Ure Museum Database



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There are 94 objects for which Attribution contains → the
11.10.19 Ure (CVA) notes that the shoulder pattern is very near to that of the Theseus Painter 2003.12.0002.jpg
11.10.21 Manner of the Haimon Painter 2008.99.0780.jpg
14.9.109 Belongs to the same workshop as 50.4.16 according to D.W.J. Gill 2003.97.0495.jpg
14.9.86 Beazley attributes this to the Manner of the Haimon Painter: ABV 564.587 2003.65.0007.jpg
2003.7.77 workshop of the Haimon Painter? 2006.20.0556.jpg
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. 2006.20.0110.jpg
22.3.30 Trendall and Cambitoglou, RFVA 1.201.75, attributes this fragment to the Iliupersis Painter 2004.73.0002.jpg
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. 2003.97.0370.jpg
23.4.1 Ure attributes this as a 'late work' of the Q Painter: JHS 64 (1944) 75 no.43 2003.97.0672.jpg
25.9.4 Ure (CVA) attributes this to the 'Workshop of the Beldam Painter' 2003.12.0074.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
26.12.13 Beazley ('Group of the Athena Painter' and 'Perhaps Class of Copenhagen 68'): ABV 705.82bis 2003.97.0873.jpg
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 2003.44.0005.jpg
26.12.17 Beazley attributes this to the Manner of the Haimon Painter: ABV 564.581 2003.52.0004.jpg
26.12.18 Beazley attributes this to the Manner of the Haimon Painter: ABV 562.556 2003.52.0006.jpg
26.12.19 Ure (CVA) attributes this vase to the 'Manner of the Emporion Painter' 2003.12.0082.jpg
26.7.2 Beazley attributes this to the Manner of the Haimon Painter: ABV 562.557 2003.09.0004.jpg
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 2007.01.0092.jpg
27.4.11 Related to the skyphoi of Rhitsona Class F, according to CVA. 2003.15.0009.jpg
28.6.3 Ure: 'Style of the Fat Boy Group' 2003.97.0652.jpg
29.11.2 Ure attriutes this to the 'Manner of the Haimon Painter' 2003.97.0743.jpg
29.11.3 Ure (CVA) attributes this to the 'Manner of the Haimon Painter' 2004.07.0097.jpg
29.5.1 Ure ('Near the Group of the Arming Lekythoi'); Beazley ('Group of the Hoplite-Leaving-Home' and, formerly, 'Phanyllis Group') 2004.95.0044.jpg
30.4.2 Perhaps the Redingote Painter, according to Amyx 1988; but see Neeft 1977, no.27 for the Blaricum Painter 2003.97.0018.jpg
34.8.4 Ure (CVA) attributes this to the 'Workshop of the Beldam Painter' 2003.12.0077.jpg
34.8.5 Ure (CVA) attributes this to the 'Manner of the Haimon Painter' 2003.97.0434.jpg
34.8.6 Beazley attributes this vase to the 'Manner of the Haimon Painter': ABV 545.179 2003.12.0076.jpg
35.5.11 Beazley attributed this to the group of the Penthesilea Painter. 2003.21.0082.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
45.10.22 Beazley said this was 'Near the Acheloos Painter': ABV 372.158 2008.98.0366.jpg
45.10.4 Beazley cites this as the name vase of the 'Reading Lekanis Painter': ARV2 1501.1 2007.01.0017.jpg
45.10.5 Beazley (ARV2 1287): 'Compare to the Group of Cambridge 73'; Ure (Painter of Heidelberg 210) 2011.98.0040.jpg
45.6.14 Ure ('Group of the Hoplite-Leaving-Home') 2004.51.0098.jpg
45.6.31 Close to the series 2003.98.0048.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
45.8.2 Trendall and Cambitoglou, RFVA 1.282.196, class this pelike with 'vases near in style or comparable' to the Thyrsus Painter. 2011.98.0080.jpg
47.6.1 Akin to the 2007.01.0060.jpg
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. 2005.88.0043.jpg
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 2003.26.0008.jpg
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. 2005.88.0039.jpg
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 2002.97.0134.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
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. 2001.99.0150.jpg
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. 2003.94.0065.jpg
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). 2003.92.0349.jpg
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. 2013.99.0031.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
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 ? 2008.99.0569.jpg
50.5.5 Trendall, LCS 353.913, places this vase among the early-middle works of the Siamese Painter. 2004.04.0002.jpg
51.1.2 Beazley (but the attribution has been since withdrawn): Para 300 2010.98.0180.jpg
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 2010.98.0125.jpg
51.4.6 Beazley attributes this 'Near the C Painter': ABV 61.7 2003.99.0022.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
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 2010.98.0102.jpg
60.8.2 Beazley classes this as 'Related to the Dolphin Group': Para 200.6 2002.97.0709.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
61.6.5 Ure (BSA 1960) identifies this vase as from the same workshop (and probably same hand) as Chalcis 938 (deep handleless bowl). 2002.97.0677.jpg
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. 2003.57.0002.jpg
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'. 2005.91.0037.jpg
78.7.1 JRG 14.11.2003 says from the way the vine is used and the shape (skyphos of Attic type rather than kotyle) it might be 'Circle of the Rose Painter' 2008.98.0440.jpg
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). 2011.97.0263.jpg
L.2011.1.41 Comparisons with the shoulder decoration in Catalogue of British Museum, vol. III, no Q1770 MLA, pl.21, fig. 34. 2011.97.0303.jpg
L.2011.1.42 For the shoulder decoration comparisons in the Catalogue of the British Museum, no Q1765 2011.97.0249.jpg
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. 2011.97.0236.jpg
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) 2011.97.0278.jpg
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 2011.97.0370.jpg
REDMG:1926.99.54 Perhaps by the 2003.93.0391.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:1935.87.11 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:1935.87.23 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'.
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'. 2005.89.0042.jpg
REDMG:1935.87.33 Trendall and Cambitoglou, RFVA 1.381 and 1.382.164, attribute this bell krater to the Schulman Painter 2004.07.0003.jpg
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. 2005.90.0016.jpg
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). 2004.99.0353.jpg
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'. 2004.73.0004.jpg
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'. 2004.99.0655.jpg
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 2004.99.0810.jpg
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). 2004.99.0702.jpg
REDMG:1951.143.1 Possibly in the Dunedin Group, according to J.R. Green (14.11.2003) 2001.99.0005.jpg
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. 2005.99.0120.jpg
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). 2005.99.0048.jpg
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. 2003.93.0269.jpg
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'. 2005.99.0161.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).
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. 2005.89.0030.jpg
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. 2003.95.0072.jpg
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. 2005.90.0006.jpg
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'. 2005.89.0006.jpg
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