| 11.10.19
|
Ure (CVA) notes that the shoulder pattern is very near to that of the Theseus Painter
|
|
| 11.10.21
|
Manner of the Haimon Painter
|
|
| 14.9.86
|
Beazley attributes this to the Manner of the Haimon Painter: ABV 564.587
|
|
| 2003.7.77
|
workshop of the Haimon Painter?
|
|
| 2008.2.1.41
|
I.4n in a box of gems made by Pietro Bracci
|
|
| 2008.7.101
|
Workshop of
|
|
| 22.3.22
|
Trendall and Cambitoglou, RFVA 1.124.210, attribute this fragment to the 'developed style' of the Lecce Painter, a follower of the Tarporley Painter.
|
|
| 22.3.43
|
Trendall, LCS 372.89, attributes this to the workshop of the Capua Painter because of the rendering of the sakkos, worn by the woman.
|
|
| 23.4.1
|
Ure attributes this as a 'late work' of the Q Painter: JHS 64 (1944) 75 no.43
|
|
| 25.9.4
|
Ure (CVA) attributes this to the 'Workshop of the Beldam Painter'
|
|
| 26.12.13
|
Beazley ('Group of the Athena Painter' and 'Perhaps Class of Copenhagen 68'): ABV 705.82bis
|
|
| 26.12.14
|
Beazley (attributed to 'Perhaps the Athena Painter', and 'Compare to Copenhagen 68'; certainly belongs to the 'Group of the Athena Painter'): ABV 704.5bis
|
|
| 26.12.17
|
Beazley attributes this to the Manner of the Haimon Painter: ABV 564.581
|
|
| 26.12.18
|
Beazley attributes this to the Manner of the Haimon Painter: ABV 562.556
|
|
| 26.12.19
|
Ure (CVA) attributes this vase to the 'Manner of the Emporion Painter'
|
|
| 26.2.95
|
Ure (CVA 1): Manner of Lydos
|
|
| 26.7.2
|
Beazley attributes this to the Manner of the Haimon Painter: ABV 562.557
|
|
| 26.8.3
|
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
|
|
| 27.4.11
|
Related to the skyphoi of Rhitsona Class F, according to CVA.
|
|
| 28.6.3
|
Ure: 'Style of the Fat Boy Group'
|
|
| 29.11.2
|
Ure attriutes this to the 'Manner of the Haimon Painter'
|
|
| 29.11.3
|
Ure (CVA) attributes this to the 'Manner of the Haimon Painter'
|
|
| 29.5.1
|
Ure ('Near the Group of the Arming Lekythoi'); Beazley ('Group of the Hoplite-Leaving-Home' and, formerly, 'Phanyllis Group')
|
|
| 34.8.4
|
Ure (CVA) attributes this to the 'Workshop of the Beldam Painter'
|
|
| 34.8.5
|
Ure (CVA) attributes this to the 'Manner of the Haimon Painter'
|
|
| 34.8.6
|
Beazley attributes this vase to the 'Manner of the Haimon Painter': ABV 545.179
|
|
| 35.5.11
|
Beazley attributed this to the group of the Penthesilea Painter.
|
|
| 45.10.1
|
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).
|
|
| 45.10.4
|
Beazley cites this as the name vase of the 'Reading Lekanis Painter': ARV2 1501.1
|
|
| 45.10.5
|
Beazley (ARV2 1287): 'Compare to the Group of Cambridge 73'; Ure (Painter of Heidelberg 210)
|
|
| 45.10.6
|
Beazley ('Class of Athens 581'): ; Haspels ('Marathon Painter')
|
|
| 45.6.14
|
Ure ('Group of the Hoplite-Leaving-Home')
|
|
| 45.6.72
|
Trendall, LCS 178.1067: possibly by the Primato Painter, but belonging to a group of 'minor vases' that may be 'workshop pieces' (176).
|
|
| 47.7.3
|
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
|
|
| 48.12.6
|
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
|
|
| 49.1.2
|
Trendall and Cambitoglou, RVAP 2.605.1, class this work close to that of the Gioia del Colle Painter; Schauenburg noted that it is closely related to the work of the Suckling Painter and the Salting Painter
|
|
| 49.4.2
|
Trendall and Cambitoglou, RFVA 2.955, 2.956.375, class this hydria among the 'naiskos vases' associated with the followers of the Baltimore Painter and the Patera Painter.
|
|
| 49.8.2
|
Trendall and Cambitoglou, RVAp 2.892.309, attribute this lekanis lid to the Stoke-on-Trent Painter, an associate of the Baltimore Painter.
|
|
| 49.8.3
|
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).
|
|
| 50.10.1
|
Coldstream 78.16. He further explains (79) that dogs are typical of this workshop.
|
|
| 50.10.4
|
Name vase of of the Painter of Reading 50 X 4 (ARV2 676.13), and 'Manner of the Carlsruhe Painter' (739.1), according to Beazley.
|
|
| 50.4.5
|
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 ?
|
|
| 50.5.5
|
Trendall, LCS 353.913, places this vase among the early-middle works of the Siamese Painter.
|
|
| 51.7.13
|
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.
|
|
| 51.7.5
|
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).
|
|
| 56.8.6
|
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
|
|
| 61.6.4
|
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).
|
|
| 78.7.1
|
JRG 14.11.2003 says from the way the vine is used and the shape (skyphos of Attic type rather than kotyle) it might be 'Circle of the Rose Painter'
|
|
| 85.3.1
|
Beazley ('near'): ARV2 1112.1; Mannack ('manner of'): Mannack 2001, 146, cat. t.1
|
|
| L.2011.1.37
|
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).
|
|
| L.2011.1.41
|
Comparisons with the shoulder decoration in Catalogue of British Museum, vol. III, no Q1770 MLA, pl.21, fig. 34.
|
|
| L.2011.1.42
|
For the shoulder decoration comparisons in the Catalogue of the British Museum, no Q1765
|
|
| L.2011.1.43
|
For the decoration of the central discus, see the Catalogue of British Museum, vol. III, group I(c)iii, no Q1759. For the quatrefoil pattern on the shoulder, compare to Q1768, Ennabli type I4.
|
|
| L.2011.1.44
|
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)
|
|
| L.2011.1.48
|
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
|
|
| REDMG:1934.53.4
|
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.
|
|
| REDMG:1935.87.1
|
JRG 14.11.2003 says 'comparatively late member of group', falls within Dunedin Group (except that has female head between wings)
|
|
| REDMG:1935.87.11
|
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.
|
|
| REDMG:1935.87.32
|
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'.
|
|
| REDMG:1935.87.4
|
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.
|
|
| REDMG:1935.87.7
|
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.
|
|
| REDMG:1947.13.1
|
Trendall and Cambitoglou, RVAP 2.815, attributes this amphora to the Split-mouth Group, which they compare to the Group of Trieste S 403.
|
|
| REDMG:1951.137.1
|
Trendall and Cambitoglou, 1.285.233, attribute this lekanis lid to the Lampas Painter, a 'follower of the Plain Style tradition'.
|
|
| REDMG:1951.139.1
|
Trendall and Cambitoglou, RFVA 2.717.851, class this vessel with vases 'associated in style with the Painter of the Kassel Cup'.
|
|
| REDMG:1951.140.1
|
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
|
|
| REDMG:1951.142.1
|
No precise comparanda have been found but the ornament on this vase relates it to the works of the minor painters and workshops associated with the Iliupersis Painter and other painters (Cambitoglou and Trendall, RVAp ch. 11). Cf. particularly Liverpool 50.60.65 (RVAp 11/116).
|
|
| REDMG:1951.144.1
|
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.
|
|
| REDMG:1951.147.1
|
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).
|
|
| REDMG:1951.148
|
Trendall and Cambitoglou, RFVA 1.317 and 1.320.25, class this among vases in the 'developed style' of the Snub-nose Painter.
|
|
| REDMG:1951.149.1
|
I. McPhee letter (02.05.1985): 'Close to Painter of Athens 13894 (ARV 1443)'
|
|
| REDMG:1951.150.1
|
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'.
|
|
| REDMG:1951.151.1
|
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).
|
|
| REDMG:1951.157.1
|
The ornament on this vase relates it to the works of the minor painters and workshops associated with the Iliupersis Painter and other painters (Cambitoglou and Trendall, RVAp ch. 11). Cf. particularly Zagreb 1080 (RVAp 11/115).
|
|
| REDMG:1951.159.1
|
Trendall and Cambitoglou, RVAP 2.815, attributes this amphora to the Split-mouth Group, which they compare to the Group of Trieste S 403.
|
|
| REDMG:1951.160.1
|
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.
|
|
| REDMG:1951.161.1
|
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.
|
|
| REDMG:1953.25.16
|
JRG 14.11.2003: Imitation of Dotted Spray Group
|
|