Olmec Anthropomorphic Figurine (1500–400 BCE)
The figure belongs to the artistic tradition of the Olmec, the earliest complex civilization in Mesoamerica. The Olmec flourished roughly between 1600 and 400 BCE.
Material Terracotta
Kylix of Douris (c.470 BCE)
This Attic red-figure kylix, attributed to Douris and dated to about 470 BCE, turns a drinking vessel into a carefully staged image of human encounter.
Canosa Askos (270-200 BCE)
Rather than relying on a single image or a painted scene, this large Canosa askos builds its meaning through a combination of vessel form, colour, and applied figures.
Bull’s Head Rhyton (340–320 BCE)
Made in Apulia around 340–320 BCE, this bull’s head rhyton shows how inventive South Italian pottery could be in the late Classical period. The vessel combines an animal-shaped form with red-figure decoration and added paint.
Female Headed Jug (c. 350 BCE)
This female headed jug, shaped as a richly adorned, is one of those vessels that immediately blurs the boundary between useful object and sculpture. Made around 350 BCE in Attica and later found at Tarquinia in Etruria.
Dove-Bearer from Callatis (c.200-400 BCE)
This Tanagra-type terracotta statuette from ancient Callatis offers a refined image of female presence in the Hellenistic world. The figure stands quietly yet elegantly, wrapped in abundant drapery, with a small dove perched on her right shoulder.
Nike Figurine (c. 300-200 BCE)
This Nike figurine presents the Greek goddess of victory in a form that is both graceful and slightly unusual. She appears as a winged nude figure with the body of an ephebe.
Enthroned Cybele Statuette (c.400-300 BCE)
Seated on a throne and holding a feline companion, Cybele appears not as an ordinary woman but as a divine presence marked by authority, protection, and command over the natural world.
Phi-type Female Figurine (c.1300-1200 BCE)
The figure is a so-called Phi-type, named after the resemblance of its silhouette to the Greek letter Φ, and it offers a revealing glimpse into how femininity, care, and cult practice could be expressed in the Mycenaean world.
Enthroned Plank Idol (c.650 BCE)
This ceramic plank idol was made in Boeotia in the middle of the 6th century BC, though its type reaches back to traditions formed after the middle of the 7th century BC.
Crowned Figurine (1st to 3rd century CE)
The high and elaborate headdress and crown is unlikely to be merely fashionable adornment. It most probably represents a mural crown, the crown of city walls and towers, which in the Greek and Roman world marked a female figure as divine.
Woman Seated on a Bench (c.400-201 BCE)
Woman Seated on a Bench was created around the fourth to third century BCE, in the period between the late Classical and Hellenistic ages. This was a moment when small terracotta figures became especially popular across the Greek world.
Apollo and Daphne (c. 1700 CE)
Soldani captures the dramatic instant when the nymph Daphne transforms into a laurel tree to escape the pursuing god Apollo, offering viewers an immediate insight into Baroque art's obsession with movement, metamorphosis, and fleeting moments.
Wild Boar Vessel (700–500 BCE)
The wild boar vessel is traditionally dated to between 700 and 500 BC and attributed to the Etruscan culture of ancient Italy. However, recent scientific analyses have complicated this attribution.
Black-Figure Amphora (c.540 BCE)
Produced in the workshops of Attica (the region around Athens), this black-figure amphora features nearly identical scenes on both sides: a central horseman flanked by pairs of standing figures, all framed within reserved red-clay panels beneath a decorative lotus-palmette frieze.