Ancient Greek Vases

Terracotta vases from ancient Greece, illustrating mythological scenes and daily activities, adorned with intricate designs and inscriptions, showcasing classical craftsmanship.

Prize Vessel with Athena; Attributed to Kleophrades Painter (Greek (Attic), active 505 - 475 B.C.); Athens, Greece; 500-480 B.C; Terracotta; 65 × 40.3 cm (25 9,16 × 15 7,8 in.)

Terracotta amphora (jar) ca. 540-530 B.C. Signed by Taleides Obverse, Theseus slaying the MinotaurReverse, men weighing merchandiseDiscovered at Agrigento in Sicily before 1801, this may be the first Greek vase with a potter's signature to have been published in modern Europe. Besides the signature, there is an inscription praising a youth, Klitarchos, as handsome. After Herakles, Theseus is the major hero in Athenian iconography. He was credited with uniting the principalities of Attica and with numerous exploits. Here he kills the Minotaur (part-man, part-bull) in the palace of King Minos on Crete. The reverse shows a large scale with containers on each pan and a man bringing them into balance.. Terracotta amphora (jar). Greek, Attic. ca. 540-530 B.C.. Terracotta; black-figure. Archaic. Vases

Attic Black-Figure Amphora; Attributed to Lydos or a painter close to Lydos, Greek (Attic), active about 565 - 535 B.C.; Athens, Greece, Europe; 550 - 540 B.C.; Terracotta; Object: H: 45.6 x Diam. (body): 32.5 cm (17 15/16 x 12 13/16 in.)

Italy, Apulia, Proto-italiotes krater (vase used to mix wine and water) depicting a farewell scene

Hydria (Water Jar) 360 BCE-350 BCE Puglia. In ancient Greece it was considered uncivilized to consume undiluted wine, so water was fetched from a public fountain house in a large handled jar like this one and used to dilute large quantities of wine. The horizontal handles made it easier to carry, while the vertical handle at the back was used for pouring. On the front of the vessel, six female figures are arranged around a funeral momument, topped by a tall white pillar. Some of the women are standing while others are seated, and hold objects like fans or caskets for precious objects. Below the handles on the sides of the vessel, the painter has added two owls.. terracotta, decorated in the red-figure technique . Iliupersis Painter

Terracotta lekythos (oil flask) ca. 500 B.C. Attributed to the Sappho Painter Thetis in chariot with winged horses flying over the sea accompanied by the messenger gods, Iris and Hermes.This scene may reflect a passage in the last book of the Iliad (book 24, lines 95-96). Summoned to Mount Olympos, the sea nymph Thetis is ordered by Zeus to convince her son, Achilles, to return the body of his enemy Hector to Priam, the king of Troy, for proper burial.. Terracotta lekythos (oil flask) 254201 : Attributed to the Sappho Painter, Terracotta lekythos (oil flask), ca. 500 B.C., Terracotta, H. 16 13/16 in. (42.7 cm); diameter 2 13/16 in. (7.2 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1941 (41.162.34)

Volute krater with banqueting scene and divinities of greek Pantheon

Prize Vessel with Athena; Attributed to Kleophrades Painter (Greek (Attic), active 505 - 475 B.C.); Athens, Greece; 500-480 B.C; Terracotta; 65 × 40.3 cm (25 9,16 × 15 7,8 in.)

Terracotta squat lekythos (oil flask) late 5th century B.C. Greek, Attic Winged Eros playing tambourine as woman dances. Terracotta squat lekythos (oil flask). Greek, Attic. late 5th century B.C.. Terracotta; red-figure. Classical. Vases

Apulian Red-Figure Bell Krater. Como Group Ic (Greek (Apulian))

Italy, Apulia, Attic vase depicting Athena fighting, painted by the Painter of Altamura

Terracotta column-krater (bowl for mixing wine and water) ca. 480-450 B.C. Attributed to the Praxias Group Obverse, komos (revel). Reverse, 2 youthsThe subject, composition, and shape of this bowl are all influenced by Greek prototypes of the sort imported by the Etruscans throughout the late sixth and the fifth centuries B.C.. Terracotta column-krater (bowl for mixing wine and water) 246130

Red-figure pottery, Attic krater by Aison depicting scene of gigantomachy, from Etruscan necropolis of Spina, Emilia Romagna region, Italy

Attic Red-Figure Column Krater. Agrigento Painter (Greek (Attic))

Amfora czarnofigurowa z przedstawieniem walczących bokserów. Red Line Painter (525-475 p.n.e.), author

Storage Jar with Dionysos and Ariadne; Attributed to Leagros Group (Greek (Attic), active 525 - 500 B.C.); Athens, Greece; about 510 B.C; Terracotta; 30.2 cm (11 7,8 in.)

Neck-amphora ca. 500 B.C. Attributed to the Doubleens Class Obverse, Dionysos and woman; reverse, woman and warrior.. Neck-amphora. Greek, Attic. ca. 500 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta bell-krater (mixing bowl) ca. 350-325 B.C. Attributed to Python Obverse, seated DionysosReverse, satyr with phialeThe two sides of the vase are complementary: Dionysos receiving the offering from his satyr-attendant. The depiction of the wine god as a handsome youth is thoroughly South Italian. His special quality is further emphasized in that a tendril suffices to support his weight.. Terracotta bell-krater (mixing bowl) 255552

Red -purital lease with a presentation of the young man in the light; around 460 BC (-465-00-00--455-00-00);

Terracotta column-krater (bowl for mixing wine and water) ca. 460 B.C. Attributed to the Orchard Painter Obverse, women gathering applesReverse, two youths and two womenThis scene of five women gathering apples into wicker baskets is taken from daily life, but it brings to mind representations of the beautiful Hesperids, who guarded a tree of golden apples that brought immortality.. Terracotta column-krater (bowl for mixing wine and water) 247954

18C Stamnos, by manifacture Mollica Giovanni, 1845 - 1865, 19th Century, . Private collection. Whole artwork. A side 19C Stamnos red figures

CRATERA DE LA LOCURA DE HERCULES. DETALLE. GRIEGO CERAMICA. (DEPOSITO: MUSEO ARQUEOLOGICO NACIONAL).

Oinochoe showing Poseidon andTheseus. Artist: Painter of the Yale Oinochoe, Greek, Attic, ca. 475-450 B.C.

Terracotta bell-krater (bowl for mixing wine and water) late 5th century B.C.-early 4th century B.C. Greek, Attic Obverse, Ariadne and two satyrsReverse, three youthsAriadne is often recognizable through her recumbent position. She was asleep when Theseus abandoned her on the island of Naxos. And she is often depicted as reclining with Dionysos. The presence of two satyrs indicates her identity here. She reclines under a vine arbor, another reminder of Dionysos. It is interesting that one of the satyrs carries a torch, suggesting a night scene. The other holds a lyre, which may refer to the theater.. Terracotta bell-krater (bowl for mixing wine and water) 255125 Greek, Attic, Terracotta bell-krater (bowl for mixing wine and water), late 5th century B.C.early 4th century B.C., Terracotta, Height: 13 3/4in. (34.9cm), Diam.: 14 3/8 in. (36.5 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1962 (62.11.4)

Black-Figure Amphora; Attributed to Affecter, Greek (Attic), about 540 - 520 B.C., and Affecter's Potter; Athens, Greece, Europe; about 540 - 530 B.C.; Terracotta; Object: H: 38.7 x Diam. (body): 23.5 cm (15 1/4 x 9 1/4 in.), Object (rim): Diam.: 16.2 cm (6 3/8 in.)

Terracotta amphora (jar) last quarter of 6th century B.C. Attributed to the Acheloös Painter Obverse, banquet sceneReverse, maenad riding a mule between two satyrsAlthough the subject of each side of the amphora is different, the men and women, the satyrs and maenad, and the mule all are under the same influence.. Terracotta amphora (jar) 252496

Red-figure pottery. Attic kalyx krater by the Niobid Painter depicting a gigantomachy and a Dionysiac procession from the tomb 313 at Valle Trebba, Emilia Romagna region, Italy, 460 B.C.

Terracotta bell-krater (bowl for mixing wine and water) ca. 440 B.C. Attributed to the Persephone Painter Obverse, the ascension of Persephone from the underworldReverse, libation scenePersephone, the daughter of the goddess Demeter, was condemned to spend half of each year with Hades, the ruler of the underworld. In this grandiose representation, Persephone ascends to earth through a rocky outcrop. She is guided by Hermes, the divine messenger, and Hekate, a goddess of fertility, magic, and dark things who typically carries torches. At the far right stands the regal Demeter, waiting to receive her daughter and the renewal of life that her return engendered. Listen to experts illuminate this artwork's story Listen Play or pause #1050. Terracotta bell-krater (bowl for mixing wine and water), Part 1 Play or pause #2202. Terracotta bell-krater (bowl for mixing wine and water), Part 2 Play or pause #2224. Terracotta bell-krater (bowl for mixing wine and water), Part 3 Supported by Bloomber

Attic Red-Figure Column Krater; Tyszkiewicz Painter; Athens, Greece; about 480 - 470 B.C; Terracotta; 37 × 34.9 × 30 cm (14 9,16 × 13 3,4 × 11 13,16 in.)

Terracotta bell-krater (bowl for mixing wine and water). Culture: Greek, Boeotian. Dimensions: H. 9 3/16 in. (23.3 cm). Date: late 5th century B.C..Obverse, two youths with thyrsoi (fennel stalks topped with ivy)Reverse, youth with a thyrsos, youth with a cup ()In mainland Greece, thyrsoi tend to be associated with maenads. Since the youths wear wreaths, they are clearly in a Dionysiac mode. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta calyx-krater (bowl for mixing wine and water) early 4th century B.C. Greek, Boeotian Obverse and reverse, quadriga (four-horse chariot)The scenes are excerpts from the myth of the Judgment of Paris. Unusually, they show two of the goddesses arriving for the event. One of the ladies is clearly identifiable as Athena.. Terracotta calyx-krater (bowl for mixing wine and water) 254931 Greek, Boeotian, Terracotta calyx-krater (bowl for mixing wine and water), early 4th century B.C., Terracotta, H. 10 1/2 in. (26.7 cm); diameter 9 11/16 in. (24.6 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1957 (57.11.4)

Red-Figure Bell Krater (Mixing Vessel): Aphrodite and Eros, c. 370-360 BC. Attributed to Graz Painter (South Italian, Apulian, active c. 380-360 BC). Ceramic; overall: 30.5 cm (12 in.).

Stamnos (Mixing Jar). Greek; Athens; Attributed to the Chicago Painter. Date: 450 BC. Dimensions: H. 37 cm (14 5/8 in.); diam. 26 cm (10 1/4 in.). Terra-cotta, decorated in the red-figure technique. Origin: Athens. Museum: The Chicago Art Institute, Chicago, USA.

Terracotta amphora (jar) ca. 540 B.C. Attributed to Group E Obverse, Theseus and the MinotaurReverse, frontal chariotThe confrontation between Theseus and the Minotaur (part-man, part-bull) is a subject favored by Group E. Though slow-moving, the figures indicate a more complex rendering of spatial relations than previously. The white object in the Minotaur's hand is a stone, traditionally the weapon of adversaries considered by the Greeks to be less civilized than themselves.. Terracotta amphora (jar). Greek, Attic. ca. 540 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta hydria (water jar) ca. 330-300 B.C. Attributed to the APZ Painter Three women within a naiskos (shrine) between youths and women.Under the handles, head of a womanA recurring question in ancient funerary representations is which figures are alive and which deceased. On this vase, the critical difference between the individuals inside and outside the naiskos is that the ladies inside are painted white. Should they be interpreted as statues, despite their lifelike actions Or does the white signify a change in substance though not in form brought about by death. Terracotta hydria (water jar). Greek, South Italian, Campanian. ca. 330-300 B.C.. Terracotta; red-figure. Late Classical. Vases

Chalcidian Black-Figure Neck Amphora. Attributed to the Inscription Painter (Greek, active 570 - 530 B.C.)

Attic Red-Figure Pelike. Attributed to the Triptolemos Painter (Greek (Attic), active about 490 - 470 B.C.)

Red-figure aryballos with depictions of blood-letting

Attic Red-Figure Calyx Krater. Attributed to the Villa Giulia Painter, painter (Greek (Attic), active about 470 - 440 B.C.) 460-450 B.C. Side A, Orpheus attacked by Thracian Women. The woman on the left thrusts a spear towards Orpheus's throat. He staggers backwards, having dropped his lyre. A second woman attacks from the right, swinging an axe. Side B, three standing youths carrying spears and wearing distinctive Thracian helmets and cloaks. The two on the left face one another, the third walks away to the right, looking back. Lotus and palmette band on the rim; stopped meander with saltire squares below the groundline. Palmette complex above the handles.

Terracotta globular cup. Culture: Etruscan. Dimensions: H.: 3 3/4 in. (9.5 cm). Date: ca. 520-510 B.C..Male and female figures flanked by heraldic lionsThe subject of this vase is unusual: a male figure wearing winged boots and holding a bow and an axe pursues a woman carrying a bow. Do the figures represent divine characters, perhaps Apulu (Apollo) and his twin sister Artumes (Artemis) The bow is a typical attribute of both these deities, and winged boots often signify a divine or supernatural being in Etruscan art. Museum: Metropolitan Museum of Art, New York, USA.

Judging a music competition. 500 BC. Black figure Greek vase painting.

Red-figure pottery, Skyphos from tomb of Valle Pega, Spina, Emilia Romagna Region, Italy

Attic krater, by the Painter of Cleofonte, depicting a procession. Red-figure pottery. Etruscan Civilization, 5th Century BC.

Pitcher with Herakles Wrestling Triton; Chiusi Painter (Greek, active 520 - 510 B.C.); Athens, Greece; about 520 - 510 B.C; Terracotta; 14 × 13.2 cm (5 1,2 × 5 3,16 in.)

"Pontic" Ware Neck-Amphora. Paris Painter (Etruscan)

Terracotta pelike (jar) ca. 450 B.C. Attributed to the Carlsruhe Painter. Terracotta pelike (jar) 254929 : Attributed to the Carlsruhe Painter, Terracotta pelike (jar), ca. 450 B.C., Terracotta, H. 21.01 cm.. The Metropolitan Museum of Art, New York. Rogers Fund, 1957 (57.11.2)

Red-figure Attic amphora depicting scene from Iphigenia in Tauris

Krater depicting the game of D352, by the Amykos painter, red-figure pottery, Italy. Ancient Greek civilization, Magna Graecia, 5th Century BC.

Terracotta pelike (wine jar) ca. 510 B.C. Attributed to the Acheloös Painter Obverse, the henchmen of King Midas lying in wait for SilenosReverse, flute player and two boxersThe difference between satyrs and silens cannot be defined conclusively, but silens are often considered older satyrs. Silens could be endowed with great wisdom in addition to a great capacity for wine. King Midas of Phrygia once had his men trap a silen by luring him to a fountain of water mixed with wine. Midas's purpose was to benefit from the silen's counsel.. Terracotta pelike (wine jar). Greek, Attic. ca. 510 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta oinochoe (jug) ca. 430 B.C. Greek, Attic Athlete with strigil (scraper) at postThe youth holds a strigil, which was used to scrape oil and dirt from the skin after exercise. He stands beside a low column that probably indicates the gymnasium or palaistra where athletes trained.. Terracotta oinochoe (jug) 247334

Amphora with a running man. Dated 6th Century BC

CRATERA DE ASTEAS O DE LA LOCURA DE HERACLES, PAESTUM 350/320 AC. REPRESENTACION TRAGICA EN LA QUE SE VE A HERACLES ARROJAR A SU HIJO A UNA PIRA. Author: ASTEAS. Location: MUSEO ARQUEOLOGICO NACIONAL-COLECCION. MADRID. SPAIN. HERCULES. ALKMENA. Megara. HERCULES ESPOSA. HERCULES HIJO. HERCULES MADRE. LOLAO. HERCULES AMIGO. MANIA DIOSA.

Judging a music competition. 500 BC. Black figure Greek vase painting.

Skyfos; 4th century BC (-400-00-00--301-00-00);Adonis (Mitol.), Aphrodite (Mitol.), Działyńska, Izabela (1830-1899), Działyńska, Izabela Elżbieta née Czartoryski (1830-1899)-collection, Działyński, Jan (1829-1880), Fittipaldi-collection, Greece, Greece, Skiron (mitol.), Theseus (Mitol.), De Witte - collection, classic period

The 'Zeus Krater' of Zeus holding the scales of destiny, 15th century. Artist: Unknown

Europe, Greece, Samothraki, NE Aegean. Ancient urn in Samothraki museum.

Pyxis (Container for Personal Objects). Greek; Athens. Date: 550 BC-500 BC. Dimensions: 18 x 14.2 x 20 cm (7 1/8 x 7 5/8 x 7 7/8 in.). Terra-cotta, decorated in the black-figure technique. Origin: Greece. Museum: The Chicago Art Institute, Chicago, USA. Author: ANCIENT GREEK.

Terracotta hydria (water jar) early 4th century B.C. Attributed to the Hesperides Painter Herakles with women, satyr, and Pan in the garden of the HesperidesIn this scene, the garden of the Hesperides seems to have become a sanctuary of Dionysos, for the guardian women may be maenads, and a satyr and Pan stand by.. Terracotta hydria (water jar). Greek, Attic. early 4th century B.C.. Terracotta; red-figure. Classical. Vases

Group of the Hoplite-Leaving-Home. "Lécythe attic with black figures". Ceramics, yellow clay, black figures, red and white highlights. -530/500 BC .. Museum of Fine Arts in the city of Paris, Petit Palais. 99935-8 Antiquity, clay, ceramic, black figure, quarter quarter of the life VI 6th 6th 6th 6th century before Av. JC, ancient

Water jar (hydria) with a horseman (560-550 BC). Attic black figure,made in Athens, find in Arcioni, Paestum. Archaeological Museum Paestum.

Oinochoe 6th century B.C.-late Related to the Keyside Class. Oinochoe. Greek, Attic. 6th century B.C.-late. Terracotta; black-figure. Archaic. Vases

Terracotta amphora (jar). Culture: Etruscan. Dimensions: H. 12 3/4 in. (32.4 cm). Date: ca. 530-525 B.C..Obverse, symplegmaReverse, running satyrAn aroused satyr runs from one side of the vase to the symplegma (scene of sexual intercourse) on the opposite side. The painter was clearly inspired by Attic black-figure vases with similar subjects. Museum: Metropolitan Museum of Art, New York, USA.

Attic Black-Figure Amphora ( Tyrrhenian ); Attributed to Pointed Nose Painter; Athens, Greece; 575 - 550 B.C; Terracotta; 34.3 cm (13 1,2 in.)

Terracotta neck-amphora (jar). Culture: Greek, Attic. Dimensions: H. 16 5/8 in. (42.2 cm); diameter 10 3/4 in. (27.3 cm). Date: ca. 490 B.C..Obverse, warrior departingReverse, satyrs and maenadAlthough the Kleophrades Painter used the red-figure technique predominantly, he was perfectly conversant with black-figure, as indicated by his Panathenaic prize amphorae. While the decoration of this vase is similar to that of examples of the late sixth century B.C., the fluidity of the incision, the rendering of the satyrs' tails, and the procession of animals drawn without articulation indicate a red-figure hand. Museum: Metropolitan Museum of Art, New York, USA.

Attic Red-Figure Nolan Amphora. Richmond Painter (Greek (Attic))

Terracotta column-krater (bowl for mixing wine and water) 2nd quarter of the 5th century B.C. Attributed to the Nausicaä Painter Obverse, victorious charioteer and the goddess NikeReverse, woman with torches between two menNike awarded victory in athletic contests and in war. Here a charioteer with surging horses is approached by the winged goddess who holds out the prize wreath.. Terracotta column-krater (bowl for mixing wine and water). Greek, Attic. 2nd quarter of the 5th century B.C.. Terracotta; red-figure. Classical. Vases

A vase with an erotic scene in the Secret Cabinet of the National Archaeological Museum (museo archeologico nazionale) in Naples, Italy.

Terracotta kylix (drinking cup). Culture: Greek, Attic. Dimensions: H.: 3 13/16 in. (9.7 cm)Diam.: 9 3/8 in. (23.8 cm). Date: ca. 480 B.C..Interior, man playing lyreExterior, obverse and reverse, komasts (revelers)The decoration of this cup depicts revelers in various moods and actions. On the interior, a pensive man is shown holding a lyre and a plektron (pick). The men and youths on the exterior appear with the paraphernalia of drinking and music, and one of them dances. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta situla (bucket) ca. 360-340 B.C. Attributed to the Lycurgus Painter Dionysos among satyrs and maenads. On the bottom, round faceA situla is a bucket that served to decant wine. The shape is well attested in metal examples and in terracotta counterparts of different types. This piece presents a spirited depiction of the wine-god Dionysos driving his griffin-drawn chariot to a gathering of his followers. Particularly engaging is the old satyr dipping a jug into the decorated calyx-krater, probably to fill the libation bowl in his left hand. On the back, Dionysos is seated between a satyr and a maenad and is surrounded by attributes, including a fawn, a cista (cylindrical box), and wreaths.. Terracotta situla (bucket). Greek, South Italian, Apulian. ca. 360-340 B.C.. Terracotta; red-figure. Late Classical. Vases

Terracotta kylix (drinking cup) ca. 490-480 B.C. Attributed to the Brygos Painter Interior, komast (reveler)In a wonderfully loose-limbed pose, the drinker looks to his left and, thanks to the walking stick on which he leans, twists to the right with his right leg bent. The himation (cloak) that falls over his back serves as a kind of curtain against which the body is disposed. The figure holds a kylix in his right hand. A large basket hangs on the wall to the right.. Terracotta kylix (drinking cup). Greek, Attic. ca. 490-480 B.C.. Terracotta; red-figure. Archaic. Vases

Volute-Krater with Pegasus at Top, and a Man in a Shrine with Horse. Attributed to the Baltimore Painter (Italy, circa 320 B.C.). South Italy, Apulia, circa 320 B.C.. Furnishings; Serviceware. Red-figure ceramic with added red wash and yellow and white

Black-Figure Loutrophoros (Ritual Water Vessel): Prothesis (Laying out of Corpse), Mourners, c. 500 BC. Greece, Attic. Ceramic; overall: 43.5 cm (17 1/8 in.).

Dionysos with Ariadne on a banquet under vines. Loutrophoros (for lustral water). Varrese Painter (350-340 BC). Made in Puglia, from Ruvo di Puglia. National Archaeological Museum. Naples. Italy.

Black-Figure Amphora (Type B; Storage Vessel): Men and Horses, c. 540 BC. Greece, Attic. Ceramic; overall: 40.6 cm (16 in.).

Terracotta column-krater (bowl for mixing wine and water) ca. 520-510 B.C. Greek, Attic Obverse and reverse, between eyes, mask of Dionysos and of a satyrDuring the last quarter of the sixth century B.C., the decoration of many drinking vessels consisted of themes relating to Dionysos, the god of wine. Here the main subject is a mask of Dionysos; a frequent alternative is the mask of a satyr. The popularity of the wine god in Archaic Attic art reflects initiatives of the ruling family, the Peisistratids, that concerned cults, festivals, and public performances involving Dionysos.. Terracotta column-krater (bowl for mixing wine and water) 247267

Dionysus chasing a meade, Crátera - calyx-Krater-, 440 BC, Agrigento, Attica, Greece, Calouste Gulbenkian Foundation, ("Fundação Calouste Gulbenkian"), Lisbon, Portugal.

Red-figured Kylix, depicting the deeds of the hero Theseus, made in Athens. Dated 5th Century BC

Terracotta amphora (jar) ca. 530-525 B.C. Attributed to the Painter of Munich 833 Obverse, symplegmaReverse, running satyrAn aroused satyr runs from one side of the vase to the symplegma (scene of sexual intercourse) on the opposite side. The painter was clearly inspired by Attic black-figure vases with similar subjects.. Terracotta amphora (jar). Etruscan. ca. 530-525 B.C.. Terracotta; black-figure. Archaic. Vases

Campanian Red-Figure Skyphos.

Fragment of dinos, depicting Greeks watching from walls of Troy horse race at Patroclus' funeral, by painter Sophilos, black-figure pottery

Apollo's wedding to Helen, bell crater from the funerary chamber of Prince Iltirtiiltir, 4th century BC, necropolis of Piquia, Arjona, Iberian culture, Iberian Museum of Jaén, Andalusia, Spain.

Calyx-krater (large vase) by the Berkeley Painter depicting a winged spirit. Red-figure pottery. Etruscan Civilisation, 4th Century BC.

Terracotta kylix: Siana cup (drinking cup) Attributed to the Sandal Painter ca. 560-550 BCE Interior, runner.Exterior, obverse and reverse, combat between onlookers. View more. Terracotta kylix: Siana cup (drinking cup). Attributed to the Sandal Painter. Greek, Attic. ca. 560-550 BCE. Terracotta; black-figure. Archaic. Vases

Man playing cottabus, 5th c. BC, Red figure vase.

Krater Aristonothos, side depicting blinding of Cyclops Polyphemus, detail. from Cerveteri (Rome province, Italy)

Greek black figure vase showing athletes running with shields. 500 BC.

Ewer with Horsemen and Sphinxes last quarter 12th-early 13th century A written source of the early 14th century informs us that at that time minai objects were no longer manufactured, and that some were kept "in townships and in shrines". This suggests that they were still held in high esteem, and partially explains the large number of intact minai objects known today, and the relatively few fragments found in archaeological excavations. The technique was laborious, and the lavish result was often enriched by gilding.On this mug, the painted and gilded scenes show a procession of courtly riders on the upper register and one of sphinxes on the lower register. Despite the reiteration of the figures, the overall depiction is enlivened by the opposite directions of the riders in respect to that of the sphinxes, by the movement of the running horses and that of the riders (one rider has his head turned back, others are striving to hold branches), and by the details of their garments.. Ewe

Krater. Genick, A.. still image. Prints. 1883. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Flute players, Drinking vessels, Wine, Parties, Men , Clothing & dress , Greece , To 499, Eating & drinking , Greece , To 499

Franois Vase. 570 BC. Black-figure attic volute krater, executed by the potter Ergotimos and the painter Kleitias. Archaic Greek art. Ceramics. ITALY. TUSCANY. Florence. National Museum of Archaeology. Proc: ITALY. TUSCANY. SIENA. Chiusi.

Emilia-Romagna Ferrara Ferrara Museo Civico di Schifanoia18. Hutzel, Max 1960-1990 General Notes: INCOMPLETE RECORD--NEGATIVES PROCESSED, PRINTS FILED German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Greek Art. Greece. Skyphos dated between late 5th century and early 4th century. It depicts a wedding procession. Courtship with dancer and musician playing the double flute. Ceramics with black figures on a red. National Archaeological Museum. Athens.

Terracotta kyathos (cup-shaped ladle) ca. 520-510 B.C. Greek, Attic Between eyes, woman playing aulos (double flute); at the handle, dovesIt is impossible to determine whether the woman is a maenad (a follower of the god of wine, Dionysos) or an entertainer and whether some comparison is being drawn between the sounds produced by the musician and the birds.. Terracotta kyathos (cup-shaped ladle). Greek, Attic. ca. 520-510 B.C.. Terracotta; black-figure. Archaic. Vases

Attic Red-Figure Lekythos. Eucharides Painter (Greek (Attic), active about 500 - 470 B.C.)

Scythian horseman fights Greek warrior. Greek vase. 400 BC.

Attic Dinos red-figure by Kleophon painter from tomb XIC at Vallepega showing symposium with figure playing harp. Museum: ARCHAEOLOGICAL MUSEUM, FERRARA, ITALIA.

Apulian Red-Figure Loutrophoros. Attributed to Painter of Louvre MNB 1148 (Greek (Apulian), active 350 - 330 B.C.)

Lazio Viterbo Viterbo Museo Civico58. Hutzel, Max 1960-1990 Views of paintings (Middle Ages through 18th c.), frescoes, a tabernacle, coffin, sculpture reliefs, portal fragments, busts, sculpture, tapestry found in the Pinacoteca, Second floor gallery and Second floor cloister sequences. Antiquities: Many views of Etruscan and Roman fragments, sculpture, sarcophagi, pottery, masks, jewelry and other objects found in the Storeroom sequence (inventory numbers on back of prints), and the Cloister, Second floor Cloister, Valle Giulia, Sala Romana and Sala Etrusca sequences. General Notes: There are eight separate numerical sequences for this location. The cloister as an architectural structure, rather than museum site, is documented in the record and file for S. Maria della Verita, Cloister, all views of which are stored in Medieval core collection. Five views from the Museo Civico Second floor cloister sequence are stored in Medieval. German-born photographer and scholar Max Hutzel (1911-

Lazio Viterbo Viterbo Museo Civico00. Hutzel, Max 1960-1990 Views of paintings (Middle Ages through 18th c.), frescoes, a tabernacle, coffin, sculpture reliefs, portal fragments, busts, sculpture, tapestry found in the Pinacoteca, Second floor gallery and Second floor cloister sequences. Antiquities: Many views of Etruscan and Roman fragments, sculpture, sarcophagi, pottery, masks, jewelry and other objects found in the Storeroom sequence (inventory numbers on back of prints), and the Cloister, Second floor Cloister, Valle Giulia, Sala Romana and Sala Etrusca sequences. General Notes: There are eight separate numerical sequences for this location. The cloister as an architectural structure, rather than museum site, is documented in the record and file for S. Maria della Verita, Cloister, all views of which are stored in Medieval core collection. Five views from the Museo Civico Second floor cloister sequence are stored in Medieval. German-born photographer and scholar Max Hutzel (1911-

Helena's bath in front of Aphrodite, bell crater from the funerary chamber of Prince Iltirtiiltir, 4th century BC, necropolis of Piquia, Arjona, Iberian culture, Iberian Museum of Jaén, Andalusia, Spain.

Pitcher

Lazio Viterbo Viterbo Museo Civico89. Hutzel, Max 1960-1990 Views of paintings (Middle Ages through 18th c.), frescoes, a tabernacle, coffin, sculpture reliefs, portal fragments, busts, sculpture, tapestry found in the Pinacoteca, Second floor gallery and Second floor cloister sequences. Antiquities: Many views of Etruscan and Roman fragments, sculpture, sarcophagi, pottery, masks, jewelry and other objects found in the Storeroom sequence (inventory numbers on back of prints), and the Cloister, Second floor Cloister, Valle Giulia, Sala Romana and Sala Etrusca sequences. General Notes: There are eight separate numerical sequences for this location. The cloister as an architectural structure, rather than museum site, is documented in the record and file for S. Maria della Verita, Cloister, all views of which are stored in Medieval core collection. Five views from the Museo Civico Second floor cloister sequence are stored in Medieval. German-born photographer and scholar Max Hutzel (1911-

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