Allegorical and Historical Prints

Engravings illustrating allegorical themes and historic events, featuring personifications, historical figures, and symbolic elements.

Amsterdam, Picart, Bernard, Title page for: J. Lenfant and I. de Beausobre, Le Nouveau Testament, 1718, Christ Appears to the Personifications of the Continents, verso lower left - stamped, Christ is enthroned on a rainbow in the sky, he tramples a snake and a skull, which symbolize evil and death respectively. Above his head burns the flame of religious zeal. He proclaims the gospel to the personifications of the continents, who look up at him from the earth. On the right in the background, Idolatry flees. On the left in the background, two astonished men who symbolize Judaism. With an empty margin., print, title page, prints, engraving, height 220 mm, width 153 mm, Northern Netherlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1718 - 1718, first quarter 18th century, paper, papier, etching, etchings, engraving (printing process), intermediary draughtsman

Naples, Baur, Johann Wilhelm, Judgement of Midas, verso - stamped, print, prints, images, height 77 mm, width 105 mm, German, 1607-05-31 - 1642-02, print maker, printmaker, 1631 - 1632, paper, papier, etching, Expression creation

Iliad's Scene According to Joachim Lelewel. Cleastle from Tygodnik Ilustrowany 1878 (2) 288 Skorski, Konstanty (Fl. 1865 1882), Lelewel, Joachim (1786 1861)

Perseus kills Medusa, Bernard Picart (workshop or), After Bernard Picart, 1730 print Perseus is about to imagine Medusa with his sword. He looks at her reflection in his polished shield, which is held by Minerva. In the margin the title in French, English, German and Dutch. The performance is decorated with an ornamental edge. Amsterdam paper etching / engraving Perseus beheading Medusa. scrollwork, strapwork ~ ornament

Library / Dauphine Library

Apollo and the four seasons; The four Seasons. Central to a cartouche, Apollo (Sol) in his balance in the air. The personnifications of the four seasons are on the floor. In the corners outside the cartouche the four personifications of the seasons. The print has a Latin caption and is part of a series of four seasons.

Allegorical performance with portrait of Cardinal André-Hercule de Fleury, Charles Nicolas Cochin (I), After Nicolas Delobel, 1737 print print maker: Franceprint maker: Francepublisher: Paris paper etching / engraving Historical Persons. (Story of) Minerva (Pallas Athens). Fates, spare (Moir). genius

Louis XVI Entertainment De VERTUS, I DO NAME TONG STORE THIS THE SICKET AND SCALL Les BASS OF SONGE. (TF)

Engelen in glories, Guido Reni, After Luca Cambiaso, 1607 print A group of floating putti, surrounded by clouds. Title in Latin in STUDMARGE. print maker: Italyafter drawing by: Italypublisher: ItalyVaticaanstadItaly paper etching Cupids: 'Amores', 'Amoretti', 'Putti'

Allegory on the 100th anniversary of Dutch Freedom, 1648-1748, The acclaimed personification of Peace is in the air with an olive branch and a caduceus. Minerva receives a lance with freedom hat from a putto below her. A second putto offers a book to the Vigilance in the middle. On the far left, a third putto with a spear chases a sea of flames. On the underside the City Hall on the Dam in Amsterdam, completed in 1648, with a portrait of Jacob van Campen and a presentation of pile driving work during construction, symbols, allegories of peace, 'Pax', 'Pace' (Ripa), (story of) Mars (Ares), cupids: 'amores', 'amoretti', 'putti', Alertness, Vigilance, 'Guardia ' 'Vigilanza ' 'Vigilanza per difendersi & oppugnare altri '(Ripa) (personification), devil (s) and demons, Simon Fokke (mentioned on object), Amsterdam, 1748, paper, engraving, h 218 mm × w 162 mm

So Moses made a bronze snake and put it up on a pole. Numbers 21:7, Illustration from the Dore Bible 1866. In 1866, the French artist and illustrator Gustave Dore (18321883), published a series of 241 wood engravings for a new deluxe edition of the 1843 French translation of the Vulgate Bible, popularly known as the Bible de Tours. This new edition was known as La Grande Bible de Tours and its illustrations were immensely successful

Depiction of Venus with Adonis, executed with brown pen and brown laved technique around 1720 by Bartolomeo Altomonte.

Abruzzo L'Aquila L'Aquila Palazzo Manieri1. Hutzel, Max 1960-1990 Post-medieval: Architecture, architectural sculpture, interior moldings, paintings, wood panelling German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Emblem Drawing ("I rule everything") early 17th century Jacob Matham Netherlandish. Emblem Drawing ("I rule everything") 428697

Plate on the title page for: Jan Fokke, History of the Amsterdam Schouwburg, 1772, Simon Fokke, 1772 print Allegorical plate on the title page with the Amsterdam city stir -out sitting on the ruins of the burnt -out Amsterdamse Schouwburg, in hand the burnt beehorf. In the background the burning theater. In the clouds of Apollo on the Parnassus. Part of a group of illustrations about the fire in the Amsterdam Schouwburg on 11 May 1772. print maker: Northern Netherlandspublisher: Amsterdampublisher: Amsterdam paper etching / engraving theatre, theatrical performance. on fire, ablaze. personification of a city, town-patron(ess) Schouwburg Keizersgracht (1637-1772). Amsterdam

Allegorical Portrait of Pierre Buirette de Belloy. Dated: 1767. Dimensions: plate: 46.5 × 34.4 cm (18 5/16 × 13 9/16 in.) sheet: 54.7 × 38.6 cm (21 9/16 × 15 3/16 in.). Medium: etching on laid paper proof. Museum: National Gallery of Art, Washington DC. Author: after Nicolas-René Jollain Louis-Simon Lempereur.

The Resurrection. Artist: Cavaliere d'Arpino (Giuseppe Cesari) (Italian, Arpino 1568-1640 Rome). Dimensions: 16 5/8 x 12 3/4in. (42.2 x 32.4cm). Date: ca. 1600. Museum: Metropolitan Museum of Art, New York, USA.

Rome, unknown, Italy, Salimbeni, Ventura, Tota pulcrias amica mea et macula non est inte cant iiii, Destiny of the Virgin Mary, verso - stamped, God the Father and angels appear to the Virgin Mary on clouds. Title in Latin in bottom margin., print, prints, width 208 mm, height, 151 mm, Italian, 1568-02 - 1613, print maker, printmaker, 1590 - 1590, paper, etching, etchings, Work conception, after own design by, Publication (Event), Publication, publisher

Jupiter Juno Fovery, Gaspard Ducange, After Antoine Coypel, 1672 - 1708 print paper etching / engraving Jupiter and Juno as lovers

Marriage of St Catherine Artist's working dates 1751-1791 Italy. Pen and brown ink with brush and gray wash on tan laid paper, laid down on gray-brown laid paper . Ermenegildo Costantini

Copper engraving and etching by Louis Simon Lempereur depicting Vulcan at a forge, showing the god of fire and craftsmanship in a classical mythological scene.

The Art of Dying, pl. 3 of4. Engraver: Karel van Mallery, Flemish, 1571-after 1635 After: Stradanus (Jan van der Straet), Flemish, 1523-1605 Publisher: Philip Galle, Flemish, 1537-1612

Drawing by Abraham van Diepenbeeck depicting a volcano with Mars and Venus in a network, executed in black chalk, brown pen, gray brush, and gray washes with white highlights, on decorated paper with brown spots.

Nastieliefde (Charitas), Ugo da Carpi (Possibly), After Parmigianino, 1502 - 1532 print A female personification of love (caritas), with three children of whom two of them breastfeed. Italy paper Charity, 'Caritas'; 'Carití' (Ripa) ~ one of the Three Theological Virtues

Offer from Abraham, John Murphy, after Rembrandt van Rijn, 1781 print London paper etching when Abraham has his hand raised to kill Isaac, an angel restrains Abraham's hand

MERIDIES Auster, the Wind of the South, is pursued by the goddess Ops with farm implements as he bestows rain on the Earth below Date: circa 1640

Bookplate: La Contessa Arese. Cagnoni, Domenico (1730?-1797), graphic artist

Design for a Ceiling: Venice Receiving Homage. Artist: Gaspare Diziani (Italian, Belluno 1689-1767 Venice). Dimensions: 11 7/8 x 8 1/16in. (30.2 x 20.5cm). Date: 1755-60.This dynamic composition, drawn in pen and ink and grey wash, has many points in common with the "Glorification of the Widmann Family", frescoed by Diziani on the ceiling of Palazzo Widmann, Venice, about 1755-1760. Banners and other military paraphernalia occur in this work, as do allegorical figures of Justice, Prudence, and Fame; putti support a tray of scrolls, and Time holds an empty shield flanked by an eagle, which may be emblematic of the Carinthian origins of the Widmann family. However, in the upper part of the fresco a winged figure crowns a representative of the family, while in the drawing a figure kneels before a personification of Venice.A group of stylistically coherent drawings by Diziani can be compared to the Museum's project for Palazzo Widmann: a pen sketch for the lower part of the present compo

Allegory about learning, Cornelis Bloemaert (II), After Giovanni Francesco Romanelli, 1633 - 1692 print A philosopher is leaning against a pillar. A young man with a book under his arm and an older man who points to the philosopher walk towards the philosopher. Two muses look down on them from heaven. paper engraving classical history (+ mythological or allegorical portrait; allegorical representation of event from the life of historical person). (story of the) Muses; 'Muse' (Ripa)

Clair-obscur woodcut by Antonio da Trento depicting Madonna with child and a saint, showing religious figures, two plates, dated 1527-1530.

Umbria Terni Torreorsina S. Michele8. Hutzel, Max 1960-1990 Post-medieval: Architecture, architectural sculpture, sculpture, painting, fresco painting General Notes: Not in TCI German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Exodus of the Israelites, Pirro Ligorio, 1535 - 1545 drawing paper. ink brush / pen

Copper engraving by Aegidius Sadeler the Younger depicting the martyrdom of St. Sebastian, illustrating his suffering and Christian iconography of martyrdom.

Print, Hiems (Winter); Print Maker: Gérard de Lairesse (Dutch, 1641-1711); Netherlands; ethcing on paper; 22.3 × 29.2 cm (8 3/4 × 11 1/2 in.); 1896-31-65

Murder of Julius Caesar; Metamorphoses from Ovid. Julius Caesar is murdered by two Romans. In the background Venus who frees his soul from his body and changes in a comet. In the margin a four-line caption, in two columns, in Latin.

Drawing by Bernard Picart showing Jupiter and Juno, executed in gray pen with gray wash.

Anonymous drawing depicting Hagar and Ishmael in the desert, executed in black chalk with Bister wash, white highlights, on brown paper.

The angel Raphael disappears among the clouds and looks over his shoulder to see Tobias and his family standing at the door of their home with their hands folded. Old Tobit is kneeling down on the floor, The angel leaves Tobias and his family, print maker: Johannes Pieter de Frey, (mentioned on object), after: Rembrandt van Rijn, (mentioned on object), 1810, paper, etching, h 405 mm × w 290 mm

Campania Napoli Naples S. Lorenzo Maggiore089. Hutzel, Max 1960-1990 Medieval: Sculpture, architecture, architectural sculpture (including Roman spolia) 13-14th century Chapter house; sarcophagi, gravestones; wall painting. Fragment of mosaic; sculptural fragments in the Sala Capitolare. Post-medieval: Architecture, architectural sculpture, ceiling painting fresco cycle; prints depicting Venice c. 1845 (4), sculpture; life-size creche figures dressed in original Neapolitan costume Church restored in 1882, 1926, 1944; excavations under the transept undertaken between 1958-1962, and in the cloister in 1976, have revealed remains of a Roman macellum (market), street, and the paleochristian basilica of the 6th c. AD. Antiquities: Pottery: black-glazed, archaic banded, domestic wares, bucchero; architectural terracottas, statuettes, lamps, sculpture fragments Object Notes: 3 color negatives with no prints at the end. General Notes: Most objects/paintings/frescoes unidentified. Three batches

A 1734 drawing by Christian Wilhelm Ernst Dietrich depicting students engaged in art study, executed in lead handle with brushed gray brush, emphasizing figures, posture, and educational activity.

Aurora drives away the night. Spreading with flowers drives aurora on her car drawn by two horses. Every morning aurora drives the night and brings it to the morning. For her from the Horae, the goddesses of the seasons. On the right Aurora's husband watching Tithonus her. Order a coat of arms in the undermarge and middle.

Cornelis Galle I, Frontispiece for Silvester Petra-Sancta, Nine Books about Heroic Emblems, Antwerp, 1634, engraving on paper.

Parmigianino, Italy, Trento, Antonio da, Circe drinking, verso - stamped, Circe drinking from a bowl and on the right Odysseus' men on a ship., print, prent, prints, height 216 mm, width 200 mm, Italian, 1510 - 1550, print maker, prentmaker, 1520 - 1550, first quarter 16th century, second quarter 16th century, paper, chiaroscuro woodcut, Work conception, 1503-01-11 - 1540-08-24

Allegory of Medicine in Strasbourg, Jacob Andreas Fridrich (I), 1725 print The personifications of Ratio (Ratione) and the Experiment (Experientia) for a cityscape on Strasbourg. Print Maker: Augsburg Publisher: Strasbourg (France) paper engraving Reason; 'Ragione' (Ripa) (+ abstract concept represented by female figure). research, experiment (~ production). armorial bearing, heraldry. cupids: 'amores', 'amoretti', 'putti'. medicine, medical science. tools and implements of pharmacist. city-view in general; 'veduta'. sun as celestial body Strasbourg (France)

Assumption of the Virgin; verso: Head of a Woman and Child. Date/Period: 1680-1700. Drawing. Pen and brown ink, brush and gray wash, white gouache, black chalk on cream laid paper. Author: LUCA GIORDANO.

Titelpagina voor: J. Clericus, Atlas antiquus, sacer, ecclesiasticus et profanus, 1705.A seated woman studies a map with a group of men. Behind her a painting with the depicting of Christ who heals a blind. Above Aaron and Moses that points to his staff on the map. Right of this Abraham and Isaak on the way to Moria. Extremely right two kings and three Roman warriors. In the foreground on the left is a warrior, leaning on a shield with the performance of the flight from Aeneas from Troy. On the right a Roman emperor plays a globe. In the middle is a priest with a scepter, a scroll and a test cord.

Reni, Guido, Photographic reproduction of a painting of the Archangel Michael by Guido Reni, recto, photograph, photo, reproduction, page, photos, photographically illustrated books, No. 35 Guido - S. Michele, height 90 mm, width 63 mm, photographer, 1850 - 1860, photographic paper, photo paper, albumen print, albumine print, Italian, 1575-11-04 - 1642-08-18

"Woodcut by Hans Wechtlin around 1516 depicting John on Patmos, showing the figure in isolation with detailed landscape and expressive posture."

. In the clouds, Phaëthon asks his father to drive with the solar car. The print is to a lost ceiling painting by Gerard de Lairesse and is part of a series with biblical, mythological and allegorical performances.

The Pentecost 16th century Master of the Egmont Albums Netherlandish This large drawing of the Pentecostthe appearance of the Holy Spirit to Christ’s disciples after his Ascension, described in Chapter Two of the New Testament book Acts of the Apostlesexhibits the distinctive draftsmanship of the Master of the Egmont Albums, so named for a group of drawings in the Yale University Art Gallery formerly in the collection of John Percival, first Earl of Egmont (1683-1748). The densely packed composition and expressive figureshallmarks of this artist's workin combination with the intense contrast of light and dark achieved with a painterly application of ink, heighten the drama of the scene. A very similar drawing, with nearly the exact same dimensions, depicting Christ’s Resurrection was acquired in 2012 by the Ecole des Beaux-Arts in Paris (inv. EBA 8429). The two works may have belonged to a larger Passion series.. The Pentecost 430761

Neptunus calms the waves; Quos ego. The angled Neptune, standing in the middle of the waves in his car, threatening the winds with his trident. In the background a sinking Trojan ship. The performance has been caught in an ornamental list crowned by two figures of the fame. At the top right amor, which stolers his arrows from his sleeve.

Lance Pierre Paul Rubens (1577-1640). The boost. Roman soldier piercing the flank of Christ of his spear, according to the work of Rubens. Engraving, 1620. Paris, museum of romantic life.

Abraham van Diepenbeeck depicts the Ascension of Elias, executed in graphite pencil, brown ink, black chalk, gray washes, and deck white highlights.

Luyken, Jan, Ark des Verbonds, verso - stamped, print, prints, height 136 mm, width 86 mm, print maker, printmaker, 1683 - 1762, paper, papier, etching, etchings, Work conception, Noord-Nederlands, 1649-04-16 - 1712-04-05

Etching by Jean-Baptiste Henri Deshays between 1749 and 1765, depicting the martyrdom of Saint Lawrence of Rome.

In a temple with a statue of Jupiter in the background, Theophanes (left) with his hands raised announces the victories of Telemachus. With his feet he rests on a sacrificed cow. Opposite him on the right are Telemachus and Mentor. The whole is framed by an ornamental frame with olive branches and at the bottom a bow. Numbered top right: No. III. Theophanes announces the victories of Telemachus, print maker: Jean-Baptiste Tilliard, (mentioned on object), intermediary draughtsman: Charles Monnet, (mentioned on object), publisher: Pierre Didot, print maker: France, intermediary draughtsman: France, publisher: Paris, publisher: Paris, publisher: Paris, publisher: Paris, publisher: Paris, 1785, paper, etching, engraving, h 316 mm × w 244 mm

Allegory of Art and Knowledge with the Coat-of-Arms of Hans Wilpert Zoller 1694 Mathais Füssli the Youngest Swiss. Allegory of Art and Knowledge with the Coat-of-Arms of Hans Wilpert Zoller 380416

Lazio Roma Rome S. Croce in Gerusalemme3. Hutzel, Max 1960-1990 Medieval: Cosmati pavement, architecture (facade). Post-medieval: Architecture, architectural sculpture, sculpture, frescoes: "Leggenda della Santa Croce," Antoniazzo Romano (attr) & "S. Elena sale al cielo," Corrado Giaquinto; mosaic ceiling in Cappella di S. Elena; coats-of-arms German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Amsterdam, Arentsz, widow Pieter (II), Luyken, Jan, 't Natuurlijk-vast en scheiding men niet, For one's own will' violence happens, Man watches as Christ from the clouds with hammer and chisel cuts a piece of stone from a rock, verso - stamped, print, picture, book illustration, prints, height 89 mm, width 77 mm, Noord-Nederlands, 1649-04-16 - 1712-04-05, printmaker, 1689 - 1689, paper, papier, etching, etchings, letterpress printing, Publication (Event), Publication, publisher

Isabella Clara Eugenia, infante van Spanje, Rubens, Peter Paul, Antwerp, Pontius, Paulus, Assumption of Mary, print, prints, height 646 mm, width 443 mm, Southern Netherlands, 1603 - 1658-01-16, print maker, printmaker, 1624 - 1624, paper, papier, engraving, engraving (printing process), 1577-06-28 - 1640-05-30, after, after a painting by, 1566-08-12 - 1633-12-01, verlener of privilege

Diana and her nymphs on clouds. Diana and her nymphs floating on clouds. Numbered bottom left: No. 33-3.

Portrait of Martin Luther, Portrait bust in oval by Martin Luther, held by a woman in robe. Above this portrait, two putti are flying in the air, blowing the trumpet and holding a coat of arms. On the left in the background is a third putto, historical person (with NAME), coat of arms (as symbol of the state, etc.), Martin Luther, Simon Fokke (mentioned on object), Amsterdam, 1740, paper, etching, h 135 mm × w 86 mm

Fight between Amazones and Greeks (part top right), François Ragot, after Peter Paul Rubens, 1648 - 1670 print Fight between Amazons and Greeks on the Troy bridge. publisher: ParisFrance paper engraving / etching battle of Amazons; amazonomachy. bridge

Cornelis Galle I, Frontispiece for Blosius, Works, Antwerp, 1632, engraving on paper.

Painting by Matthäus Loder depicting the sacrifice of Iphigenia, executed in gray brush with red lavation.

College, Ferdinand van.

Bliżej Kultury Weinmann, Marcus (1758 1804)

Antwerp, Merlen, Theodor van (II), Teniers, David, H. Norbert, verso - stamped, Saint Norbert with bishop's staff and mitre. In his hand a monstrance with a host. The saint stands on the personification of Time chained to a rock., print, prent, prints, prenten, height 124 mm, width 83 mm, 1609-10-14 - 1672-08-07, print maker, prentmaker, 1619 - 1672, paper, papier, engraving, engraving (printing process), Work conception, after a design by, Publication (Event), Publication, publisher

Recto: Coronation of the Virgin, Belisario Corenzio, Italian, active 1590-1646, Pen and brown ink, brush and blue watercolor, white gouache on cream laid paper tipped into paper frame; verso: brush and gray, white gouache, graphite, Recto: The Virgin stands on a cloud in the center of the composition, holding a crown. She is surrounded on either side by visitors bearing gifts. In the background God the Father sits overlooking the scene. On the left a youth stands in veneration on top of a large monster head. Verso: young mans head facing right., Italy, ca. 1630, figures, Drawing, Drawing

Marches Macerata Ussita Parrocchiale. Hutzel, Max 1960-1990 Medieval: Architectural fragments. Post-medieval: Architecture, architectural sculpture, painting, fresco fragments, sculpture, sculptural fragments Object Notes: See article on site provided by Hutzel. Also see TCI, Marche, p. 529 German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Martyrdom of a Female Saint (Agnes). Artist: Camillo Procaccini (Italian, Bologna 1555-1629 Milan). Dimensions: 18-1/8 x 12-1/4 in. (46.0 x 31.1 cm). Date: 1605-9.This highly finished modello, drawn with richness of materials, was recognized as the work of Camillo Procaccini by Philip Pouncey in 1953 and identified by Nancy Ward Neilson in 1968 as a study for a painting of the same subject by Camillo in the Santuario dell'Addolorata at Rho (near Milan), datable around 1605-1609 (Neilson 1979, p. 63, fig. 142). In both the painting and the drawing the Castel Sant'Angelo seen at right identifies the place of martyrdom as Rome: the victim could be Saint Agnes. The Museum owns a second drawing for the same composition, a detailed study in red chalk for the face of the Roman soldier seen at left (acc. no. 1975.131.19). Museum: Metropolitan Museum of Art, New York, USA.

S. Pierre Regalda (S. Pietro d'Alcantara) 1746 Francesco Bartolozzi Italian. S. Pierre Regalda (S. Pietro d'Alcantara). Francesco Bartolozzi (Italian, Florence 1728-1815 Lisbon). 1746. Etching and engraving; third state. Prints

Rubens, Peter Paul, Southern Netherlands, Galle, Cornelis (I), The copper snake, The Israelites are plagued by a plague of poisonous snakes. Moses tries to help the people and asks God what to do. He makes a copper snake and puts it on a wooden stick. Whoever looks at the image of the snake does not die from the poison of the snakes., print, prent, prints, height 328 mm, width 448 mm, 1576 - 1650-03-29, print maker, printmaker, 1602 - 1650, paper, papier, engraving, engraving (printing process), Work conception, 1577-06-28 - 1640-05-30

Woodcut by N. Scheffler depicting the allegory of Emperor Ferdinand I handing over the imperial crown to Archduke Franz Joseph, printed in brown with clay plate and white recesses on paper, 1848.

Perseus rescues Andromeda, Engraved illustration from 'The Temple of the Muses', 1733. This book represented remarkable events of antiquity drawn and engraved by Bernard Picart (1673-1733) Perseus stopped in the kingdom of Aethiopia and rescued Andromeda after he slew the monster Cretus, setting her free, claimed her in marriage

Epic Poetry ca. 1741 Claude Augustin Duflos le Jeune French. Epic Poetry 373619

Plate 29 of 38 from Oeuvres de J. B. Huet. Jean Baptiste Huet; French, 1745-1811. Date: 1796-1799. Dimensions: 480 × 350 mm. Etching on paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA. Author: JEAN BAPTISTE HUET.

Gaspare Diziani, The Fall of Phaeton, 1745 1750 The Fall of Phaeton

'Allegory of Venice - Patroness of the Sciences and Arts'. Italy, second half of the 18th century. Dimensions: 30,2x22,2 cm. Museum: State Hermitage, St. Petersburg. Author: Pietro Antonio Novelli.

Drawing by Charles François Hutin showing a cross acceptance scene, rendered in black chalk with brown brush lavis and white heightened areas, dated 1775.

After Parmigianino, Circe Circe

The Defeat of Sennacherib. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Pieter Claesz Soutman after Sir Peter Paul Rubens.

Print, St. Aignan Evêque d'Orleans (St. Aignan Bishop of Orleans), plate 111, in Oeuvres de Juste-Aurèle Meissonnier (Works by Juste-Aurèle Meissonnier); Designed by Juste-Aurèle Meissonnier (French, b. Italy, 1695-1750); Engraved by Pierre Chenu (French, 1730-late 18th century); Published by Gabriel Huquier (French, 1695-1772); France; engraving on white laid paper; 47 x 31.8 cm (18 1/2 x 12 1/2 in.)

Mariano Salvador Maella / 'Saint Leocadia before the Praetor'. 1775. Grey-brown wash, Black chalk on yellow laid paper. Museum: Museo del Prado, Madrid, España.

Title vignette with four putti with winch, flower wreath, helmet and masks, cupids: 'amores' ' amoretti ' ' putti ', Abraham Delfos (mentioned on object), Leiden, 1764 - 1765, paper, etching, h 79 mm × w 84 mm

Saint John Before God and the Elders, from the series TheApocalypse. Artist: Albrecht Dürer, German, 1471-1528

Angel of Lord by Bartholomeus Spranger, Oil on canvas, Baroque, 1546-1611, Latvia, Riga, State Museum of Foreign Art of Republic Latvia,

GRABADO-LA REINA ISABEL DE FARNESIO EN TRAJE DE CAZA-1715. Author: AYUSO IRALA. Location: MUSEO DE HISTORIA-GRABADOS BLANCO Y NEGRO, MADRID, SPAIN.

Jacques Callot, Frontispiece for The Calendar of Saints Frontispiece for The Calendar of Saints

Franz I, Roman-German Emperor.

Franciszek Smuglewicz (1745-1807). Polish painter. Emperor Titus endowing Rome with Rights, 1785. National Museum. Warsaw. Poland.

Pluto in a chariot snatches Proserpine away from her companions. Mezzotint by J.G. Huck, 1804, after J. Amigoni.

Mazarin, Jules.

Hendrick Goltzius (1558-1617); Bartholomeus rides (1546-1611), amor and psyches' wedding, 1587

Tale-bearers--Blasts of wind. Francisco Goya y Lucientes (Spain, Fuendetodos, 1746-1828). Spain, 1799. Prints; etchings. Etching and burnished aquatint

The Holy Trinity., 1511, Germany, by Albrecht Dürer. Gift of Sir John Ilott, 1963.

St. Francis Receiving the Stigmata. Artist: Antonio de Pereda (Spanish, Valladolid 1611-1678 Madrid). Dimensions: 9-9/16 x 6-15/16 in. (24.3 x 17.7 cm). Date: 1611-78. Museum: Metropolitan Museum of Art, New York, USA.

Photo production of an engraving of the Holy Trinity by Schelte Adamsz. Bolswert, to the painting by Peter Paul Rubens, Jean Louis Bargignac, After Schelte Adamsz. Bolswert, after Peter Paul Rubens, c. 1853 - in or before 1858 photograph Brussels photographic support albumen print God the Father holding the crucified or dead Christ

Feather ink drawing with washes and white highlights depicting the biblical story of Lot's escape, in blue tones, by an anonymous artist.

Copper engraving by Albrecht Dürer, created in 1513, depicting the welding towel held by two angels with detailed figures and composition.

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), flight to Egypt. (A. de Vesme 11; Dutuit 159) (main title). Etching. Petit Palais, Museum of Fine Arts of the City of Paris.

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