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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
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, 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
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

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