Allegorical and Mythological Scenes

Prints and drawings illustrating allegorical and mythological themes, including divine meetings, historical narratives, and symbolic representations.

Schut, Cornelis (I), S. Laurentius, The Martyrdom of St. Laurentius, verso center bottom - stamped, The deacon Laurentius is roasted over a fire. He half raises himself to turn around. In the foreground servants are busy stoking the fire with bellows and extra fuel. The Roman prefect watches from a chair on a balcony. Around Laurentius a large group of spectators. In the air two angels with a palm branch and a laurel wreath., print, prints, height 380 mm, width 275 mm, South Netherlands, 1597-05-13 - 1655-04-29, print maker, printmaker, 1618 - 1655, paper, papier, etching, etchings, Work conception

Lyon goes to the queen, Gaspard Ducange, after Peter Paul Rubens, after Jean -Baptiste Nattier, 1672 - 1757 print Stadsmandag van Lyon in triumph car pulled by two lions. In heaven Jupiter and Juno. Allegory at the meeting of Marie de 'Medici with Hendrik IV in Lyon in 1608. Loose print in the back of the album. This print is part of an album. print maker: Francepublisher: Paris paper etching / engraving personification of a city, town-patron(ess). (story of) Juno (Hera). (story of) Jupiter (Zeus) Lyon

Venus visits the meeting of the gods, Jacob Folkema, After Louis Fabritius Dubourg, 1703 - 1767 print Venus asks Jupiter permission in the meeting of gods to destroy Telemachus. Jupiter, together with his wife Juno, is on a cloud and hears Venus. On the left, Hercules looks surrounded by allegorical figures. Illustration made in book 9 from "Adventures of Telemachus", written by François de Fénélon. paper etching / engraving (story of) Telemachus. (story of) Venus (Aphrodite). meetings of the gods

Chalk and feather drawing showing Prokne being carried by wind gods while transforming into a swallow, with Neptune and other figures at the bottom right.

Massacre of theInnocents. Artist: Cornelius Schut, Flemish, 1597-1655

Boaz en Ruth, François Spierre, After Cyrus Ferri, 1649 - print paper engraving / etching Boaz questions his servant concerning Ruth

Schut, Cornelis (I), S. Laurentius, The Martyrdom of St. Laurentius, verso center bottom - stamped, The deacon Laurentius is roasted over a fire. He half raises himself to turn around. In the foreground servants are busy stoking the fire with bellows and extra fuel. The Roman prefect watches from a chair on a balcony. Around Laurentius a large group of spectators. In the air two angels with a palm branch and a laurel wreath., print, prints, height 380 mm, width 275 mm, South Netherlands, 1597-05-13 - 1655-04-29, print maker, printmaker, 1618 - 1655, paper, papier, etching, etchings, Work conception

Hubert François Gravelot drawing of a scene from Shakespeare's Antony and Cleopatra, executed in black pen with brown wash, circa 1740-1744.

Depiction of Christ raising his right hand to Andreas, who approaches bowed, with Peter rising from a boat and other fishermen visible, drawn in chalk on brownish paper by Pietro da Cortona.

Black chalk drawing by Charles François Hutin showing Moses striking water from a rock, executed on blue natural paper.

Triumph of Amphitrite. François Verdier; French, 1651-1730. Date: 1671-1730. Dimensions: 277 × 392 mm. Pen and black ink and black chalk, with brush and gray wash, on grayish brown laid paper, laid down on cream wove paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA. Author: Francois Verdier.

Martyrdom of St. George the Great St. Longius , print maker: Valentin Lefebvre, Paolo Veronese, (mentioned on object), publisher: Matthijs van Marebeek, (mentioned on object), Amsterdam, 1686 - c. 1699, paper, etching, h 568 mm × w 394 mm

Study of a Saint During a Plague. Date/Period: Ca. 1790. Drawing. Brush and black wash, pen and black ink, black chalk on paper. Author: MARIANO ROSSI.

This etching by Franz Anton Maulbertsch around 1780 depicts Mars, Venus, and Vulkan, showing three figures from classical mythology, gestures, attire, attributes, and symbolic interaction.

Francesco Bartolozzi RA, 1728-1815, Italian, active in Britain (1764-99), Allegory of the Fine Arts. Engraving.

Michael Burghers after Johann Liss, Death of Phaeton Death of Phaeton

The Judgment of Paris. Artist: Alessandro Allori (Italian, Florence 1535-1607 Florence). Dimensions: 14-7/16 x 18-11/16 in. (36.6 x 47.4 cm). Date: 1583.On his father's death in 1540, the young Alessandro Allori was adopted by Bronzino (1503-1572), becoming his pupil and a significant disseminator of his elegant Mannerist vocabulary. This delicately finished large composition, complete in all details, served as a modello (demonstration drawing) for one of four tapestry cartoons representing the story of Paris and the Golden Apple of Discord, that were delivered to the Florentine weaver Benedetto Squilli on March 30, 1583. The tapestries were probably intended for the Medici Villa at Poggio a Caiano, and were finished by June 4 of the same year. Allori's drawing technique and medium here closely resemble those in Bronzino's studies for tapestry cartoons on the life of Joseph (1549-1553). Here, Paris is seated at right holding a large apple in his left hand, while the striding, nearly n

The Rest on The Flight into Egypt. Date/Period: From 1690 until 1694. Brush and brown ink with brown and gray washes and white heightening (partly oxidized) over black chalk on gray-green antique laid paper, laid down. Height: 26.2 cm (10.3 in); Width: 38.7 cm (15.2 in). Author: Paolo Gerolamo Piola.

Diana and Endymion. Dated: 1765. Dimensions: Overall: 19.5 x 24.8 cm (7 11/16 x 9 3/4 in.) mount: 30 x 40.4 cm (11 13/16 x 15 7/8 in.). Medium: pen and brown ink with gray wash over black chalk on laid paper. Museum: National Gallery of Art, Washington DC. Author: Johann Heinrich Keller.

Anonymous (Copy Domenichino (Domenico Zampieri)) / 'The Martyrdom of Saint Agnes'. XVII century. Grey-brown wash, Pencil on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Neptune and other Marine Deities Paying Homage to Louis XIV n.d. Michel Corneille the Younger French. Neptune and other Marine Deities Paying Homage to Louis XIV 336777

Jupiter, Neptune, and Pluto offering their crowns to the arms of Cardinal Borghese 1642-43 Simone Cantarini Italian. Jupiter, Neptune, and Pluto offering their crowns to the arms of Cardinal Borghese 371499

A drawing by Bartolomäus Spranger depicting the Adoration of the Shepherds, executed in pen with brown and black wash.

The Triumph of the Virtuous Artist onParnassus. Artist: Pietro Testa, Italian, 1611/12-1650

A drawing by Laurent de La Hyre depicting the apotheosis of the marriage of Maria de' Medici, part of the historical series commissioned by the queen.

Institutions of Christ, Aertgen Claesz van Leyden, After Hans Baldung Grien, 1508 - 1564 drawing paper. ink pen lamentation over the dead Christ by his relatives and friends (Christ usually without crown of thorns)

Saint Catherine of Alexandria at the Wheel; Nicolò dell'Abate (Italian, 1509,1512 - 1571); 1547 - 1550; Black chalk, brush and brown ink, with white gouache heightening on tan paper, irregularly shaped; 55.7 x 42.1 cm (21 15,16 x 16 9,16 in.)

Vier Putti, Jacob de Wit, 1705 - 1754 print Amsterdam paper etching Cupids: 'Amores', 'Amoretti', 'Putti'

Fall of the damned. Angels throw the damned in hell. A seven-member dragon solves them. Under the image a text line in Latin.

A drawing by François Boucher showing Mercury giving a nymph to Bacchus to feed with goat milk, executed in black chalk with reddish and brown wash.

Sir James Thornhill, 1675-1734, British, Neptune, undated. Pen and brown ink with gray wash over graphite on moderately thick, slightly textured, cream laid paper.

A Satyr Pursuing a Nymph ca. 1550-75 Anonymous, French, School of Fontainebleau, 16th century French. A Satyr Pursuing a Nymph 339158

François Verdier drawing of the competition between the muses and pierids, created in black chalk with gray wash and traces of white heightening.

Italy, Testa, Pietro, Altro diletto ch'imparar no trovo, Young man with bust of Minerva and dancing satyrs, verso - stamped, Allegorical representation with a naked young man, leaning on a shield. On the left a bust of Minerva with books, a compass and a celestial globe. On the right dancing satyrs and maenads and in the background herms of Priapus., print, prent, prints, prenten, height 394 mm, width 528 mm, Italian, 1612 - 1650, print maker, prentmaker, 1645 - 1650, paper, papier, etching, etchings, plaattoon, Work conception, after own design by

Formation of the copper hose, draughtsman: anonymous, Low Countries, c. 1550 - c. 1599, paper, pen, brush, h 427 mm × w 576 mm

Juno on Her Chariot VIsiting a Young Woman and a Rivergod. Artist: Richard van Orley (Flemish, Brussels 1663-1732 Brussels). Dimensions: sheet: 7 x 9 3/8 in. (17.8 x 23.8 cm). Date: late 17th-mid 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Allegory of the Redemption of the World 1528-88 Paolo Veronese (Paolo Caliari) Italian This chiaroscuro’ drawing with the Allegory of the Redemption of the World’ is one of the largest known by Paolo Veronese and was conceived as an independent work of art, not as a preparatory study for a painting. Sibyls grouped around the empty tomb of Christ and prophets situated in the clouds above act as intermediaries between the earthly and heavenly realms. The scrolls they hold refer to prophesies for the redemption of the world, the idea embodied above. There, one sees the Holy Trinity with Christ blessing a kneeling figure—either Adam or Saint John—who is presented by Mary. Veronese, one of the great masters of pictorial representation "di sotto in su," (from below) imbued the heavenly realm with a lofty character suited to the exalted theme. Jonathan Richardson, the noted seventeenth-century English collector of Old Master drawings, owned this work and inscribed a lengthy explanation of t

'Jonah and the Whale'. Italy, Circa 1531/1532. Dimensions: 24,5x35,8 cm. Museum: State Hermitage, St. Petersburg. Author: Giulio Romano (Giulio Pippi).

Artist: Bartholomaeus Spranger, Flemish, 1546-1611, Venus andMercury, ca.1600, Pen and brown ink and gray wash, heightened with white, sheet: 37 × 25.4 cm (14 9/16 × 10 in.), Made in Flanders, Flemish, 16thcentury, Works on Paper - Drawings andWatercolors

A Bacchanalian Revel, Henri Antoine de Favanne, French, born England, 1668 - 1752, Pen and brown ink, charcoal, brush and gray wash on laid paper, Maenads resting in a wood at the edge of a mountain lake. At far right, a woman dances holding a tambourine over her head. A satyr reclines at left. A putto flies overhead., France, ca. 1746, Drawing, Drawing

Minerva relies a young man; Adolescentiam Pallas A Venere Auellit Radix Amara Virtutis, Fructus Suauis. Minerva gets away from the arms of the personal truth's arms. A putto tries to withdraw it. Other allegorical figures hit the scene gade.

The Fall of the Giants 1663 Salvator Rosa Italian According to classical mythology, after the Golden Age came the Silver Age and then declined through the Bronze Age to the wicked Age of Iron. At the end of the Iron Age, brother fought against brother. As Ovid writes in the beginning of his Metamorphoses 'Justice fled from the bloody earth ... Heaven was no safer. Giants attacked the very throne of Heaven, piled Pelion on Ossa, mountain on mountain, up to the very stars. Jove struck them down with thunderbolts.'Salvator Rosa was inspired by Giulio Romano's famous fresco of the Fall of the Giants in the Palazzo del Te in Mantua when he created this unusually large print. There are more than a dozen surviving preparatory drawings for the etching, indicating the effort that Rosa put into its production. Although Rosa signed the work 'Salvator Rosa Inv. pinx', the etching is not derived from a painting. In a letter to his friend Ricciardi, Rosa lamented that 'even a fantasia like the Giant

A black chalk and brown feather drawing by Abraham Bloemaert depicting the second scene of the Proclamation to the Shepherds, executed with wash and white highlights.

Theseus leaves Ariadne on Naxos (). Design for a painting.

Stigmatization of Santa Maria Maddalena de' Pazzi 1750-1760 Italy. Ferretti was the most outstanding painter of Florence during the first half of the eighteenth century. Educated there and in Bologna, he became one of the most prolific fresco painters in Tuscany. This study for the church of Santa Maria Maddelena deíPazzi, with its fluid strokes and subtle washes that evoke convincingly plastic angelic forms, reveals Ferrettiís place in the tradition of great Florentine draftsmen.. Pen and gray ink, and gray wash with black chalk, on white laid paper . Giovanni Domenico Ferretti

Boreas and Oreithyia, Cornelis Schut (I), 1618 - 1655 print Boreas flies away with the desperate Oreithyia in his arms. Putti flinging around them. paper etching / engraving Boreas abducting Orithyia

The Defeat of Sennacherib. Dated: 1618-1620. Dimensions: Overall (approximate): 35.2 x 45.4 cm (13 7/8 x 17 7/8 in.) support: 35.9 x 46.5 cm (14 1/8 x 18 5/16 in.). Medium: black chalk and pen and black ink with gray wash on laid paper. Museum: National Gallery of Art, Washington DC. Author: Pieter Claesz Soutman and Sir Peter Paul Rubens.

An Angel Foretells the Birth of Abraham's Son, 1638. Gerrit Claesz. Bleker (Dutch, 1656). Etching; sheet: 14.9 x 21.6 cm (5 7/8 x 8 1/2 in.); platemark: 14.3 x 21.1 cm (5 5/8 x 8 5/16 in.).

Etcher: Francesco Fontebasso, Italian, 1707-1769, After: Sebastiano Ricci, Italian, Venice, 1659-1734, Saint Gregory delivering souls from Purgatory by hisprayers, 18thcentury, Etching, Image: 43.9 × 30.6 cm (17 5/16 × 12 1/16 in.); Platemark: 46.8 × 31.5 cm (18 7/16 × 12 3/8 in.); , Made in Italy, Italian, 18thcentury, Works on Paper -Prints

'Chariot hannesed with two Swans led by Venus'. Italy, First half of the 18th century. Dimensions: 52x36 cm. Museum: State Hermitage, St. Petersburg. Author: GIOVANNI BATTISTA PIAZZETTA.

Michaël and the fall of the rebellious angels, Anonymous, After Lucas Vorsterman (I), after Peter Paul Rubens, 1680 - 1735 print The archangel Michael, in one hand a shield with the symbol of God the Father and in his other hand a lightning bolt, throws the rebellious angels from heaven together with other angels. Antwerp paper engraving fall of the rebel angels, who become devils. the Archangel Michael (and other angels) casting the rebel angels out of heaven

Drawing, Design for Allegory of Divine Wisdom, Reception Room, Palazzo Barberini, Rome, Italy; Designed by Andrea Sacchi (Italian, 1599 - 1661); Italy; brush and brown wash, pen and brown ink, red, black, and white chalk on off-white laid paper; 31.2 x 33.3 cm (12 5/16 x 13 1/8 in.)

Fontainebleau, Primaticcio, Francesco, Italy, Fantuzzi, Antonio, The Fall of Phaeton, verso - stamped, Phaeton, his four horses and his chariot fall from the sky. Above Jupiter with a lightning bolt, surrounded by a ring of clouds., print, prints, height 293 mm, width 420 mm, Italian, print maker, printmaker, 1545 - 1545, second quarter 16th century, paper, etching, etchings, counterproof, counter pressure, Work conception, 1504-04-30 - 1570-09-14, after a design by

Apotheosis of truth, 1675 - 1700 print Time reveals the truth. Father Time flies to the sun with the personification of truth (Veritas) in his arms. Next to them, a putto with a sickle and a snake flies in their own tail, symbol of eternity. Among them the reports envy (invidia). paper engraving serpent Ouroboros. Truth; 'Verití' (Ripa). Time revealing Truth; Time carrying Truth aloft

Drawing, Graphite on paper, France, before 1902, Drawing

The Holy Trinity with Saint Michael Conquering the Dragon. Pietro da Cortona; Italian, 1596-1669. Date: 1656-1669. Dimensions: 458 x 357 mm. Pen and brown ink, with brush and brown and gray wash, heightened with lead white (discolored) and black chalk, on tan laid paper, laid down on tan laid card. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA. Author: PIETRO DA CORTONA.

Vatican City, Papal Court, Italy, Maratti, Carlo, Rome, Frezza, Giovanni Girolamo, Munere sic nivee lane, si credere dignum est, Diana and Pan, verso - stamped, Pan gives the goddess Diana, who floats through the air, snow-white wool and thus wins her love. Next to the pan lies a goat, the symbol of lust., print, prints, height 370 mm, width 250 mm, Italian, 1659 - 1748, print maker, printmaker, 1686 - 1748, paper, engraving, engraving (printing process), 1625-05-15 - 1713-12-15, intermediary draughtsman, after a drawing by, Work conception, after a design by, granter of privilege

Angel Appearing to Hagar and Ishmael. Etienne Pierre Adrien Gois; French, 1731-1823. Date: 1780. Dimensions: 181 × 115 mm. Pen and gray ink, with brush and gray wash, over red chalk, on cream laid paper. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Sébastien Bourdon drawing of the Paulusburz, executed with brush in gray and brown wash, traces of black chalk and reddish pen, with white heightening on brown paper.

'Christ Blessing a Child'. The Netherlands. The Netherlands, 1530-1540. Dimensions: 19,8x27,2 cm. Museum: State Hermitage, St. Petersburg. Author: Jan van Scorel (workshop).

Perseus Saving Andromeda. Artist: Giovanni David (Italian, Cabella Ligure 1749-1790 Genoa). Dimensions: Plate: 11 15/16 x 8 1/2 in. (30.4 x 21.6 cm)Sheet: 12 13/16 x 14 7/8 in. (32.5 x 37.8 cm). Date: ca. 1775.David depicts the moment when having slain the sea monster to whom she was to be sacrificed Perseus frees Andromeda. On the ground to the right of Perseus lies the shield whose reflective surface had enabled him to slay Medusa, since looking on the Gorgon directly would have turned him to stone. Although classical sources describe Perseus as flying with the aid of winged sandals, artists often show him riding Pegasus, born from Medusa's blood. Considered an embodiment of fame, the winged horse was an appropriate mount for a hero. Museum: Metropolitan Museum of Art, New York, USA.

Apollo with the musset on the parnassus, Johann Christian Thomas Winck, 1748 - 1797 print Germany paper etching Parnassus, sacred to Apollo Musagetes. Apollo and the Muses, Apollo Musagetes. (story of the) Muses; 'Muse' (Ripa). attributes of Apollo: lyre. musical instruments; group of musical instruments. Pegasus, the winged horse

Brush and red chalk drawing by Lodovico Gimignani showing Hagar in the desert, depicting the figure, terrain, vegetation, and surrounding environment on brown paper.

Mattheus Terwesten illustrated the female capture of Jabesh-Gilead from Judges 21:10-23, using brown ink with wash and white chalk highlights on brown-tinted paper.

Jacob Matham after Hendrik Goltzius (Dutch, 1571 - 1631), The Four Elements, probably 1588, engraving on laid paper

Design for a dial with a mythological allegory, Domenico I Piola (attributed to), Carlo Maratta (Rejected Attribution), c. 1690 - c. 1695 drawing Design for a dial with a mythological allegory: Time with Cupido continues a boat in which Venus, Bacchus and Ceres are; In the sky Apollo in the solar car, in the foreground a sleeping young man. paper. chalk. ink pen / brush 'sine Cerere et Baccho friget Venus'. Apollo in the chariot of the sun, drawn by four horses, usually preceded by Aurora holding a torch; 'Carro del Sole' (Ripa). sleeping; unconsciousness. allegory of Time and Eternity

Aeneas wants to save the body of Pandarus, Bernard Picart (workshop or), After Bernard Picart, 1710 print Aeneas tries to save Pandarus' body, but is hindered by Diomedes who wants to throw a stone at him. Venus comes on a cloud to save him. In the margin a caption in French. Amsterdam paper etching / engraving Aeneas tries to save the body of Pandarus but is hit by a stone thrown by Diomedes; Venus comes to Aeneas' rescue

Feather drawing by Jacopo Palma depicting Hephaestus capturing Mars and Venus, with a smithy on the left, on gray-lavated paper with white highlights and ink stain on the left.

Attack of the giants on the gods world; Ovidius' metamorphoses. The giants try to conquer the sky through mountains from the earth through mountains and to polishing the Olympic gods. The latter fighting with weapons such as spear, lightning and trident. Under the show twice two lines of Latin text. This print is part of a series of 52 prints that depicting stories from Ovidius' metamorphoses. This series varies in three numbered series: two of 20 prints and one of 12 prints. This print belongs to the first series.

Virgil Solis, German (1514-1562), The Transfiguration, pen and black and violet ink on laid paper

Rinaldo in Armida. .

Drawing by Federico Zuccari showing the punishment of the jealous in hell, executed with pen and brown and red washes before 1579.

Kidnapping of Europe, Jean Michel Liotard, After Carlo Cignani, 1743 print paper etching / engraving Jupiter, usually in the shape of a white bull, abducts Europa and carries her across the water

Eight small representations of biblical scenes by an anonymous artist including David, Joshua, Elijah, John the Baptist, and the temptation of Christ, executed in gray-brown ink and brush with lavated and white heightened on gray paper around 1765.

A 17th-century drawing of John the Baptist seated on a stone in a forest, delivering a sermon to listeners gathered on both sides, rendered in pen, wash, and white heightening with blue.

Sacrifice of Isaac. After Jacopo Robusti, called Tintoretto (Italian, 1518-1594); or Pedro de Valpuesta (Spanish, 1614-1668). Date: 1656. Dimensions: 388 x 500 mm (max.). Brush and brown ink and wash, heightened with white gouache, over traces of black chalk, on blue laid paper, laid down on ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute, USA.

The Prodigal Son. Dated: 18th century. Dimensions: overall: 16.5 x 26.3 cm (6 1/2 x 10 3/8 in.). Medium: pen and brown ink with gray wash on laid paper. Museum: National Gallery of Art, Washington DC. Author: after Pietro Testa.

Great Lion Hunt, Peter Paul Rubens, Flemish, 1577 - 1640, Schelte Adams Bolswert, Dutch, ca. 1586 - 1659, Engraving on laid paper, Europe, 17th century, Print, Print

Offer van Isaak. An angel stops abraham that is about to sacrifice his son Isaac.

Black stone chalk drawing by Josef Grassi depicting the birth of Venus, created around 1800.

Vatican City, Papal Court, Rome, Rossi, Giovanni Giacomo de', Parma, Correggio, Italy, Vanni, Giovanni Battista, Assumption of Mary (right part), verso - stamped, Saints and putti among clouds., print, prent, prints, prenten, height 400 mm, width 320 mm, Italian, 1599-02-21 - 1660-07-27, print maker, printmaker, 1642 - 1642, paper, papier, etching, etchings, 1489 - 1534-03-05, after a painting by, Publication (Event), Publication, 1627 - 1691, publisher, granter of privilege

The adoration of the copper hose, draughtsman: Giovanni Battista Cipriani, 1737 - 1785, paper, brush, h 457 mm × w 312 mm

Catalogue raisonne et figure de ses tableaux, La Galerie Électorale de Düsseldorf, Pigage, Nicolas de, 1723-1796, Red crayon, or pen, ink and watercolor, 1770-1778

Feather drawing by Guglielmo Borremans on gray wash depicting the Assumption of Mary, including a cross-shaped crease in the paper.

Venus, Mars, and Cupid. Artist: After Carlo Maratti (Italian, Camerano 1625-1713 Rome); Francesco Lamarra (Italian, Martina ca. 1710-1780 Naples ()). Dimensions: sheet: 13 3/16 x 15 15/16 in. (33.5 x 40.5 cm)plate: 8 7/8 x 11 13/16 in. (22.5 x 30 cm). Date: 1725-80. Museum: Metropolitan Museum of Art, New York, USA.

Francesco de Rossi's 1540-1545 drawing depicts a Bacchic triumphal procession with Bacchus on a chariot, two horses, prey, camels, satyrs, a lion, a river god, executed in chalk and feather on yellow primed paper with white highlights.

A pen and brush drawing on brownish paper depicting Joseph's cup found in Benjamin's sack, executed with ink, bister, and chalk traces.

God the Father and Angels on Clouds. Dimensions: overall (approximate): 26.5 x 41.7 cm (10 7/16 x 16 7/16 in.). Medium: pen and brown ink with brown wash heightened with white. Museum: National Gallery of Art, Washington DC. Author: Raffaello Motta.

Pierre Jacques Feillet (Lithographer) (After Titian (Tiziano Vecellio)); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'The Worship to Venus'. 1832 - 1837. Lithographic aquatint, Crayon lithography, Pen lithography, Printing on japon, Scraper on wove paper; 1832 - 1837. Lithographic aquatint, Crayon lithography, Pen lithography, Printing on japon, Scraper on wove paper. Museum: Museo del Prado, Madrid, España.

Lairesse, Gerard de, Semper Pii Praesidium, Venus presents weapons to Aeneas, verso - stamped, Venus shows Aeneas the weapons that Vulcan has made for him and that are presented to him by putti in a rocky setting. On the right in the foreground lies a figure with a jug, partly hidden behind foliage. Possibly a pendant to a print depicting Venus mourning the death of Adonis., print, prints, height 357 mm, width 478 mm, Northern Netherlands, 1641 - 1711, print maker, printmaker, 1670 - 1670, paper, papier, etching, etchings, after, after painting by, Publication (Event), Publication, publisher

Portrait piece with four rains and four regents, a servant and a girl ..

Print made by Bernard Lens, 1659-1725, British, The Four Elements, undated. Mezzotint on moderately thick, moderately textured, cream wove paper.

The Four Elements, Print made by Bernard Lens, 1659-1725, British, after Hendrik de Clerck, 1570-1629, Flemish, undated, Mezzotint on moderately thick, moderately textured, cream wove paper, Sheet: 13 5/8 × 10 1/16 inches (34.6 × 25.6 cm), Plate: 13 3/8 × 9 7/8 inches (34 × 25.1 cm), and Image: 12 15/16 × 9 13/16 inches (32.9 × 24.9 cm), air, birds, earth, elements, fire, fires, flying, fruit, headdresses, lake, mountains, nudes, pouring, religious and mythological subject, shells, sitting, smoke, torches (lighting devices), urns, water, women

Johann Endlinger's drawing depicts a supplement by St. Antonius, executed in gray pen and colored, emphasizing figures and composition.

God the Father Supported by Angels in the Clouds, I 1749-1804 Italy. Pen and brown ink, and brush and brown and gray washes, with traces of red chalk, over traces of black chalk, on ivory laid paper . Giovanni Domenico Tiepolo

Marriage of Bacchus, Gerard Melder, 1725 print In the middle Bacchus and his bride Ariadne in a burning altar. Above that in the clouds Juno and Jupiter. On the clouds on the left the muses and on the right the three graces. Left front Minerva and Mercury, front right Pluto with a tweetand. Amsterdam paper etching wedding of Bacchus and Ariadne. two-pronged fork ~ attribute of Pluto

Allegory of Art and Knowledge with the Coat-of-Arms of Hans Wilpert Zoller. Artist: Mathais Füssli the Youngest (Swiss, Zurich 1671-1739 Zurich). Dimensions: sheet: 3 11/16 x 5 7/16 in. (9.4 x 13.8 cm). Date: 1694. Museum: Metropolitan Museum of Art, New York, USA.

Landscape with Children in Oriental Costume. Artist: Tiberius Domenikus Wocher (German, Mimmenhausen 1728-1799 Reute (active Switzerland)). Dimensions: sheet: 14 3/4 x 20 1/16 in. (37.4 x 51 cm). Date: 1773. Museum: Metropolitan Museum of Art, New York, USA.

Venus, Mars, and Cupid 1725-80 Francesco Lamarra Italian. Venus, Mars, and Cupid 400392

Venus mourns the death of Adonis, Gerard de Lairesse, 1670 print Venus mourns in a landscape for Adonis who was killed by a wild boar during hunt. She dries her tears with her dress and is surrounded by putti with arrows and toortsen trying to comfort her. One putto offers Venus a bowl. On the right in the foreground Amor strings his bow, in the background there is a tomb. Possibly a pendant of a print with the image of Venus that gives Aeneas weapons. paper etching Venus mourning Adonis. cupids: 'amores', 'amoretti', 'putti'. (story of) Cupid, Amor (Eros)

Alkmaar, Schabaelje, Jan Philipsz, Amsterdam, Visscher, Claes Jansz. (II), Snellinck, Jan (I), Collaert, Adriaen, Den Grooten Figuer-Bibel, Icones Revelationum S Iohs Evangeliste in Pathmo, Revelation of John on Patmos, Van den Apocalipsis oft Openbaeringh Iohannis, Seven angels receive a trumpet, bottom right on album page - handwritten in brown ink, The opening of the seventh seal: in the clouds God the Father and seven angels with a trumpet. Below them the earth on which lightning bolts fall. Below the image a reference in Latin to the Bible text in Op. 8. This print is part of an album., print, prent, albumblad, prints, prenten, 208, height 83 mm, width 76 mm, South Netherlandish (before 1775), 1560 - 1618-06-29, print maker, printmaker, 1585 - 1585, paper, papier, engraving, engraving (printing process), Work conception, South Netherlands, 1544 - 1638-10-01, after a design by, Publication (Event), Publication, North Netherlands, 1586 - 1652-06-19, publisher, uitgever, 1592 - 1656-

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