The vase was reassembled, but it is complete and in a good state of preservation. It is decorated in the red-figure technique, which has been achieved here by painting red silhouettes on the black glazed surface of the vessel, allowing the figures to stand out in "negative" contrast on the completely dark background. This technique was an alternative to the usual red-figure painting technique in which the figures were not painted but were left in the color of the terracotta. Though this technique was invented in Attica, it never flourished. However, in Etruria, overpainted red figures became more widespread and, despite a rather limited repertory, lasted until the late 4th century B.C. The details of the anatomy and clothing were primarily incised, but later they would be overpainted in black on the red areas.

The most active workshops were in Vulci, dominated by the Praxias Painter, an artist of Greek origin (Cumae or Rhegion), known as the Praxias Painter and is said to have brought this technique to Central Italy. This vessel would have been made by his group or by an artist who would have been heavily influenced by his style and his representations.
The two scenes adorning this stamnos, painted somewhat hastily, are independent from each other. On the obverse face, a nude satyr and a maenad dressed in a long chiton, are lost in their Dionysian ecstatic dance, accompanied by the sound of the castanets that are visible in the hands of the young woman. A standing equine, which seems to be walking, decorates the reverse face of the container. The elongated proportions, the harness (especially the pattern on the chest) and the small ears suggest that it is a horse rather than a donkey, the animal which, in the Greek world, was a symbol of Dionysos.

All e-Tiquities have been searched in the Art Loss Register database.