Ancient Greek Vases

This cluster features various terracotta vases depicting mythological scenes, including heroes, rituals, and gatherings, showcasing intricate designs and classical art styles.

Black figure Attic amphora, Greek art, Circa 6th Century BC, USA, Florida, Jacksonville, The Cummer Museum of Art and Gardens

Terracotta column-krater (mixing bowl) ca. 360-340 B.C. Attributed to the Varrese Painter Obverse, seated woman between two Oscan youths Reverse, three youthsThe red-figure vases in this case illustrate the so-called Plain Style in Apulian vase-painting, characterized by large shapes and non-mythological subjects depicted simply, with a uniform ground line and few filling ornaments. In the absence of mythological scenes, most of which originated in Greece, local practices and objects come to the fore.. Terracotta column-krater (mixing bowl). Greek, South Italian, Apulian. ca. 360-340 B.C.. Terracotta; red-figure. Late Classical. Vases

Terracotta oinochoe (jug). Culture: Greek, Attic. Dimensions: H. 3 13/16 in. (9.7 cm.). Date: early 5th century B.C..The representation of Herakles fighting the Nemean lion is the most common depiction in Archaic Greek art of all the hero's labors. In this scene, Herakles wrestles the lion on the ground, pulling up its hind leg. The skin of the lion was invulnerable; thus, Herakles strangled the beast with his bare hands. Museum: Metropolitan Museum of Art, New York, USA.

Lazio Viterbo Viterbo Museo Civico28. 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-

Terracotta stemless kylix (drinking cup). Culture: Greek, South Italian, Paestan. Dimensions: Overall: 1 15/16 x 7 11/16in. (5 x 19.5cm)diameter of bowl 5 1/8in. (13cm). Date: late 4th century B.C..Siren.Siren dancing atop a tendril.The practice of using applied color to achieve the effect of red-figure gained some popularity in Paestan vase-painting. This example is in particularly fine condition. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta column-krater (mixing bowl) ca. 380-360 B.C. Attributed to the Rodin Painter Obverse, woman, Oscan warrior, and Oscan man Reverse, three youthsThe shape, many of the motifs, and the techniques of decoration here were introduced to Southern Italy by Greek immigrants and imports. The figures in Oscan dress represent one of the indigenous populations that sought out Greek traditions and integrated them into their culture. The red-figure vases in this case illustrate artistic acculturation.. Terracotta column-krater (mixing bowl) 247379

Terracotta stemless kylix (drinking cup). Culture: Greek, Attic. Dimensions: H. 3 3/8 in. (8.6 cm)diameter 8 11/16 in. (22 cm). Date: ca. 460 B.C..Exterior, obverse, Eos (goddess of dawn) pursuing TithonosReverse, Eos pursing KephalosEos, the goddess of dawn, is shown with Tithonos and Kephalos, who are on their way to school before sunrise. Though summarily executed, the scenes are perfectly suited to the low walls of a stemless cup, and they effectively contrast the eager goddess and the recalcitrant schoolboys. Museum: Metropolitan Museum of Art, New York, USA.

Campania Salerno Padula Museo Archeologico della Lucania Occidentale. Hutzel, Max 1960-1990 Antiquities: There are views of Ardean artifacts, including artefixes. 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.

Terracotta calyx-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 19 9/16 in. (49.7 cm). Date: 4th century B.C..Obverse, the death and apotheosis of HeraklesReverse, Amymone surprised by satyrsHorribly burned by a charm that his wife gave him in a misguided attempt to revive his love, Herakles had a funeral pyre built and threw himself on it to die. In the elaborate scene on the obverse, he is already in a quadriga (four-horse chariot) driven by Nike and preceded by Hermes and is on the way to Mount Olympos, where Dionysos, Apollo, and Ares await him. Herakles leaves behind on the fire a corselet signifying the husk of his mortal self. Below, Athena urges nymphs to quench the funeral pyre. The youths are Herakles' nephew, Iolaos, the hero Philoktetes (with quiver and bow), and probably Herakles' son, Hylos.The scene on the reverse is in rather light-hearted contrast. Beset by satyrs, Amymone is defending herself with an available thyrsos. She was final

Ceramic cylindrical vessel from Guatemala, Mexico. Dated 10th Century

Plato con la figura de Atenea entre Héctor y Aquiles procedente de Empúries. Museo Arqueológico de Barcelona.

Olpe z przedstawieniem dyskobola. Malarz Gołuchowski (ok. 520-490 p.n.e.), author

Attic Red-Figure Pelike. Unknown

Campanian Neck-Amphora with a Heroic Battle (A) and Preparations for a Wedding () (B). Ixion Painter (attributed to the) (Greece, Campania, active circa 350-325 B.C.). South Italy, Campania, circa 330-310 B.C.. Furnishings; Serviceware. Red-figure ceramic; some details previously gilded

Panathenaic Prize Amphora: A: Athena, B: ChariotRace. Artist: Kleophrades Painter, Greek, Attic, ca. 505-475 B.C.

Red-figure calyx krater (vase used to mix wine and water) depicting a human face

Attic amphora, Detail of wedding procession

Terracotta column-krater (bowl for mixing wine and water). Culture: Greek, Attic. Dimensions: H. 14 7/8 in. (37.8 cm)diameter of mouth 13 1/16 in. (33.2 cm). Date: ca. 470-460 B.C..Obverse, Dionysos followed by attendant satyrReverse, satyr with skyphos (deep drinking cup)A pupil of Myson, the Pan Painter was one of the best artists of his generation. Here he depicts Dionysos, the god of wine, enfolded in an ample cloak and crowned with a large ivy wreath, evidently on his way to a specific destination. The satyr behind him carries a cushioned stool, a kantharos--the drinking vessel most characteristic of Dionysos--and a branch of ivy. On the reverse, a satyr seems to welcome them with a skyphos. The god is subtly juxtaposed with his helpers who, despite their meticulous grooming and obedient service, do not entirely overcome their animal natures. Museum: Metropolitan Museum of Art, New York, USA.

Lekythos ca. 440-430 B.C. Attributed to the Thanatos Painter. Lekythos. Greek, Attic. ca. 440-430 B.C.. Terracotta; red-figure, white-ground. Classical. Vases

Attic Red-Figure Kylix. Attributed to the Euaion Painter (Greek (Attic), active about 460 - 440 B.C.)

Anthropomorphic receptacle or vase artifact at the National Museum of Archaeology, Anthropology and History of Peru, Lima, Peru

Red-Figure Kylix. Apollodoros (Greek (Attic), active about 500 B.C.)

Fragment of skyphos depicting Theseus

Terracotta kylix (drinking cup) ca. 470 B.C. Attributed to Douris Interior, two women with their garmentsExterior, obverse and reverse, women and youthsThough later in date, this scene has the same directness and charm as that of the woman at a laver (1986.322.1). Here, two women, nude except for the fillets binding their hair, put aside their carefully rolled-up garments. The exterior shows women and youths in conversation. It is difficult, and perhaps unnecessary, to characterize the situation precisely. Douris liked to depict such encounters.. Terracotta kylix (drinking cup). Greek, Attic. ca. 470 B.C.. Terracotta; red-figure. Classical. Vases

ANFORA GRIEGA-PUGILISTAS. Location: MUSEO DEL LOUVRE-CERAMICA. France.

Red-Figure Pelike. Unknown

JARRON CON ESCENA CORTESANA-TALAVERA S XVII. Author: MAESTRO DE LA FLOR DE LA PATATA. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Terracotta stemless kylix (drinking cup) ca. 460 B.C. Attributed to the Penthesilea Painter Exterior, obverse, Eos (goddess of dawn) pursuing TithonosReverse, Eos pursing KephalosEos, the goddess of dawn, is shown with Tithonos and Kephalos, who are on their way to school before sunrise. Though summarily executed, the scenes are perfectly suited to the low walls of a stemless cup, and they effectively contrast the eager goddess and the recalcitrant schoolboys.. Terracotta stemless kylix (drinking cup) 246591

Lekythos depicting Theseus and Ariadne being woken up by Athena, 460 BC red-figure pottery, Italy. Ancient Greek civilization, Magna Graecia, 5th Century BC.

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.

Terracotta kylix (drinking cup). Culture: Greek, Attic. Dimensions: H. 3 9/16 in. (9 cm)diameter 12 1/4 in. (31.1 cm). Date: ca. 490 B.C..Interior, groom with horseIt is rare in red-figure to find representations of a man and a horse as intimate as this one. A black groom is in the process of currying the horse tethered to the perforated fixture at the right of the tondo. On the wall hangs a whisk broom. The horse is restive; the young man rests his arm decisively on its back and goes about his business. Museum: Metropolitan Museum of Art, New York, USA.

Fragment of a Krater. Italy 30-20 BC. Marble. Artemis carries a torch as the Goddess of the Night and Darkness, and a quiver as the Goddess of the Hunt. Behind her is a pine tree. The other women cannot be identified. Ny Carlsberg Glyptotek. Copenhagen, Denmark.

Neptune Vase; Factory of Geminiano Cozzi (Italian (Venetian), active 1764 - 1812); Venice, Veneto, Italy; vases 1769; lid modern (1800 - 1988); Hybrid soft-paste porcelain; 30 x 26.7 cm (11 13,16 x 10 1,2 in.)

Terracotta plate ca. 510 B.C. Attributed to Paseas In the tondo, two revelers, one playing the double flute, the other holding a skyphos (deep drinking cup).. Terracotta plate 258423

Incan beaker showing Spaniards and Peruvians, c.17th century. Artist: Unknown

Campanian Amphora; Attributed to Painter of Copenhagen 3757; Campania, South Italy; about 340 B.C; Terracotta; 69.5 × 19.9 cm (27 3,8 × 7 13,16 in.)

Attic Red-Figure Volute Krater. Attributed to Polygnotos (Greek (Attic), active 450 - 430 B.C.)

VASIJA - CULTURA NAZCA - ARTE PERUANO PRECOLOMBINO - 100 AC-700 DC. Location: MUSEO DE AMERICA-COLECCION. MADRID. SPAIN.

Terracotta calyx-krater (bowl for mixing wine and water) ca. 450 B.C. Attributed to the Spreckles Painter Obverse, Kadmos and the snakeReverse, man between two womenKadmos, son of Agenor king of Tyre, was told by the oracle at Delphi to follow a cow until she lay down and to found a city there. The place was Thebes. In order to sacrifice the cow to Athena, Kadmos needed water. The nearest spring was guarded by a serpent, son of Ares. The representation here shows Athena seconding Kadmos, who raises his hydria (water jar) against the serpent. Ares stands at the far right. The seated woman is probably the nymph associated with the spring or a personification of Thebes. Kadmos kills the monster, and sowing its teeth in the ground, he produces the inhabitants of the new city.. Terracotta calyx-krater (bowl for mixing wine and water) 247946

Sprinter. 4th cent. BC. Greek Vase. GREECE.

Lazio Viterbo Viterbo Museo Civico34. 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-

TINAJA MUDEJAR TOLEDANA CON DECORACION TALLADA SOBRE EL BARRO PARCIALMENTE VIDRIADA Y DECORADA CON HOJAS DE VID - SIGLO XIV. Location: TALLER DEL MORO. Toledo. SPAIN.

Lekyt z przedstawieniem kobiety z lustrem. Diosphos Painter, author

Mycenaean amphora, Octopus Vase, Prosymna, Greece

Vessel with Itzamnaaj, Dog, and Hero Twins. Guatemala or Mexico, Maya, 600-900 CE. Ceramics. Slip-painted ceramic

Terracotta kylix (drinking cup). Culture: Greek, Attic. Dimensions: H. 4 1/2 in. (11.4 cm)diameter 8 in. (20.3 cm). Date: ca. 550 B.C..Obverse and reverse, birth of Athena from the head of ZeusAthena, the patron goddess of Athens, had the distinction of being born fully formed and fully armed from the head of Zeus, the chief of the gods. Much favored during the first half of the sixth century B.C., scenes of this event include numerous figures and allow for various responses to the unusual circumstances. Here the birth has occurred, and Athena is about to sally forth from her father's lap. Museum: Metropolitan Museum of Art, New York, USA.

Attic Black-Figure Lekanis Fragment (comprised of 6 Joined Fragments). Polos Painter (Greek)

Attic Black-Figure Lekythos. Attributed to the Class of Athens 581 (Greek (Attic))

Vessel with Image of Warriors. Guatemala or Mexico, Northeastern Petén or Southern Campeche region, Maya, 600-900 CE. Ceramics. Slip-painted ceramic

Fragment from the neck of a terracotta amphora ca. 850-750 B.C. Cypriot Panel with two figures and the arms of a third; panel with one figureThe representation(s) here most probably illustrate a narrative subject. A key to the interpretation lies in the identity of the horizontal shafts held by the figures in both panels. The figure on the right appears to be holding a spear, and he wears a belted garment of diamond shapes alternately reserved and glazed. At the left end of the fragment are the arms of an individual who holds a cup. Susan Langdon has raised the possibility that this is a very early depiction of the blinding of Polyphemos by Odysseus.. Fragment from the neck of a terracotta amphora 244736

Hercules herakles holding a wine cup, reclining on a couch. Visited by Athena. 500 BC. Attic. Greek Vase Painting. Red Figure style. Greece.

Holy-water Font. Artist: Follower of Guglielmus (Italian, active 1158-65). Culture: Italian. Dimensions: Overall: 9 1/2 x 4 1/2 x 15 in. (24.1 x 11.4 x 38.1 cm). Date: ca. 1160-65.Scenes of the life of Saint Rainerius encircle this font. The son of a merchant of Pisa, he lived for a time in the Holy Land. The saint wears a hair shirt, emblematic of his austere life. Several of Rainerius' miracles involve holy water; his legend is thus appropriate for a font. Rainerius became the patron saint of Pisa following his death in 1160. Carved in high relief from fine marble, the font probably was created in the workshop of a sculptor named Guglielmus, who was responsible for much of the interior stone decoration of Pisa Cathedral. Museum: Metropolitan Museum of Art, New York, USA.

Terracotta lekythos (oil flask) ca. 420-400 B.C. Attributed to the Triglyph Painter Youth seated at a tomb with bearded, draped man.. Terracotta lekythos (oil flask). Greek, Attic. ca. 420-400 B.C.. Terracotta; white-ground. Classical. Vases

Terracotta bail-amphora (jar). Culture: Greek, South Italian, Campanian. Dimensions: H. 24 3/4 in. (62.9 cm). Date: ca. 330-310 B.C..Obverse, Bellerophon and the chimaeraReverse, two youthsThe Ixion Painter was the foremost Campanian artist of the later fourth century, and the bail-amphora was favored in that region. The painter exploited the awkward, narrow verticality to depict Pegasos and Bellerophon airborne above the wounded chimaera. This mythical creature had a lion's body, a goat's forepart on its back, and a snake's tail. Museum: Metropolitan Museum of Art, New York, USA.

Above, red-figured Greek wine-mixing bowl (bell-krater); below, detail of the decoration showing a woman holding a plate and two youths with walking sticks. Watercolour by A. Dahlstein, 1760/1780 ().

Attic red-figure cup depicting a woman playing a double flute. 6th c. BC. Red-figure on background decoration. Archaic Greek art. Ceramics. FRANCE. ëLE-DE-FRANCE. Paris. Louvre Museum.

Aristide Maillol (1861-1944), André Metthey (1871-1920). Vase. Ceramics and earthenware, around 1907. Museum of Fine Arts of the City of Paris, Petit Palais. 25525-8 Ceramic, dancer, faience, woman, vase

Cylindrical Vessel 7th-8th century Maya This cylindrical vessel framed by red bands contains a hieroglyphic text around its rim and shows two seated gods. It is painted in the codex-style’, and the artist used simple shading to emphasize the two figures. The deities could be a version of K’awiil, the Maya god of lightning, as evidenced by the smoking scrolls emerging from their foreheads. Codex-style’ pots are so-called for the style of painting which bears a close resemblance to the four extant screen-fold Maya books, known as codices, located in Madrid, Paris, Dresden, and Mexico City. These books date to the Postclassic Period (ca.?a.d.?1000-1492). The characteristics of the codex-style are a cream or yellowish slipped background, often framed by red bands above and below, and a black calligraphic line outlining figures and hieroglyphic texts. Sometimes the painters applied a gray wash to shade figures or other features. In contrast to the richly polychromed vases and bowls from t

Above, red-figured Greek wine bowl (column krater); below, detail of decoration showing two men and two women. Watercolour by A. Dahlstein, 1760/1780 ().

White-ground black-figurealabastron. Artist: Emporion Painter, Greek, Attic, ca. 475 - 460 B.C.

Marble lamp 6th century B.C. Greek Fragment of a marble lamp; in the panels, pairs of confronted sphinxes, sirens, and griffins; on the nozzles, pairs of lions, rams' heads, and birds perched atop lotus flowers growing from palmettes.The sides are decorated in low relief with pairs of sphinxes, griffins, and sirens. The nozzles have pairs of lions, rams' heads, and birds standing on lotus flowers. (The large fragment with rams' heads and the upper part of the griffins has been lent by the Museum of Fine Arts, Boston, L.1974.44.). Marble lamp. Greek. 6th century B.C.. Marble, Calcite. Archaic. Miscellaneous-Stone

Terracotta kylix: eye-cup (drinking cup) ca. 515-510 B.C. Attributed to Pheidippos Interior, black-figure, Dionysos, the god of wineExterior, red-figure, between eyes, warrior, runnerEye-cups were decorated not only in the black-figure technique but also in red-figure and in the combination of the two known as bilingual. While contemporary black-figure and red-figure eye-cups share many features, the red-figure examples often have figures on the interior and rather sparse decoration on the exterior.. Terracotta kylix: eye-cup (drinking cup). Greek, Attic. ca. 515-510 B.C.. Terracotta; bilingual. Archaic. Vases

Brush holder with scholars in a garden 18th century China This brush pot shows scholars writing, painting, and enjoying natureactivities found in imagery of scholar-officials throughout Chinese art. The scene also recalls famous historical gatherings of learned men such as those in the West Garden, an eleventh-century imperial family residence.. Brush holder with scholars in a garden. China. 18th century. Carved red lacquer. Qing dynasty (1644-1911), Qianlong period (1736-95). Lacquer

Above, red-figured Greek bowl (situla) decorated with a palm motif and a woman holding a casket; below, detail of the decoration showing a naked man and a seated woman (Aphrodite) holding an umbrella and a mirror. Watercolour by A. Dahlstein, 1760/1780 ().

Ancient Greek Vase. Black Figure Style. Herakles fights the Chimera, a mythological creature. 4th-5th cent. BC.

Maya pottery vessel depicting a war scene, Mayan; Guatemala, 700-900 AD

Attic Red-Figure Kylix.

Jug Decorated with Dolphins and Birds. Dimensions: H. 15 cm (5 7/8 in.); Diam. 14.9 cm (5 7/8 in.). Dynasty: Dynasty 13-15. Date: ca. 1750-1550 B.C..No exact parallel to this magnificent vessel has yet been found anywhere. The presence of dolphins and the freedom with which all the animals move around the vessel body have suggested influences from the Aegean to some scholars. The general shape and double handle, however, are Levantine, and a possible source location for the clay has been identified in southern Canaan, while the technique of decoration is similar to, but not the same as, the one used on the "Tell el-Jahudiyeh" pottery.Three dolphins move around the foot of the jug, with three large birds (possibly geese) above each of them; a smaller bird is tucked below the handle. Is this perhaps an image of the Levantine coast, with dolphins in the water and migratory geese coming to rest on the beach A Dynasty 13 date is suggested by other objects found in the same tomb shaft. Mu

Black-figure pottery. Hydria depicting blinding of Polyphemus from Cerveteri, Rome, detail

Apollon und der Rabe Teller Apollon und der Rabe im Archäologischen Museum von Delphi, Weltkulturerbe der UNESCO in Delphi, Griechenland Plate with Apollo and his raven at Delphi Archaeological Museum, UNESCO World Heritage Site in Delphi, Greece *** Apollo and the raven Plate Apollo and the raven at Delphi Archaeological Museum, UNESCO World Heritage Site in Delphi, Greece Plate with Apollo and his raven at Delphi Archaeological Museum, UNESCO World Heritage Site in Delphi, Greece

Marble fragment of a volute krater 1st-2nd century A.D. Roman Large marble vases carved with figured reliefs are among the most spectacular objects produced in workshops that specialized in classicizing works for a sophisticated Roman clientele. This fragment includes one handle and part of the neck and shoulder of a volute krater that once must have decorated a Roman garden. A large mask of a bearded Dionysus adorns the base of the handle, while grape leaves carved in low relief spread out behind it.. Marble fragment of a volute krater 256854

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

Fish plate from tomb 11 at Agropoli, near Paestum (C. 350 BC). Attic red pottery. Hellenistic Period. Museum of Paestum, Campania, Italy.

Greek vase showing flute player and dancer.

Lazio Viterbo Viterbo Museo Civico98. 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-

vasija celtibera , siglos IV-I a. C, Cerro de San Miguel, Arnedo, Museo de la Romanización, Calahorra, La Rioja , Spain, Europe.

Attic Red-Figure Stamnoid Fragment (comprised of 19 Joined Fragments). Attributed to the Brygos Painter (Greek (Attic), active about 490 - 470 B.C.)

Greek civilization, Red-figure pottery, Interior of kylix attributed to Douris Painter, depicting young man before an altar

Terracotta kylix (drinking cup) last quarter of 6th century B.C. Attributed to the Phineus Painter Exterior, obverse, satyr between eyes; reverse, maenad between eyes. Terracotta kylix (drinking cup) 246737

Red-figure kylix, ca. 510-500 BC. A mained is depicted holding a thyrsos. Painted by Chairias, Attic vase painter active between 510 BC and 490 BC. Museum of the Ancient Agora. Athens, Greece. Author: Chairias (fl. 510 BC-490 BC). Attic vase painter.

Dish first half 18th century Probably by Samuel Malkin. Dish 192031

Emilia-Romagna Ferrara Pomposa Abbazia di Pomposa, Museo64. Hutzel, Max 1960-1990 Medieval: Fragments: capitals (Byzantine, 6th century), also capitals carved with human faces; marble friezes (10th century, later inscriptions); cornices, (with spolia) 11-12th centuries; ciborium; frescos. Post-medieval: Terracotta statuary, "neo-classical" (Hutzel); frescos: Bolognese, 14th century Antiquities: Amphora; grave monuments 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.

Lazio Viterbo Viterbo Museo Civico72. 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-

Warren Silver Cup. Roman, made about 15 BC - AD 15. found at Bittir near Jerusalem. The cup shows two male couples making love. On one side is a bearded, active lover (in Greek, the erastes), with a younger, passive lover, (the eromenos).

Josep Aragay i Blanchart / Jarrón decorado con escenas rurales, siglo XX. Museu Municipal Josep Aragay.

Bearded man still bank, 20th century, 5 7/8 x 4 1/16 x 4 1/2 in. (14.92 x 10.32 x 11.43 cm), Ceramic, Mexico, 20th century

Scene from ancient Greek vase with Kneeling Faun asking a Maenad for forgiveness by Piringer (after Greek original), engraving

Blue-painted Jar from Malqata. Dimensions: H. 44 cm (17 5/16 in). Dynasty: Dynasty 18. Reign: reign of Amenhotep III. Date: ca. 1390-1353 B.C..The decorated pottery excavated by the Museum's Egyptian Expedition at Malqata, the palace city of Amenhotep III, is primarily of the type called blue-painted ware. The vessels are embellished with floral and animal motifs painted in a palette limited to blue, red, and black (see 11.215.464 and 11.215.472). A few are adorned with three-dimensional decorative elements (see 11.215.460 and 11.215.477). This pot has been painted with a scene of birds flying up from a marsh. A similar motif may also be seen on two painted ceiling fragments from the main palace (see 12.180.257 and 12.180.258). Museum: Metropolitan Museum of Art, New York, USA.

Lazio Viterbo Viterbo Museo Civico63. 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-

Rounded Beaker Depicting Masked Figure Holding Decapitated Head Made 180 BCE-500 CE Nazca Valley. Ceramic and pigment . Nazca

Visitor looks at Ming vase on display in the Shanghai Museum, China

Alabaster pool, 7th century, Museum of the Councils and the Visigoth Culture, Church of San Roman, Toledo, Castilla-La Mancha, Spain, Europe

Vase with dancers by Pablo Picasso (1881-1973)

A portrait of a man

Medallion; A Sacrifice to Hymen. Jasper under a Jasper stoneware dip decorated with applied reliefs. Wedgewood and Bentley; 1775-80.

Orpheus in Underworld, vase by Emile Galle (1846-1904)

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