Hermes with others
Hermes with others Stamp Collection
Greece 1994 Hermes leads the chariot of Selene the goddess of the moon , for the 2nd Paneuropean Transport Conference
Austria 2016 Hermes and Fortuna from a relief of the main entrance of the ONB building , for the 200 years Austrian National Bank
Take a look - a mirror image
Czechoslovakia 1970 Hermes and Athena, by Bartholomy Spranger (1546-1611), after a fresco in Prague Castle
Hermathena (composite of Hermes and Athena)
Hermathena or Hermathene was a composite statue, or rather a herm, which may have been a terminal bust or a Janus-like bust, representing the Greek gods Hermes and Athena, or their Roman counterparts Mercury and Minerva.
During the Renaissance, a number of artists, for example Rubens and Vincenzo Cartari, portrayed Hermathena in art either as two gods acting in conjunction, or as a single deity with the attributes of the other, for example Athene holding the caduceus, which was a symbol of Hermes.
Berlin 1974 Hermes and Athena, seal of the Berlin high school to the Grey abbey for 400 years high school to 'Grey Abbey'
Greece 1987
The fables of Asops Hermes and the Woodcutter
Hermes and the Woodcutter
A man was chopping wood by a river when he dropped his axe and it was carried away by the current. The man then sat down on the riverbank and began to weep. When Hermes learned the reason for his sorrow, he brought up a golden axe and asked whether that was the man's axe. The man said that it was not his. A second time, Hermes brought up a silver axe, and again asked the man if this was the axe he had lost but the man said that it was not. The third time Hermes brought up the axe that the man had lost and when the man recognized his axe, Hermes rewarded the man's honesty by giving all of the axes to him as a gift. The man took the axes and went to tell his friends what had happened. One of the men was jealous and wanted to do the same thing. He began chopping some wood and then intentionally let his axe fall into the waters. As he was weeping, Hermes appeared and brought up a golden axe and asked the man if that was the axe he had lost, the greedy man got excited and said that it was the one. Not only did the man fail to receive any gifts from the god, he didn't even retrieve his own axe.
The fable shows that the gods are sympathetic to honest people and hostile to people who are liars.
Canada 1974 Mercury with the Winged Horse Pegasus for U.P.U. (Universal Postal Union), Centenary
Central African Republic 1965 Mercury with the Winged Horse Pegasus. Sculpure of Antoine Coysevox (1640-1720) a french sculptor. for 5 ° anniv. admission to the U.P.U.
According to Ovid, Mercury loved Herse but her jealous sister, whom he calls Aglaurus, stood between them, barring Mercury's entry into the house and refusing to move. Mercury was outraged at her presumption and turned her to stone
Netherland 2004 Mercury and Aglauros by Carel Fabritius (1622-1654) Museum of Fine Arts Boston
Belgium 1954 Mermaid, (symbol of Ostend) 'Mercury' and Rotary Symbol for Fifth Rotary International Regional Conference, Ostend
Greece 2010 A modern painting of Nikos Engonopoulos (1907-1985) which shows Orpheus and Eurydice . Hermes on the left side which is recognized by the wings from the ankles and the hat.
Antigua and Barbuda 1993
Paraguay 1978
Education of the Princess (1622–1625) by Rubens shows a maturing Marie de' Medici at study. Her education is given a divine grace by the presence of three gods Apollo, Athena, and Hermes. Apollo being associated with art, Athena with wisdom, and Hermes the messenger god for a fluency and understanding of language. Also present are the three graces, Euphrosyne, Aglaea, and Thalia giving her beauty.
Ajman 1975 Venus with Mercury and Cupid The School of Love or The Education of Cupid is a c. 1525 painting by the Italian painter Correggio, now in the National Gallery.
France 1949 Allegory to commerce , a relief from the fountain of St. Sulpice. Hermes in the middle.
Assembly of Presidents of Chambers of Commerce
MONACO 2016 Venus with Mercury and Cupid Mercury teaching geography to Amor in the presence of Venus, painting by Louis Jean François Lagrenée
Romania 1975 Hermes with others for International Meter Convention Centennial
France 1876 Symbol of peace and trade represented by roman goddess Pax and Mercury
France 2016 Symbol of peace and trade represented by roman goddess Pax and Mercury
140th anniversary of type "Sage"
France 1976 Symbol of peace and trade represented by roman goddess Pax and Mercury for the stamp day. 100 anniversary for this stamp.
Luxemburg 1882 Symbol of agriculture and trade represented by goddess Demeter(probably) and Mercury
Hungary 1993 Ancient Roman Roads. Mercury (roads for commerce) and Mars (roads for war)
The whole painting
Burkino Faso 1985 The Primavera by Botticelli
Mercury on the left keeps the garden safe from threatening clouds by using his caduceus.
Primavera by Botticelli -The painting features six female figures and two male, along with a cupid, in an orange grove. The movement of the composition is from right to left, so following that direction the standard identification of the figures is: at far right "Zephyrus, the biting wind of March, kidnaps and possesses the nymph Chloris, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground." Chloris the nymph overlaps Flora, the goddess she transforms into.
In the centre (but not exactly so) and somewhat set back from the other figures stands Venus, a red-draped woman in blue. Like the flower-gatherer, she returns the viewer's gaze. The trees behind her form a broken arch to draw the eye. In the air above her a blindfolded Cupid aims his bow to the left. On the left of the painting the Three Graces, a group of three females also in diaphanous white, join hands in a dance. At the extreme left Mercury, clothed in red with a sword and a helmet, raises his caduceus or wooden rod towards some wispy gray clouds
Niger 1978 History of Marie de Medici - The Negotiations at Angoulême by Rubens
In The Negotiations at Angoulême, Marie de' Medici genially takes the olive branch from Mercury, the messenger god, in the presence of both of her priests, as she gives her consent to have discussions with her son concerning her clash to his governmental direction. Rubens uses several methods to portray Queen Marie in precisely the light that she wanted to be seen, as her young son's guardian and wise advisor. Enthroned on a pedestal with sculptures of Minerva's symbols of wisdom and two putti holding a laurel wreath to represent victory and martyrdom, the representation of Marie de' Medici is quite clear. Her humble, yet all-knowing gaze conveys the wisdom that she holds. She is also placed compositionally in a tight and unified group with the cardinals, signifying a truthful side opposed to Mercury's dishonesty. Rubens gave Mercury an impression untruthfulness by illustrating his figure hiding a caduceus behind his thigh. The effect of the two groups of figures is meant to stress the gap between the two sides. Rubens also added a barking dog, a common reference used to indicate or warn someone of foreigners who came with evil intention. All of these symbols, Rubens displayed in this ambiguous and enigmatic painting to represent or "misrepresent" Marie de' Medici in the manner that portrayed her as the prudent, yet caring and humble mother of a young and naïve monarch.