Ure Museum Database

There are 14 objects for which Attribution contains → that
11.10.19 Ure (CVA) notes that the shoulder pattern is very near to that of the Theseus Painter 2003.12.0002.jpg
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' 2002.99.0029.jpg
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). 2004.99.0028.jpg
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). 2003.26.0005.jpg
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 2004.13.0014.jpg
50.10.1 Coldstream 78.16. He further explains (79) that dogs are typical of this workshop. 2003.95.0091.jpg
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. 2003.92.0176.jpg
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. 2003.95.0062.jpg
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). 2008.99.0557.jpg
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). 2010.98.0213.jpg 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'. 2005.91.0037.jpg
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. 2004.99.0437.jpg
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) 2005.99.0060.jpg
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).
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