Ancient Greek Vases and Amphorae

A collection of ancient Greek ceramic vases featuring figures, mythological scenes, and athletic contests, illustrating the artistry and culture of ancient Greece.

Black Figure Amphora Attic, 6th Century B.C. Greek Art Terra Cotta Cummer Museum of Art & Gardens, Jacksonville, FL

Black-figured Lekythos, 8th Century, ceramic,

Gently Holding to a Dolphin Which has a Winged Female Nude Figure with Garland in Her Right Hand Sculpture/Relief Museo Guarnacci, Volterra

Terracotta Panathenaic prize amphora. Culture: Greek, Attic. Dimensions: H: 25 in. (63.5 cm). Date: ca. 500 B.C..Obverse, AthenaReverse, pankration (athletic contest) and judgeAfter the mid-sixth century B.C., artists' signatures do not appear on Panathenaic prize amphorae. It seems, however, that certain artists used their own "trademark" shield devices. The Kleophrades Painter favored Pegasos, the winged horse. The reverse of this vase depicts the pankration, which combined wrestling, boxing, and kicking. The inclusion of the judge may highlight the particular danger of the event to the competitors. Museum: Metropolitan Museum of Art, New York, USA.

Oinochoe białogruntowana z przedstawieniem walki Peleusa z Tetydą, po bokach nereidy. Grupa Malarza Ateny

Terracotta neck-amphora (jar) ca. 525-500 B.C. Greek, Attic Obverse, Athena, Herakles leading Kerberos, and HermesReverse, Battle of gods and giantsAccording to myth, Kerberos, the guard dog of Hades, may have had as many as one-hundred heads, or fifty heads, or as few as one. In Archaic Attic vase painting, Kerberos, as seen on this vase, is often depicted with two heads.. Terracotta neck-amphora (jar) 247245

Terracotta hydria (water jar). Culture: Greek, Attic. Dimensions: H. 13 3/4 in. (35 cm). Date: 2nd quarter of the 6th century B.C..On the body, Herakles and the Nemean Lion. On the shoulder, lions.The shape of the hydria, as the neck-amphora, tended toward rotundity during the second quarter of the sixth century B.C. Museum: Metropolitan Museum of Art, New York, USA.

Young people next to a rock and a tree. Krater made in Puglia, from Ruvo di Puglia. By York Painter, 380-360 BC. Jatta National Archaeological Museum. Ruvo di Puglia. Italy.

Terracotta amphora (jar) ca. 490 B.C. Attributed to the Berlin Painter Obverse, young man singing and playing the kitharaReverse, judgeThis work is a masterpiece of Greek vase-painting because it brings together many features of Athenian culture in an artistic expression of the highest quality. The shape itself is central to the effect. Through the symmetry, scale, and luminously glossy glaze on the obverse, it offers a carefully composed three-dimensional surface that endows the subject with volume. The identity of the singer is given by his instrument, the kithara, which was a type of lyre used in public performances, including recitations of epic poetry. The figure on the reverse is identified by his garb and wand. While the situation is probably a competition, the subject is the music itself. It transports the performer, determines his pose, and causes the cloth below the instrument to sway gently. Listen to experts illuminate this artwork's story Listen Play or pause #830. Terraco

Black Figure Amphora Attic, 6th Century B.C. Greek Art Terra Cotta Cummer Museum of Art & Gardens, Jacksonville, FL

Oriental style amphora depicting a lyre player and dancers, painted by the Painter of the Eptacordo, circa 670 B.C.

Detail of red-figure oenochoe (or oinochoe- wine jug) depicting a runner with a torch

An amphora (English plural: amphorae or amphoras) is a type of container of a characteristic shape and size, descending from at least as early as the Neolithic Period. Amphorae were used in vast numbers for the transport and storage of various products, both liquid and dry, but mostly for wine. It is most often ceramic, but examples in metals and other materials have been found. Stoppers of perishable materials, which have rarely survived, were used to seal the contents. Two principal types of amphorae existed: the neck amphora, in which the neck and body meet at a sharp angle; and the one-piece amphora, in which the neck and body form a continuous curve. Neck amphorae were commonly used in the early history of ancient Greece, but were gradually replaced by the one-piece type from around the 7th century BCE.

Terracotta bell-krater (bowl for mixing wine and water) ca. 420 B.C. Attributed to Polion Obverse, chorus of satyrsReverse, youthsThe inscription "singers at the Panathenaia" offers some explanation of the subject on the obverse. Three Papposilenoiold satyrshold lyres and move toward a man with a pair of flutes. These are costumed performers who played some part in the festival that took place annually in honor of Athena, the patron goddess of Athens.. Terracotta bell-krater (bowl for mixing wine and water). Greek, Attic. ca. 420 B.C.. Terracotta; red-figure. Classical. Vases

Attic vase depicting a scene with a chariot leaving, painted by Painter Exechias

Black-Figure Lekythos (Oil Vessel): Seated Men, Warriors and Horse, c. 510-500 BC. Attributed to Leagros Group (Greek, Attic, active c. 520-500 BC). Ceramic; overall: 31.7 cm (12 1/2 in.).

Red-figure pottery, Attic krater depicting Heracles and Achelous

Red-figure amphora depicting Iphigenia in Tauris. Classical Greek art. Ceramics. ITALY. CAMPANIA. Naples. National Museum of Archaeology. Proc: GREECE. ATTICA.

Terracotta volute-krater (bowl for mixing wine and water) ca. 450 B.C. Attributed to the Painter of the Woolly Satyrs On the neck, obverse, battle of centaurs and Lapiths; reverse, youths and womenAround the body, Amazonomachy (battle between Greeks and Amazons)The ancient Greeks almost never depicted contemporary or historical events in art. Thus, while literary works of the fifth century B.C. make clear that the Greeks understood the magnitude of their victory in the Persian Wars, there was no concern among artists to illustrate major events or personalities. Instead, their preference was for grand mythological battles between Greeks and eastern adversaries, notably Amazons. The Amazons were a mythical race of warrior women whose homeland lay far to the east and north. The most celebrated Amazonomachies in Athens during the first half of the fifth century were large-scale wall paintings that decorated the Theseion and the Stoa Poikile (the Painted Portico). Their influence was consid

Terracotta pelike (jar) ca. 330-310 B.C. Close in style to the Underworld Painter Obverse, naiskos (shrine) with woman and attendant between youth and womanReverse, woman, youth, and ErosA: naiskos with a statuary group of a maid placing a stool for her deceased mistress who holds a fan; outside to the left, a nude youth with a branch. To the right, a woman. B: a woman with a situla and a branch follows a youth holding a phiale and a branch. Eros sits above.. Terracotta pelike (jar) 247391

Black pelike attributed to the Syleus Painter depicting Athena, 6th century B.C.

Red-Figure Column Krater (Mixing Vessel): Komos (Revel), c. 470-460 BC. Attributed to Pig Painter (Greek, Attic, active c. 480-460 BC). Ceramic; diameter: 40.6 cm (16 in.); overall: 42.5 cm (16 3/4 in.).

Terracotta squat lekythos (oil flask) ca. 410 B.C. Attributed to the manner of the Meidias Painter The youth Chrysippos with Aphrodite, Eros, and PompeChrysippos, wearing the boots, mantle, and broad-brimmed hat of a traveler, talks with Eros who points toward Aphrodite. Next to the goddess stands a casket, on it a pair of shoes. The woman to the left is unidentified, the other one is Pompe (the personification of procession). Beside her are traces of a ritual basket that would have been depicted in applied clay with gilding. The details of the scene point to a marriage procession.. Terracotta squat lekythos (oil flask). Greek, Attic. ca. 410 B.C.. Terracotta; red-figure. Classical. Vases

Amphora. Black figures. Athens, 520-510 BC. 58655-11 Amphora, handle, antiquity, Greek antiquity, Greek art, aurige, ceramic, chariot, horse, black figure, decorative motif, character representation, ancient vase, vieme life VI 6th 6th 6th 6th century AV.JC,

Black-Figure Amphora; A: Birth of Athena; B: FrontalChariot. Artist, attributed to: Group E, Greek, Attic, active 560-540 B.C.

Apulian red-figured lebes gamikos, by Ganymede Painter, IV Century, 340-320, cm 33 diamentro orlo 6.6 cm, piede 7 cm

Terracotta hydria: kalpis (water jar) ca. 450-440 B.C. Attributed to the Achilles Painter Youth pursuing womanThe scene may represent Peleus pursuing Thetis. Their child was the Greek hero Achilles.. Terracotta hydria: kalpis (water jar). Greek, Attic. ca. 450-440 B.C.. Terracotta; red-figure. Classical. Vases

Achilles painter. Amphora. Red figures. 430 BC Museum of Fine Arts of the City of Paris, Petit Palais. 58662-1 Amphora, Greek antiquity, ancient art, Greek art, attic, red figure, character, ancient scene, ancient vase, 5th 5th 5th 5th century AV.JC

Terracotta lekythos (oil flask) ca. 500 B.C. Attributed to the Sappho Painter Helios (the Sun) rises in his quadriga (4-horse chariot); above, Nyx (Night) driving away to the left and Eos (the goddess of dawn) to the right; Herakles offering sacrifice at altar.The four lekythoi grouped here are all attributed to the same painter and are said to have been found together in a tomb in Attica. Three of them are decorated with subjects that may have seemed especially suitable for funerary offerings because they show figures moving beyond the confines of the known world. This vase shows a scene that must be related to Herakles' journey to the west, outside the ring of ocean that encircled the earth. Traveling in the bowl of the sun, he reached an otherworldly place where he had to kill the monster Geryon, a creature similar to Hades, the god of the underworld. Here Herakles offers a sacrifice to Helios as the sun rises. Listen to experts illuminate this artwork's story Listen Play or pause #

Terracotta hydria (water jar). Culture: Greek, Attic. Dimensions: H. 13 3/4 in. (35 cm). Date: ca. 530-520 B.C..On the body, Herakles and TritonOn the shoulder, combat of warriors between two fleeing womanIn the predella, animalsTriton was a sea-creature born of Poseidon, god of the sea, and Amphitrite. The combat between Poseidon and Herakles was popular during the later sixth century B.C. and is particularly appropriate to hydriai. This encounter has no story but mainly highlights the strength and resourcefulness of Herakles. The warriors on the neck may be Achilles and Memnon, identifiable by their mothers who witnessed the duel. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta lekythos (oil flask) ca. 490-480 B.C. Attributed to the Brygos Painter Athena holding spear and helmet, owl at left. Terracotta lekythos (oil flask). Greek, Attic. ca. 490-480 B.C.. Terracotta; red-figure. Archaic. Vases

Terracotta amphora (jar) ca. 540 B.C. Attributed to a painter of Group E Obverse, Herakles wrestling the Nemean LionReverse, Herakles fighting GeryonGroup E is the name given to a workshop of painters active during the middle of the sixth century B.C. Exekias, the greatest black-figure artist, began among them. Geryon was a three-bodied creature who lived far to the west with his dog and herd of cattle. One of Herakles' labors was to kill Geryon and bring back the cattle.. Terracotta amphora (jar) 254869 : Attributed to a painter of Group E, Terracotta amphora (jar), ca. 540 B.C., Terracotta, H. 14 13/16 in. (37.7 cm) diameter of mouth 6 11/16 in. (17 cm). The Metropolitan Museum of Art, New York. Fletcher Fund, 1956 (56.171.11)

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

Amphora depicting scene of wild boar hunting, attributed to Goltyr Painter, circa 560 B.C., from Tyre, Lebanon

Greek vase painting, boys playing with a cart, 425-400 BC.

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.

Amfora szyjowa czarnofigurowa. Diosphos Painter, author

Terracotta amphora (jar) ca. 540 B.C. Attributed to the Orvieto Painter Obverse, the Return of HephaistosReverse, banquetIn Attic vase-painting, horses are, by far, the most frequently depicted animal, with an emphasis on their beauty and speed. Representations of the Return of Hephaistos, in which the smith-god goes to Mount Olympos on the back of a donkey or mule, probably bring with them an implicit comparison with aristocratic riders and their noble mounts.This Chalcidian vase is a simplified adaptation of an Attic black-figure model.. Terracotta amphora (jar). Greek, Chalcidian. ca. 540 B.C.. Terracotta; black-figure. Archaic. Vases

Terracotta neck-amphora (jar) with lid and knob (27.16) ca. 540 B.C. Attributed to Exekias On the body, obverse and reverse, man and woman in chariot accompanied by woman and kithara playerOn the shoulder, combat of foot soldiers and horsemenBlack-figure was a cumbersome, restricted, and quite artificial technique. The vases in this room testify to the variety of effect and the forcefulness of expression that is nonetheless permitted. Probably the greatest single black-figure artist was Exekias, who was both potter and painter. Although the essential ingredients of this work are traditional, its particular character is evident in the robust shape, the extraordinary precision and vitality in the figures and ornament, and the perfect relation of the decorative elements to the body beneath. Listen to experts illuminate this artwork's story Listen Play or pause #1024. Terracotta neck-amphora (jar), Part 1 Play or pause #1448. Terracotta neck-amphora (jar), Part 2 Supported by Bloomberg Phi

Sack of Troy. Iliupersis Painter. Apulian Krater. 380 BC. Italy.

Pithos with the Blinding of Polyphemos. Workshop of the Calabresi Urn (Etruscan, active 650 - 625 B.C.)

Terracotta skyphos (deep drinking cup) ca. 420 B.C. Attributed to Polion Athletes and menGymnastic training was an essential part of a boy's education. It was important for citizens to be in good physical condition, as they could be called up for military service. Athletes who competed in the Panhellenic games at Olympia, Delphi, Nemea, and Isthmia, as well as those held by other cities, such as the Panathenaic games of Athens, specialized in certain events and worked extensively with professional trainers.. Terracotta skyphos (deep drinking cup). Greek, Attic. ca. 420 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta Nolan neck-amphora (jar) ca. 480-470 B.C. Attributed to the Oionokles Painter Obverse, Dionysos and fluting satyrReverse, satyrs and maenadsIn Nolan neck-amphorae, the groundline frequently runs around the body without interruption. The effect, as here, is to emphasize the progression of the subject matter around the vase.. Terracotta Nolan neck-amphora (jar) 254188 : Attributed to the Oionokles Painter, Terracotta Nolan neck-amphora (jar), ca. 480470 B.C., Terracotta, H. 13 3/8 in. (34 cm) diameter 7 13/16 in. (19.8 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1941 (41.162.21)

Terracotta pelike (jar) ca. 430 B.C. Attributed to the Later Mannerists Komos (revel). Obverse, flute-player and youth with skyphosReverse, two youthsThe young men are the same Athenian citizens who participated in the Panathenaic games. For an understanding of Attic vases, it is important to recognize that the shapes, their functions, and their decoration had a well-defined place in Athenian life. As a result, they are also our most informative visual source on the details of Athenian life.. Terracotta pelike (jar). Greek, Attic. ca. 430 B.C.. Terracotta; red-figure. Classical. Vases

Terracotta calyx-krater (bowl for mixing wine and water) ca. 490 B.C. Attributed to the Kleophrades Painter Obverse and reverse, two warriors armingAs on the adjacent neck-amphora, the Kleophrades Painter here focuses his art on his human subjects and allows the larger narrative context of military activity to be supplied by their equipment. The emphasis is on grandeur, evident despite the object's fragmentary state. The four warriors, standing in relaxed poses, hold their weapons in a way that permits the artist to lavish exquisite detail on every form.. Terracotta calyx-krater (bowl for mixing wine and water) 248129

Charioteer in Quadriga chariot. Black Figure vase painting. GREECE.

Volterra crater from Carmingnano (Prato), vase,

Attic White-Figure Amphora Depicting Amazons Preparing For Battle C.525-520 BC Andokides Painter (attr. to)(Greek) Ceramic Musee du Louvre, Paris, France

Pyxis depicting two women in a toilette next to a louterion. In the background, a bundle of grain. Made in Paestum. Apulian Group. 350-325 BC. Pottery. National Archaeological Museum. Naples. Italy.

Terracotta neck-amphora (jar) 5th century B.C. Greek, South Italian, Campanian Obverse, seated figure with pomegranate and standing figureReverse, man with wreath, man in himation (cloak)A, seated figure with pomegranate and standing woman; B, man running with wreath and man in himation.. Terracotta neck-amphora (jar) 247216

Painted attic pottery by the Painter of London. Dated 450 BC

Terracotta pelike (jar). Culture: Greek, Attic. Dimensions: H. 16 1/2 in. (41.9 cm). Date: mid-5th century B.C..Obverse, Apollo and his sister, Artemis, pouring libation at altarReverse, two womenDressing in a long chiton, Apollo holds a kithara, the stringed instrument used for professional and public performances. He appears here in his role as leader of the nine muses and patron of the arts. Artemis pours liquid into the phiale held by her brother, and he in turn pours a libation onto the altar between them. Museum: Metropolitan Museum of Art, New York, USA.

Lekythos ca. 480 B.C. Attributed to the Bowdoin Painter. Lekythos. Greek, Attic. ca. 480 B.C.. Terracotta; red-figure. Classical. Vases

Black-figure pottery Lekhytos depicting the battle between Lapiti and Centaurs

Terracotta oinochoe: chous (jug) ca. 430-420 B.C. Attributed to the Eretria Painter 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.. Terracotta oinochoe: chous (jug) 248094

Terracotta amphora (jar). Culture: Etruscan. Dimensions: H. 8 3/16 in. (20.8 cm). Date: early 5th century B.C..Artists of the Praxias Group, who probably worked in Vulci, were the first Etruscan vase-painters to develop a simpler version of the true red-figure technique. This vase is a good example of their work. The amphora shape is directly borrowed from Greek, specifically Attic, prototypes. The nude youth leaning on a long walking stick that is repeated on each side is a subject perfectly familiar from the Greek repertoire. What is different is the technique. Here, rather than reserving the figures (painting up to their outline), they are painted in a red-slip over the black-gloss background; then, interior modeling is achieved by incising lines through the superposed red slip. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta lekythos (oil flask) ca. 550 B.C. Attributed to the Affecter Winged man between onlookersWinged male figures that are distinct from Hermes appear quite frequently in Attic art of the mid-sixth century B.C. Without inscriptions they are difficult to identify. In all of Greek art, the distinction between the human and the divine, the tangible and intangible, is elusive. Although we do not know his name, this figure surely moves between various orders of reality.. Terracotta lekythos (oil flask). Greek, Attic. ca. 550 B.C.. Terracotta; black-figure. Archaic. Vases

Trefoil Oinochoe with a Woman, Youth, and Eros. Greece, Attica, circa 475-450 B.C.. Furnishings; Serviceware. Red-figure ceramic; previously with gilding

Black-Figure Column Krater; Painter of Munich 1736 (Greek (Attic), active about 520 B.C.); Athens, Greece; about 520 B.C; Terracotta; 47 × 54 × 47.1 cm (18 1,2 × 21 1,4 × 18 9,16 in.)

Pontic Oinochoe by the Anfiarao Painter. Black-figure pottery from Vulci (Lazio). Etruscan Civilisation, 6th Century BC.

Terracotta dinos (deep round-bottomed bowl) late 6th century B.C. Attributed to the Group of the Campana Dinoi, Ribbon Painter Satyrs revelingCampana dinoi frequently depict dancing men or satyrs, subjects appropriate for wine-mixing vessels. They are likely the products of Etruscanized East Greek artists who set up workshops in Southern Etruria in the late sixth century B.C. The style derives its name from the Marchese Giovanni Campana (1808-1880), an Italian banker, amateur archaeologist, and collector, who once owned several examples.. Terracotta dinos (deep round-bottomed bowl). Etruscan. late 6th century B.C.. Terracotta; black-figure. Archaic. Vases

Attic Black-Figure Column Krater. Unknown

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.

Apulian Red-Figure Krater with Mascarons. Baltimore Painter (South Italian (Apulian))

Terracotta kylix (drinking cup). Culture: Greek, Attic. Dimensions: H. 4 7/16 in. (11.2 cm)width 13 5/8 in. (34.6 cm)diameter 10 9/16 in. (26.9 cm). Date: ca. 500 B.C..Interior, woman at laverExterior, athletesThe interior presents a lovely picture of a young woman at a laver. By her feet stands the bail amphora in which water was carried. She has her hair in a sakkos (snood) and wears a chiton that shows off the painter's skill in drawing and handling dilute glaze. The skyphos (deep drinking cup) and wineskin on the wall subtly introduce the symposium at which this cup was used and in which the youths on the exterior would soon participate. Museum: Metropolitan Museum of Art, New York, USA.

CERAMICA GRIEGA S VI-ULISES AQUILES Y DIOMEDES. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Lekythos ca. 480 B.C. Attributed to the Haimon Painter Chariot scene.. Lekythos. Greek, Attic. ca. 480 B.C.. Terracotta; black-figure, white-ground. Classical. Vases

Terracotta oinochoe (jug) ca. 520 B.C. Attributed to the Painter of London B 620 Peleus treed by a lion and a boarA succession of misadventures brought Peleus, the future father of the hero Achilles, to cower in a treetop. While a guest of King Akastos, Peleus became the target of the queen's unrequited love. Rebuffed, she accused him of trying to seduce her. The enraged king lured Peleus to the deserted slopes of Mount Pelion and left him unarmed against wild beasts until the gods provided a magic knife.. Terracotta oinochoe (jug) 254547 : Attributed to the Painter of London B 620, Terracotta oinochoe (jug), ca. 520 B.C., Terracotta, H. 9 3/4 in. (24.8 cm) H. with handle 11 1/2 in. (29.2 cm). The Metropolitan Museum of Art, New York. Purchase, Joseph Pulitzer Bequest, 1946 (46.11.7)

Red-figure pottery, detail of cup attributed to Makron showing departure of warriors on chariot, from Capua, Campania Region, Italy

Red-figure pottery, Krater portraying tragic episode of Orestes of Aeschylus, Orestes and Electra near their father's tomb

Drinking cup (Skyphos). Red figure pottery. Andriuolo, tomb 27. (360-350 BC). Paestum Archaeological Museum. Salerno, Campania, Italy.

Attic Black-Figure Kalpis. Unknown

Krater (large vase) . Red-figure pottery. Etruscan Civilisation, 4th Century BC.

Lekythos showing a womanspinning. Artist: Two-Row Painter, Greek, Attic, ca. 475-460 B.C.

ANDOKIDES (6th C. BC). Poetic contest depiction. 6th c. BC. Red-figure ceramic. Greek art. Ceramics. FRANCE. ëLE-DE-FRANCE. Paris. Louvre Museum. Proc: ITALY. LAZIO. VITERBO. Montalto di Castro. Vulci.

Terracotta amphora (jar). Culture: Greek, Attic. Dimensions: H. 24 1/2 in. (62.2 cm). Date: ca. 530-520 B.C..Obverse, Athena mounting her chariot, with Herakles and godsReverse, Herakles and the Nemean lionThe obverse depicts the introduction of Herakles into Mount Olympos. He is accompanied by Athena, his protectress, Apollo, Dionysos, and Leto; the names are inscribed. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta kylix (drinking cup) ca. 490-480 B.C. Attributed to Makron Interior, satyr and maenadExterior, satyrs and maenadsMakron's satyrs and maenads (male and female followers of Dionysos, the god of wine) are distinguished not only by their vivacity but also by their fine garments and meticulous grooming. Here, Makron has clearly enjoyed depicting flying skirts and hair and the different ways of wearing animal pelts.. Terracotta kylix (drinking cup). Greek, Attic. ca. 490-480 B.C.. Terracotta; red-figure. Archaic. Vases

Greek hydria from Rhodes, c.440-430 b.C. showing woman seated on chair playing lyre. Museum: BRITISH MUSEUM, LONDRES, UK.

Terracotta oinochoe (jug). Culture: Greek, Attic. Dimensions: H. 9 3/4 in. (24.8 cm)H. with handle 11 1/2 in. (29.2 cm). Date: ca. 520 B.C..Peleus treed by a lion and a boarA succession of misadventures brought Peleus, the future father of the hero Achilles, to cower in a treetop. While a guest of King Akastos, Peleus became the target of the queen's unrequited love. Rebuffed, she accused him of trying to seduce her. The enraged king lured Peleus to the deserted slopes of Mount Pelion and left him unarmed against wild beasts until the gods provided a magic knife. Museum: Metropolitan Museum of Art, New York, USA.

Bologna painter 417. Rhyton in the shape of a ram head. Red figures. Athens, 470-460 BC. AD Museum of Fine Arts of the City of Paris, Petit Palais. 58728-15 Anse, Greek antiquity, ancient art, Greek art, attic, ceramic, religious ceremony, horn, red figure, libations, ancient period, character, pottery, rhyton, religious ritual, ancient scene, drinking vase, Greek vase, veme ve v 5th 5th 5 century AV.JC

Terracotta Nolan neck-amphora (jar) ca. 450-440 B.C. Attributed to the Westreenen Painter Obverse, woman pouring libation for warriorReverse, man with staffThe subject of the decoration is a warrior's departure. Although this is a rather commonplace vase, it is worth noting the poignancy of the older man, characterized by his stick, who stands isolated on the reverse.. Terracotta Nolan neck-amphora (jar). Greek, Attic. ca. 450-440 B.C.. Terracotta; red-figure. Classical. Vases

Italy, Lazio, Tarquinia, Etruscan-Corinthian polychrome amphora depicting horse grazing, painted by the Painter of the Cappi (Pittore dei Cappi), 630/600 B.C.

Black-figure pottery, Amphora attributed to Swing Painter, depicting Heracles and veiled Alcesti before Hermes, from Vulci, detail

Detail of Attic goblet depicting Gods gathering, painted by Oltos, late archaic Greek vase painter

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

Perseus and the Gorgon. 550 BC. Amasis Painter. Greek black figure vase painting.

Black-figure pottery, Amphora depicting Ajax carrying body of Achilles

Bell krater by Dolon Painter, with scene from Euripides' play Medea: Medea gives mantle to Creusa, from Lucania, Italy

Ulysses and the Sirens. ca. 450 BC. Red-figure attic stamnos depicting Ulysses and the Sirens, illustrating an episode of Homer's Odyssey. Archaic Greek art. Ceramics. UNITED KINGDOM. ENGLAND. London. The British Museum.

Geometric period Greek pot, 8th century BC. Artist: Unknown

Black-Figure Lekythos (Oil Vessel): Horseman, Horse between Warriors, Dog, c. 500 BC. Attributed to Edinburgh Painter (Greek, Attic, active c. 505-485 BC). Ceramic; overall: 32.4 cm (12 3/4 in.).

VASO GLOBULAR PORCEDENTE DE ELCHE (ALICANTE) - CERAMICA IBERICA.

GREECE, ATHENS, NATIONAL ARCHEAOLOGICAL MUSEUM, LARGE KRATER VASE, 750 BC

Amphora. Black-figure pottery from Vulci (Lazio). Etruscan Civilisation, 6th Century BC.

Fish Plate 400 BCE-370 BCE Athens. This footed plate was made to serve succulent morsels of grilled seafood, like the fish, mollusks, and other marine creatures that are painted on its surface. Greece and Italy are peninsulas projecting into seas brimming with marine life. A primary source of protein, seafood was a basic staple of the ancient Mediterranean diet; it remains so today.Keen observers of their subjects, ancient vase painters so accurately captured the shapes and markings of the fish they depicted that it is possible to identify most of them by species. This example is decorated with two pairs of large fish. A scallop attached to an outer band of a decorative pattern in the center separates a gilt head, on the left, from a fish known as king of the mullets, on the right. Opposite them is a lettered perch confronting a scorpion fish. Details of their anatomy were drawn with dilute glaze. Around them are shells, a small fish, and other creatures. A running wave pattern around

Terracotta squat lekythos (oil jar). Culture: Greek, Attic. Dimensions: H. 5 1/4 in. (13.3 cm). Date: early 4th century B.C..Griffin between two women. Museum: Metropolitan Museum of Art, New York, USA.

Lekythos

TINAJA DE CERAMICA DECORADA (Nº INV. 1168), EN EL MUSEO DE SANTA CRUZ. MUDEJAR, ANDALUSI.

Cameo Glass Skyphos. Unknown

Paestan Red-Figure Fish Plate. Attributed to the Binningen Painter

Black-figure Hydria depicting the Tyrrhenian pirates turning into dolphins, painted by the Painter of the Vatican, 510/500 B.C.

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