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Lot Essay
The Villa Giulia Painter, who takes his name from a calyx-krater now in the Villa Giulia (Museo Nazionale Etrusco), was described by J.D. Beazley (p. 618, Attic Red-Figure Vase-Painters) as belonging to the “academic wing” of early classical vase-painting and is connected with the followers of Douris. His work exhibits a “quiet nobility,” as demonstrated on the present kalpis.
Depicted here is a libation scene centered by a youth wearing a mantle and a wreath in his hair, holding a forked branch in his left hand and a phiale his outstretched right hand. On either side is a women, each clad in a chiton and a himation; the woman to the left holds the handle of an oinochoe in her lowered right hand, while the one to the right is walking away but looking back. Below the scene is a band of meander with crossed-squares; there is a band of palmettes and lotus above, and ovolo on the rim.
Depicted here is a libation scene centered by a youth wearing a mantle and a wreath in his hair, holding a forked branch in his left hand and a phiale his outstretched right hand. On either side is a women, each clad in a chiton and a himation; the woman to the left holds the handle of an oinochoe in her lowered right hand, while the one to the right is walking away but looking back. Below the scene is a band of meander with crossed-squares; there is a band of palmettes and lotus above, and ovolo on the rim.