Decoration: A: HERAKLES (WITHOUT LIONSKIN) AND APOLLO, THE STRUGGLE FOR THE TRIPOD, BETWEEN ATHENA WITH OWL AND ARTEMIS WITH FLOWER B: DIONYSOS WITH IVY AND KANTHAROS BETWEEN SATYR AND MAENAD WITH KROTALA DANCING Rim: HERAKLES AND THE LION BETWEEN IOLAOS AND ATHENA, BOTH SEATED ON BLOCKS
Last Recorded Collection: New York (N.Y.), Metropolitan Museum: 63.11.6
Previous Collections:
Geneva, market
Publication Record: American Journal of Archaeology: 86 (1982), PL.19, FIG.14 (A) Beazley, J.D., Attic Red-Figure Vase-Painters, 2nd edition (Oxford, 1963): 1617.2BIS Beazley, J.D., Paralipomena (Oxford, 1971): 320 Boardman, J., Athenian Red Figure Vases (London, 1975): FIG.6 (B), 16, HEAD DETAILS 1-3 Bothmer, D. v., Greek Vase Painting, An Introduction (New York, 1987): 26-27, 65, NO.11 (A, B, PARTS OF B) Bothmer, D. von, Greek Vase Paintings, Metropolitan Museum of Art (New York, 1987): 28-29, 69, NO.15 (A, B, PART OF B) Bulletin of the Metropolitan Museum of Art, New York: 31 (1972-73), FIG.11 (A,B, PARTS OF B) Cohen, B., Attic Bilingual Vases (New York, 1978): PLS.21-25.2 (A,B, PARTS) Cygielmann, M. et al. (eds.), Euphronios, Atti del Seminario Internazionale di Studi, Arezzo 27-28 Maggio 1990 (Florence, 1992): PL.36 (PART OF A, REVERSED) Folsom, R., Attic Red-Figured Pottery (Parkridge, 1976): PL.1 (B) Greece and Rome: 50-51, NO.34 (A, B) Lexicon Iconographicum Mythologiae Classicae: V, PL.128, HERAKLES 2985 (A) Mertens, J., Attic White Ground, its development on shapes other than lekythoi (New York, 1977): PL.2.1, 2 (SIDE, LIP) Mertens, J., How to read Greek vases (New York, 2010): 105-107 (COLOUR OF A, B, RAB AND PARTS) Metropolitan Museum Journal: 26 (1991) 6, FIGS.16-17 (A, OF) Metropolitan Museum Journal: 36 (2001) 20, FIG.9 (A) Metropolitan Museum Journal: 42 (2007) 39, FIG.27 (A) Papers on the Amasis Painter and his World (Malibu, 1987): 172, FIG.2 (B) Picon, C.A., Mertens, J.R., et al., Art of the Classical World in the Metropolitan Museum of Art, Greece, Cyprus, Etruria, Rome (New York, 2007): 89, NO.94 (COLOUR OF A) Robertson, C.M., The art of vase-painting in classical Athens (Cambridge, 1992): 14, FIG.9 (B) Settis, S. (ed.), I Greci, Storia Cultura Arte Societa 2, Una storia greca, 1.Formazione (Turin, 1996): 28, FIG.29 (A) Woodford, S., An Introduction to Greek Art. Sculpture and Vase Painting in the Archaic and Classical Periods. 2nd edition (London, 2015): 60, FIG.78 (A)
CAVI Lemma: RF amphora. Andokides Painter. Ca. 530-520.
CAVI Subject: A: The Struggle for the Tripod: Heracles and Apollo. B: Dionysus with a
maenad and a satyr. On the lip, BF/WG: twice: Heracles and the Lion.
CAVI Inscriptions: On the foot, Gr.: Ανδοκιδες εποε{1}.
CAVI Footnotes: {1} complete.
CAVI Comments: Ex Geneva market (Koutoulakis). For the signatures written by the Andokides
Painter, see AttScr (1990), 58, and now Cohen: the signature is on the torus of
the foot, starting in the middle and going to the right; all four signatures on
vases by the Andokides Painter omit the iota of epoiesen.
