Media available: legacy documentation / Collector: Alfred Emerson / Culture or time period: Etruscan - Hearst Museum Portal Search Results

Start Over Media available legacy documentation Collector Alfred Emerson Culture or time period Etruscan

Hearst Museum object titled Altar miniature, accession number 8-2355, described as Terracotta, small alter (?) open at bottom, on projecting base. On front face it beats relief scene of swan- like bird who flies with outstretched wing to right with human figure on his back. Figure probably woman, wears long garment and seems to hold veil Tan; coarse, thick fabric.

Hearst Museum object titled Amphora, accession number 8-3378, described as Etruscan Red-figure amphora with twisted handles; broken and mended from several pieces with repainting over cracks; A, Warrior (sheild device a mug) and woman at stele; both hold flower of leaves in one hand; B, woman, and warrior pouring libation from patera; beneath scemnes, maeander punctuated by rosette motifs

Hearst Museum object titled Amphora, accession number 8-1567, described as Big red amphora. Description from Matteucig (1951): Jar; height: 37.5 cm; diameter: 31.5 cm (see Matteucig's plate VI, 2). Impasto type D. Clay, slip, and paint as in 8-1564, 8-1565, 8-1566. Low neck with slightly flaring lip; ovoid body on low, hollow foot; vertical handles. Slip badly faded; also decoration: geometric design reconstructed in figure 12. Vase is a restoration from several pieces; many cracks. For an interesting example, somewhat similar in shape, but in reversed technique (white on red), cf. the vase from south Etruria in C.V.A., British Museum, fasc. 7, IV B, a, pl. 9, 1; see also C.W.A., Scheurleer, fasc. 1, IV B, pl. 1, no. 1.

Hearst Museum object titled Amphora, accession number 8-1866, described as Large Etrusco-Corinthian amphora, repaired. Attributed to the Monte Abatone Painter; ca. 630 BCE. Description from Matteucig (1951): Neck-amphora; height: 42 cm; diameter: 29.5 cm (see Matteucig's plate XX, 15). Italo-Corinthian. Clay white; cream slip; reddish-brown paint. Shape similar to no. 8-1863. Three deep incised lines on lip; neck solid brown, except for a line of cream dots at its base; on flat side of handles, linear decoration consisting of five narrow triangles set base to base between three parallel bands. The upper half of the body is solid red brown; lower half, in the color of the slip, except for three bands. On the middle, traces of three animals going right: a horse, a lion, and a deer. The animals are in the color of the background (red brown) with violet (?) and cream details. Their contours are traced with double in cised lines; between the double lines, cream dots. The horns of the deer, the mane and tail of horse and lion are outlined in the same technique, with additional incised zig zags. Traces of incised floral filling ornaments. The closest parallel I could find is from Poggio Volpaio, tomba a camera no. 6, excavation of 8-1893, a fragmentary amphora in the Museo Archeologico, Florence. For other amphorae, perhaps related to ours, cf. Not. Sc., 1924, p. 409, fig. 3, p. 410, fig. 4, from Tarquinia.

Hearst Museum object titled Amphora, accession number 8-1863, described as Etrusco-Corinthian amphora. Attributed to the Monte Abatone Painter; ca. 630 BCE. Description from Matteucig (1951): Amphora; height: 28.5 cm; diameter: 22 cm (see Matteucig's plate XIX, 19). Italo-Corinthian. Clay pinkish cream; cream slip; dark brown, red, and gray paint. High neck with thick curving lip; strap handles; squat ovoid body on low flat base. Inside mouth, for about 3 cm, brown band; three incised lines on lip; neck solid brown, with a line of cream dots just above fillet; on edges of handles, brown vertical stripes; on flat side of handles, at point of contact with lip and shoulder, three horizontal stripes; on shoulder, three groups of seven to ten tongues; below tongues, anar row red band, a reserved line, then a red and gray band; broad brown band with double incised, interlaced, semicircles; anar row gray band; a broader red one and a narrow reserved; another broad red band; broad reserved zone; bottom solid brown. Vase restored from several pieces; surface, scratched; paint peeling off. For similar examples, cf. Not. Sc., 1903, p. 272, fig. 5, from Pitigliano; J. Boehlau, Aus ionischen und italischen Nekropolen, Leipzig, 1898, p. 92, fig. 47; G. H. Karo, De arte vascularia, Bonn, 1896, p. 37, no. 3; Not. Sc., 1930, p. 129, fig. 16, from Tarquinia; Mingazzini, Pl. XXIII, 8.