In the eighth century B.C., Greek settlers left their homeland behind and established a string of colonies along the Adriatic coast of Southern Italy. After the rise of Rome  More »

In the eighth century B.C., Greek settlers left their homeland behind and established a string of colonies along the Adriatic coast of Southern Italy. After the rise of Rome centuries later, this region would become known by the Latin term Magna Graecia, literally “Greater Greece,” due to the dense concentration of Greek settlements. The Greeks flourished here alongside the native populations, amassing great wealth through trade and importing their Hellenic culture throughout the area. They in turn were influenced by their neighbors, so that Magna Graecian pottery developed into a unique style that reflected both Greek and native Italian traditions. The Daunians were one such native culture that lived alongside the Greek colonies. Daunian pottery can be characterized by its rounded forms, geometric, linear designs, and eathern tones. The Greeks adopted some of the Daunian forms for themselves, revealing the cultural interplay that so distinguishes the art of Magna Graecia, both in respects to the Greeks as well as the native peoples such as the Daunians.Red lines crisscrossing and swirling around each other in an “expressionistic” style decorates the buff surface along the sides of this dish. The handle is a perfectly vertical appendage attached to the narrow body, having a series of horizontal bands like a ladder on both sides. The everted lip is painted red on the inside, with the interior left plain. This form of vessel is known as a kyathos, which are characterized by a single long, flat, looping handle. They would have most likely served as ladles for dispensing wine. - (PF.5394)   « Less

In the eighth century B.C., Greek settlers left their homeland behind and established a string of colonies along the Adriatic coast of Southern Italy. After the rise of Rome  More »

In the eighth century B.C., Greek settlers left their homeland behind and established a string of colonies along the Adriatic coast of Southern Italy. After the rise of Rome centuries later, this region would become known by the Latin term Magna Graecia, literally “Greater Greece,” due to the dense concentration of Greek settlements. The Greeks flourished here alongside the native populations, amassing great wealth through trade and importing their Hellenic culture throughout the area. They in turn were influenced by their neighbors, so that Magna Graecian pottery developed into a unique style that reflected both Greek and native Italian traditions. The Daunians were one such native culture that lived alongside the Greek colonies. Daunian pottery can be characterized by its rounded forms, geometric, linear designs, and eathern tones. The Greeks adopted some of the Daunian forms for themselves, revealing the cultural interplay that so distinguishes the art of Magna Graecia, both in respects to the Greeks as well as the native peoples such as the Daunians.This double spouted askos, which originally served as an oil flask, was one of the types of Daunian ware that would influence their Greek colonist neighbors. Rendered in a typically ornate Daunian fashion, this vessel is covered in abstract motifs painted in brown and further highlighted with pink and orange touches. The bulbous body of the askos has been segmented into curving bands that conform to the shape of the vessel. The motifs that fill the band seem to be based on natural themes, one can identify a spiraling wave pattern as well as a bird in flight. The top of the body, directly under the handle connecting the two spouts, is the depiction of two clearly identifiable leaves. Perhaps this touch of foliage alludes to the plants that were necessary for the manufacture of the oils or other liquids that were once contained within. The Daunians love of decoration and ornamentation is fully revealed by the fact that even the circular flat bottom of this askos is embellished with radiating lines. Overall, this gorgeous vessel, which comes down to us in near perfect condition, appears as vibrant and fanciful as the day it was fired. Looking inside, we almost expect there to be some oil still left over. - (PF.5922)   « Less

In the eighth century B.C., Greek settlers left their homeland behind and established a string of colonies along the Adriatic coast of Southern Italy. After the rise of Rome  More »

In the eighth century B.C., Greek settlers left their homeland behind and established a string of colonies along the Adriatic coast of Southern Italy. After the rise of Rome centuries later, this region would become known by the Latin term Magna Graecia, literally “Greater Greece,” due to the dense concentration of Greek settlements. The Greeks flourished here alongside the native populations, amassing great wealth through trade and importing their Hellenic culture throughout the area. They in turn were influenced by their neighbors, so that Magna Graecian pottery developed into a unique style that reflected both Greek and native Italian traditions. The Daunians were one such native culture that lived alongside the Greek colonies. Daunian pottery can be characterized by its rounded forms, geometric, linear designs, and eathern tones. The Greeks adopted some of the Daunian forms for themselves, revealing the cultural interplay that so distinguishes the art of Magna Graecia, both in respects to the Greeks as well as the native peoples such as the Daunians.Of a spherical body with flaring mouth and two handles that emerge from the rim and connect to the middle of the body, this vessel is decorated in painted lines characteristic of the Daunian style. The sides of the handles are enhanced by two thick black lines, while a series of horizontal lines of varying thickness adorn the body. Similar in form to an amphora or pelike, we can extrapolate that this vessel would have served a similar function as storage for grain, wine, or other perishable comestibles. - (CK.0008)   « Less

The central motif of this charming vessel shows vines with tendrils and fat bunches of grapes hanging down. It may originally have contained fine wine, or some other luxury  More »

The central motif of this charming vessel shows vines with tendrils and fat bunches of grapes hanging down. It may originally have contained fine wine, or some other luxury product like oil or perfume. Its soaring handle and elongated spout give this oinochoe a sculptural elegance. When we hold it today and delight in its elegant shape and intricate patterns, we share our pleasure with people who lived long ago during the flower of the Classical age. - (PF.1258)   « Less

The central motif of this charming vessel shows red and white painted leaves growing off of a central branch. The leaves all slant diagonally and frame a central solar motif  More »

The central motif of this charming vessel shows red and white painted leaves growing off of a central branch. The leaves all slant diagonally and frame a central solar motif formed by a series of concentric orange rings surrounded by radiating lines. This oinochoe may originally have contained fine wine, or some other luxury product like oil or perfume. Perhaps it was passed around in Dionysian revelries, wine pouring forth from inside. Its soaring handle and elongated spout give this oinochoe a sculptural elegance typical of ancient Greek pottery. When we hold it today and delight in the beauty of its form and intricate patterns, we share our pleasure with people who lived long ago during the flower of the Classical age. - (PF.5802)   « Less

This black-glazed trefoil oinochoe is a stunning example of a Gnathian pottery, a style invented in Taranto during the second quarter of the 4th century B.C. A critical  More »

This black-glazed trefoil oinochoe is a stunning example of a Gnathian pottery, a style invented in Taranto during the second quarter of the 4th century B.C. A critical element that distinguishes the Gnathian style from other types of pottery in the Apulian region of Magna Graecia (the pre-Roman name for southern Italy) is the technique. Instead of utilizing the characteristic red-figure technique whereby the artist reserves the image in the natural color of the clay by filling in the background with black glaze and then drawing in details in the reserved areas, the painters of Gnathian pottery used a totally different method. As we observe in this exquisite Gnathian oinochoe, the artist has covered the surface of the vase with black glaze first, then painted the decoration entirely in added colors, resulting in a much more painterly technique that also gives an added quality of realism to the painted images. This subtle realism is seen in the luscious grape vine pattern that enlivens this Gnathian jug, its delectable image tantalizing our senses to taste the imagined grape wine that spills forth from the spout of the jug. The Gnathian potters must have been truly inspired by the ancient Gods when they created such rich and beautiful work of art such as this. - (PF.2589)   « Less

The central motif of this charming vessel shows two white swans or other such aquatic birds. Orange and brown paint highlights their individual feathers and their beaks, both  More »

The central motif of this charming vessel shows two white swans or other such aquatic birds. Orange and brown paint highlights their individual feathers and their beaks, both holding wreaths. An elegantly painted band of various foliage, including grape bunches, frames this scene. This oinochoe may originally have contained fine wine, or some other luxury product like oil or perfume. Its soaring handle and elongated spout give this oinochoe a sculptural elegance typical of ancient Greek pottery. When we hold it today and delight in the beauty of its form and intricate patterns, we share our pleasure with people who lived long ago during the flower of the Classical age. - (PF.5804)   « Less

Origin: Mediterranean Circa: 400 BC to 300 BC Dimensions: 7.0" (17.8cm) high x 3.0" (7.6cm) wide Collection: Classical Style: Gnathian Medium: Terracotta

Origin: Mediterranean Circa: 400 BC to 300 BC Dimensions: 7.0" (17.8cm) high x 3.0" (7.6cm) wide Collection: Classical Style: Gnathian Medium: Terracotta   « Less

The Greek colonies of Southern Italy, known in antiquity as Magna Graecia, or “Greater Greece,” were marked by their initial allegiance to the ceramic styles of  More »

The Greek colonies of Southern Italy, known in antiquity as Magna Graecia, or “Greater Greece,” were marked by their initial allegiance to the ceramic styles of the Attic mainland. However, over the years, native traditions and innovations heavily influenced the works of Magna Graecian potters. Unorthodox forms and painting-styles were seamlessly merged with the standard Greek style, creating distinctive works of art unique to the Hellenistic world. Lucania was one of the chief cities of Magna Graecia and was inhabited both by Greek colonists as well as local Samnite populations. Situated along the Tyrrhenian Sea, this port quickly became one of the centers of pottery manufacturing in the burgeoning colonies of Southern Italy. Today, the eastern half of this ancient land corresponds to the modern Italian region of Basilicata, while the western half lies in modern Campania.Kraters are a group of vessels with wide mouths, a narrow, footed base, and handles. Foremost among the different types of kraters is the bell krater, so-called because it emits a pleasant ringing sound not unlike a bell when gently struck with a finger. Kraters were an essential piece of equipment in the symposium, a type of diner banquet immortalized by Plato where drinking and revelry were the encouraged activities. After the food was consumed, the group of men retired to a special room with a floor that sloped into a central drain (to facilitate cleaning the morning after) where drinks were served and female consorts entertained with music and dancing. Before the wine was served, it was first diluted with water inside a krater such as this one.This extraordinary vessel is a masterpiece of ancient painted pottery. What chance encounter is depicted on its sides? The male youths clad in himations converse on the front. The two on either end hold walking sticks. On the reverse, a nude male is depicted holding a similar walking staff, now conversing with two ladies wearing himations and chitons. What is the interrelation between these scenes? Is the man proposing to the women and then bragging to his male cohorts later on? This does not seem too far-fetched. While the meaning behind the images will remain elusive, the beauty of the painting is a clear today as it has ever been. A reserve band with a painted meander motif frames the bottom of the scenes while a band of leaves decorates the upper rim just below the lip. The gentle curves of the vessel are remarkable. The slight swelling of the body, the smooth tapering of the rim and foot all show that this was vessel was thrown by an expert potter. - (PF.5606)   « Less

The Greek colonies of southern Italy(known in antiquity as Magna Grecia) were marked by their initial allegiance to the ceramic styles of the Attic mainland. However, over  More »

The Greek colonies of southern Italy(known in antiquity as Magna Grecia) were marked by their initial allegiance to the ceramic styles of the Attic mainland. However, over the years, native traditions and innovations heavily influenced the works of Magna Grecian potters. Unorthodox forms and painting-styles were seamlessly merged with the standard Greek style, creating distinctive works of art unique to the Hellenistic world. This gorgeous hydria is decorated in a fashion characteristic of the Pasteum style. A nude male youth, crowned with a laurel wreath, sits upon a rocky outcropping covered by his tunic holding a small bird on his finger. A woman approaches from the other direction and looks upon the youth. This scene is framed below by a band of spiraling waves, a pattern repeated on the edge of the lip. The remainder of the body is decorated with a series of swirling palmette motifs, typical of Magna Grecian art. In antiquity, this lovely three-handled vessel would have been used to draw, transport and dispense water. Sometimes, such vessels were even used as cinerary urns, revealing how much they were adored and honored in antiquity. Surely such a marvelously painted vessel would have impressed and delighted all who gaze upon it as it continues to today. - (PF.6162)   « Less