| 26.12.14
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Beazley (attributed to 'Perhaps the Athena Painter', and 'Compare to Copenhagen 68'; certainly belongs to the 'Group of the Athena Painter'): ABV 704.5bis
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| 26.8.2
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Attributed by Amyx 246.10
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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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| 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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| 35.5.11
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Beazley attributed this to the group of the Penthesilea Painter.
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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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| 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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| 77.5.1.1-17
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Beazley: despite the signature (that would suggest an attribution to the Nikosthenes Painter) Beazley attributed this to the 'N Painter', certainly in the 'Overlap Group'.
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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:1935.87.31A
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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:1951.130.1
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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:1951.140.1
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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:1951.160.1
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Trendall, LCS 132.670, places this bell krater in the earliest group of vases attributed to the Roccanova Painter, which 'show Apulian influence most clearly' yet indicate the Roccanova Painter's developed style, e.g. the Z pattern, the palmette between the figures, and the stocky style of the figures.
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