| 2008.2.1.41
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I.4n in a box of gems made by Pietro Bracci
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| 26.12.10
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Ure (CVA 18): 'In general similar to those painted in the Krokotos-White Heron Workshop, but there is no reason to suppose it was painted in that workshop'
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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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| 45.8.2
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Trendall and Cambitoglou, RFVA 1.282.196, class this pelike with 'vases near in style or comparable' to the Thyrsus Painter.
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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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| 48.12.6
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Szilágyi 1998, 409/20. The Zuest Painter is considered in the 'third generation' of the Vulci School. For the Zuest Painter see also Szilágyi 1968, 10 n. 24; Szilágyi 1975, 119-20; Amyx 1988, 695-96
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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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| 50.4.5
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Beazley 1947, 182 named this group of Etruscan vases decorated with (floral) patterns after one of the several similar type 7 oinochoai in Toronto. Look for ref. to Harari ?
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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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| 51.7.5
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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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| 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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| L.2011.1.37
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For the sacred monogram in the central discus see to Catalogue of the lamps in British Museum, vol III, 27, pl. 20, group I(c)iii, no Q1761, Hayes type IIB; comparisons in Ennabli 868-76; Hayes ROM 290, all from Carthage.
For the shoulder decoration (herring-bone pattern), compare with Q2568, Q2569 (Catalogue of British Museum).
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| L.2011.1.41
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Comparisons with the shoulder decoration in Catalogue of British Museum, vol. III, no Q1770 MLA, pl.21, fig. 34.
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| L.2011.1.42
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For the shoulder decoration comparisons in the Catalogue of the British Museum, no Q1765
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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:1934.53.4
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A.C. Smith. Shirley Schwarz, 'The Pattern Class Vases of the 'Gruppo di Orvieto' in the U.S. National Museum Collection, Smithsonian Institution, Washington, D.C.' StEtr 47 (1979) 75-80 publishes 17 examples of this class, none of which, however, are decorated with the 'z'. That pattern does, however, appear on chalices in the same group: see Schwarz 1979, 72 fig. 2d.
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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: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:1951.139.1
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Trendall and Cambitoglou, RFVA 2.717.851, class this vessel with vases 'associated in style with the Painter of the Kassel Cup'.
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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:1951.143.1
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Possibly in the Dunedin Group, according to J.R. Green (14.11.2003)
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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:1951.147.1
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A.C. Smith prefers to attribute this vase to the Zaandam Group or one the other workshops of the Iliupersis Painter and the followers of the Hoppin Painter, who specialised in small, plain style pots. For comparanda in the Zaandam Group, 'closely connected' to the work of the Zaandam Painter (according to Cambitoglou and Trendall, RVAp 1.289) see Adolphseck 175-176 (RVAp 11/30-31) and Once London Market, Folio Fine Art (RVAp 1.32). I. McPhee prefers the Liverpool Group: for shape and ornament cf. Naples 669 (RVAp 2, 21/355a) and Wellcome R 1936.324 (RVAp 2, 21/372a) but figures are more akin to the latter, which is classed in group (iv). The white ivy wreath, with incised stems, on the body, is particularly common in this group, and especially well preserved on Dresden H 4. 29/90 (RVAp 2, 21/369).
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| REDMG:1951.148
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Trendall and Cambitoglou, RFVA 1.317 and 1.320.25, class this among vases in the 'developed style' of the Snub-nose Painter.
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| REDMG:1951.151.1
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Trendall and Cambitoglou, RFVA 1.278.149, attribute this lekythos to the Thyrsus Painter, 'whose work is connected with that of the Lecce Painter in his later phase' (RFVA 1.274).
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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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| 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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