| 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.
|
|
| 22.3.23
|
Trendall, PP 205.625
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|
| 22.3.26
|
Trendall and Cambitoglou, RFVA 2.680.297.
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|
| 22.3.30
|
Trendall and Cambitoglou, RFVA 1.201.75, attributes this fragment to the Iliupersis Painter
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| 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.
|
|
| 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.
|
|
| 47.7.3
|
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
|
|
| 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).
|
|
| 50.5.2
|
Trendall, PP 188.425
|
|
| 50.5.5
|
Trendall, LCS 353.913, places this vase among the early-middle works of the Siamese Painter.
|
|
| 51.7.11
|
Trendall, PP 159.275, attributes this krater to Python's 'more developed' style
|
|
| 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.
|
|
| 56.8.4
|
Trendall, LCS 301.531
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|
| REDMG:1935.87.23
|
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
|
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:1951.131.1
|
Trendall and Cambitoglou, RFVA 21/18
|
|
| REDMG:1951.134.1
|
Trendall and Cambitoglou, RFVA 2.714.798
|
|
| 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:1951.139.1
|
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:1951.141
|
Trendall and Cambitoglou, RFVA 2.710.762, classes this bell krater as 'connected in style' with the Monopoli 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).
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|
| 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:1951.150.1
|
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:1953.25.32
|
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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|