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| Pietro Peiroleri after Raphael Portrait of a Woman ca. 1760-70 etching and engraving Graphische Sammlung, ETH Zürich |
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| Sassoferrato after Raphael Virgin and Child ca. 1650 oil on canvas Galleria Borghese, Rome |
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| Nicolas Beatrizet after Raphael Cain slaying Abel ca. 1550-60 engraving Graphische Sammlung, ETH Zürich |
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| Jakob von Sandrart after Raphael Fire in the Borgo 1682 etching Herzog Anton Ulrich Museum, Braunschweig |
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| Agostino Musi after Raphael Warrior with Shield ca. 1515-30 engraving Hamburger Kunsthalle |
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| Agostino Musi after Raphael Woman with Vase ca. 1515-30 engraving Hamburger Kunsthalle |
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| Joseph Heintz the Elder after Raphael Putti with Vases and Bowls ca. 1580-90 drawing Graphische Sammlung Albertina, Vienna |
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| Giacomo Francia after Raphael Cupid and Psyche ca. 1520-30 engraving Graphische Sammlung, ETH Zürich |
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| Giovanni Francesco Penni after Raphael Warrior shielding Head ca. 1511-12 drawing Städel Museum, Frankfurt |
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| David and Sophie Sibire after Raphael Eve giving Apple to Adam ca. 1740 etching (printed in sepia) Herzog August Bibliothek, Wulfenbüttel |
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| Marcantonio Raimondi after Raphael Adam and Eve ca. 1509 engraving Graphische Sammlung Albertina, Vienna |
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| Marcantonio Raimondi after Raphael Apollo ca. 1510-20 engraving (after antique sarcophagus relief) Graphische Sammlung, ETH Zürich |
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| Marcantonio Raimondi after Raphael Dido ca. 1510 engraving Hamburger Kunsthalle |
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| Marco Dente after Raphael St Bartholomew ca. 1516 engraving Graphische Sammlung, ETH Zürich |
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| Anonymous Italian Artist after Raphael St John the Baptist in the Wilderness 16th century chiaroscuro woodcut Graphische Sammlung Albertina, Vienna |
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| Angelica Kauffmann after Raphael Portrait of Raphael (actually Raphael's portrait of banker Bindo Altoviti) ca. 1761 engraving Herzog Anton Ulrich Museum, Braunschweig |
In perfect good faith Angelica Kauffmann reproduced a Renaissance self-portrait by the artist Raphael, still in her day owned by a private family in Italy. Fifty years later the painting would be sold at a colossal price to Mad King Ludwig of Bavaria and displayed publicly as the central masterpiece in his new-built Munich art museum. It required another fifty years before the collective weight of scholarly opinion succeeded in destroying the idea that the sitter could possibly be Raphael, whose well-documented physical appearance was altogether different. Formerly an object of adoration, the picture became an object of revulsion, a cruel deceiver. Early in the 20th century it was traded away to British dealers in exchange for a mediocre and misidentified German painting. The British accepted that the Munich portrait was not of Raphael, but (unlike the Germans) they understood that it was still by Raphael. Their plunder was quickly resold (for another colossal sum) to an American robber baron, who presented it to the National Gallery in Washington, where it remains.
This sequence of events was researched and recounted at book length by David Alan Brown and Jane Van Nimmen in Raphael & The Beautiful Banker: the story of the Bindo Altoviti Portrait (Yale University Press, 2005).