This study means to interpret two vase-painting and document the vases as they are unpublished. The method used to interpret is Panofsky’s three stage iconographic analysis. Different part of the motifs has been analyzed to see if the paintings should be interpreted in a context of wool-working or if another interpretation would be better suited. Kalathoi are a type of basket normally used to store wool and is depicted in the context of wool-working, and both vases in this study depict women with kalathoi. The interpretation is based on the various parts of the motifs, the wool baskets, an object that can be either a mirror or a spindle, a headdress, and the clothes the women in the paintings wear. At first glance there is no obvious reading of the paintings. Because of this, ambiguous motifs are discussed. The study’s theory is based on the idea that pictures have a deeper meaning than simply aesthetically pleasing. The vases are dated to the fifth century BC and are believed to be Attic in origin. Other vases from the time period and of the same vase type and motif has been compared to those in the study. A possible context for the vases is discussed as the original is unknown and who could have owned those vases. The study results in that the interpretation of the vase-paintings most likely is not directly related to wool-working. Instead, they are meant to represent the respected wife’s responsibilities in the household. Wool-working is an activity strongly connected to the household and kalathoi have because of that become a marker for the home. However, the motifs do not lose their connection to wool-work, it has been grouped together with the other responsibilities. The studied vases also were most likely owned by women and because of the history of the vase type in funerary context they are interpreted to have been originally deposited in graves.