Last Hurrah
- Hopfer, The Soldier and His Wife
- van Leyden, The Baptism of Christ
- Italian School (Tuscan?), Eagles
- Marco Dente, Entellus and Dares
- Vincentino, Temperance
- Hopfer, Battle of the Naked Men
- Circle of Romano, Roman Battle
- van Leyden, The Fall of Man
- Scultori, Eros Playing a Clavier
- Bonasone, The Wounded Scipio
- Brun, The Drummer
- Cort, The Assembly of the Gods
- Wierix, The Virgin Nursing
- Sadeler, Annunciation
- de Gheyn, The Rest on the Flight
- Sadeler, Death as a Welcome Visitor
- Callot, Les Intermèdes, No.1
- Brebiette, Woman Nursing
- Dutch or Flemish School, Four Biblical Episodes
- Vauquer, Ornament Plate
- Hondius, Uylenspiegel, or Owlglass
- Roghman, River and Rocks, Italy
- Castiglione, Noah and the Animals
- Piranesi, Frontispiece
- Piranesi, Carceri XI: The Arch
- Pether, A Farrier’s Shop
- Tiepolo, Self Portrait
- Turner & Dunkarton, The Temple
- Lucas, The Vale of Dedham, Essex
- Weir, Study for a Monument
- Lalanne, View of Groningen
- Richmond, Landscape at Otford
- Harpignies, Troncs d’Arbres
- Loizelet, Le Petit Coblentz
- Whistler, The Smith
- Forain, Loge de Danseuse
- Toulouse-Lautrec, Au Pied du Sinai
- Orlik, Still Life with Fruit
- Marin, Sestiere di Dorso Duro
- Roussel, The Snow
- Vergé-Sarrat, Chambre de Malade
- Oppenheimer, Ferruccio Busoni
- Levine, Sewing Machine Operator
- Picasso, Femme Nue à la Jambe
- Oppenheimer, The Rosé Quartet
- Villon, Mon Vieux Luxembourg
- Epstein, Jackie
- Tobey, Untitled
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12. Cornelis Cort (ca. 1533-1578) after Francesco Primaticcio (1504-1570) The Assembly of the Gods on Olympus |
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(click on image to print)
The Assembly of the Gods on Olympus
Engraving, ca. 1565, Bartsch 52, Bierens de Haan 184 ii/ii, Hollstein 184 ii/ii, New Hollstein 187 ii/ii, 455 mm. diameter. Very good impression of this large and impressive plate on thick laid paper with square margins outside the circular plate mark; central vertical crease flattened and reinforced, several printer's creases generally not obtrusive, two small edge tears repaired. The print bears the name Tomaso Vincidor of Bologna as inventor, but it is actually after a drawing by Primaticcio (once owned by Mariette, now in the Louvre), which is not round but square; the adaptation to a circular format is nicely accomplished. There is also an associated painting in the Galerie d'Ulisse in Fontainbleau. The print, despite the artists’ signatures now being upside-down at the top, is mounted in the same vertical direction as the original drawing, not only for art-historical reasons, but because the composition is most effective that way, but it can be viewed with profit from any angle. Truly, a marvelous composition.
