A finely modeled Gorgon head in relief occupies the central portion of this guttus. The head of the Gorgon Medusa was featured the aegis (shield) of the goddess Athena; and  More »

A finely modeled Gorgon head in relief occupies the central portion of this guttus. The head of the Gorgon Medusa was featured the aegis (shield) of the goddess Athena; and in fact, with the suggestion of a helmet, this may be the goddess herself. A long spout, ridged at the top, and a short handle are characteristic of this type of vessel, as is the fine incising on the sides. Two areas of orange slip decorate the triple-tiered base. It has been suggested the guttus was used as a feeding bottle for infants. More likely, it was a filling-bottle for oil lamps; and in this case, a fine testimony to the terracotta vessels of the Magna Grecia. - (PF.5391)   « Less

In the bright, baroque style of Magna Graecia--a vivid reminder of what a colorful place the classical world really was--this vessel was part of the funerary offerings left  More »

In the bright, baroque style of Magna Graecia--a vivid reminder of what a colorful place the classical world really was--this vessel was part of the funerary offerings left at the tomb of some person otherwise unknown to us. The hollow body of the vase was designed to let libations of wine and other liquids seep into the tomb mound below as appeasement for the spirit of the deceased. We might guess from the predominantly feminine themes on this vase, and its mate, that these were offerings made for a woman. In their lively and elegant style, these pieces do not evoke the sadness of death, but rather the joy of life. - (PF.0009)   « Less

One of a pair, this delicately rendered vessel was probably used to pour libations at the tomb of some lady of ancient Magna Graecia. The woman depicted on the vase is  More »

One of a pair, this delicately rendered vessel was probably used to pour libations at the tomb of some lady of ancient Magna Graecia. The woman depicted on the vase is perhaps an idealized portrait of female beauty, or she may be a local goddess who was the special protector of women. Her gently faded colors remind us of the vibrant artistic life that once flourished in the classical age. - (PF.0049)   « Less

Terracotta Oil Lamp - LO.929, Origin: Eastern Mediterranean, Circa: 700 AD to 900 AD, Dimensions: 4" (10.2cm) wide, Collection: Islamic Art, Style: Early Islamic, Medium:  More »

Terracotta Oil Lamp - LO.929, Origin: Eastern Mediterranean, Circa: 700 AD to 900 AD, Dimensions: 4" (10.2cm) wide, Collection: Islamic Art, Style: Early Islamic, Medium: Earthenware. Elongated terracotta lamp with a short twisted handle, the nozzle lacking a channel, which is instead marked by longitudinal lines. The shoulders are wide and the filling hole is relatively small. Decoration on the shoulder includes floral motifs and grape vines. The handle is short and twisted above the lamp, without touching it.   « Less

One of a magnificent pair, this Hellenistic sculpture was an offering at the tomb of a well-born lady. In the colorful baroque style that characterizes Magna Graecia, it  More »

One of a magnificent pair, this Hellenistic sculpture was an offering at the tomb of a well-born lady. In the colorful baroque style that characterizes Magna Graecia, it depicts a slender, elegant woman--probably representing the deceased--rising from the head of a diademed goddess, who is perhaps a local version of the Bona Dea, the protector of women. Although the once bright colors have softened and faded with time, and those ancient lives are mere shadows, the sculpture remains as an evocation of the Classical world in all its glory. - (PF.1035)   « Less

One of a magnificent pair, this Hellenistic sculpture was an offering at the tomb of a well-born lady. In the colorful baroque style that characterizes Magna Graecia, it  More »

One of a magnificent pair, this Hellenistic sculpture was an offering at the tomb of a well-born lady. In the colorful baroque style that characterizes Magna Graecia, it depicts a slender, elegant woman--probably representing the deceased--rising from the head of a diademed goddess, who is perhaps a local version of the Bona Dea, the protector of women. Although the once bright colors have softened and faded with time, and those ancient lives are mere shadows, the sculpture remains as an evocation of the Classical world in all its glory. - (PF.1036)   « Less

A female head with a long broad neck is the central motif of this fine funerary vase. She wears a garland of large leaves (perhaps laurel) six on each side surrounding her  More »

A female head with a long broad neck is the central motif of this fine funerary vase. She wears a garland of large leaves (perhaps laurel) six on each side surrounding her face just behind the fringe of hair. A large rosette dominates the center of the wreath providing a focal point to draw attention down to the details of the woman's delicately gentle expression. Attached to the handle is a full-figured woman wearing a himation that completely covers her body. Her bent left arm presses against the abdomen as her clenched fist pulls tightly on the cloth so the folds are taught and straight. Unique decorative elements combine to give a strong feeling of poignancy for the departed, and a beautiful recollection of a life remembered in the art of a lovely vase. - (PF.5367)   « Less

With black eyes and red lips the lovely head of a woman is framed by a garland of seven large pointed leaves around the edge of a fringe of hair. Very long leaf-shaped  More »

With black eyes and red lips the lovely head of a woman is framed by a garland of seven large pointed leaves around the edge of a fringe of hair. Very long leaf-shaped earrings hang to the upper rim of the base. A full-figured woman stands in the center of the head attached to the curved handle. Her clenched fist pulls the himation tightly over her left arm. Her head is turned slightly upwards wearing a disc-shaped headdress. Delicate coloration in gentle pastel shades gives the vase a feeling of peaceful repose, recalling the riches of life while honoring the spirit of the departed. - (PF.5368)   « 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.Having a graceful, double barrel-shape linked by an arched handle, this charming pot is covered with delicate patterns largely taken from nature, in which we can still see the flowing brush of the ancient artisan. Waves encircle the shoulder, plant fronds cover the handle, and a leaping dolphin appears in one of the lower panels. The double body would suggest a ceremonial or ritual function. This is a rare and lovely vessel that seems very much a reflection of the natural surroundings of Magna Graecia. - (PF.0023)   « Less

The profile of this olla, or jug, is characterized by a tall, wide funnel-like mouth, the diameter of which is equal to the greatest diameter of the vessel itself when  More »

The profile of this olla, or jug, is characterized by a tall, wide funnel-like mouth, the diameter of which is equal to the greatest diameter of the vessel itself when measured around its belly. Such a vessel is suggested to have been used as a sphageion for the collection of blood ritually let during sacrifices. The outside of the mouth is decorated with floral motifs populated by birds, its interior by sweeping linear ornament which is separated by stylized palmette-like motifs. The body of the vessel itself is decorated with seven registers of floral motifs, separated the one from the other by a series of three concentric lines, with a Greek key, or meander pattern at the top, and a lively, Hellenistic-style ivy pattern in the third register. In keeping with vessels of this classification, there is an interest in the handles which are loop-shaped and provided with adjuncts which appear to represent fingers of a human hand.Such vessels were created in South Italy in a region recently designated Iapyges, which occupies the territory from the “heel” of the Italian peninsula to as far north as the latitude of Naples. One of the principal cities of this region is Canosa, famed for its innovative approach to both terracotta figurines and pottery vessels, such as this wonderful example.Often termed “Daunian ware,” vessels of this type are only now coming into their own among serious collectors of ancient art. The profusion of floral motifs on these examples and their minimalist palette resonate with contemporary aesthetic sensibilities and account for the growing popularity of these vases among colletors.References: Jacques Camay and Chantal Courtois, L’art premier des Iapyges (Geneva 2002), for the most recent assessment of this classification of pottery and in particular pages 122-125, for two examples which are particularly close to our olla. - (PF.5372)   « Less