| 2008.2.1.41
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I.4n in a box of gems made by Pietro Bracci
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| 22.3.43
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Trendall, LCS 372.89, attributes this to the workshop of the Capua Painter because of the rendering of the sakkos, worn by the woman.
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| 26.8.2
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Attributed by Amyx 246.10
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| 27.3.5
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Attributed by Neeft (1987, 148 and n. 512)
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| 27.4.9
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Attributed by Amyx 237.22 [19]
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| 37.7.1
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Attributed by Amyx 243.9
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| 37.7.2
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Attributed by Szilagyi 1957 ('probably') and Amyx 141.4
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| 38.4.7
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Attributed by E. Brann
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| 39.9.6
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Attributed by Amyx 214.8 [9]
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| 45.10.1
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A.C. Smith. The lotus bud is quite unusual, and this and other decorative elements relate this epichysis to the Egg and Wave Group, a workshop that specialised in small vases and was related to he Iliupersis Painter. There is also a slight resemblance to the work of the Lampas Group, followers of the plain style: cf. Scottsdale, Cutler Collection (RVAp 11/206a). Although no other epichyses have been attributed to this group/artist, the group seems to represent the work of a versatile artist, influenced by the Truro and Lecce Painters and associates, who favored smaller vases, specialising in single figures, often animals, surrounded by ornament of the type shown on this epichysis, especially tendrils, buds, and bulls-eyes, with large added white dots. Cf. especially Karlsruhe B 938 (RVAp 10/232) and New London, Lyman Allyn Museum 1955.1.83 (RVAp 10/234).
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| 45.6.72
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Trendall, LCS 178.1067: possibly by the Primato Painter, but belonging to a group of 'minor vases' that may be 'workshop pieces' (176).
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| 47.6.2A-B
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The name 'Herakles Painter', for the 'Sam Wide Painter', as suggested by A.N. Stillwell (see Corinth 15.3, 370 n. 1), has not yet been adopted.
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| 47.7.3
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Trendall suggests this is 'closely associated in style with the Copenhagen Lekanis Group but related by the decorative patterns to the 'Painter of Naples 128012': LCS 292.482
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| 47.8.1
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The name 'Herakles Painter', for the 'Sam Wide Painter', as suggested by A.N. Stillwell (see Corinth 15.3, 370 n. 1), has not yet been adopted.
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| 48.5.2
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Perhaps by, according to Amyx 220.8 [12.6]
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| 51.7.5
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A.C. Smith. The squat lekythos, albeit one with broader proportions, is favored by the painters in the Cleveland Group. Further this vase indicates other characteristics of the work attributed to that group: columnar drapery on standing women, beaded sphendone and jewellery, and white, blobby rocks used as seats or supports. The treatment of subsidiary ornament and the palmette under the handle are also similar, although the Cleveland Group preferred the 1 1/2 superimposed palmettes on such squat lekythoi. For a similar single palmette and other related decoration see also 26/68b and other works by the closely related Group of the Trieste Askoi, which, like the Reading squat lekythos, are plain beneath the main zone (whereas the Cleveland Group usually includes a wave band beneath the main zone).
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| 64.7.1
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The name 'Herakles Painter', for the 'Sam Wide Painter', as suggested by A.N. Stillwell (see Corinth 15.3, 370 n. 1), has not yet been adopted.
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| REDMG:1926.99.54
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Perhaps by the
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| REDMG:1935.87.31A
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Attributed by Amyx
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| REDMG:1935.87.31B
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Attributed by Amyx
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| REDMG:1951.144.1
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McPhee and Trendall 1987, IVA/118, 127-28: The cuttlefish, with body outlined in white and decorated with black horizontal stripes, two large black eyes, and a cluster of tentacles (some white), is typical of a particular painter denoted by the Group of Karlsruhe 66/140. Further characteristics of this Group evidenced on the Reading plate are the bream's pectoral fin, which takes the form of an open fan with vertical cross-strokes; and the use of a mussel as filler; the decoration of the central depression with a rosette of the 'ice cream cone' type, surrounded by a wave border; the laurel wreath on the overhanging rim.
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| REDMG:1953.25.23
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Perhaps by
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| REDMG:1953.25.25
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Perhaps by
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| REDMG:1953.41.1
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G.C. Boon (agreed by J.D. Beazley)
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