Ure Museum Database



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There are 12 objects for which Attribution contains → vase
26.12.19 Ure (CVA) attributes this vase to the 'Manner of the Emporion Painter' 2003.12.0082.jpg
34.8.6 Beazley attributes this vase to the 'Manner of the Haimon Painter': ABV 545.179 2003.12.0076.jpg
45.10.4 Beazley cites this as the name vase of the 'Reading Lekanis Painter': ARV2 1501.1 2007.01.0017.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
50.5.5 Trendall, LCS 353.913, places this vase among the early-middle works of the Siamese Painter. 2004.04.0002.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
61.6.5 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
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:1951.147.1 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:1951.157.1 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).
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