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Hellenistic (ca. 3rd-1st c. BCE)
From Myrina (see on Pleiades), Aeolis
Triminaion/trimnaion (1286.90 g)
Photographed on display in, and in the collection of, the Pera Museum (Pera Müzesi), Beyoğlu, İstanbul, Türkiye
Suna and İnan Kıraç Foundation Anatolian Weights and Measures Collection
Either Late Hellenistic period, 2nd c. BCE, or Roman Early Imperial period, 1st c. CE
"Probably" from Myrina (see on Pleiades)
In the collection of, and photographed on display at, the Legion of Honor Museum, San Francisco, California, USA
Gift of Linda Noe Laine
Inv. 2010.20
www.famsf.org/artworks/aphrodite-venus-genetrix-type
Either Late Hellenistic period, 2nd c. BCE, or Roman Early Imperial period, 1st c. CE
"Probably" from Myrina (see on Pleiades)
In the collection of, and photographed on display at, the Legion of Honor Museum, San Francisco, California, USA
Gift of Linda Noe Laine
Inv. 2010.20
www.famsf.org/artworks/aphrodite-venus-genetrix-type
*Note: I found a thumbprint (two, actually) on this and reported it to the British Museum, now logged into the record!
Terracotta group of two female figures sitting on a couch with elaborately turned legs, thick cushions, and draped with brightly painted textiles. They lean towards one another as if to share a secret, and the older woman on the right, with her himation pulled over her head, places a hand over her bared breast. The younger woman on the left raises her right hand over her breast under her own himation, mirroring her companion; on her left hand, we can see a large ring with a circular bezel. Each woman wears thick-soled sandals, and the older woman's sole is painted dark red.
We see remains of the white slip - the base coat over which pigments would have been applied - as well as the bright remains of blue on the couch's drapery, and vibrant rose madder pigment on the younger woman's himation (cloak) and the cushions of the couch, red on the sole of the older woman's sandal and the younger woman's chiton (tunic), and a pale pink on the flesh of both women.
The interpretation of this scene is varied, but it's most often thought to be a tender moment between Demeter and her daughter Persephone. Perhaps as Persephone emerges from the darkness of Hades, or right before she must return.
Hellenistic, circa 100 BCE. Made in Myrina (Turkey), Asia Minor, where it was said to be found. Terracotta with pigments.
British Museum (1885,0316.1)
Hellenistic period, ca. 200-130 BCE
From Myrina (see Myrina/Sebastopolis on Pleiades)
In the collection of, and photographed on display at, the University of Missouri Museum of Art and Archaeology, Columbia, Missouri, USA
At the time the museum was located at Mizzou North
Inv. 81.2 (Gift of the MU Student Fee Capital Improvements Fund)
maacollections.missouri.edu/ArgusNET/Portal.aspx?lang=en-...
Figurine of a New Comedy actor in the role of an “Oulos Neaniskos “, youth with curly hair. The actor is standing, wrapped in a mantle. The head is almost frontal, leaning a little to right; the left hand inside the mantle grasps the garment at left side of his body, the right hand brought down toward it.
The statuette was painted: brown hair, gold flesh, mauve chiton, and mantle probably white.
Terracotta statuette
H. 22,5 cm.
Late 2nd – 1st century BC
From Myrina
Athens, National Archaeological Museum , No Inv. 5025
Figurine of a New Comedy actor in the role of “Pornoboskos”, or “The Brothel Keeper”. The actor is standing with the left lag slightly advanced. He wears a long chiton with a very elaborate wreath, and holds a “sistrum” in his right hand. His mask shows strongly raised brows, wrinkled forehead, and beard arranged in formal curls. The terracotta statuette was painted in red-brown on the face and hands, and mauve on the mantle.
This and the “Oulos Neaniskos“ figurine were found in Myrina a Greek city on the coast of Mysia (now Turkey, northern respect Izmir) famous for its remarkable and distinctive series of terracotta figurines. Many of them exhibit a considerable objectivity in depiction, for example in showing the edge of the tights at ankle or wrist, and more particularly in showing the mask as a mask, its back edge distinguished and the actor’s mouth sometimes visible inside; the features of the mask are often modeled in dry, clear detail.
Source: T.L.B. Webster, J.R, Green and A. Seeberg, “ Monument illustrating New Comedy: Volume 2
Terracotta statuette
H. 19,0 cm.
Late 2nd – 1st century BC
From Myrina
Athens, National Archaeological Museum , No Inv. 5056