-Stead 4 Museum studying Hill-Stead 46.1.95. Shepherd Holcombe, circulated a picture of it to several experts . The Jr., Curator of Collections, provided much assistance and gave vase is listed briefly by Payne as NC 1308 and in generously of his time. Previous work on the vase at the museum D.A. Amyx’s Corinthian Vase-Painting of the by Sharon Stoltz, Director of Educational Programs, and by Archaic Period as Paris 1905 (211: A-12); how- Anne Hartmann, Public Relations Director established the date of the vase through correspondence with Professors D.A. Amyx ever, these experts did not know the current where- and J.L. Benson and with M. Padgett of the Museum of Fine abouts of the vase and had seen only a poor illus- Arts, Boston (see note 39infra). tration of Paris 1905. Thus, in his “Dodwelliana” Special acknowledgment and thanks must be given to Ms. Kara study of 1971, D.A. Amyx describes the head-pyxis Spain, who painstakingly executed a complete series of draw- 5 ings of the vase and to Ms. Linda Spiegel of the University of by the Painter of Athens 931 as “lost” . Payne and Connecticut Health Center who took a full series of photographs Amyx refer to the catalog entry for the auction by of the vase. the Hotel Drouot (10-12.4. 1905) of items from the In March, 1995 I spent two days at the Archaeologisch- Collection Philip where the vase appears as Coll. Historisch Instituut of the Universiteit van Amsterdam where 6 Dr. C.W. Neeft provided invaluable assistance and much addi- Philip No. 573, Plate p. 70 and description, p. 84 . tional information about a number of the head-pyxides and about The description in the catalog provides very little the Painter of Athens 931. I am greatly indebted to this gener- information about the vase’s appearance and does ous scholar. not mention the two prominent female figures on the 2 Table 1 includes a comparison of the facial and torso mea- surements for the three protomai on the vase. Table 2 includes shoulder and body of the vase; however, the photo- information on the location of each vase, its museum number, graph in the catalog shows clearly that Paris 1905 date, and painter. Also included is at least one bibliographical is the Corinthian Head-pyxis on display at the Hill- reference for each vase, an indication of the vase’s provenance, Stead Museum7. Apparently unsold at the April, the number of heads, the body decoration and the height. 3 The works of the Painter of Athens 931 are listed by 1905 auction, it was purchased by Alfred Atmore D.A. Amyx, 1988, 211-212, 321, 348. An updated list will be Pope, owner of Hill-Stead, then a country home, in published by C.W. Neeft. Farmington, Connecticut, on the 10th of August 4 See footnote (# 39) below for details of the correspondence of 1907 from the shop of M. Bing, 10 Rue St. Georges the Museum with D.A. Amyx, J.L. Benson and M. Padgett. 5 Amyx, 1971, 23. for 1500 francs; the catalog for the 1905 sale lists 6 Antiquités Egyptiennes, Grecques et Romaines Appartenant à M. Bing as the “Expert” for the auction. The bill of P. Philip et à divers Amateurs, les 10, 11 et 12 Avril 1905, à sale in the files of the Hill-Stead Museum lists the l’Hotel Drouot. vase simply as a “Vase Corinthien.” It was part of 7 The catalog description reads as follows: “Vase corinthien en terre cuite. Sa panse sphérique, surmontée d’un court goulot muni a lot of seven other items, all of them Oriental vases de trois anses représentant Astarté, est contournée d’une large which, aside from Impressionist art, were the major frise d’animaux et de rosaces qui contribue à faire de ce vase un focus of Mr. Pope’s collecting activities. After it had type bien caractéristique des pièces de ce genre. Haut. 0,23.” 1 Fig. 1. Drawing by Kara Spain of the frieze and shoulder panels of the vase Hill-Stead 46.1.95 is remarkable for its size, for its very worn rosettes; in the center is a slightly worn fine state of preservation, for the high quality of the siren10 facing left and wearing a polos; her wings figures that decorate the vase, for its three female are spread on either side of her body; the vase is protomai, each possibly individually molded, and damaged above the left wing; the paint on the feet for its two female figures, one in a shoulder panel is gone; to the right of the siren is another row of and one in the main frieze (Plate I, 1-7 and Figure 1). tapered rosettes and a pair of painted vertical lines; The labeling of the vase as a “bizarre example” of (Figure 1, b) between Head #1 l. and Head # 3 r.; a the Painter of Athens 931’s late style by Amyx, damaged vertical row of tapered rosettes or dots; a based on a viewing of a poor catalog photograph, is female facing right wearing a peplos and himation unjustified – the vase is, in fact, a “showpiece” by and a polos; her hands are covered; a siren facing the painter8. left, also wearing a polos; her wings are raised The vase has a H. to the top of the lip of 21.9 cms.; above her tail; to r. of siren, a vertical row of the H. to the top of the heads is 22.4 cms.; the max- tapered rosettes; (Figure 1, c) between Head #3 l. imum D. of the body is 22.4 cms.; D. of the mouth and Head #2 r.; a very damaged vertical row of is 13.8 cms. (outside) and 8.1 cms. (inside); the base rosettes (there is a hole to the right and slightly D. is 16.0 cms. Figure 2 illustrates a profile of the down from the top rosette); a much damaged scene vase. At 22.4 cm. the Hill-Stead vase is among the of two confronting sirens; most of the paint is gone, largest of the head-pyxides (Figure 3). The weight of the vase is 1780 grams. The vase is intact; there is no lid. The clay is orange/yellow-buff; there is 8 Amyx, 1971, 29; in a conversation on March 3, 1995, added purple on some of the figures, but no white. C.W. Neeft called the vase a “showpiece.” For “bizarre” exam- The inside of the mouth has remains of black paint. ples of the head-pyxis, compare Exeter 438.1975 (Table 2, #32) The painted area at the top of the mouth is decorated and the Kurashiki vase (Table 2, #34). with rays; on the edge of the lip, interrupted by the 9 If other head-pyxides have heads that are different enough to be considered individual representations, this information is female protomai, are stepped zigzags. The protomai not, at present, available; although many of the heads have been wear peploi; one has a necklace. The faces and tor- photographed and used as a basis for dating sculpture, there have sos of the protomai are significantly different; been no studies of the heads as significant features of the head- I have labeled them as Heads # 1, 2 and 3 (Table 1, pyxides themselves, and I have found no studies that include 9 detailed measurements of any of the heads. The naming of three Plate I, 5, 6, and 7, respectively) . The neck of the heads on New York, MMA 74.51.364 (Table 2 #53) as three vase is black; much of the paint has flaked off or individual females, however, suggests that at least one other been worn away.
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