| 11.10.19
|
Ure (CVA) notes that the shoulder pattern is very near to that of the Theseus Painter
|
|
| 14.9.109
|
Belongs to the same workshop as 50.4.16 according to D.W.J. Gill
|
|
| 14.9.86
|
Beazley attributes this to the Manner of the Haimon Painter: ABV 564.587
|
|
| 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.
|
|
| 22.3.30
|
Trendall and Cambitoglou, RFVA 1.201.75, attributes this fragment to the Iliupersis 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.
|
|
| 25.9.4
|
Ure (CVA) attributes this to the 'Workshop of the Beldam Painter'
|
|
| 26.12.10
|
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'
|
|
| 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'
|
|
| 26.12.4
|
Related to, according to Amyx 103.4
|
|
| 26.4.4
|
Related to
|
|
| 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.
|
|
| 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'
|
|
| 29.11.5
|
Beazley: 'Compare to Hermogenes Potter'
|
|
| 30.4.2
|
Perhaps the Redingote Painter, according to Amyx 1988; but see Neeft 1977, no.27 for the Blaricum Painter
|
|
| 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).
|
|
| 45.10.5
|
Beazley (ARV2 1287): 'Compare to the Group of Cambridge 73'; Ure (Painter of Heidelberg 210)
|
|
| 45.3.1
|
Szilágyi 1998, 629/34: incised details on birds, particularly 'collars' on necks, are comparable, e.g. to those on Milan, Raccolte Archeologiche A. 1525 (Szilágyi 1998, 628/23).
|
|
| 45.6.30
|
Related to, possible (and this group moves to Metaponto at some time): see Green 2001.
|
|
| 45.6.31
|
Close to the series
|
|
| 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).
|
|
| 45.8.2
|
Trendall and Cambitoglou, RFVA 1.282.196, class this pelike with 'vases near in style or comparable' to the Thyrsus Painter.
|
|
| 47.6.1
|
Akin to the
|
|
| 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
|
|
| 48.5.2
|
Perhaps by, according to Amyx 220.8 [12.6]
|
|
| 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
|
|
| 49.8.2
|
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).
|
|
| 50.10.4
|
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.
|
|
| 50.4.16
|
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.
|
|
| 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 ?
|
|
| 51.4.10
|
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
|
|
| 51.7.11
|
Trendall, PP 159.275, attributes this krater to Python's 'more developed' style
|
|
| 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).
|
|
| 59.6.1
|
Ure: palmettes 'related to' 'tree palmettes' from Tanagra Floral ware: see Hesperia 15 (1946) 30.
|
|
| 60.8.2
|
Beazley classes this as 'Related to the Dolphin Group': Para 200.6
|
|
| 77.5.1.1-17
|
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'.
|
|
| 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.2011.1.43
|
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.
|
|
| 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:1935.87.25
|
According to S. Herbert (Corinth 7.4, 8)
|
|
| 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:1935.87.33
|
Trendall and Cambitoglou, RFVA 1.381 and 1.382.164, attribute this bell krater to the Schulman 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:1951.130.1
|
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).
|
|
| 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:1951.138.1
|
Trendall and Cambitoglou, RFVA 2.1004.243, attribute this lid to the Kantharos Group.
|
|
| 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:1951.143.1
|
Possibly in the Dunedin Group, according to J.R. Green (14.11.2003)
|
|
| 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:1951.149.1
|
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.
|
|