Ancient Greek civilization is famed today for their many philosophical and political achievements. However, nothing is more immediate and impressive as their art. Through  More »

Ancient Greek civilization is famed today for their many philosophical and political achievements. However, nothing is more immediate and impressive as their art. Through examples such as this, the golden age of Athens becomes tangible and eternal. Looking at this exquisite vessel, we are transported to the height of Classical Antiquity where life and art were homogenous. This hydria exemplifies the spirit of Athens through its symphony of graceful, flowing movement. As one admires the charming scene adorning the body of this vessel, we forget that its original use was a water jug. This scene serves as a window through time, sharing with us a special glimpse of daily life in Athens during the 5th Century B.C.We stand witness in front of a lady standing before a chair and holding a thyrsos in her left hand and garland in her right. Opposite to her stands another lady offering an overflowing alabastron, a sash in the field. As the centerpiece of this extraordinary example of Attic vases, these ladies are framed within a band of black dots below and a band of ovolo kymation above. Although the Parthenon may stand in ruins today, when we hold this Attic Hydria in our hands, we can envision the past and the glories of Ancient Greece alive and vibrant again. - (PF.5776)   « Less

This is a splendid example of an olpe, an earthenware vessel lacking a spout used for pouring liquids and oils. The stunning painted decoration is representative of the  More »

This is a splendid example of an olpe, an earthenware vessel lacking a spout used for pouring liquids and oils. The stunning painted decoration is representative of the expert level of artistry achieved in the city of Athens, both by the potters and the painters. The elegant curving forms of the olpe are a noteworthy achievement in and of themselves. A centrally ribbed handle rises out of the body of the pot and terminates in rotelles where it joins the rim. The frontal painted scene represents a satyr carrying off a maenad. The mythological creature carries a horn in his left hand, his beard and tail both highlighted in red. The maenad wears a himation elaborated with red dots and a red stripe. Two dotted vines arch out from behind her. A band of ivy leaves frames the sides of the scenes while various patterned bands, including the meander motif and a checkerboard pattern, frame the top. By far, this scene is the centerpiece of this extraordinary example of Attic vases. Ancient Greek civilization is famed today for their many philosophical and political achievements. However, nothing is more immediate and impressive as their pottery. Through examples such as this, the golden age of Athens becomes tangible and eternal. Although the Parthenon may stand in ruins today, when we hold this Attic olpe in our hands, we can envision the past and the glories of Ancient Greece alive and vibrant again. - (PF.5759)   « Less

Lekythoi had both a functional and a ritual context for the ancient Greeks. Within daily life, they were used as flasks to hold precious ointments such as fragrant perfumes  More »

Lekythoi had both a functional and a ritual context for the ancient Greeks. Within daily life, they were used as flasks to hold precious ointments such as fragrant perfumes and sumptuous oils. They also used in funerary rites, specifically the white-ground varieties. These lekythoi, often decorated with scenes of mourning, would have been left on the grave as offerings or used to pour libations over the deceased. This lekythos, however, clearly was meant for the living and not for the dead. The upper half of the cylindrical body is decorated with a scene of a chariot race rendered in the black-figure technique against a white background. Two quadrigas are in the midst of competing against each other, presumably in a hippodrome. The stampeding steeds rear upwards as the charioteer leans forward and readies for the homestretch. The competition follows closely behind, raising his gad in a desperate attempt to catch up. Strokes of red paint highlight the horses’ manes and tails as well as the robes and headbands of the charioteers. The painter also carefully incised lines against the black paint, detailing the facial features of the men and horses as well as the contours of their overlapping bodies and the reigns of the horses. One assumes that such a lovely lekythos might have once been the treasured possession of a charioteer or a racing fanatic. Perhaps this vase was even awarded as a prize in a race. This gorgeous vessel gives us an insight into the daily lives of the ancient Greeks, who celebrated the sport horseracing as we continue to today. Furthermore, this lekythos is a splendid example of the delicate artistry and mastery of line that defines Greek vase painting. - (PF.6227)   « Less

Before the modern advents of trains and automobiles, trade between civilizations concentrated around the Mediterranean moved foremost by sea. While many bulk commodities such  More »

Before the modern advents of trains and automobiles, trade between civilizations concentrated around the Mediterranean moved foremost by sea. While many bulk commodities such as timber and stone could be loaded directly aboard a ship with little preparation, other commodities such as spices, wine, and grain needed to be packed in individual containers for transport both at sea and on land and to prolong their lifespan. Pottery was first created in order to fulfill these practical needs. Over time, the art form evolved from large, unadorned commercial transport vessels to refined, specialized works in elegant shapes used to hold precious substances such as perfume or oils.An entire retinue of terracotta vessels dedicated to the rites of the dinner table began to appear. These pieces were based on the luxurious bronze and silver vessels that could only be afforded by the wealthy elite and were decorated with fanciful natural motifs and painted scenes of everyday life and celebrated myths. These wares were of such beauty that they themselves became prized commodities and were traded throughout the Mediterranean world; perhaps even for the very substances they were created to contain. These works are individually classified by their shapes and their form was inherently linked to their function, be it preparation, dispensation, or consumption.One of these specific types, kraters are large bowl-shaped vessels with wide mouths and two handles that stand on footed bases. Column kraters, named after their column-shaped handles, are the earliest style of kraters that were introduced into Athens from Corinth. Kraters were an integral piece of equipment used during the symposium, an ancient Greek dinner and drinking banquet immortalized by Plato. Symposia were hosted inside the private residences of the upper classes, held inside a special room complete with a floor that sloped into a central drain to facilitate cleaning the morning after. Music played by hired consorts and highbrow political and philosophical discussions were the main activities; although, as the evening transpired and the effects of the wine took over, more physical pleasure became the true focus. Wine would be diluted with water inside the krater before the mixed concoction would be dispensed to the individual revelers. Kraters were often decorated with painted scenes depicting groups of figures dining and relaxing, activities that paralleled the festivities of the symposia during which the vessels were actually used.This column krater is attributed to the artist known as the Boreas Painter, column kraters being the earliest version of the krater first imported from Corinth in the 6th Century B.C.. On the front, a nude standing satyr is depicted gesticulating towards a draped woman who holds a thyrsus. On the reverse is a young man, draped, carrying a walking stick. Ancient repair on the foot of the krater which broke off in antiquity and was reattached with three iron pins, substantial traces of which are preserved. Except for the ancient repair the piece is intact and in a fine state of preservation. Similar vessels were believed to be used as cinerary urns, and surely this piece would have made a splendid memorial if that was the case. However, considering the presence of a satyr, who often symbolize the effects of inebriation, in the composition suggests that this work was intended to celebrate life, not death. - (X.0042)   « Less

A kylix is a vessel with a wide mouth, a short, broad body that tapers into a footed base that was employed primarily for consuming wine. Handles on either side facilitate  More »

A kylix is a vessel with a wide mouth, a short, broad body that tapers into a footed base that was employed primarily for consuming wine. Handles on either side facilitate the raising and lowering of the vessel as the holder sips the contents. This gorgeous Attic red-figure kylix was likely used during a symposium, an Ancient Greek drinking banquet for men where the finest painted pottery vessels were utilized. Wine mixed with water would have filled the shallow bowl of the cup, and as the drinker finished the wine, the painted image as the bottom of the bowl would become visible.Here, a long-haired satyr kneels on his right knee and reaches with both arms into a large pithos, shown only partially, from which he is undoubtedly drawing wine. In this action, the satyr is one step ahead of the drinker who must now attempt to refill his empty kylix. Scenes of revelry echoing the symposia are typical decorations for such vessels, and satyrs specifically symbolize the effects of the wine on the men, turning them into animals. A formidable composition, the arch of the satyr’s back echoes the frame of the painted scene and further emphasizes the roundness of the kylix. This particular shape kylix, with its off-set lip, is known to scholars as Type C, a shape that was relatively popular from around 490 to 460 B.C. and that was often painted black on the exterior without adornment, as is the case with this splendid work. - (X.0088)   « Less

In keeping with characteristically Greek design tenets, the base and foot of this vessel as well as its neck, lip, and handles are rendered in black glaze in order to serve  More »

In keeping with characteristically Greek design tenets, the base and foot of this vessel as well as its neck, lip, and handles are rendered in black glaze in order to serve as framing elements for the single, principal figural scene on the front of the vessel itself. That scene is furthered framed by the ground line on which the figures stand as well as by a net-like, vertical pattern to the left and right, and a series of vertical stokes at the top. The neck of the vessel is likewise separated from the shoulder by a third, net-like design and the foot from the base by a white band. Because scenes on such Greek vases often adhere to strictly observed canonical standards, their identification is assured even when, as here, there are no accompanying inscriptions. On the basis of those standards this scene depicts The Return of Helen. The heroine of the Trojan War epics, Helen is shown in the center of the composition, facing right. Her hands, feet, and face are painted white in keeping with conventions for the depiction of women on Attic black-figured vases. She is shown wearing a patterned chiton, a striped himation, and a wreath in her hair. She lifts her himation with her left hand in a gesture well-known in Greek art from wedding scenes in which the bride unveils herself to her husband. The return of Helen to her husband Menelaos is here interpreted as if, to use a modern analogy, the couple were about to renew their vows. It is for this reason as well that Helen extends to Menelaos the wreath in her left hand. Menelaos on the left is shown as a contemporary Greek warrior in full battle armor. He wears a crested helmet, greaves, and a mantle draped over one shoulder. He holds a round shield, the blazon of which consists of four white dots framing an animal’s head, as well as two spears. Helen’s eyes are cast downward under the fixed glance of her husband’s eyes. The warrior to the left, similarly armed and with a shield emblazoned with a depiction of a bent human leg, has been plausibly identified as Odysseus, the Greek hero whose stratagem of the wooden horse brought the Trojan War to a close which resulted in the return of Helen. His job done, he is depicted facing left, his head turned toward the re-united couple for one last look, before he leaves them alone. The fact that Odysseus is leaving immediately is subtly conveyed by squeezing his figure tightly into the space occupied by the framing net-pattern on the far left. This vessel, termed an oinochoe, was used as a pitcher to serve wine. It celebrates the exploits of heros and was a fitting accessory at Greek symposia, or drinking parties. Today, it commemorates Helen of Troy, whose beauty was such that her face “launched a thousand ships!” - (LA.502)   « Less

The ancient Greeks pioneered decorating vases in such a way that the composition of the design reflected the architectonic shape of the vessel. This aesthetic concern is seen  More »

The ancient Greeks pioneered decorating vases in such a way that the composition of the design reflected the architectonic shape of the vessel. This aesthetic concern is seen to best advantage in this cup in which the black glaze emphasizes the bottom and top of the vessel and frames the continuous band of figural decoration which unfolds around the body of the vessel. That figural band is treated as if it were a Greek Ionic frieze which continually wraps itself around the vessel in an uninterrupted manner. The principal subject is Dionysos, god of wine and the revel, who is depicted as a bearded figure, luxuriously draped in a himation, with his long hair decorated with a wreath of ivy leaves. In his outstretched left hand he holds a rhyton, a deluxe cup for drinking wine. To the left and right are figures of Maenads who frame Dionysos by moving in opposite directions. They turn their heads back and cast their glance at the god. Each Maenad wears a long chiton and has her arranged in a sakkos, a kind of Greek snood. Maenads, as the female companions of Dionysos, personified release from earthly cares brought about by wine. They were often depicted, as here, dancing in ecstasy. To that end the Maenad to the right is playing krotala, an ancient form of castanets. This trio of figures is balanced by a second group of three figures, all satyrs. Satyrs are composite beasts who, as here, were often depicted nude with full beards, tails, horse-legs for feet, and pointed, animal ears. In Greek art, satyrs are often depicted as companions of Dionysos, and symbolize passion, not reason. The first of the satyrs moves to the left, holding another wine- drinking vessel, in his outstretched right hand. He turns his head back and gestures to one of the Maenads with his extended left hand. His two companions, moving to the right, dance energetically with feet and arms raised in the air. Such a vessel was doubtless used at symposia, or drinking parties. The complete lack of handles doubtless made it easier for its owner to hold this cup at random and easily direct it to his mouth by means of the subtle stripe of red around the vessel’s lip. Participants at such symposia not only drank to excess but also engaged in sexual activities with hatairai, versatile and often highly-educated women. The shape of this wine-drinking cup alludes to such trysts. Its shape is derived from earlier cups created by Corinthian potters which imitated the shape of a woman’s breast. And it is for that reason that the Greeks called such a cup a mastos. Provenance Oscar Blum Gentilomo (1903-1975). - (LA.505)   « Less

With spreading foot, echinus mouth, and concave handles, one side painted with a maenad dancing before a standing figure of bearded Dionysos(?) wearing a chiton and himation,  More »

With spreading foot, echinus mouth, and concave handles, one side painted with a maenad dancing before a standing figure of bearded Dionysos(?) wearing a chiton and himation, dotted vines in the field, the other side decorated with a maenad seated on a folding stool brandishing an inidentifiable object, and wearing a chiton, himation, and sakkos, a bearded saytr gesturing before her, rays above the foot, tongues below the neck, two bands of ivy vine on each side of the neck, linked lotus bud and four palmettes in each handle zone, the details in added red and white. Provenance: Parke-Bernet Galleries, New York, February 15th, 1962, no. 107 (part) An old handwritten label under the base reads, "From the Tomb at Cumae, Italy - Opened [in] 1885 in exca[va]tions - Brought by me from [...] in the [...] of that year - Etruscan" - (LA.551)   « Less

This playful vessel depicts a prancing hare on a red platform. Hares were sometimes associated with fertility in antiquity and in Greek culture they had a particular link  More »

This playful vessel depicts a prancing hare on a red platform. Hares were sometimes associated with fertility in antiquity and in Greek culture they had a particular link with the Goddess Artemis. Daughter of Zeus and Leto, she was known as Mistress of the Animals and was often depicted holding hares by their front or back paws. The historian Xenophon also records that new-born hares captured by hunters were not killed but left to the goddess. Thus, the fertile hare served as an attribute and messenger of Artemis. This lekythos, or oil container, is striking for the simplicity of the design, clearly executed rapidly but skillfully by the ancient craftsman. - (DG.058)   « Less

The lekythos was used in antiquity for storing oil, especially olive oil. The body is narrow with a single handle attached to the neck. Often found in tombs, this type of  More »

The lekythos was used in antiquity for storing oil, especially olive oil. The body is narrow with a single handle attached to the neck. Often found in tombs, this type of vessel could have a funereal purpose and was sometimes used to carry the oil that anointed the bodies of the dead. The obverse depicts two warriors engaged in a fight. The armour is elaborate with crested helmets and large shields. A sense of movement is conveyed by their interlocking legs and animated poses. To either side stands an older male in long robes, each holding a staff or perhaps a spear. They appear to be judging the competition in progress and their robes are highlighted with white pigment. This is a superb vessel, notable for the delicacy of the painting. - (OF.143)   « Less