c. 500 BCE
This black-figure amphora (storage jar) depicts two mythological scenes, each with a protagonist at home in the sea. On one side, the sea god Poseidon, trident in hand and naked but for a mantle slung over his shoulders, attacks two helmeted warriors with shields, who seem to stand little chance at victory. This is a scene from the gigantomachy, the battle of the gods against the giants (gigantes), sons of the earth, Gaia. According to the myth, Poseidon crushed the giant Polybotes with a piece of the island of Kos that he broke off and that would become the smaller isle of Nisyros. Here, Nisyros is depicted as a large boulder that the god carries on his left shoulder. Matching the overall maritime theme, the shield device of the giant on the right is an octopus. It is painted in white, as are the other giant’s shield and the island to be. On the other side of the vessel, Peleus holds on to the sea nymph Thetis as she shifts shapes in the futile effort to escape him. Her body is turned to the right, away from her assailant; she pushes back against his head with one hand and with the other pleads with a woman, likely one of her sisters, who flees to the left. Peleus, with nude upper body and a cloak wrapped around his hips, has emerged between the two women to capture his divine prey. Snarling lions by Thetis’ side indicate her fierce resistance and changing shape. As it had been prophesized that Thetis’ son would be more powerful than his father, Thetis had become unattractive to gods. Her marriage to the mortal Peleus would produce the mighty hero Achilles. An incised graffiti, likely a trademark, is on the underside of the vessel’s foot. The amphora has been recomposed from multiple fragments with inpainting covering the seams.
43.2 × 27.9 cm (17 × 11 in.)
Hoyt Miller, (1883-1957), Kings Point, Long Island, NY, estate sale; to Lottie and Mark Salton, Hartsdale, New York, (1957- 2021), bequest; to the Harvard Art Museums.
Ceramic
ChineseMonochrome enameled porcelain: porcelain with yellow enamel on the exterior and clear glaze on the interior; with underglaze cobalt-blue mark reading "Da Qing Kangxi nian zhi" on the base
17th-18th centuryChineseTerracotta
CypriotSilver
18th centuryAmericanGrayish buff earthenware
4th-3rd millennium BCEChineseTerracotta
Shufu ware: molded porcelain with pale sky-blue glaze; with molded characters reading "Shu Fu" incorporated into the design
12th-13th centuryChineseTerracotta
2nd century CERomanCizhou-type cut-glaze ware: light gray stoneware with dark brown glaze, the decoration cut into the glaze before firing. From the Ciyaobao kilns, Lingwu county, Ningxia Huizu Autonomous Region.
12th-13th centuryChineseHard-paste porcelain decorated with polychrome enamels and gold
18th centuryGermanEnameled porcelain: porcelain with decoration painted in overglaze yellow, pink, and red enamels and scrolling floral pattern lightly incised in the yellow enamel; with spurious underglaze cobalt blue mark reading "Da Qing Qianlong nian zhi" in seal-script characters on the base
18th-19th centuryChineseCizhou-type cut-glaze ware: light gray stoneware with rust brown glaze, the decoration cut into the glaze before firing. From the Ciyaobao kilns, Lingwu county, Ningxia Huizu Autonomous Region.
12th-13th centuryChinese