Etruski Keraaminen Stamnos





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ITEM: Stamnos
MATERIAL: Keramiikka
CULTURE: Etruscan
PERIOD: 5th - 4th Century B.C
DIMENSIONS: 180 mm x 225 mm
CONDITION: Good condition
PROVENANCE: Ex European private collection, Ex ALARA S.P.R.L (1976), Ex F.K. collection, 1972 - 1976
The Etruscan stamnos is a distinctive pottery form that highlights the sophisticated cultural exchange between ancient Etruria and Greece. Originally a Greek shape used primarily for storing and mixing wine, the stamnos was adopted and refined by Etruscan potters and painters between the 5th and 4th centuries BCE. Characterized by its high shoulders, short neck, and two horizontal handles attached to the widest part of the body, the Etruscan version often mirrored the proportions of Attic imports while incorporating local stylistic flourishes and clay compositions, such as the dark, lustrous bucchero or local red-figure techniques.
In Etruscan society, these vessels were far more than mere kitchenware; they were central to the communal rituals of the banquet and the prestige of the afterlife. Archaeologists frequently recover stamnoi from wealthy tomb sites, where they served as grave goods intended to provide the deceased with the tools for eternal celebration. The iconography found on these jars often depicts scenes of mythology, athletic competition, or funerary processions, serving as a visual narrative of the owner's status and religious beliefs. The presence of a stamnos in a burial was a clear indicator of the individual's membership in the aristocratic elite.
Technologically, the production of the stamnos demonstrated the high level of craftsmanship present in Etruscan workshops, particularly in centers like Vulci and Tarquinia. While early examples were heavily influenced by the "Vulcani" style and Greek black-figure traditions, later Etruscan stamnoi evolved to feature bolder, more expressive figures and unique decorative motifs like stylized palmettes and lotus buds. The transition from imported Greek pieces to locally manufactured Etruscan stamnoi marks a pivotal moment in Mediterranean art history, illustrating how a "borrowed" object can be reinterpreted to define a unique regional identity.
Comes with Certificate of Authenticity and European Union export license
If you bid outside European Union and win the item, we must request a new export license to your country and the shipment will delay between 3 - 5 weeks.
#CollectorsFairMarch2026
Myyjän tarina
ITEM: Stamnos
MATERIAL: Keramiikka
CULTURE: Etruscan
PERIOD: 5th - 4th Century B.C
DIMENSIONS: 180 mm x 225 mm
CONDITION: Good condition
PROVENANCE: Ex European private collection, Ex ALARA S.P.R.L (1976), Ex F.K. collection, 1972 - 1976
The Etruscan stamnos is a distinctive pottery form that highlights the sophisticated cultural exchange between ancient Etruria and Greece. Originally a Greek shape used primarily for storing and mixing wine, the stamnos was adopted and refined by Etruscan potters and painters between the 5th and 4th centuries BCE. Characterized by its high shoulders, short neck, and two horizontal handles attached to the widest part of the body, the Etruscan version often mirrored the proportions of Attic imports while incorporating local stylistic flourishes and clay compositions, such as the dark, lustrous bucchero or local red-figure techniques.
In Etruscan society, these vessels were far more than mere kitchenware; they were central to the communal rituals of the banquet and the prestige of the afterlife. Archaeologists frequently recover stamnoi from wealthy tomb sites, where they served as grave goods intended to provide the deceased with the tools for eternal celebration. The iconography found on these jars often depicts scenes of mythology, athletic competition, or funerary processions, serving as a visual narrative of the owner's status and religious beliefs. The presence of a stamnos in a burial was a clear indicator of the individual's membership in the aristocratic elite.
Technologically, the production of the stamnos demonstrated the high level of craftsmanship present in Etruscan workshops, particularly in centers like Vulci and Tarquinia. While early examples were heavily influenced by the "Vulcani" style and Greek black-figure traditions, later Etruscan stamnoi evolved to feature bolder, more expressive figures and unique decorative motifs like stylized palmettes and lotus buds. The transition from imported Greek pieces to locally manufactured Etruscan stamnoi marks a pivotal moment in Mediterranean art history, illustrating how a "borrowed" object can be reinterpreted to define a unique regional identity.
Comes with Certificate of Authenticity and European Union export license
If you bid outside European Union and win the item, we must request a new export license to your country and the shipment will delay between 3 - 5 weeks.
#CollectorsFairMarch2026
Myyjän tarina
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Catawiki on informoinut myyjää siitä, että hänen on annettava vaaditut asiakirjat ja taattava, että: - esine on hankittu laillisesti, - myyjällä on oikeus myydä esine ja/tai viedä se maasta, - myyjä toimittaa tarvittavat alkuperätiedot ja järjestää vaaditut asiakirjat ja luvat/lisenssit soveltuvin osin ja paikallisten lakien mukaisesti, - myyjä ilmoittaa ostajalle mahdollisista viivästyksistä lupien/lisenssien saamisessa. Tekemällä tarjouksen hyväksyt, että sinulta saatetaan asuinmaastasi riippuen pyytää tuontiasiakirjoja ja että lupien/lisenssien saaminen voi aiheuttaa viivästyksiä esineesi toimituksessa.
Catawiki on informoinut myyjää siitä, että hänen on annettava vaaditut asiakirjat ja taattava, että: - esine on hankittu laillisesti, - myyjällä on oikeus myydä esine ja/tai viedä se maasta, - myyjä toimittaa tarvittavat alkuperätiedot ja järjestää vaaditut asiakirjat ja luvat/lisenssit soveltuvin osin ja paikallisten lakien mukaisesti, - myyjä ilmoittaa ostajalle mahdollisista viivästyksistä lupien/lisenssien saamisessa. Tekemällä tarjouksen hyväksyt, että sinulta saatetaan asuinmaastasi riippuen pyytää tuontiasiakirjoja ja että lupien/lisenssien saaminen voi aiheuttaa viivästyksiä esineesi toimituksessa.
