1 For Beazley's remark, see ARV2, 181. For the Kleophrades Painter, see ARV2, 181-95, 1631-33, and 1705; ABV, 404-5, 696, and 715; Para., 175-76 and 340-41; Beazley Addenda 2, 105 and 186-89; J. D. Beazley, "Kleophrades," JHS 30 (1910) 38-68; Beazley 1974b; Richter 1936; Lullies 1957; Ashmead 1966; Greifenhagen 1972; Boardman 1975, 91-94; Frel 1977a; and Robertson 1992, 55-68. For the painter's Panathenaic amphorae, see S. B. Matheson, "Panathenaic Amphorae by the Kleophrades Painter," Greek Vases in the J. Paul Getty Museum 4 (1989) 95-112. For his other black-figure work, see Kunze-Götte 1992.
2 Beazley 1918, 40-41.
3 For example, the satyr holding a shield on the neck-amphora Harrow 55 (ARV2, 183, 11) was originally sketched holding a cuirass; see P. E. Corbett, "Preliminary Sketch in Greek Vase-Painting," JHS 85 (1965) 16-28 (Harrow amphora: pls. IIb and III). On another amphora of this type, Villa Giulia 47836 (ARV2, 184, 18), the youth on the obverse was sketched holding a hare for the boy on the reverse, but the gift was omitted in the final drawing.
4 E.g. two very early psykters: Louvre G 57 and Compiègne 1068; Beazley 1925, 64, nos. 8 and 7; ARV2, 188, 65-66. It was Richter who, when she attributed the Harvard calyx-krater to the Kleophrades Painter (discussed below), recognized that the psykters must also be his (see Richter 1936). For Euthymides, see ARV2, 26-30 and 1620-21; Para., 323-24, 509, and 520; Beazley Addenda 2, 155-56; Hoppin 1917; L. Talcott, "A Stand signed by Euthymides," Hesperia 5 (1936) 59-69; M. Wegner, Euthymides und Euphronios (Münster 1979); Brijder 1984, 59-69, (M. Ohly-Dumm, "Sosias und Euthymides"); and E. Reschke, Die Ringer des Euthymides (Stuttgart 1990).