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You searched for: Start Over Photographer Lowenstam, Steven Remove constraint Photographer: Lowenstam, Steven Style Period Attic (Mainland Greek pottery styles) Remove constraint Style Period: Attic (Mainland Greek pottery styles) Style Period Red-figure Remove constraint Style Period: Red-figure Work Type neck amphorae Remove constraint Work Type: neck amphorae

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21. [No Caption] Steven Lowenstam Collection
[No Caption] Steven Lowenstam Collection
Description
Side A: Dancing youth holding a kylix in one hand; Side B: Dancing man; his features are those of a non-Greek.--True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 32-35, no. 21, fig. 21a-c; p. 75, no. 97.; Bareiss Loan Number: S.80.AE.327, P. Graupe, Berlin. Sale cat., Verschiedener deutscher Kunstbesitz. May 27-29, 1935. lot 911; pl. 82.; Beazley, J. D. Attic Red-figure Vase-painters. Oxford: 1942. p. 134, no. 40.; Kunst-Auktion Fritz Nagel, Stuttgart. Sale cat, October 12, 1962. pl. 15, 326.; Beazley, J. D. Attic Red-figure Vase-painters. 2nd ed. Oxford: 1963. pp. 200, no. 51; 1700.; Munzen und Medaillen, Basel. Auktion 26, October 5, 1963. lot 128.; Bothmer, Dietrich von, and J. Bean. Greek Vases and Modern Drawings from the Collection of Mr. and Mrs. Walter Bareiss. Exh. checklist, The Metropolitan Museum of Art. New York: 1969. p. 4, no. 39.; Beazley, J. D. Paralipomena. Additions to Attic Black-figure Vase-painters and to Attic Red-figure Vase-painters. 2nd ed. Oxford: 1971. p. 342.; Matheson, Susan Burke, and J. Jerome Pollitt. Greek Vases at Yale. New Haven: 1975. pp. 50-51, no. 45, fig. 45.; Kurtz, Donna C. Athenian White Lekythoi: Patterns and Painters. Oxford: 1975. pp. 14, 199; pl. 7.3.; Bothmer, Dietrich. Review of S. Matheson and J. Pollitt, Greek Vases at Yale. Art Bulletin 58 (1976). p. 615.; Cardon, Carol M. The Berlin Painter and His School. Ann Arbor, Michigan: University Microfilms, no. 78-3069, 1977. p. 62, no. 73; p. 81; pl. 48.; Johnston, Alan. Trademarks on Greek Vases. Warminster: Aris & Phillips, 1979. p. 158, type 10F, no. 8.; Kurtz, Donna C., and John D. Beazley. The Berlin Painter. Oxford: 1983. pp. 52, 76, and 89.; True, Marion, and Jiri Frel. Greek Vases. Molly and Walter Bareiss Collection. The J. Paul Getty Museum. Malibu: 1983. pp. 32-35, no. 21, fig. 21a-c; p. 75, no. 97.; Williams, D.J.R. "Close Shaves," Ancient Greek and Related Pottery. Proceedings of the international Vase Symposium in Amsterdam, April 12-15,1984. Amsterdam: 1984. pp. 275-281. p. 280, n. 38.; "Acquisitions/1986." The J. Paul Getty Museum Journal 15 (1987), pp. 160 - 161, no. 7.; Euwe, J. "The Shape of Early Nolan Amphorae (490-480 B.C.): the Origin and Relation with Other Small Neck-Amphorae," Proceedings, 3rd Symposium on Ancient Greek and Related Pottery, Copenhagen, Aug. 31-Sept. 4, 1987. Copenhagen: 1988. pp. 144-151. p. 151, n. 4, no. 8.; Beazley Addenda: Additional References to ABV, ARV2, and Paralipomena. 2nd ed. Compiled by T. Carpenter with T. Mannack and M. Mendonca. Oxford: 1989. p. 192.; Oakley, John. H. Corpus Vasorum Antiquorum. Walters Art Gallery 1 (USA 28). Baltimore: 1992. p. 6, under comparanda.; Neer, Richard T. Corpus Vasorum Antiquorum. The J. Paul Getty Museum 7 (USA 32). Malibu: 1997. pp. 5-7, no. 4; pls. 331-332; and 335, 1-2.; The J. Paul Getty Museum Handbook of the Antiquities Collection (Los Angeles: J. Paul Getty Museum, 2002) p. 75.; The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 31, ill.; Jubier-Galinier, C. "Les Ateliers de Potiers: le Temoignage des Doubleens Amphorae" In Shapes and Uses of Greek Vases. Athena Tsingarida, ed. (Bruxelles: CReA-Patrimoine, 2009), 47-58. , p.52, fig. 4c.
22. Rhapsode
Rhapsode
Description
Pottery: red-figured neck-amphora (storage-jar), with twisted handles. (a) Victorious poet reciting. On a plinth or bema, on which is inscribed KAΛΟNEI, καλος εΐ, a bearded, wreathed man in an himation which leaves his right shoulder free stands to right, resting his extended right hand on a knotted staff. From his open mouth proceed the first words of a metrical poem. (See Inscription). (b) Flute-player: perhaps the accompanist of the poet in a. He stands on a smaller plinth to right playing on the flutes, which are attached by a phorbeia which has a broad band over the cheeks, to which are fastened two smaller bands by small rings, passing at the back of and over the head. He is wreathed, and has light hair on his cheeks: he wears a long sleeved chiton decorated with a band of pattern above the ankles, which flies back in wavy folds as if he were moving forward, shoes, and a short, fringed tunic of some thick material, decorated with a large chequer pattern. The chequers on the left shoulder are not filled in. Purple inscriptions in field, and wreaths. Brown inscriptions on plinth, hair on cheek, moustache, upper folds of chiton and shading on lower part of chiton in b, and inner markings, including even the muscles on the back of the flute-player's hands. The edge of the hair against the flesh has a row of minute brown dots: in b it has two parallel rows of raised black dots over the forehead. Eye in transition type (inner angle open and pupil close against it). Below each side, a strip of alternate maeanders with red cross squares and black squares. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
23. Flute Player
Flute Player
Description
Pottery: red-figured neck-amphora (storage-jar), with twisted handles. (a) Victorious poet reciting. On a plinth or bema, on which is inscribed KAΛΟNEI, καλος εΐ, a bearded, wreathed man in an himation which leaves his right shoulder free stands to right, resting his extended right hand on a knotted staff. From his open mouth proceed the first words of a metrical poem. (See Inscription). (b) Flute-player: perhaps the accompanist of the poet in a. He stands on a smaller plinth to right playing on the flutes, which are attached by a phorbeia which has a broad band over the cheeks, to which are fastened two smaller bands by small rings, passing at the back of and over the head. He is wreathed, and has light hair on his cheeks: he wears a long sleeved chiton decorated with a band of pattern above the ankles, which flies back in wavy folds as if he were moving forward, shoes, and a short, fringed tunic of some thick material, decorated with a large chequer pattern. The chequers on the left shoulder are not filled in. Purple inscriptions in field, and wreaths. Brown inscriptions on plinth, hair on cheek, moustache, upper folds of chiton and shading on lower part of chiton in b, and inner markings, including even the muscles on the back of the flute-player's hands. The edge of the hair against the flesh has a row of minute brown dots: in b it has two parallel rows of raised black dots over the forehead. Eye in transition type (inner angle open and pupil close against it). Below each side, a strip of alternate maeanders with red cross squares and black squares. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
24. Rhapsode
Rhapsode
Description
Pottery: red-figured neck-amphora (storage-jar), with twisted handles. (a) Victorious poet reciting. On a plinth or bema, on which is inscribed KAΛΟNEI, καλος εΐ, a bearded, wreathed man in an himation which leaves his right shoulder free stands to right, resting his extended right hand on a knotted staff. From his open mouth proceed the first words of a metrical poem. (See Inscription). (b) Flute-player: perhaps the accompanist of the poet in a. He stands on a smaller plinth to right playing on the flutes, which are attached by a phorbeia which has a broad band over the cheeks, to which are fastened two smaller bands by small rings, passing at the back of and over the head. He is wreathed, and has light hair on his cheeks: he wears a long sleeved chiton decorated with a band of pattern above the ankles, which flies back in wavy folds as if he were moving forward, shoes, and a short, fringed tunic of some thick material, decorated with a large chequer pattern. The chequers on the left shoulder are not filled in. Purple inscriptions in field, and wreaths. Brown inscriptions on plinth, hair on cheek, moustache, upper folds of chiton and shading on lower part of chiton in b, and inner markings, including even the muscles on the back of the flute-player's hands. The edge of the hair against the flesh has a row of minute brown dots: in b it has two parallel rows of raised black dots over the forehead. Eye in transition type (inner angle open and pupil close against it). Below each side, a strip of alternate maeanders with red cross squares and black squares. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
25. Flute Player
Flute Player
Description
Pottery: red-figured neck-amphora (storage-jar), with twisted handles. (a) Victorious poet reciting. On a plinth or bema, on which is inscribed KAΛΟNEI, καλος εΐ, a bearded, wreathed man in an himation which leaves his right shoulder free stands to right, resting his extended right hand on a knotted staff. From his open mouth proceed the first words of a metrical poem. (See Inscription). (b) Flute-player: perhaps the accompanist of the poet in a. He stands on a smaller plinth to right playing on the flutes, which are attached by a phorbeia which has a broad band over the cheeks, to which are fastened two smaller bands by small rings, passing at the back of and over the head. He is wreathed, and has light hair on his cheeks: he wears a long sleeved chiton decorated with a band of pattern above the ankles, which flies back in wavy folds as if he were moving forward, shoes, and a short, fringed tunic of some thick material, decorated with a large chequer pattern. The chequers on the left shoulder are not filled in. Purple inscriptions in field, and wreaths. Brown inscriptions on plinth, hair on cheek, moustache, upper folds of chiton and shading on lower part of chiton in b, and inner markings, including even the muscles on the back of the flute-player's hands. The edge of the hair against the flesh has a row of minute brown dots: in b it has two parallel rows of raised black dots over the forehead. Eye in transition type (inner angle open and pupil close against it). Below each side, a strip of alternate maeanders with red cross squares and black squares. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
26. Rhapsode
Rhapsode
Description
Pottery: red-figured neck-amphora (storage-jar), with twisted handles. (a) Victorious poet reciting. On a plinth or bema, on which is inscribed KAΛΟNEI, καλος εΐ, a bearded, wreathed man in an himation which leaves his right shoulder free stands to right, resting his extended right hand on a knotted staff. From his open mouth proceed the first words of a metrical poem. (See Inscription). (b) Flute-player: perhaps the accompanist of the poet in a. He stands on a smaller plinth to right playing on the flutes, which are attached by a phorbeia which has a broad band over the cheeks, to which are fastened two smaller bands by small rings, passing at the back of and over the head. He is wreathed, and has light hair on his cheeks: he wears a long sleeved chiton decorated with a band of pattern above the ankles, which flies back in wavy folds as if he were moving forward, shoes, and a short, fringed tunic of some thick material, decorated with a large chequer pattern. The chequers on the left shoulder are not filled in. Purple inscriptions in field, and wreaths. Brown inscriptions on plinth, hair on cheek, moustache, upper folds of chiton and shading on lower part of chiton in b, and inner markings, including even the muscles on the back of the flute-player's hands. The edge of the hair against the flesh has a row of minute brown dots: in b it has two parallel rows of raised black dots over the forehead. Eye in transition type (inner angle open and pupil close against it). Below each side, a strip of alternate maeanders with red cross squares and black squares. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
27. Aging reveler
Aging reveler
Description
Pottery: red-figured neck-amphora, with twisted handles. (a) Anacreon type. A bearded reveller walking to right, wreathed in ivy and playing on the chelys: his head hangs forward to left, with eyes upturned as if partly drunk. The nose is curiously squat and broad, like that of a bearded satyr. His mantle flies back with the motion; and he has a staff under his left shoulder. (b) Ephebos, wreathed, walking to right, holding in his right hand horizontally a crutch staff, and extending his left on a level with his shoulder, holding on the palm upright a kylix: a mantle, rolled up, flies back from both arms. Extremities carefully drawn. Purple wreaths, tuning pegs, and cord of plectrum. Elaborate brown inner markings: the beard and the edge of the hair in a are indicated throughout in carefully traced-brown lines, which are also used for the knuckles of the bent hand and nostril in b and the hair on the cheek. Eye in archaic type, with inner angle open. Edge of hair dotted: and a dotted rosette for the left breast. Below a, a strip, alternate maeander and dotted cross squares: below b, a strip of key pattern. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
28. Reveller
Reveller
Description
Pottery: red-figured neck-amphora, with twisted handles. (a) Anacreon type. A bearded reveller walking to right, wreathed in ivy and playing on the chelys: his head hangs forward to left, with eyes upturned as if partly drunk. The nose is curiously squat and broad, like that of a bearded satyr. His mantle flies back with the motion; and he has a staff under his left shoulder. (b) Ephebos, wreathed, walking to right, holding in his right hand horizontally a crutch staff, and extending his left on a level with his shoulder, holding on the palm upright a kylix: a mantle, rolled up, flies back from both arms. Extremities carefully drawn. Purple wreaths, tuning pegs, and cord of plectrum. Elaborate brown inner markings: the beard and the edge of the hair in a are indicated throughout in carefully traced-brown lines, which are also used for the knuckles of the bent hand and nostril in b and the hair on the cheek. Eye in archaic type, with inner angle open. Edge of hair dotted: and a dotted rosette for the left breast. Below a, a strip, alternate maeander and dotted cross squares: below b, a strip of key pattern. --The British Museum, A Catalogue of the Greek and Etruscan Vases in the British Museum, London, William Nicol, 1851; Walters, H B; Forsdyke, E J; Smith, C H, Catalogue of Vases in the British Museum, I-IV, London, BMP, 1893; Walters, H B, Corpus Vasorum Antiquorum: Great Britain 4, British Museum 3, London, BMP, 1927
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