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Semiramis Receiving the news of the Revolt of Babylon.

Semiramis Receiving the news of the  Revolt ofthe Persians, by Francesco Barbieri, called Guercino da Cento After Giovanni Francesco Barbieri [Guercino,] by Fr Hanfstaengl. Semiramis Receiving the news of the Revolt ofthe Persians, by Francesco Barbieri, called Guercino da Cento "Der Konnigen Tomiris erhalt die Nachrucht von der veiloren Schlacht gegen die Perser, von Francesco Barbieri, gen Guercino da Cento." Dresden Harausgeber. 1838.
Black and white lithograph after the painting by Giovanni Francesco Barbieri [Guercino,] formerly in the Staatliche Gemäldegalerie, Dresden.

The story of Semiramis is recounted by the Roman historian and moralist Valerius Maximus in his De Factis Dictisque Memorabilibus Libri (vol. IX, p.3, ext.4), a collection of short stories illustrating examples of good and bad conduct from the lives of important figures. Semiramis, a woman of unrivalled beauty, was the daughter of the fish-goddess Derceto, and became one of the founders of the Assyrian empire of Nineveh. Interrupted at her toilette by news of a revolt, Semiramis, the legendary queen of Assyria, demonstrated her determination as a ruler by refusing to finish combing her hair until she had led her army to crush the rebels. This depiction of the story is made lively and dramatic by the emphatic gestures and by such bold compositional devices as the off-center placement of Semiramis and the radically cropped figure of her maid at right.

The subject clearly appealed to Guercino, for he painted no fewer than three treatments of the theme, all of half-length format. The first is a this painting in the Museum of Fine Arts, Boston, which he executed in 1624 for Daniele Ricci. In around 1627-28 he returned to the subject, with a painting formerly in the Staatliche Gemäldegalerie, Dresden, destroyed in 1945. The third and final treatment was commissioned in 1645 by Cardinal Cornaro, and is now in a private collection. Bright and clean, printed on india paper laid down.
415 by 530mm (16¼ by 20¾ inches).    €200
Stock No. 2692 - Mythological full description

The Rape of Lucretia.

Tarquin & Lucretia After A de Pieters, engraved by Ch. le Vaßeur Tarquin & Lucretia "Tarquin et Lucrece." Paris Ch. le Vaßeur c1765
Copper engraving of the rape of Lucrece, after the painting by A de Pieters, Pienter de Roi de Danemarck . Engraved by Ch. le Vasseur. Title in French, quotation from Titus Livy in Latin and French. Modern hand colour.
The image shows Tarquin surprising a naked Lucretia and warnig her to remain silent.
The story is found in the Roman historian Livy's History of Rome, According to the story, Lucretia's rape by the Etruscan king's son and consequent suicide were the immediate cause of the revolution that overthrew the monarchy and established the Roman Republic. Good impression with later modern hand colour ; margins trimmed to plate mark; minor chips and tears to uppe & lower margins.
470 by 520mm (18½ by 20½ inches).    €750
Stock No. 2690 - Mythological full description

Hebe with Zeus as an Eagle.

Hebe. After François Huet Villiers, by H. Meyer. Hebe. "Hebe." London Engraved by H. Meyer, Great Russell Street, Bloomsbury. // Pub.d with permission Aug.t 17, 1814 by S. Knight, Sweeting's Alley, Royal Exchange.' 1814
Sepia mezzotint after the drawing of François Huet Villiers, of Hebe with Zeus in the form of an eagle.
The goddess shown as a young woman, half-length in clouds, directed to left wearing a gauzy veil and a necklace, one arm around the neck of Jupiter in the guise of an eagle with a thunderbolt, holding out a cup for him; within a border of etched lines.
The print appears to have first been printed by Colnagi in 1811, but was so popular that Villiers allowed other editions. Our copy lacks the publishers imprint but appears to be a version published by S Knight in 1814. [ see the British Museum number:2010,7081.7222 where the lettering states: 'From the Original Drawing in the possession of J,, Harper Esq.r // Drawn by Huet Villiers, Miniature Painter to their Royal Highnesses the Duke & Duchess of York. // Engraved by H. Meyer, Great Russell Street, Bloomsbury. // Pub.d with permission Aug.t 17, 1814 by S. Knight, Sweeting's Alley, Royal Exchange.']

Hebe was the goddess of youth, daughter of Zeus and Hera. She served nectar and ambrosia to the Olympians. Clean and bright; margins approx. 8 mm outside plate mark.
British Museum no:2010,7081.7222. 520 by 380mm (20½ by 15 inches).    €850
Stock No. 2675 - Mythological full description

Apollo Flays Marsyas.

The Flaying of Marsyas. After Giovanni Battista Langetti by Lorenzo Zucchi. The Flaying of Marsyas. "The Flaying of Marsyas." Dresden: C.H.von Heineken 1750-1757
Black & white copper engraving of Apollo flaying Marsyas, from the Recueil d'estampes d'après les plus célèbres tableaux de la Galerie Royale de Dresde. Engraved by Lorenzo Zucchi and Anto. Kern after the painting of Giovanni Battista Langetti.
Lettered below image with production detail: 'Ant. Kern del. - L. Zucchi Scul.' and 'Quadro di Giovambattista Langetti..', 'Tableau de Jean Baptiste Langetti..', and size and provenance of painting in Italian and French. Numbered 47 on plate.

The image show Apollo at the centre tying the satyr's legs to a tree trunk; on the right, an old satyr with his arms folded; on the left, three more satyrs witnessing the scene.

Maryas is mythological personage, connected with the earliest period of Greek music. He is variously called the son of Hyagnis, or of Oeagrus, or of Olympus. Some make him a satyr, others a peasant. All agree in placing him in Phrygia. The following is the outline of his story, according to the mythographers. Athena having, while playing the flute, seen the reflection of herself in water, and observed the distortion of her features, threw away the instrument in disgust. It was picked up by Marsyas, who no sooner began to blow through it than the flute, having once been inspired by the breath of a goddess, emitted of its own accord the most beautiful strains. Elated by his success, Marsyas was rash enough to challenge Apollo to a musical contest, the conditions of which were that the victor should do what he pleased with the vanquished. The Muses, or, according to others, the Nysaeans, were the umpires. Apollo played upon the cithara, and Marsyas upon the flute; and it was not till the former added his voice to the music of his lyre that the contest was decided in his favour. As a just punishment for the presumption of Marsyas, Apollo bound him to a tree, and flayed him alive. His blood was the source of the river Marsyas, and Apollo hung up his skin in the cave out of which that river flows. Dark impression; light toning and dampstain to left and lower blank margins; soft crease to upper right corner,
British Museum no:1855,0609.1267. 435 by 565mm (17¼ by 22¼ inches).    €350
Stock No. 2683 - Mythological full description

The Apotheosis of Aeneas.

Apotheosis of Aeneas. After Michel Corneille II, by Pierre Etienne Moitte. Apotheosis of Aeneas. "L'heureux destin d'Enée." Dresden. Georges Conrad Walther, 'A Paris chez Moitte, au coin de la rue St Julien le Pauvre, près le petit Chatelet, 1747.' 1747-1754
Black & white copper engraving of the Apotheosis of Aeneas from the Recueil d'estampes Gravées of aprez les tableaux et de la Galerie du Cabinet de SE Mr le comte de Bruhl, engraved by Pierre Etienne Moitte after the painting by Michel Corneille II
Numbered on plate: '31'; lettered with producers' names, publication address: 'A Paris chez Moitte, au coin de la rue St Julien le Pauvre, près le petit Chatelet, 1747', title, verses on either site of Bruhl's coat of arms ('Pour toi, Venus obtient un règne glorieux... l'eloquence est trop grande'), and provenance of original painting (collection of Comte de Bruhl).

The image shows the Apotheosis of Aeneas, with Ganymede pouring the ambrosia into a cup held by the young man who is sitting at centre, while nearby Zeus converses with Aphrodite, his arm placed around the goddess' shoulders.
It is said that Aphrodite asked Zeus to make Aeneas immortal, and as Zeus granted her request, the river god Numicius washed away all of Aeneas' mortal parts, and Aphrodite anointed him with Nectar and Ambrosia, making him a god, whom the people later worshipped under the name of Indiges. Dark impression; clean and bright; large paper; wide margins.
British Museum no:1850,0810.427; Le Blanc 11; Robert-Dumesnil VI 285 (102 nos) 435 by 565mm (17¼ by 22¼ inches).    €850
Stock No. 2681 - Mythological full description

Aeneas fleeing Troy with his family

Aeneas fleeing Troy with his family After Michel Corneille II, by Pierre Etienne Moitte. Aeneas fleeing Troy with his family "Enée sauvant sa famille de l'embrasement de Troie." Dresden. Georges Conrad Walther, 'A Paris chez Moitte, au coin de la rue St Julien le Pauvre, près le petit Chatelet, 1747.' 1747-1754
Black & white copper engraving of Aeneas fleeing Troy with his family the from the Recueil d'estampes Gravées of aprez les tableaux et de la Galerie du Cabinet de SE Mr le comte de Bruhl ...[ Plate 29], engraved by Pierre Etienne Moitte after the painting by Michel Corneille II
Numbered on plate: '29'; lettered with producers' names, publication address: 'A Paris chez Moitte, au coin de la rue St Julien le Pauvre, près le petit Chatelet, 1747', title, verses on either site of Bruhl's coat of arms ('Fils sensible et zélé... ne crains rien pour toy'), and provenance of original painting (collection of Comte de Bruhl).

The image shows Aeneas fleeing Troy with his family; the young bearded man stands at centre and gestures towards his family and some servants, who are approaching from the left; Aeneas' son Ascanius stands beside his father; Venus appears at centre and points to the right, while some putti can be seen carrying Aeneas' weapons with them.

Aeneas was born from the union of a mortal, Anchises and a goddess, Aphrodite. During the Trojan War, Aeneas, who some time before had been driven from Mount Ida by Achilles, was wounded by Diomedes and, having fainted, would have died if his mother had not come to his rescue. Aphrodite herself was wounded by Diomedes on this occasion, but then Apollo took over the protection of the Aeneas, removing him from the battle to the citadel, where his temple stood. In the sanctuary, Leto and Artemis healed Aeneas and made him even stronger. But for those fighting, Apollo fashioned a phantom of Aeneas, so that Achaeans and Trojans killed each other round it, until the real Aeneas, having recovered, returned to the field.
At the fall of Troy, Aeneas, who had been Leader of the Dardanians during the Trojan War, left the city in flames, and after wandering in the Mediterranean sea, came to Italy and founded the state that later became Rome. Dark impression; centre fold; generally bright; light toning; dampstain to lower margin; large paper; wide margins.
British Museum no:11850,0810.425; Le Blanc not described; Robert-Dumesnil VI 285 (102 nos) 435 by 565mm (17¼ by 22¼ inches).    €750
Stock No. 2682 - Mythological full description

Apollo & Galateia.

Apollo & Galatea. After Paolo de Matteis by Pierre Etienne Moitte Apollo & Galatea. "Apollon et Galathée." Dresden: Georges Conrad Walther, 'A Paris chez Moitte au coin de la rue St Julien le Pauvre près le petit Chatelet 1748' 1748-1754
Black & white copper engraving of Apollo & Galateia from the Recueil d'estampes Gravées of aprez les tableaux et de la Galerie du Cabinet de SE Mr le comte de Bruhl ...[ Plate 46], engraved by Pierre Etienne Moitte after the painting after Paolo de Matteis.
Lettered in lower margin with title and eight lines of verse; and production details: "Paulus de Matthei Pinx." and "P. Moitte Sculp." and "Tableau de 6 pieds de longeur sur 4 de hauteur qui est dans la Gallerie de S.E.M.gr Le Comte de / Bruhl Chevalier de l'Ordre de l'Aigle Blanc et Premier Ministre de sa Majesté Le Roy de Pologne Electeur de Saxe.".
The image shows Apollo in his chariot greeting Galateia who sits on her shell drawn by dolphins and accompanied by mermaids and other sea-creatures.

Galateia was one of the Nereides, fifty goddess-nymphs of the sea. Her name means either "the goddess of calm seas" from galênê and theia or "milky-white" from galaktos. Galateia frequented the coast of Sicily where she attracted the attention of the CyclopsPolyphemos. The giant wooed her with tunes from his rustic pipes, and offerings of cheese, milk, and wild fruit. The nymph, however, spurned his advances and consorted instead with a handsome Sicillian youth named Akis. When Polyphemos learned of this, he fell into a jealous rage and crushed the boy beneath a rock. Galateia was grief-stricken and transformed Akis into a stream. Dark impression; centre fold; image clean and bright; slight toning and damp stain to edges of upper and side margins; large paper; wide margins.
British Museum no:1872,0608.43. 378 by 502mm (15 by 19¾ inches).    €1000
Stock No. 2680 - Mythological full description

Psyche Surprises Eros.

Psyche Surprises Eros. After Raphaël by A. Legrande [le Grande]. Psyche Surprises Eros. "L'Amour Supris." Paris "chez Bance, ainé, rue St Denis." C1790-1800
Black and white stipple engraving of Psyche uncovering Eros by Augustin Legearde after Rapaël. Title and text in French
It is attributed to Raphaël, but is more likely inspired by him and his famous frescoes of the Loggia di Psyche in the Villa Farnesina (1517-18) .

Psyche's beauty caused the jealousy and envy of Aphrodite In order to avenge herself, the goddess ordered Eros to inspire Psyche with a love for the most contemptible of all men: but Eros was so stricken with her beauty that he himself fell in love with her. He accordingly conveyed her to some charming place, where he, unseen and unknown, visited her every night, and left her as soon as the day began to dawn. Psyche might have continued to have enjoyed without interruption this state of happiness, if she had attended to the advice of her beloved, never to give way to her curiosity, or to inquire who he was. But her jealous sisters made her believe that in the darkness of night she was embracing some hideous monster, and accordingly once, while Amor was asleep, she approached him with a lamp, and, to her amazement, she beheld the most handsome and lovely of the gods. In her excitement of joy and fear, a drop of hot oil fell from her lamp upon his shoulder. This awoke Amor, who censured her for her mistrust, and escaped. Psyche's peace was now gone all at once, and after having attempted in vain to throw herself into a river, she wandered about from temple to temple, inquiring after her beloved, and at length came to the palace of Venus. There her real sufferings began, for Venus retained her, treated her as a slave, and inmposed upon her the hardest and most humiliating labours. Psyche would have perished under the weight of her sufferings, had not Amor, who still loved her in secret, invisibly comforted and assisted her in her labours. With his aid she at last succeeded in overcoming the jealousy and hatred of Venus; she became immortal, and was united with him for ever. Dark impression; light toning; scattered light spotting, most noticeable in blank margins.
407 by 470mm (16 by 18½ inches).    €500
Stock No. 2689 - Mythological full description

The Toilette of Psyche.

The Toilette of Psyche. After Raphaël by A. Legrande [le Grande]. The Toilette of Psyche. "La Toilette de Psiché." Paris "chez Bance, ainé, rue St Denis." C1790-1800.
Black and white stipple engraving of the Toilette of Psyche by Augustin Legearde after Rapaël. Title and text in French
The engraving shows Psyche with her attendents, It is attributed to Raphaël, but is more likely inspired by him and his famous frescoes of the Loggia di Psiche in the Villa Farnesina (1517-18) .
Psyche's beauty caused the jealousy and envy of Aphrodite In order to avenge herself, the goddess ordered Eros to inspire Psyche with a love for the most contemptible of all men: but Eros was so stricken with her beauty that he himself fell in love with her. He accordingly conveyed her to some charming place, where he, unseen and unknown, visited her every night, and left her as soon as the day began to dawn. Dark impression; light toning; scattered light spotting.
405 by 473mm (16 by 18½ inches).    €500
Stock No. 2688 - Mythological full description

Orlando furioso.

Olympia rescued by Orland After St Amand by Morange. Olympia rescued by Orland "Olympe Déliverée par Roland." Paris Bonnefoy c1770
Copper engraving by Morange after the drawing by St Amand illustrating Chanson XI of Roland Furieux.[Ariosto Orlando furioso]where Orlando/ Roland rescues Olympia from the Orca.
The image shows a naked Olympia tied to a rock; [reminiscent of Perseus rescuing Andromeda]. Dark impression; light toning; light spotting mainly to blank margins; dampstain to left margin, far from image; 2 short tears to lower edge with old repairs to verso.
Thomas Gaehtgens, Jacques Lugand, Joseph-Marie Vien, Arthéna, 1988, p. XIII, notice w7050 422 by 318mm (16½ by 12½ inches).    €250
Stock No. 2687 - Mythological full description


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