AN ATTIC BLACK-FIGURED NECK-AMPHORA
PROPERTY FROM A MANHATTAN PRIVATE COLLECTION
AN ATTIC BLACK-FIGURED NECK-AMPHORA

ATTRIBUTED TO THE THREE-LINE GROUP, CIRCA 520-510 B.C.

Details
AN ATTIC BLACK-FIGURED NECK-AMPHORA
ATTRIBUTED TO THE THREE-LINE GROUP, CIRCA 520-510 B.C.
11 in. (27.9 cm.) high
Provenance
John Theodoracopoulos, New York, prior to 1959.
The Property of a Gentleman formerly in the Collection of the late John Theodoracopoulos; Antiquities, Sotheby's, London, 7-8 July 1994, lot 324.
Literature
F.G. Welcker, Alte Denkmäler erklärt, vol. III: Griechische Vasengemälde, Göttingen, 1851, 13/17.
D. von Bothmer, Ancient Art from New York Private Collections, New York, 1961, p. 53, no. 205, pls. 76-77.
J.D. Beazley, Paralipomena, Oxford, 1971, p. 140, no. 6 ter.
F. Brommer, Vasenlisten zur griechischen Heldensage, Marburg, 1973, p. 336, no. 39.
T.H. Carpenter with T. Mannack, and M. Mendonca, Beazley Addenda, 2nd edition, Oxford, 1989, p. 86.
A. Greifenhagen, "Zeichnungen nach attisch schwarzfigurigen Vasen im deutschen archäologischen Institut, Rom," Archeologische Anzeiger, 1978, p. 521, fig. 33.
A. Kossatz-Deissmann, "Achilleus," LIMC, vol. I, Zurich and Munich, 1981, p. 99, no. 406.
A. Laser, Sport und Spiel, Archeologia Homerica, Gottingen, 1987, p. 163, fig. 56B.
Beazley Archive Pottery Database no. 351033.
Exhibited
New York, The Metropolitan Museum of Art, Ancient Art from New York Private Collections, 17 December 1959-28 February 1960.

Lot Essay

Beazley's Three-Line Group consisted of "neck-amphorae of standard type, but small, and of good quality, especially considering the size. The patterns below the pictures are bordered by groups of three lines (but not all neck-amphorae with three-line borders belong to the Three-Line Group). The drawing sometimes recalls the Lysippides Painter." (see J.D. Beazley, Attic Black-figure Vase-painters, p. 320).

The scene on the obverse shows Achilles and Ajax playing a board game with Athena standing between them, her gaze turned towards Achilles. Both heroes are labeled by inscriptions. They lean forward, engrossed in their game, both holding two spears, with their helmets resting upon their shields behind them. The subject was a popular one with Athenian vase-painters, the finest surviving example being the amphora in the Vatican Museums by Exekias, who excluded the goddess from the scene. The reverse shows two warriors wheeling around in a quadriga.

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