| 2008.2.1.41
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I.4n in a box of gems made by Pietro Bracci
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| 22.3.22
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Trendall and Cambitoglou, RFVA 1.124.210, attribute this fragment to the 'developed style' of the Lecce Painter, a follower of the Tarporley Painter.
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| 23.4.1
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Ure attributes this as a 'late work' of the Q Painter: JHS 64 (1944) 75 no.43
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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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| 45.3.1
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Szilágyi 1998, 629/34: incised details on birds, particularly 'collars' on necks, are comparable, e.g. to those on Milan, Raccolte Archeologiche A. 1525 (Szilágyi 1998, 628/23).
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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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| 49.8.3
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Trendall, LCS 540.784, attributes this vase to the earlier style of the Branicki Painter (which is of a higher standard than his later works).
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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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| 56.8.6
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Szilágyi 1998, 347/228. For the Rosoni Painter, a 'third generation' member of the Vulci School, see also C. Albizzati, Vasi antichi dipinti del Vaticano II (Rome 1925) 48-49; J.D. Beazley, Raccolta Guglielmi (Vatican, CHECK 1939) 74 n. 84; G. Kubler, Some Etruscan Versions of Corinthian Ceramics', Marsyas 2 (1942) 9; W.L. Brown, The Etruscan Lion (Oxford 1960) 55-56, 57 n. 1; G. Colonna, 'Il ciclo etrusco-corinzio dei Rosoni', StEtr 29 (1961) 50-62; G. Colonna, 'La ceramica etrusco-corinzia e le problematica storica dell'Orientalizzante Recente', AC 13 (1961) 16-17 n. 8; D.A. Amyx, 'Some Etrusco-Corinthian Vase-Painters' in Studi Banti (1965) 3-4; D.A. Amyx, 'The Mingor Painter and others: Etrusco-Corinthian Addenda', StEtr 35 (1967) 101-104; Szilágyi 1975, 124-25; M. Martelli, 'Il ciclo Etrusco-Corinzio dei rosoni: qualche addendum, RivStLig 44 (1978, publ. 1983) 63-67; Amyx 1988, 696
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| 61.6.4
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Ure 1970 explains that this skyphos provides a link between the Group of the Athens Hydria (F) and the Group of the Reading Lekanis (G).
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| L.2011.1.38
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Deneuve type IX A "Firmalampen"
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| L.2011.1.44
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For the shoulder decoration see the Catalogue of British Museum, vol. III, no Q1771, pl. 21, fig. 34, with a shoulder-frame hearts (Ennabli M6)
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| L.2011.1.48
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Deneuve type VII A o B;
For the scene in the central discus, a Nereid riding a sea-bull, see the Catalogue of British Museum, vol. II, group I(b)x (Followers of Neptune), no Q886 type B
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| REDMG:1935.87.11
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Corinth 15.3, 369 and 370 n. 6: classed, along with similar miniatures, to a group of 'lotos kylikes', attributed to the workshop of the Sam Wide Painter.
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| REDMG:1935.87.32
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Trendall and Cambitoglou, RFVA 2.765, 2.772.91, assign this column krater to the Group of Taranto 9243 (formerly known as 'Group of Taranto 2996'), a subgroup of the Amphorae Group, the vases in which 'must be products of the workshop of the Patera Painter'.
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| REDMG:1935.87.4
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Trendall and Cambitoglou, RFVA 2.622.150 and 2.622.165, attribute this oinochoe, and a similar one in Reading, RM.87.35.7, to the B.M. Centaur Group, artists in the circle of the Darius Painter and the Underworld Painter.
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| REDMG:1935.87.7
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Trendall and Cambitoglou, RFVA 2.622.150 and 2.622.165, attribute this oinochoe, and a similar one in Reading, RM.87.35.7, to the B.M. Centaur Group, artists in the circle of the Darius Painter and the Underworld Painter.
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| REDMG:1951.130.1
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Banti notes a similarity between the dancers and those on Vienna 1041 (neck amphora) attributed to the Polyphemos Group (see Rumpf, Chalkidische Vasen pl. 209).
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| REDMG:1951.137.1
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Trendall and Cambitoglou, 1.285.233, attribute this lekanis lid to the Lampas Painter, a 'follower of the Plain Style tradition'.
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| REDMG:1951.140.1
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Trendall and Cambitoglou, 2.137 and 2.139.32, class this hydria among the early vases attributed to the Painter of Karlsruhe B9, a follower of the Tarporley Painter
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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:1951.150.1
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Trendall and Cambitoglou, RFVA 1.253.223, attribute this pelike to the Verona Painter, who 'looks rather like a crude imitator of the Dijon Painter and his drawing is very slovenly'.
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| REDMG:1951.161.1
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Trendall and Cambitoglou, RFVA 1.234 and 1.235.73, attribute this bell krater to the Painter of Geneva 13108, a member of the Chrysler Group, who is a late follower of the Painter of Karlsruhe B9.
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