Mended from many fragments, with missing pieces restored in plaster and painted, notable among them the left horizontal handle and part of the wall below it. Glaze fired greenish around left handle; abraded below vertical handle. H. 0.285; diam. 0.20. D. A. Amyx, Hesperia 27, 1958, pl. 48:b; Matheson, Polygnotos, p. 427, cat. no. KLM 32.

Three women, one frontal, head to right, facing one in profile, a third to right, looking back. Each wears a chiton, the first carries a folded himation, the second holds the kolpos of her chiton between her teeth as she ties her belt, the third also wears a himation and has a sakkos on her head. 1 and 2 each have fillets with leaves around their heads. On the far right there is a fillet hanging on the wall. On lower molding of mouth, egg pattern. Above the figures, at the base of the neck, stopped-maeander pattern; below, stopped-maeander pattern with cross-squares. Preliminary sketch. White (partly flaked): fillets; ties of sakkos.

For the motive of the woman holding the kolpos of her chiton between her teeth, Buschor seems to have been the first to collect examples when he published the white-ground lekythos in Munich by the Klügmann Painter (JOAI 39, 1952, pp. 12--17, esp. pp. 12--13 and note 1). For more recent literature, see J.-M. Moret, L'Ilioupersis dans la céramique italiote: Les mythes et leur expression figurée au IV^e siècle, Rome 1975, p. 19 and note 4: the "pyxis perdue" in this list is now New York, M.M.A. 1972.118.148 [D. von Bothmer, Ancient Art from New York Private Collections, New York 1961, pl. 91:243]); E. Böhr in CVA, Tübingen 4 [Deutschland 52], pp. 96--97 (text to Tübingen S./10 1575 = E 154); also, R. Sutton, "The Interactions between Men and Woman Portrayed on Attic Red-Figure Pottery" (diss. Univ. of North Carolina, 1981), pp. 366--367 and p. 446, note 202.

Since the examples of this motive are scattered among several sources, it might be useful to draw up a fresh list. Münster, no no. by the Eucharides Painter (K. Stähler, Eine unbekannte Pelike des Eucharides-Malers im Archäologischen Museum der Universität Münster, Cologne 1967, pls. 2, 4:a); Berlin inv. 4496 by Syriskos (ARV2 262, 30; Addenda 205); London Market, attributed to the Methyse Painter (Cat. Sotheby's 7 July, 1994, no. 337); Mainz, Univ. 119 in the manner of the Painter of London E 342 (ARV2 670, 13); Sydney 51.13, connected with the Aischines Painter (ARV2 722, 2); Tübingen S./10 1575 = E 154 by an unascribed follower of Douris (ARV2 806, 91; Addenda 291); a cup by the Telephos Painter once in a private collection in Athens, here the figure is a youth (ARV2 818, 22; Addenda 292); an unattributed Early Classical alabastron, London, B.M. E 719 (ARV2 1560, ---); Naples inv. 126055 by the Persephone Painter (ARV2 1013, 13); Petit Palais 318 by the Barclay Painter (ARV2 1068, 20); Newton, Walston, akin to the Clio Painter (ARV2 1083, 1); Berlin 2393 by the Cassel Painter (ARV2 1085, 33); Athens, Vlasto by the Kleophon Painter (ARV2 1147, 60; Matheson, p. 419, cat. no. KL 67); Munich inv. 7663 by the Klügmann Painter (ARV2 1200, 40); New York, M.M.A. 06.1021.130 by the Quadrate Painter (ARV2 1239, 44); Athens, N.M. 1205, near the Eretria Painter (ARV2 1256, 9; Lezzi-Hafter, Eretria-Maler, p. 343, cat. no. 235); two by the Calliope Painter: Louvre Cp 11932 and Cp 11933, now joined (ARV2 1260, 13--14; Lezzi-Hafter, Eretria-Maler, p. 322 cat. no. 88, pl. 67:a) and Marzabotto T 2,6587 attributed by Lezzi-Hafter (p. 323, cat. no. 94, pl. 73:d); an unattributed pyxis, New York, M.M.A. 1972.118.148 (see above); a Kerch-style oinochoe, New York, M.M.A. 25.190 (K. Schefold, Kertcher Vasen [ Bilder griechischer Vasen 3], Berlin 1930, pl. 10); Brauron, a pyxis, no no. (AK Beiheft 1, 1963, pl. 13:1); an Apulian fragment from the Circle of the Sisyphos Painter, London, B.M. E 509 (A. D. Trendall, The Red-Figured Vases of Apulia, Oxford 1978, p. 21, no. 94); also 836; P 30054 (Hesperia Suppl. XXV, p. 84, cat. no. 80, pl. 30); and the figure of Leto in the Naples painting on marble of knucklebone players (H. Mielsch, RM 86, 1979, p. 236, pls. 50, 51). Perhaps one should also mention Brunswick 220, which is near the Hector Painter, on which a woman holds the end of a fillet in her mouth while she ties the rest of it around her head (ARV2 1037, 3; Matheson, p. 380, cat. no. CURM 2: manner of the Curti Painter).

Manner of the Kleophon Painter (ARV1 788, ---, 2; ARV2 1149, 24).