| 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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| REDMG:1951.142.1
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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).
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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:1951.157.1
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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).
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