Created in one of the Greek colonies of southern Italy (called Magna Graecia), this vessel comes from the eastern region known in antiquity as Apulia. This beautiful bell  More »

Created in one of the Greek colonies of southern Italy (called Magna Graecia), this vessel comes from the eastern region known in antiquity as Apulia. This beautiful bell krater reveals the extraordinary artistic sensibilities of the western Greeks, for it reflects their successful assimilation of the native Greek artistic styles with the local non-Greek artistic tastes and techniques. Stunning imagery painted on the body of the bell krater also reveals the mythological inspirations that manifested themselves in vases such as this. On one side of the bell krater we see the standing figure of Dionysus, the Greek god of wine and fertility, wearing a white ribbon, or fillet, in his hair and a cape draped over his arms. In his left hand he holds a large shallow cup, or phiale, while his right hand grasps a thyrsos, a staff decorated with vine leaves that terminates in a pinecone. Standing at the left of Dionysus is a graceful maenad wearing a peplos, jewelry and a kekryphalos, a cloth that binds her hair, leaving some hair projecting from the back in ponytail fashion. She too grasps a thyrsos in one hand while the other hand holds a cista, a horizontal striped box. Surrounding the pair are artistically arranged small plants, ribbons and rosettes. The reverse side of the bell krater depicts two draped men facing each other, each holding a walking stick. Between them stands a pedestal while a pair of jumping weights hangs in the area above. Decorations in the form of palmettes under the handles, a meander pattern interrupted by check squares on the lower body of the vessel and a leaf pattern under the rim further embellish the ornamented quality of this vase. Bands of red define the base and rim of the bell krater and at the same time unify the overall design. The artistic achievements of the south Italian craftsmen are clearly evident in this vase; its beauty of form and decoration are a testament to a people who adapted to new surroundings while at the same time retained their artistic roots. - (PF.2495)   « Less

Created in the eastern Greek colony of Magna Graecia (the pre-Roman name for southern Italy) known in antiquity as Apulia, this beautiful, shallow, ring-base dish reveals the  More »

Created in the eastern Greek colony of Magna Graecia (the pre-Roman name for southern Italy) known in antiquity as Apulia, this beautiful, shallow, ring-base dish reveals the extraordinary artistic sensibilities of the western Greeks, for it reflects their successful assimilation of the native Greek artistic styles with the local, non- Greek artistic tastes and techniques. The portrait of a woman as a form of ceramic decoration was quite popular in this region of Italy during the 4th century B.C., and this painted dish is an extraordinary example of such works. Here, we see the stunning rendition of a woman’s head, the high quality of drawing readily appreciated as we observe the rendering of her subtle facial features and adornments. In her hair, she wears a saccos, the characteristic cloth head cover worn during this era, and a stephane, or wreath. A delicate earring adorns her ear while a dotted necklace graces her neck. Modest painted designs on the dish serve to gently balance the composition, while a painted red band handsomely frames the overall scene. Although the ancient identity of this beautiful woman remains a mystery, we can perhaps imagine her as the goddess Aphrodite, waiting impatiently for her secret lover, Ares. Or maybe it is Persephone, about to bring her new lover Adonis to her palace. While our imagination delights at pondering the identity of the maiden, our aesthetic sensibilities stand in awe of the mastery evidenced in this magnificent work of ancient ceramic art. - (PF.2588)   « Less

From ancient workshops dotted around the Greek colonies of southern Italy (known in antiquity as Magna Graecia), artists rivaled with one another in friendly competition.  More »

From ancient workshops dotted around the Greek colonies of southern Italy (known in antiquity as Magna Graecia), artists rivaled with one another in friendly competition. This lovely amphora bears stylistic similarities to the "H.A" painter. Fashioned in the Panathenaic shape, it has laurel leaves and berries in white on the mouth. On the neck are black palmettes and a tongue pattern around the shoulder--all characteristics of the "H.A" painter, as is the style of the figures. This amphora was probably part of furniture interred in a chamber-tomb. On one side, a man is making an offering to a seated woman. The same male figure appears on the reverse, where he faces another man, both with a hand clasped over the top of a staff. This may represent the spirit saying farewell to his earthly body. He then receives his last blessing on earth from a goddess, or perhaps his spouse, before departing into the spirit world. The figure making the offering seems to be lifting from the ground, and the cloak over his shoulder flutters as if about to take flight. Despite the somber theme, there is a sense of joy and liberation. With delicacy and refinement a prominent painter in sunny Apulia has given us a glimpse into the mysteries of the spirit. - (PF.3445)   « Less

Thick lines border the scene of two figures as if representing walls of a stage set. There is a young woman holding a staff, or thrysos, carried by the followers of Bacchus.  More »

Thick lines border the scene of two figures as if representing walls of a stage set. There is a young woman holding a staff, or thrysos, carried by the followers of Bacchus. She wears a light dress (chiton) with her arms exposed. Her expression is very sweet and gentle as she looks at the other person who also holds a staff. The man is naked except for a lightweight wrap (himation) fluttering loosely behind his back and between his legs. He seems to be suspended in motion, turning to look at the woman who entreats him with her finely drawn face turned slightly upwards. The woman is probably a Maenad confronting her god Bacchus. This jug was part of basic domestic utensils, holding oil or wine, and used by every member of a household. As it passed from hand to hand, the painted scene must have captivated their imaginations-- as it will do for those whose household it next resides. - (PF.4442)   « Less

This gorgeous pyxis is composed of two circular hemispherical halves. The bottom bowl is decorated with a laureate band while the upper lid features the busts of two women  More »

This gorgeous pyxis is composed of two circular hemispherical halves. The bottom bowl is decorated with a laureate band while the upper lid features the busts of two women and palmette motifs. The style of painting is typical of the Apulian region of the Greek colonies in southern Italy. White highlights define the women’s necklaces, earrings, and hairstyles. The spherical shape of this pyxis is rare, although not unheard of. In antiquity, this would have been used by women to house jewelry or other such little precious trinkets. Even today, women continue to keep their treasures in luxurious containers that both protect and enhance the prestige of the items. Surely this phenomenon can trace its roots back to objects like this pyxis. Over two thousand years ago, a Greek noble lady living in southern Italy might have safeguarded her priceless jewelry in this pyxis. However, today the pyxis has become the treasure. Although the contents it once contained have long since disappeared, the beauty and history of this pyxis astounds us in itself. Today, we appreciate it for what it is, not for what it holds. - (PF.5986)   « Less

In an overview of Ancient Greek pottery, perhaps no single type is as charming as the fish plates of Apulia. The Greek colonies of southern Italy (known in antiquity as Magna  More »

In an overview of Ancient Greek pottery, perhaps no single type is as charming as the fish plates of Apulia. The Greek colonies of southern Italy (known in antiquity as Magna Graecia) 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. The Apulian fish plate, originating in the Eastern province of Apulia situated along the Adriatic Sea, is a perfect example of this gorgeous hybrid style. Three large fish are depicted along the surface of the plate while shells and other smaller aquatic creatures fill in the voids. While the red-figure painting technique derives from the mainland, the subject matter is uniquely Apulian and reveals their nature as a sea-based culture. As a colony of Greeks situated on a foreign peninsula, the sea was a link to their homeland. The bountiful waters of the Mediterranean provided them with food and sustenance. Most importantly, the sea provided access to foreign markets where their pottery could be exported. Apulian works of art were widely collected throughout the Classical world, even rivaling the popularity of Attic vessels. We gazing upon this fanciful work of art, it is easy to understand why this distinctive style of work was so popular in antiquity and remains so with collectors today. - (PF.6108)   « Less

In an overview of Ancient Greek pottery, perhaps no single style is as charming as the works originating from the Italian province of Apulia. The Greek colonies of southern  More »

In an overview of Ancient Greek pottery, perhaps no single style is as charming as the works originating from the Italian province of Apulia. 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 shallow plate, slightly elevated upon a squat base, would have made an elegant piece of tableware in an ancient banquet or ceremonial feast. The center is filled by the depiction of a beautiful woman adorned with jewelry. Her hair has been carefully styled and gathered into a small bun at the top of her head held together by a lace ribbon that sways in the breeze. Depicted in profile, this woman is clearly a classy, sophisticated socialite or a beautiful goddess. Three concentric decorative bands frame this image, further enhancing the beauty of this plate. Long ago, this gorgeous work of art would not have been housed behind glass in a museum, but would have been a functional, practical piece of tableware appreciated as much for its decoration as its functional form. We can imagine famous philosophers, celebrated athletes, and wealthy merchant eating off of it. Perhaps a work of such beauty served instead as a display piece, covered in tropical fruits and other savory treats. Today, when we hold this Apulian plate in our hands, admiring its graceful form and charming painted decorations, we marvel at the mastery of the ancient artists in much the same way as the ancients did themselves. - (PF.6180)   « 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.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.his gorgeous Apulian bell krater is decorated with two red-figure painted scenes. On the front, a satyr is seated on a rock, wearing a wreath in his hair, seemingly passing a staff to a young man who stands in front of him with a prominent white cap resting off of his head. Behind the satyr, a woman stands wearing a belted chiton and holding a branch. On the reverse, three men stand together, all clad in himation, the two on the sides holding canes. Might they be engaged a political or philosophical discussion, the type of discourse that was common at symposia (that is, before the wine took effect and these reserved men transformed into the untamed satyr). Being that kraters were so integral to the joys of the symposium, it is only natural that they are traditionally decorated with scenes of revelry and merriment that often echo the parties themselves, as is the case with this splendid example. - (X.0083)   « Less

Formerly in a Private Collection , Basel, Switzerland. The Greek fish plate was a circular dish for serving seafood. Its broad open form supported on a stemmed foot allowed  More »

Formerly in a Private Collection , Basel, Switzerland. The Greek fish plate was a circular dish for serving seafood. Its broad open form supported on a stemmed foot allowed the fish to be placed directly on the plate, while the juices would gather in the centre. This exceptionally large example features three fish, striped and with spiky dorsal fins, swimming counterclockwise. Between them three small scallops. a wave pattern is also applied to the overhanging rim and around the central depression. See I.Mc Phee and A.D. Trendall, Greek Red- figure Fish-plates, Basel, 1987. - (LA.539)   « Less

The obverse with a youthful Dionysos, a maenad and a satyr, the god seated on a klismos to the left, a kylix in his raised right hand, a filleted thyrsos in his left, a  More »

The obverse with a youthful Dionysos, a maenad and a satyr, the god seated on a klismos to the left, a kylix in his raised right hand, a filleted thyrsos in his left, a diadem in his hair, the maenad standing in the centre facing right, the bowl of a thymiaterion in her left hand, a satyr to the right facing left, depicted nude but for a fillet in his hair, a tympanum in his lowered left hand, his right arm over his head; the reverse with a fragment of a draped youth; meander and saltire squares encircling the body below the scene, a band of laurel below the rim, palmettes below the handles, vertical lines around the hand joins. - (LA.554)   « Less