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Found 214 Resources

Recto: Lamentation over the dead Christ; Verso: Zeuxis painting Helen of Troy

Cooper Hewitt, Smithsonian Design Museum
Recto: Christ is shown lying upon a sarcophagus. Two angels hold lighted candles near his head. The Virgin kneels beside it. Four other women, and an indistinct figure in the back, mourn the dead Christ. Below is a framing line, part of which is on -2648a. A few strokes at the lower edge belong to -2648a. Verso, vertically: Zeuxis uses a number of models to fashion an image of Helen of Troy. The study of the leg is above, at left. Zeuxis paints with his left hand after a girl standing upon a platform. Two of the others are seated, one takes her skirt off, the fourth stands in the right foreground. Framing line, at left. The line and strokes at the left edge belong to -2648b.

Recto: Judith with the head of Holofernes; Verso, left: Judith with the head of Holofernes; Verso, right: preliminary design for titlepage for print series of The Seven Virtues

Cooper Hewitt, Smithsonian Design Museum
Recto: Judith stands in the foreground, an upraised sword in her right hand. In her left hand she holds the severed head of Holofernes. A servent kneels, right, holding an open sack. The body of Holofernes on couch, left. Verso, left: Judith with head of Holofernes; right, design of oval frame with Cupids above and figures flanking it at sides and below.

Recto: Judith with the Head of Holofernes; Ascension of Christ

Cooper Hewitt, Smithsonian Design Museum
The servant, who is holding a sack, is shown from the back, kneeling at left before Judith, who raises the sword with her right hand. The corpse of Holofernes is in the back, at right. Recto: Kneeling in a three-quarter circle ground, Apostles at left, Mary at right. Kneeling and standing angels fill the intervals. Written on top: "4." Parts of the figure of Christ and of the Glory are drawn over a note: "ente figurata / l'Ascensione." Some parts of the design are also in 1901-39-2640.

Recto: Judith with head of Holofernes; Verso: Preliminary Design for Title Plate of the Seven Planets print series

Cooper Hewitt, Smithsonian Design Museum
Vertical rectangle. A) The servant is shown in profile standing and turned toward right. Judith is shown slightly oblique from the left back, kneeling with the right leg upon the bed. The head is turned toward her left shoulder. The motifs have been partially drawn over earlier onees, probably showing the woman leaving the tent. Some strokes at the right margin belong to -2639a. Recto: B: An ovoid is in front of a somewhat smaller oblong. A spherical octagon is in its center over which Jupiter is shown with the eagle, "Jiove." Beside are, at right, "saturno" and "marte," at left "apollo" and "venere." Below, at left "mercurio," at right Diana, "luna." Scribbling in the upper left corner. At right is the right margin of -2639b.

Recto: Judith with head of Holofernes; Verso: Pietà

Cooper Hewitt, Smithsonian Design Museum
Recto: A variation of -2639a. The servant is shown slightly oblique, in profile, looking up to Judith. Verso: in opposite direction: The body of Christ leans against the lap of the seated Virgin. The group is flanked by two mourning angels, holding great lighted candles.

Recto: Joseph interpreting the dreams of Pharoah, preliminary design for plate 2, "Spiritus Intellectus" (The Spirit of Intellect) in the "Seven Gifts of the Holy Spirit" series; Verso: inscription concerning print series of the "Life of John the Baptist" and "The Seven Gifts of the Holy Spirit"

Cooper Hewitt, Smithsonian Design Museum
The Spirit of the Intellect: Pharoah seated on a covered dais, left, surrounded by his court. Joseph, a young man, stands before him. Inscription below. Verso: inscription

Recto: Invention of Distillation, preliminary design for "Distillatio," plate 7 in the Nova Reperta (New Inventions of Modern Times) print series

Cooper Hewitt, Smithsonian Design Museum
Recto: View of a laboratory with chemists and assistants distilling. At center, a large vessel for heating. In the foreground at right, a man seated in a chair, reading a manual; a young man stands behind him. At left, a boy with mortar and pestle. Verso: Sketches of five figures. A doctor appears seated, below, and standing, above. This is a preparatory drawing for the "Hyacum et lues venera" print, plate 6 from Stradanus's Nova Reperta series, published in Antwerp by Philips Galle.

Recto: Hymenaeus, or "Nuptiae" (God of Weddings), design for pl. 5 in the Schema, seu Speculum Principum series; Verso: inscription regarding the sending of drawings for the series

Cooper Hewitt, Smithsonian Design Museum
Horizontal rectangle. In the center, the figure of Hymenaeus (god of weddings) seated on a dais, holding a lighted torch in his left hand and a scroll in his right. Pavilions lower left and right, buildings and figures in background. Open casket, right; other objects of luxury, in foreground. Verso: crossed-out notes on the sending between September 1594 and January 1595 of the six drawings for the Schema seu Speculum Principum series, to the brothers Johannes and Rafael Sadeler, engravers in Munich.

Recto: Hunting Ducks using Pumpkins in the West Indies; Verso, above: Crocodile Hunt in the Nile; Verso, below: Hunting Tigers using Traps and Mirrors

Cooper Hewitt, Smithsonian Design Museum
Horizontal rectangle. Obverse: Hunters using headpieces in the shape of ducks to serve as decoys in trapping the birds. Hunters submerged in the water wearing the headgear. Left, two hunters putting on the headpieces (gourd). Reverse: top - in the background, a pig used as a decoy in trapping alligators. Two alligators in the foreground. Bottom, two tigers about to enter the trap.

Recto: Giovanni de 'Medici ("dalle Bande Nere") leads his troops across the river Adda, driving back the Spanish forces, 1521; Verso: inscriptions

Cooper Hewitt, Smithsonian Design Museum
Horizontal rectangle. Opposing forces on horseback face each other, the troops at left moving across a river toward the enemy. Inscription on verso.

Recto: Four preliminary design for the "Vermis Sericus" (Silk-making) print series. Above left: Winding silk. Below left: preparing mulberry leaves. Above right: arranging the leaves on shelves. Below right: feeding the mulberry leaves to the silkworms. Verso: Above left: inscription regarding payments for print designs for the Silkmaking and Hunt series. Below left: stacks of mulberry leaves on a rack, a jumping lynx. Verso right: three mulberry leaves.

Cooper Hewitt, Smithsonian Design Museum
Recto: Above left: winding silk by steaming silkworm cocoons and reeling the raw silk from the cocoons. Below left: Gathering the mulberry leaves outside. Above right: Spreading the leaves on trays. Lower right: Feeding mulberry leaves to the silkworms.Verso: inscription, a stack of trays, a leaping lynx. At right, detail studies of three mulberry leaves, on a large scale.

Recto: Four Hunting Scenes, designs for the Venationes print series; Verso: Plan of a Fortified City, and notes by Luigi Alamanni regarding the Nova Reperta series (verso)

Cooper Hewitt, Smithsonian Design Museum
Recto: Four scenes, upper left, hunting rabbits with leopards, lower left, hunting rabbits with dogs; upper right, fishing; lower right, trapping birds. All designs for the Venationes series. Verso: above, fifteen lines of inscription in the hand of Luigi Alamanni, relating to prints in the Nova Reperta series; below, plan of walled city.

Recto: Fight between Elephants and Snakes, from Pliny's Natural History (book 8, ch.11-12); Verso: inscription relating to source material

Cooper Hewitt, Smithsonian Design Museum
Horizontal rectangle. An elephant struggling with a serpent, in the foreground. The serpent grasps the trunk of the elephant between its jaws. At right, another serpent, coiled about a tree, threatens an elephant standing behind a tree, center.

Recto: Emperor Commodus Killing a Leopard; Verso: Sketch by Luigi Alamanni, and inscription in his hand relating to Herodianus' Historiae, I, 15, 6-7

Cooper Hewitt, Smithsonian Design Museum
Horizontal rectangle. A tiger, broken out of his cage, where another one still lies, charges a man. Two others flee. The setting is an arena with crowded ranks. An arrow, shot my a man from the Imperial box, is moving toward the beast. Recto, vertically, top: a rough outlining sketch for the representation. Beneath the shooting man is written: "commodo / imperatore"; beneath a line: "Storico greco racconta che mentre uno (spi)ava nel teatro una gabbia dove era una [tigre] ella scappò e si gli lanciò a dosso e lo sarebbe (?) subito morto se non che Commodo Imperatore fu tanto presto e practico con l'arco, e con la / freccia (di quali molto si dilettava) che ferì, et am/mazzo il tigre minanzi che curessi (? nocessi?) all'huomo"

Recto: Elephants Hunted by Troglodytes [Cavemen]; Verso: inscription relating to Pliny the Elder's Natural History, Book 8, ch.8

Cooper Hewitt, Smithsonian Design Museum
A herd of elephants is shown trotting backwards in a hilly country. Palm trees stand laterally in the foreground. Two dwarves are ready to spring from them, as did a third who, holding the tail and standing upon a knee, raises an axe with his left hand to cut horns of the knees of the animal he caught, the last one.

Recto: Diana, or "Venatio" (Allegory of the Hunt), preliminary design for pl. 4 in the Schema, seu Speculum Principum (Skills of a Prince) series; Verso: Diving for Pearls in the Persian Gulf

Cooper Hewitt, Smithsonian Design Museum
Female figure seated under a tree holding a falcon on her right wrist surrounded by hunting horns, dogs, and bows and arrows, recto. View of semicircular, mountainous coastline with tents pitched at the water's edge. Two parallel rows of boats float in the water and figures raise or lower themselves from lines attached to the bow. In the foreground figures step off the boats onto the shore carrying small bags; some bags are visible laid on the shore and are gathered together by figures crouching on the shore or under the tents, verso.

Recto: Deer Hunt with Nets. Verso, left: Saint Giovanni Gualberto and a miraculous provision of food at Vallombrosa; Verso, right: The miraculous healing of Adalassia by Saint Giovanni Gualberto

Cooper Hewitt, Smithsonian Design Museum
Observe: Hunters, on horseback, accompanied by their hounds, have forced the two stags into a trap consisting of a net which has been stretched across a wide area, from lower left to upper right. Handwriting, inscription, upper right. Reverse: Two scenes.

Recto: Crocodile Hunt in Tentyra, in Egypt; Verso: inscription relating to Pliny the Elder's Natural History, Book 7, ch. 38

Cooper Hewitt, Smithsonian Design Museum
Five men are seated astride crocodiles, wrestling the animals and holding their jaws open with with sticks. Two are in the water of the Nile, while three more are on the bank at left. One of the latter is being killed by blows upon the head. On the verso, an inscription citing Pliny the Elder explains describes the scene.

Recto: Christ healing paralytics near the pool of Bethesda; Verso, above: Mercury, patron of travellers; Verso, below: studies of a man near an open door

Cooper Hewitt, Smithsonian Design Museum
Vertical rectangle. Verso: At right, a circular, arcaded area, in which a number of people are seated. Others are seen in the narrow aisle surrounding the area, sitting and lying about. Christ stands in the foreground, approaching one of the recumbent figures. Recto, top: Horizontal rectangle. A statue, center, with groups of people moving toward it, left and right. Bottom: Vertical rectangle. Open doorway with two figures.

Recto: Bull hunt with Lassos; Verso, above: Bear hunt by Men in Armor; Verso, below: Hunting Monkeys by Deception; all preliminary designs for the Venationes series

Cooper Hewitt, Smithsonian Design Museum
Recto: Men on horseback lasso bulls with long poles and ropes. Reverse, upper right: men in armor attacked by bears. Bottom: monkeys washing themselves in basin. In the background, humans washing themselves in a similar way

Recto: Bird Hunt with Falcons; Verso: Lunette decorated with animals, capricorn, and foliage

Cooper Hewitt, Smithsonian Design Museum
The kill is shown in the right middle plane. Hunters, two of them, mounted on horses and dogs are in the foreground. Catching herons with falcons. Verso: The panel shows a short rinceau, one of the spirals of which ends with the half figure of a goat, birds, a festoon. An account is written on top.

Recto: Battle between Pygmies and Cranes; Verso: inscription relating to Pliny the Elder's Natural History, Book 7, ch. 2

Cooper Hewitt, Smithsonian Design Museum
The Pygmies are riding goats and sheep and battle with lances and bows. They attack from the right. the birds come from the left. In the right back Pygmies mounted and on foot flee. Verso: inscription referring to Pliny the Elder's account in the Natural History, book 8 chaper 26

Recto: Apollo, or "Litterae" (Allegory of the Liberal Arts), preliminary design for pl. 3 in the Schema, seu Speculum Principum (Skills of a Prince) series; Verso, above: Deer Hunt with Lassos; Verso, below: Cattle attacked by Foxes

Cooper Hewitt, Smithsonian Design Museum
Apollo seated under a tree with a violin. Around him are symbols of the Arts, below two buildings in theTuscan style, a formal garden and a fountain. Verso: Upper section: The hunters on horseback lasso a stag, related to "Venationes" 31. Lower section: Wolves attacking bulls. Foxes attack young calves, goats related to "Venationes" 48. Source: Welmoet van Kannerbok [sp?]

Recto: Alexander the Great watching a Fight between his Dog, and Elephant, and a Lion; Verso: Verso: inscription relating to Pliny the Elder's Natural History, Book 8, ch. 61

Cooper Hewitt, Smithsonian Design Museum
Alexander the Great watches from one of three boxes shown in the background. A foot of a dog is shown below, at right.
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