12 June 2000
AN ATTIC RED-FIGURED LOUTROPHOROS-AMPHORA
attributed to the naples painter
circa 450-440 b.c.
With a wedding scene, the center with the groom holding the hand of his bride, the groom depicted frontally, his head turned toward her, wearing a mantle which leaves his right shoulder bare, a fillet in added white in his hair, the bride's head downcast, her hair in a band, wearing a chiton and a himation which passes over the top of her head, her attendant, the nympheutria, clad in a peplos, her hair bound in a band, stands to the left and adjusts the bride's himation, and a woman (either the mother of the bride or groom) stands to the right, also in a peplos and wearing a fillet in her hair, holding two torches, a flying draped Nike with a torch under the handle to the left; the other side with a maiden in a peplos holding two torches in her outstretched hands, her head turned to her right towards a draped winged Nike, her hair bound in a sakkos; with rays above the foot, bands of black tongues on the shoulders, chevroned zigzag on the molding at the join of the neck to the body, each side of the neck with a standing draped woman, with vertical lines below and a band of S's above, a wavy line and zigzag band in white on the underside of the rim
171/8 in. (43.49 cm) high
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For a recent discussion of the wedding scenes depicted on Attic loutrophoroi see nos. 22-25 in Reeder, Pandora, Women in Classical Greece.
Decorative and dangerous, the most impressive group of courtly quality weapons to come to auction in well over a generation
This month, Christie’s offers one of the American artist’s large-scale works. In October, she will tackle the monumental proportions of Tate Modern’s Turbine Hall