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Lustreware became popular in Staffordshire pottery during the 19th century, where it was also used by Wedgwood, who introduced pink and white lustreware simulating mother of pearl effects in dishes and bowls cast in the shapes of shells, and silver lustre, introduced at Wedgwood in 1805.
The following vases are mostly Attic, from the 5th and 6th centuries, and follow the Beazley naming convention. Many shapes derive from metal vessels, especially in silver, which survive in far smaller numbers. Some pottery vases were probably intended as cheaper substitutes for these, either for use or to be placed as grave goods.
Pottery, due to its relative durability, comprises a large part of the archaeological record of ancient Greece, and since there is so much of it (over 100,000 painted vases are recorded in the Corpus vasorum antiquorum), [1] it has exerted a disproportionately large influence on our understanding of Greek society. The shards of pots discarded ...
Silver kantharos (Gaul, present-day Alise-Sainte-Reine, latter 1st century BC) Iliupersis Painter ( south Italy , active 375–350 BC), Head-Kantharos of a Female Faun or Io (?), red-figure pottery Janiform kantharos, Etruscan pottery , second half of the 4th century BC
Silver rhyton with goat protome and death of Orpheus, ... Classical Athenian pottery, such as red-figured vases, are typically painted with themes from mythology.
The vase was made at Jingdezhen, probably around 1300 and was probably sent as a present to Pope Benedict XII by one of the last Yuan emperors of China, in 1338. The mounts referred to in the 1823 description were of enamelled silver-gilt and were added to the vase in Europe in 1381.
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