| 14.9.109
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Belongs to the same workshop as 50.4.16 according to D.W.J. Gill
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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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| 26.8.3
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Katerina Volioti attributes this to the Emporion Painter, on the basis of the extensive use of black and absence of white, as well as the many black dots. Beazley attributed itto the 'Manner of the Haimon Painter': ABV 546.225
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| 45.10.4
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Beazley cites this as the name vase of the 'Reading Lekanis Painter': ARV2 1501.1
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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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| 47.8.1
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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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| 50.4.16
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Belongs to the same workshop as 14.9.109, according to D.W.J. Gill. Sparkes and Talcott, in Agora 12, 140 no. 17, suggest that this piece is probably from the same workshop that made deep Acrocups.
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| 51.4.10
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Ure attributes it to the same hand as mastoid cups in Vienna (Vienna 296) and in New York (ex Coll. Gallatin): CVA Fogg Museum and Gallatin Collections pl. 41.4
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| 51.7.13
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Trendall and Cambitoglou (2.937) have designated this vase the name vase of the 'Group of Reading 51.7.13' and note that this Group is associated with the Meo-Evoli Painter as well as the Round-ear Group.
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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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| 60.8.2
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Beazley classes this as 'Related to the Dolphin Group': Para 200.6
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| 61.6.5
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Ure (BSA 1960) identifies this vase as from the same workshop (and probably same hand) as Chalcis 938 (deep handleless bowl).
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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:1935.87.23
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Trendall and Cambitoglou, 2.1014 and 2.1015.906-907, class this kantharos, as well as Reading RM.25.53.32, as 'associated in style with the Kantharos Group'.
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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:1951.141
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Trendall and Cambitoglou, RFVA 2.710.762, classes this bell krater as 'connected in style' with the Monopoli 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:1953.25.32
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Trendall and Cambitoglou, 2.1014 and 2.1015.906-907, class this kantharos, as well as Reading RM.87.35.23, as 'associated in style with the Kantharos Group'.
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