Ancient Greek Pottery

Intricate terracotta vases from ancient Greece depicting mythological themes and warriors, showcasing beautiful craftsmanship and storytelling.

Pelye With A Swallow Greek Art Pottery State Hermitage Museum, St. Petersburg, Russia

Terracotta hydria: kalpis (water jar) 1st quarter of the 4th century B.C. Greek, Attic Poseidon riding a sea horse and a youthThis unassuming vase presents the two protagonists in one of the major Greek myths. The sea god Poseidon became enamored of Pelops, son of Tantalos. When Pelops came to Pisa, in Elis, he fell in love with Hippodameia, daughter of king Oinomaos. Oinomaos eliminated his daughter's suitors by besting them in a chariot race. Here, Pelops asks Poseidon for horses that will permit him to win his prize.. Terracotta hydria: kalpis (water jar) 251134 Greek, Attic, Terracotta hydria: kalpis (water jar), 1st quarter of the 4th century B.C., Terracotta, H. 7 3/4 in. (19.7 cm); diameter 5 7/16 in. (13.9 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1921 (21.88.162)

Terracotta neck-amphora with twisted handles (jar) ca. 350-325 B.C. Attributed to the Pilos Head Group Obverse, young warrior seated on an altar and bearded warrior. Reverse, youthOn the neck, obverse, head of youth with pilos (pointed cap). Reverse, female headThe protagonist of the main scene has been identified as either Orestes, son of Agamemnon and Klytemnestra, or Neoptolemos, son of Achilles and Deidameia. In one account, both men vied for the hand of Hermione, daughter of Menelaos and Helen, resulting in Orestes' murder of Neoptolemos. The representation poignantly conveys the misfortune visited upon the children of Greece's greatest heroes.. Terracotta neck-amphora with twisted handles (jar) 256602

Painted vase depicting Lamia being tortured by five satyrs, 5th Century B.C.

Attic stamnos representing a banquet, by the Painter of the Banquet, red-figure pottery. Greek Civilization.

Pelye With A Swallow Greek Art Pottery State Hermitage Museum, St. Petersburg, Russia

Amfora czarnofigurowa z przedstawieniem Heraklesa z dzikiem erymantejskim i Eurysteusza schowanego w beczce; postaciom towarzyszą Hermes i Kalifobe. Grupa Wurzburg 199, Krąg Malarza Antimenesa (ok. 510 p.n.e.), author

Terracotta hydria (water jar) ca. 340-330 B.C. Attributed to the Group of B.M. F 308 The abduction of Persephone by Hades surrounded by godsThe myth of the abduction of Persephone was situated in Sicily. Hades chariot occupies the most prominent area of the vase. All around appear deities connected with the event—Zeus, Hades brother, whose sanction was needed; Aphrodite and Eros, abettors of Hades desire; Demeter, Persephones mother; torch-bearing Hecate; and Athena. The vegetation in the scene and the choice of a water jar as the shape emphasize the aspect of fertility in the story. Mythological subjects such as this commonly decorated funerary vases.. Terracotta hydria (water jar). Greek, South Italian, Apulian. ca. 340-330 B.C.. Terracotta; red-figure. Late Classical. Vases

ANFORA GRIEGA DECORADA CON UNA ESCENA DE LOS COMBATES ENTRE HERCULES Y GERION - SIGLO VI AC. Location: NATIONAL LIBRARY. France.

Terracotta neck-amphora (jar) last quarter of 6th century B.C. Attributed to the Class of New York 96.9.9 Obverse, Dionysos and Ariadne with satyrs and maenadsReverse, Departure of warriors with chariot. Terracotta neck-amphora (jar) 246112

Red Figure Oinochoe

Terracotta stamnos (jar) ca. 450-440 B.C. Recalls the Barclay Painter Obverse, woman ladles wine from a stamnos into a phiale (libation bowl) while companions hold phiale and kantharosReverse, three women holding thyrsoiThe women preparing wine and holding thyrsoi, the wands associated with maenads, suggest that this scene relates to a festival of Dionysos Lenaios, celebrated in Athens toward the end of January. The original Dionysos Lenaios was a column with a bearded mask. A number of Athenian vases show this idol surrounded by women ladling wine.. Terracotta stamnos (jar) 251031 : Recalls the Barclay Painter, : Recalls the Thomson Painter, Terracotta stamnos (jar), ca. 450440 B.C., Terracotta, H. 12 1/4 in. (31.1 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1921 (21.88.3)

Black-Figure Oinochoe (Shape 2). Unknown

Terracotta column-krater (bowl for mixing wine and water) last quarter of 6th century B.C. Greek, Attic Obverse and reverse, charioteer in a quadriga (four-horse chariot)The chariot race was the most prestigious event at all the Panhellenic games held in Greece. Only the wealthiest could afford the four-horse chariot with professional driver needed to enter the competition. This picture of a quadriga ready to depart must have pleased the symposiasts whose wine was mixed in the krater.. Terracotta column-krater (bowl for mixing wine and water) 253429 Greek, Attic, Terracotta column-krater (bowl for mixing wine and water), last quarter of 6th century B.C., Terracotta, H. 13 1/16 in. (33.2 cm). The Metropolitan Museum of Art, New York. Gift of Estate of Julius Sachs, 1934 (34.32.1)

Mixing Vessel with a Dancing Girl; Myson (Greek (Attic), active 500 - 475 B.C.); Athens, Greece; about 490 B.C; Terracotta; 35 × 34.5 × 30 cm (13 3,4 × 13 9,16 × 11 13,16 in.)

Terracotta skyphos (deep drinking cup). Culture: Greek, Attic. Dimensions: H.: 6 3/8 x 11 7/8 in. (16.2 x 30.2 cm). Date: ca. 460 B.C..Obverse and reverse, men and youthsThe subject on each side is probably a departure scene: a youth receives his armor and takes leave of a mature man. Museum: Metropolitan Museum of Art, New York, USA.

Lekythos attributed to Amasis Painter with Scene representing lion tamer Artemis, 560-550 B.C.

Aribalesque lekythos. Decorated with the Angel of Death. Varnished in black. 4th century BC. From Taranto, Italy. Parfum Museum. Barcelona. Spain.

Terracotta amphora (jar) ca. 560-550 B.C. Greek, Attic Obverse, Herakles battling a centaurReverse, Warrior battling a centaurThe warrior depicted on the reverse of the vase may be a lapith. The fight of the lapiths, a Thessalian clan usually represented in hoplite armor, and the centaurs was a common depiction in early Archaic Greek Art. The artistic representation of this battle even continued into Roman times and appears in Latin literature, including Ovid's Metamorphoses.. Terracotta amphora (jar) 254275 Greek, Attic, Terracotta amphora (jar), ca. 560550 B.C., Terracotta, H. 14 5/8 in. (37.2 cm.) Diameter 10 15/16 in. (27.8 cm.). The Metropolitan Museum of Art, New York. Rogers Fund, 1941 (41.162.103)

Prize-amponhora depicting an equestrian contest. Made in Athens. Dated 400 BC

Red -support peliquea; 2. PO. 4th century BC (-350-00-00--301-00-00);

Attic pelike depicting a conversation scene, by School of Pronomos Painter, red-figure pottery

Terracotta column-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: Overall: 22 3/16 x 27 1/4 in. (56.4 x 69.3 cm); diameter 23 1/16 in. (58.6 cm). Date: ca. 550 B.C..Obverse, Hephaistos on mule among satyrs and maenadsReverse, Dionysos among satyrs and maenadsThe symposium, conventionally interpreted as a drinking party, was a well-established feature of Greek--particularly Athenian-- society. For over a century, representations on vases document that wine, women, and song were central ingredients. Even more worthy of emphasis, however, is the importance of the symposium as an institution that permitted citizens to gather, to transact business, and--as Plato's dialogue makes clear--to engage in serious discussion. An essential piece of equipment for the symposium was the vase in which the wine was diluted with water and from which it was served.In black-figure vase-painting before the last quarter of the sixth century B.C., the decoration of large, elaborate

Terracotta amphora (jar) ca. 500 B.C. Attributed to the Nikoxenos Painter Obverse and reverse, the death of PriamPriam, king of Troy, has taken refuge at the altar of Zeus Herkeios. The Greek warrior Neoptolemos attacks with a spear from the left as Hecuba, Priam's wife, gesticulates in despair. The Nikoxenos Painter worked in both black-figure and red-figure. It is interesting that while he employed red-figure for the decoration, the type of amphora is that preferred by black-figure artists.. Terracotta amphora (jar). Greek, Attic. ca. 500 B.C.. Terracotta; red-figure. Archaic. Vases

Paestan bell-shaped crater with red figures, by Painter Python, 360 - 350, 4th Century, . Italy: Campania: Naples: National Archaeological Museum: inv. 81417 - ex Museo Borbonico 2846. Whole artwork. Bell-shaped Paestan crater with red figures laurel waves palmettes crown branch handles satyr sphinx

Greek art. Attic krater painted with black figures representing an Homeric battle around the body of a dead warrior (possibly Patroclus). Found at Pharsala. Dated circa 530 BCE. National Archaeological Museum. Athens. Greece.

Terracotta column-krater (bowl for mixing wine and water) ca. 470-460 B.C. Attributed to the Orchard Painter Obverse, Jason about to seize the Golden Fleece, the stern of the Argo at the rightReverse, woman between two youthsJason led the Argonauts, a band of adventurers who set out on the ship Argo to steal the magical golden fleece of a ram, which was preserved in Kolchis on the Black Sea. With the help of the gods and the sorceress Medea, Jason was able to take the fleece from a grove protected by a dragon. Here, with Athena beside him, he reaches for the fleece. A companion prepares to board the ship. The basis of the legend of the Golden Fleece is probably the ancient practice of extracting alluvial gold by causing the deposits in a stream to wash over a fleece, thereby catching the gold-bearing material in the curly pelt.. Terracotta column-krater (bowl for mixing wine and water). Greek, Attic. ca. 470-460 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta neck-amphora (jar). Culture: Greek, Attic. Dimensions: H. 15 7/8 in. (40.3 cm). Date: ca. 530 B.C..Obverse, Apollo between Hermes and goddessReverse, Memnon between his Ethiopian squiresIn the Trojan War, Memnon, the son of Tithonos and Eos, the goddess of the dawn, led a contingent of Ethiopians allied with the Trojans. He was killed by Achilles in a duel watched by their mothers. The present condition of the vase provides insight into the painter's working method. Memnon's shield was drawn with a compass--the circles are evident--and it would have been painted in added white directly onto the clay. Without the white, we can see the cursory sketch that the artist drew for the figure's torso. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta squat lekythos (oil flask) ca. 470-460 B.C. Greek, Attic Woman playing a lyreThe alabastron (perfume vase) suspended in the background indicates that the scene takes place indoors.. Terracotta squat lekythos (oil flask) 254340 Greek, Attic, Terracotta squat lekythos (oil flask), ca. 470460 B.C., Terracotta, H. 5 3/8 in. (13.7 cm); diameter 3 9/16 in. (9 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1941 (41.162.169)

Black-Figure Amphora; Attributed to Painter of Acropolis 606, Greek (Attic), active 570 - 560 B.C.; Athens, Greece, Europe; about 570 - 560 B.C.; Terracotta; Object: H: 36.5 x Diam. (body): 26.7 cm (14 3/8 x 10 1/2 in.), Object (rim): Diam.: 16.8 cm (6 5/8 in.)

Mastoid skyphos ca. 500-490 B.C. Attributed to the manner of the Haimon Painter. Mastoid skyphos. Greek, Attic. ca. 500-490 B.C.. Terracotta; black-figure. Archaic. Vases

Lekythos Class of Athens 581

Red -support peliquea; 5th century BC (-500-00-00--401-00-00);

Stamnos z przedstawieniem walki Heraklesa z Antajosem. Malarz Kopenhaski, krąg, workshop, nieznany warsztat attycki, workshop

Terracotta loutrophoros (ceremonial vase for water) late 6th century B.C. Greek, Attic On the body, obverse, six women at a bier; reverse, five menOn the neck, obverse, three women; reverse, three menThe most frequently represented part of Attic funerary ritual is the prothesis, the laying out of the deceased surrounded by mourners. The care of the dead was primarily the task of women; they appear closest to the bier, while the men appear on the reverse of the vase.. Terracotta loutrophoros (ceremonial vase for water) 251101 Greek, Attic, Terracotta loutrophoros (ceremonial vase for water), late 6th century B.C., Terracotta, H. 18 13/16 in. (47.8 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1921 (21.88.77)

Terracotta stamnos. Culture: Greek, Attic. Dimensions: H. 32.41 cm.. Date: ca. 470-460 B.C..Obverse, Eos, Kephalos and old man; reverse, youth with spear and two women conversing. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta bell-krater (mixing bowl). Culture: Greek, South Italian, Lucanian. Dimensions: 12 5/16in. (31.3cm). Date: ca. 430-410 B.C..Obverse, satyr and maenad at a hermReverse, three draped youthsThe Pisticci Painter is significant as the artist with whom the introduction of red-figure painting into Lucania is connected. As this work indicates, he was well familiar with Attic conventions. Of note in this representation is the kerykeion (herald's staff) on the side of the herm. The kerykeion is one of the attributes of Hermes, the messenger god who also presided over boundaries. The addition of this symbol emphasizes the presence of Hermes in the scene, even though he is not actually depicted. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta pelike (jar) ca. 480 B.C. Attributed to the Geras Painter Obverse, Dionysos Reverse, satyrThe figures have been accommodated admirably to the size and shape of the pelike. Dionysos is dressed up, including soft shoes. The bending branch and the end of his staff beneath the kantharos evoke flowing wine. His satyr attendant is characterized by his nudity and by the wineskin that levitates behind him. He extends his oinochoe (jug) to his master's kantharos (drinking cup).. Terracotta pelike (jar). Greek, Attic. ca. 480 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta bell-krater (mixing bowl) ca. 360-330 B.C. Attributed to the Whiteface Painter Obverse, Eros driving biga (two-horse chariot)Reverse, two youthsA: Eros driving a biga (chariot drawn by two horses) B: two youths in conversation.. Terracotta bell-krater (mixing bowl) 247399

Lekythos with Herakles Fighting anAmazon. Artist: Little-Lion Class

Terracotta amphora (jar) ca. 500-490 B.C. Greek, Attic Obverse, satyr with pelta (crescent-shaped shield) and thyrsos (fennel stalk with ivy)Reverse, satyr with pelta and wineskinThough unidentified, the artist here displays his skill by rendering the satyr from the front and from the back. The depiction of active movement and complex poses was made possible by the fluid line attainable with the red-figure technique.. Terracotta amphora (jar). Greek, Attic. ca. 500-490 B.C.. Terracotta; red-figure. Late Archaic. Vases

VASO DE PROMETEO - CERAMICA GRIEGA. Location: MUSEO CIVICO. Bologna. ITALIA.

Terracotta pelike (jar) ca. 430-420 B.C. Greek, Attic Obverse, Dionysos and satyrReverse, two youthsObverse, Dionysos and satyr; reverse, two youths.. Terracotta pelike (jar) 247312

Red-Figure Oinochoe (Wine Jug): Eros and Woman, c. 340-320 BC. Attributed to Cleveland Group. Ceramic; overall: 27.9 x 12.1 cm (11 x 4 3/4 in.).

Amphorisc decorated with black figures representing Sphinx. Chalkidiki style. Attributed to the workshop of the painter Phineus. Dated between 540-530 b.C. Museum of Cycladic and Ancient Greek Art. Athens. Greece.

Terracotta skyphos (deep drinking cup). Culture: Greek, Attic. Dimensions: H. 6 3/8 in. (16.2 cm)diameter 8 7/8 in. (22.5 cm). Date: ca. 500 B.C..The Pankration was an athletic contest that combined boxing, wrestling, and kicking. In the surviving representations, it is not always easy to distinguish the pankration from boxing or wrestling matches. Such is the case here where the competition takes place under the eyes of a trainer and an onlooker. Museum: Metropolitan Museum of Art, New York, USA.

Storage Jar with Aeneas and Anchises; Attributed to Leagros Group (Greek (Attic), active 525 - 500 B.C.); Athens, Greece; about 510 B.C; Terracotta; 41 × 26.5 cm (16 1,8 × 10 7,16 in.)

Attic White-Ground Lekythos. Attributed to Douris (Greek (Attic), active 500 - 460 B.C.)

Terracotta oinochoe: chous (jug). Culture: Greek, Attic. Dimensions: H. 8 3/4 in. (22.2 cm). Date: ca. 430-420 B.C..The return of Hephaistos to Mount OlymposThe two exceptionally large and boisterous depictions of the subject by Lydos (in the gallery of sixth-century Greek art) find a very different sequel here. The procession has been reduced to essentials and the donkey now carries not only Hephaistos but also Dionysos, who grasps his kantharos (drinking cup) with both hands. Hephaistos behind him holds a hammer and tongs in his left hand and gestures with his right. Museum: Metropolitan Museum of Art, New York, USA.

CRATERA S IV A JC-ULISES Y TELEMACO LUCHANDO. Location: MUSEO DEL LOUVRE-CERAMICA. France.

Attic amphora depicting heroes arming themselves

Terracotta calyx-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 15 5/8 in. (39.7 cm)diameter 16 3/4 in. (42.5 cm). Date: ca. 450-440 B.C..Above, obverse and reverse, Herakles, Theseus, and Perithoos in HadesBelow, obverse, Apollo and Tityos; reverse, Zeus and giantThis important vase illustrates one of the stories that would have been sung or recited. To atone for having killed his wife and children in a fit of madness, Herakles entered the service of King Eurystheus of Tiryns, who imposed twelve tasks on him. The most difficult was to fetch Kerberos, the watchdog of the underworld. In the upper zone, Herakles with his guide, Hermes, stands beside Theseus and Perithoos, who were punished for attempting to carry off Persephone. Hades, the king of the underworld, is shown behind Perithoos. Around the circumference of the vase appear other heroes known chiefly from the Iliad and the Odyssey, each with his name inscribed. The two scenes in the lower zone

Greek Vase-Painting, Odysseus' crew Turning to Pigs on Circe's Isle, c6th century BC.

the hero and the goddess the hero and the goddess, bell crater from the funerary chamber of Prince Iltirtiiltir, 4th century BC, necropolis of Piquia, Arjona, Iberian culture, Iberian Museum of Jaén, Andalusia, Spain Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 21714935

Lekythos early 5th century B.C. Attributed to the Class of Athens 581 Dionysos in a chariot.. Lekythos. Greek, Attic. early 5th century B.C.. Terracotta; black-figure. Late Archaic. Vases

Hunter and his dog. 550 BC. Amasis painter. Greek black figure vase painting.

CRATERA EN CALIZA - SIGLO V AC. Location: MUSEO ARQUEOLOGICO-CERAMICA. ATHENS. GREECE.

Vatican group G57. Kyathos with white background: struggle of Heracles and Kyknos (). Black figures on white background. Museum of Fine Arts of the City of Paris, Petit Palais. 76140-21 Greek antiquity, ancient art, Greek art, drink, ceramic, kyatos, pottery, terracotta, Greek vase, wine

Terracotta lekythos (oil flask) ca. 480 B.C. Attributed to the Brygos Painter Girl playing aulos (double flute)Although this depiction may be considered an excerpt from a symposium scene (drinking party), it is perfectly satisfactory in itselfpartly because it is so masterfully composed. Behind the musician hangs a flute case with the receptacle for the mouthpiece.. Terracotta lekythos (oil flask). Greek, Attic. ca. 480 B.C.. Terracotta; red-figure. Classical. Vases

Attic Black-Figure Mastoid Cup. Unknown about 490 B.C. Eyes; three men on horseback around. Unidentified figure on the reverse (crouching human, tree branches) Ivy leaves on the rim.

Attic Red-Figure Column Krater. Attributed to the Harrow Painter (Greek (Attic))

White-Ground Kyathos. Psiax (Greek (Attic), active about 525 - 510 B.C.)

Skyphos (Drinking Cup) (Etruria (present-day Italy)); terracotta

Greek Art. Red-figure krater. It depicts Hermes, accompanied by the twins Thanatos and Hypnos, depositing a warrior in his grave. Metropolitan Museum. New York. USA.

Attic Red-Figure Column Krater. Attributed to the Geras Painter (Greek (Attic), active 480 - 470 B.C.)

Black-figure pottery, amphora by Exekias depicting Achilles and Penthesilea, Greek civilization

Gnathian squat lekythos with a female head painted on. From Nola. Dated 310 BC

Terracotta bell-krater (bowl for mixing wine and water) ca. 440 B.C. Attributed to the Menelaos Painter Obverse, three revelersReverse, three youthsThe figures on each side are essentially the same, except that those on the obverse have the attributes of revelers: they wear wreaths, the first youth carries a skyphos (deep drinking cup), and the second plays the flute; music of the lyre and flute was often part of a symposium (drinking party).. Terracotta bell-krater (bowl for mixing wine and water). Greek, Attic. ca. 440 B.C.. Terracotta; red-figure. Classical. Vases

Greek black figure vase. Charioteer and horses. Museum: BRITISH MUSEUM, LONDRES, UK.

Terracotta oinochoe (jug) ca. 430-420 B.C. Attributed to the Disney Painter Archer, probably OdysseusIn the Odyssey, Homer recounted the homecoming of the Greek hero Odysseus after years of wandering at the end of the Trojan War. He found his house filled with suitors for the hand of his wife, Penelope, and managed single-handedly to kill them with his powerful bow and arrows. The archer on this vase probably can be identified as Odysseus, because of his obviously unkempt hair, an indication of the vicissitudes the hero had undergone. Moreover, a similar figure appears on several more complete ancient representations of the scene.. Terracotta oinochoe (jug) 251485 : Attributed to the Disney Painter, Terracotta oinochoe (jug), ca. 430420 B.C., Terracotta, 5 3/8in. (13.6cm) Other: 3 7/16in. (8.8cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1924 (24.97.24)

Terracotta neck-amphora of Panathenaic shape (jar) ca. 470 B.C. Attributed to the Pan Painter Obverse, kitharode (performer playing the kithara)Reverse, judgeThis vase is a counterpart to that of the Berlin Painter in its general shape, subject, and quality. The performer here is a mature, bearded man who seems to be advancing slowly. His mouth is closed, indicated that he is not singing as he plays. The Pan Painter revels in the detail of the instrument while at the same time showing the sweep of the long garment in perfectly controlled, economic lines.. Terracotta neck-amphora of Panathenaic shape (jar). Greek, Attic. ca. 470 B.C.. Terracotta; red-figure. Classical. Vases

ANFORA - HIDRA - SIGLO IV AC. Location: MUSEO ARQUEOLOGICO DE CATALUÑA. Barcelona. SPAIN. PANDORA.

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-

HIPODAMIA Y PENELOPE - CERAMICA ATICA. Location: ARCHAEOLOGICAL MUSEUM. Arezzo. ITALIA.

Lekythos ca. 500-490 B.C. Attributed to the Krotala Painter. Lekythos. Greek, Attic. ca. 500-490 B.C.. Terracotta; black-figure. Archaic. Vases

Pottery krater decorated with two stags, Mycenaean, Cyprus. Dated 12th Century BC

Terracotta kylix (drinking cup) ca. 480-470 B.C. Attributed to Douris Interior, youth and manExterior, obverse and reverse, youths and menThe interior shows a man propositioning a youth. The composition is admirable for the easy juxtaposition of the figures, the characterization of the man by the purse and of the youth by the athletic equipment on the wall, and the emphasis placed on the hands in the center. The exterior shows young men with their older mentors or teachers. The fillets and wreaths indicate rewards for accomplishments.. Terracotta kylix (drinking cup). Greek, Attic. ca. 480-470 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta stemless kylix (drinking cup) ca. 410-380 B.C. Attributed to the Painter of New York 69.232 Interior, satyr leaning on a pillarExterior, obverse, woman holding a wreath; reverse, nude youth by a pillarThis cup was painted by a follower of the Amykos Painter and may represent the minor mode of the Creusa Painter, one of the leaders of the second generation of Lucanian artists. The pillars, nude youth, and wreath suggest an athletic context. The satyr appears relaxed but commanding.. Terracotta stemless kylix (drinking cup) 255294

Lekyt z przedstawieniem młodzieńca z psem. Painter of the Yale Lekythos, author

Italy, Lazio, Canino, Red-figure stamnos (pottery used to store liquids) depicting Troilus riding a horse from Vulci

Black -of -of -commercial hydria with the presentation of a family warrior; around 530 BC (-535-00-00--525-00-00);Działyńska, Izabela (1830-1899), Działyńska, Izabela Elżbieta née Czartoryski (1830-1899)-collection, Działyński, Jan (1829-1880), Greece, horse (iconogr.), Archaic period, warriors

Campanian Bell Krater. Attributed to the Ixion Painter (Greek (Campanian), active about 330 - 320 B.C.)

Greek art. Tyrrenian neck-amphora: riders, animals and monsters. 570-560 BC. Clay. The State Hermitage Museum. Saint Petersburg. Russia.

Olpe. The Amasis Painter. 550BC-530BC . Attica (Greece). Pottery: black-figured olpe (jug). Grooved handle. Design in black on a red panel, with lotus and honeysuckle pattern along the top; accessories of white and purple.Perseus slaying Medusa: On the left is Perseus to right, looking back, beardless, with petasos, short embroidered chiton, over which is the skin of a deer, endromides, and the kibisis (sack) slung.

Skyphos Vase Depicting Kidnapping of Briseis by Agamemnon, Accompanied by Talthybios and Diomedes Greek Art Ceramic

Gnathia Red-Figure Squat Lekythos. Unknown

Attic Red-Figure Stemless Kylix. Attributed to Q Painter (Greek (Attic))

Terracotta lekythos (oil flask) 1st quarter of 5th century B.C. Greek, Attic TrainerThe young man is characterized as a trainer by the himation (overgarment) draped over his body and the staff on which he leans. The strigil (scraper) suspended before him and the column behind him indicate a setting for the training of athletes. The painter's artistic ambitions appear in the representation of the figure from the back.. Terracotta lekythos (oil flask) 254783 Greek, Attic, Terracotta lekythos (oil flask), 1st quarter of 5th century B.C., Terracotta, H. 10 1/4 in. (26 cm). The Metropolitan Museum of Art, New York. Gift of Mrs. Harry G. Friedman, 1953 (53.149)

Attic Red-Figure Lekythos. Painter of London E614 (Greek (Attic))

Four-in-hand. 5th c. BC. Black-figure amphora. Archaic Greek art. Ceramics. ITALY. LAZIO. VITERBO. Tarquinia. Museo Archeologico Nazionale di Tarquinia (National Museum of Tarquinia).

Terracotta kylix (drinking cup). Culture: Greek, Attic or Boeotian. Dimensions: 3 5/8 x 12in. (9.2 x 30.5cm); diameter 8 3/4in. (22.2cm). Date: ca. 480-470 B.C..Interior, satyr with wineskin and drinking hornExterior, Achilles and PolyxenaA series of black-figure cups of the later first quarter of the fifth century B.C. does not allow easy attribution to Attica or Boeotia. The fabric is poorly fired, the execution exceedingly careless, often with a combination of silhouette and incision. The Attic pieces come from the workshop of the Haimon Painter, a prolific producer of lekythoi (oil flasks) as well as skyphoi (deep drinking cups). Although the fabric of this cup has the pink hue characteristic of Attic clay, the misfiring of the interior and its execution resemble the Boeotian examples.The interpretation of the well-established subject of Achilles and Troilos on the exterior suggests a painter unfamiliar with the canonical story. According to the latter, the Greek hero Achilles lies

Lotus Bud Group. Etruscan Lécythe. Ceramic with black figures. Etrurie, around 500 BC. AD Museum of Fine Arts of the City of Paris, Petit Palais. 59720-18 Antiquity, art, well, weapon, ceramic, decor incons, black figure, perfume oil, javelin, lecythe well, funeral offering, body care, ancient vase, funeral vase, 5th 5th 5th 5th 5th century AV.JC, VIEM VIE VIE VIE VIE 6th 6th 6 century AV.JC

Mastoid (Drinking Cup). Greek; Athens; Attributed to the Caylus Painter. Date: 500 BC-480 BC. Dimensions: 8.3 × 10.5 × 10.5 cm (3 1/4 × 4 1/8 × 4 1/8 in.). Terra-cotta, decorated in the black-figure technique. Origin: Athens. Museum: The Chicago Art Institute, USA.

Greek art. Krater. Red figure style. It depicts parties idle. Dated to 4th century BC. National Archaeological Museum. Athens.

Attic Red-Figure Pelike, Kerch Style. Painter of Munich 2365 (Greek (Attic))

Amphora by the Bearded Sphinx Painter. Etrusco-Corinthian pottery from the tomb of the Bearded Sphinx Painter, Vulci (Lazio). Etruscan Civilisation, 610-600 BC.

Column-krater depicting pygmy fighting with circular shield, by Hesione Painter, from Tomb III, Poggio Pinci

PLATO CATALAN DE LOZA DORADA Y PUNTEADA CON UN ANGEL ABANDERADO - SIGLO XVI. Location: INSTITUTO VALENCIA DE DON JUAN-COLECCION. MADRID. SPAIN.

Dish, Silver, gilded, 400-375 BC, Russia, St. Petersburg, Hermitage,

Lucanian Red-Figure Chous (Shape 3); Intermediate Group, Reggio Group; Lucania, South Italy, Europe; early 4th century B.C; Terracotta; 20.5 x 16.2 cm (8 1,16 x 6 3,8 in.)

Terracotta kylix (drinking cup) ca. 510-500 B.C. Attributed to the Poseidon Painter Interior, maenad with birdLike the cup by the Kiss Painter (07.286.50), this work was shaved down in antiquity. The iconography is interesting because maenads (female followers of Dionysos, the god of wine) are not commonly associated with birds. She seems to be letting a dove fly, much as Athena releases her owl.. Terracotta kylix (drinking cup) 251424 : Attributed to the Poseidon Painter, Terracotta kylix (drinking cup), ca. 510500 B.C., Terracotta, H. 2 15/16 in. (7.5 cm) diameter 5 3/4 in. (14.6 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1923 (23.160.91)

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