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Nude Male Figure Seated on the Ground, Amico Aspertini Italian, Black chalk, brush and brown wash, highlighted with white gouache, on brown-washed paper
Nude Male Figure Seated on the Ground
Amico Aspertini
ca. 1535–40
Bacchanalian Scene, Amico Aspertini Italian, Black chalk, highlighted with white, on brown-washed paper
Bacchanalian Scene
Amico Aspertini
1520–35
Studies after the Antique: The Fall of Phaëthon, Horses, Reclining Women with Children (recto); Studies after the Antique: An Altar or Urn, Lion Attacking a Horse (verso), Amico Aspertini Italian, Black chalk, pen and brown ink (recto); pen and brown ink over traces of black chalk (verso)
Studies after the Antique: The Fall of Phaëthon, Horses, Reclining Women with Children (recto); Studies after the Antique: An Altar or Urn, Lion Attacking a Horse (verso)
Amico Aspertini
1474–1552
Cain holding a mirror watching his sacrifice engulfed in flames, Adam and Eve seated nearby; in the upper right an angel expelling them from Paradise, Agostino Veneziano (Agostino dei Musi) Italian, Engraving
Cain holding a mirror watching his sacrifice engulfed in flames, Adam and Eve seated nearby; in the upper right an angel expelling them from Paradise
Possibly by Agostino Veneziano (Agostino dei Musi)
or possibly by Giulio Bonasone
After Amico Aspertini
ca. 1530–50
Five Dancing Putti, Amico Aspertini Italian, Engraving
Five Dancing Putti
Amico Aspertini
n.d.
Cain holding a mirror watching his sacrifice engulfed in flames, Adam and Eve seated nearby; in the upper right an angel expelling them from Paradise, Antonio Veneziano Italian, Engraving
Cain holding a mirror watching his sacrifice engulfed in flames, Adam and Eve seated nearby; in the upper right an angel expelling them from Paradise
Possibly by Antonio Veneziano
or possibly by Giulio Bonasone
After Amico Aspertini
ca. 1530–50
Cain holding a mirror watching his sacrifice engulfed in flames, Adam and Eve seated nearby; in the upper right an angel expelling them from Paradise
Possibly by Agostino Veneziano (Agostino dei Musi)
or possibly by Giulio Bonasone
After Amico Aspertini
ca. 1530–50