Table Of ContentCORPVS VASORVM ANTIQVORVM
U N I T ED STATES OF A M E R I CA • F A S C I C U LE 33
The J. Paul Getty Museum, Malibu, Fascicule 8
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UNION ACADÉMIQUE INTERNATIONALE
CORPVS V A S O R VM
A N T I Q V O R VM
THE J. PAUL GETTY M U S E UM • MALIBU
Molly and Walter Bareiss Collection
Kantharoi and Kantharoid, Skyphos or Mastoid, Skyphoi,
Cups Type A: Bilingual Cups, Red-Figured Cups,
Cups Type B, Cups Type C, Stemless Cups,
Cups of Uncertain Type,
White-Ground Cup, Skyphos in Black Glaze
MARY B. MOORE
THE J. PAUL GETTY MUSEUM
FASCICULE 8 • [U.S.A. FASCICULE 33]
1998
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; fasc. 23- )
Vol. 1 by Andrew J. Clark.
At head of title: Union académique internationale.
Includes index.
Contents: v. 1. Molly and Walter Bareiss Collection:
Attic black-figured amphorae, neck-amphorae, kraters,
stamnos, hydriai, and fragments of undetermined
closed shapes.
1. 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; fasc. 23, etc.
NK4640.C6.U5 fasc. 23, etc. 738.3'82'o938o74 s 88-12781
[NK4624.B37] [738.3'82'o938o740i 9493]
0-89236-134-4
ISBN
© 1998 The J. Paul Getty Museum, Malibu, California
All rights reserved
O-89236-499-8
ISBN
Typesetting in Bembo VAL, printing, and binding by Stamperia Valdonega, Verona, Italy
CONTENTS
FOREWORD VÜ
PREFACE ix
ABBREVIATIONS xi
III I A T T IC R E D - F I G U R ED VASES
III J ATTIC WHITE-GROUND VASE
III L ATTIC BLACK-GLAZED VASE
K A N T H A R OI A ND K A N T H A R O ID
(nos. 1-3) Plates 387; 388, 1-3
S K Y P H OI (nos. 4-9) Plates 388,4-6; 389 5390,1-2,4; 391
Skyphoid or Mastoid (no. 10) Plate 390, 3
CUPS T Y PE A
Bilingual Cups (nos. 11-12) Plates 392-393; 394, 1-2
Red-Figured Cups (nos. 13-14) Plates 394, 3-6; 395~396
CUPS T Y PE B (nos. 15-87) Plates 397~454; 455,1-2
CUPS T Y PE C (nos. 88-97) Plates 455, 3-8; 456-458; 459, 1-3
STEMLESS C U PS (nos. 98-99) Plates 459,4; 460
C U PS OF U N C E R T A IN T Y PE
(nos. 100-105) Plates 459, 5-7; 461; 462, 1-4
W H I T E - G R O U ND C UP (no. 106) Plate 463
S K Y P H OS IN B L A CK G L A ZE (no. 107) Plate 462, 5
v
PROFILE DRAWINGS 75
INDEX of J. Paul Getty Museum Accession Numbers 89
CONCORDANCE between Bareiss Collection Numbers,
J. Paul Getty Museum Accession Numbers, and CVA Numbers 92
CONCORDANCE between Beazley Numbers, J. Paul Getty Museum
Accession Numbers, and CVA Numbers 93
CONCORDANCE between J. Paul Getty Museum Loan Numbers,
????????? ???????? ??? ??? ??????? ?? 95
INDEX of Attributions to Potters, Painters, Groups, and Classes 97
INDEX of Mythological Subjects 98
VI
FOREWORD
This volume represents perhaps the single most important publication among our C VA
fascicules dedicated to the collection of Walter and Molly Bareiss. It has always been uni
versally acknowledged by those familiar with the collection that the red-figured drinking
cups—both kylikes and skyphoi—were the greatest strength of the collection, for they in
cluded a number of major pieces by the best-known vase-painters of the Late Archaic pe
riod. Among these are Dourisys cup with youths and men (entry no. 68), the Brygos
Painter's kylix with episodes from the tragedy of Ajax (entry no. 49), Makron}s dancing
komast (entry no. 63), and the Briseis Painter's procession of Anacreontics (entry no. 55
to name just a few of the most familiar.
We were most fortunate to enlist the services of Mary B. Moore in the preparation of this
key volume. Few scholars could bring to this publication her breadth of experience andfamil
iarity both with the Bareiss vases, many of which were on loan to the Metropolitan Museum
for many years, and with the comparanda among American and European collections. Because
Mary Moore has worked over the years on some of the key vases in the Getty Museum }s own
collection, she has established strong ties with the staff, who are always pleased to welcome her
back. We have also had the good luck to be able to add some new fragments to a few of the
Bareiss vases since their acquisition by the Museum in 1986. These include some nine addi
tional pieces now incorporated in the Ajax scenes by the Brygos Painter; eight pieces added to
the Penthesilea Painter cup (entry no. and one largefiguralfragment added to the tondo
depicting the vomiting komast by Onesimos (entry no. 44). As always, Dietrich von Bothmer
most generously provided a number of these key pieces from his own collection, as well as criti
cal information about joins in other collections. The Louvre Museum, which cannot de-acces
sion objects, extended on permanent loan both the large fragment by Onesimos and one of the
fragments by the Penthesilea Painter, which were both incorporated into the respective cups.
Like every Museum publication, this volume could not have been realized without the as
sistance of a large number of people. Karol Wight oversaw the preparation of the manuscript
and worked with Mary Moore to answer any and all questions. Ellen Rosenbery pho
tographed most of the vases in preparation for the publication, providing postconservation shots
for the newly augmented and restored vessels. Peggy Sanders executed the drawings of profiles
and graffiti. The Department of Antiquities Conservation, and especially Susan Lansing
Maish, provided the conservation work required prior to photography. What we are most
mindful of, however, with the appearance of this particular fascicule is the extraordinary
achievement of Walter and Molly Bareiss in gathering these pieces together. We trust that
generations of scholars and visitors to the Getty Museum will appreciate the discerning taste
and informed judgment that built this wonderful collection.
Marion True
vii
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PREFACE
This CVA fascicule, containing the red-figured drinking vessels from the collec
tion of Walter and Molly Bareiss, is the fourth of the projected series of six vol
umes.1 The shapes represented are: kantharoi, a skyphos or mastoid, skyphoi, and
cups Types A, B, C, and stemless. There are also several cup fragments whose type
could not be determined from the small bit of evidence remaining. The fascicule
concludes with the splendid white-ground cup of special shape attributed to Eu-
phronios and with a small black-glazed skyphos.
The presentation of the shapes follows the sequence established by Beazley.
Within each shape or variant, the order of appearance is chronological. The de
scriptions follow the format drawn up by the members of the U SA CVA Com
mittee. For each entry, a profile drawing is offered where desirable and reproduced
at the end of the text, on pages 77-87. Graffiti are reproduced in the text at a scale
of 1:1. Inscriptions, also in the text, are reproduced in an inscription-Greek font
created for these fascicules. Reconstruction drawings are included in some cases to
clarify missing parts of a composition and to render it more intelligible. These
drawings are the work of the author. The photographs speak for themselves.
Many of these vases were attributed by various scholars, and the name of each
is acknowledged under the heading ATTRIBUTION AND DATE. Where no name is
given, the attribution is by the author.
Since the history of the Bareiss collection was presented so ably by Andrew
J. Clark in the initial fascicule of the series, this information is not repeated here
and the reader is referred to his text.2
I wish particularly to thank Marion True, Curator of Antiquities, for inviting
me to take on this project. It was very generous of her, since these vessels com
prise some of the best pieces in the Museum's collection, and it has been a great
pleasure for me to work on them. I studied the pieces during a brief visit to Malibu
in March 1995. During my stay, the members of the Museum's Department of
Antiquities were most helpful to me, and because of their friendly cooperation, I
was able to do all the necessary work during the two weeks I was there. I would
especially like to single out Karol Wight, Associate Curator, who coped so cheer
fully with my frequent queries and the various problems that arose during my
work on this fascicule; and Dorothy Osaki, Staff Assistant II, who gladly helped
1. A skyphos by the Kleophrades Painter (inv. 86.AE.224 and 86.AE.270-271) will, however, be
published elsewhere by another scholar and is therefore not included in this fascicule.
2. Andrew J. Clark, CVA Malibu 1, pp. ix-xi.
ix
