| 25.8.6
|
Beazley: ABV 698.11bis; but see A.D. Ure ('Euboean')
|
|
| 27.4.8
|
See Metropolitan Museum Studies 4 (1932) 24.20
|
|
| 30.4.2
|
Perhaps the Redingote Painter, according to Amyx 1988; but see Neeft 1977, no.27 for the Blaricum Painter
|
|
| 45.6.30
|
Related to, possible (and this group moves to Metaponto at some time): see Green 2001.
|
|
| 45.8.1
|
Beazley: 1411.37; but see now Kathariou
|
|
| 47.6.2A-B
|
The name 'Herakles Painter', for the 'Sam Wide Painter', as suggested by A.N. Stillwell (see Corinth 15.3, 370 n. 1), has not yet been adopted.
|
|
| 47.8.1
|
The name 'Herakles Painter', for the 'Sam Wide Painter', as suggested by A.N. Stillwell (see Corinth 15.3, 370 n. 1), has not yet been adopted.
|
|
| 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
|
|
| 51.7.16
|
Ure: ABV 272.97 (but contra. see Burow)
|
|
| 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
|
|
| 59.6.1
|
Ure: palmettes 'related to' 'tree palmettes' from Tanagra Floral ware: see Hesperia 15 (1946) 30.
|
|
| 64.7.1
|
The name 'Herakles Painter', for the 'Sam Wide Painter', as suggested by A.N. Stillwell (see Corinth 15.3, 370 n. 1), has not yet been adopted.
|
|
| 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.
|
|
| 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: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:1951.147.1
|
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).
|
|